Paula Marincola

  • passages November 24, 2015

    Marion “Kippy” Stroud (1939–2015)

    SEVERAL TRIBUTES APPEARED immediately after the sad, distressing news of Kippy Stroud’s death, paying due homage to her achievements as a creative force—artistic director, arts entrepreneur and producer, patron—while trying as well to capture something of her mercurial personality. An only child but with a substantial extended family of origin, Kippy also, by instinct and design, created an extended family of affinity within the organizations she founded, and within the larger art world. Each of us has our Kippy stories, our own understanding and interpretation of who she was. My relationship

  • JUDITH SHEA'S CONTEMPORARY KOREA

    THROUGHOUT HER CAREER, Judith Shea has placed the female form—more accurately a series of its surrogates—at the center of her practice. If the work is feminist, however, it is neither overly theorized nor polemically bound to the direct critique of representation as it engages other, more ideologically minded female artists of her generation. Mary Kelly, for example, comes immediately to mind.1 Shea’s art affirms, instead, certain aspects of art history and tradition in part to assume the weight of their authority, even as it may reverse or undermine their terms.

    Shea’s artistic development may

  • SOMETHING TO DO WITH JENNIFER BOLANDE

    JENNIFER BOLANDE'S HIGHLY individualized amalgam of sculpture and photography proceeds obliquely but precisely toward an accumulation of possible meanings. She is a connoisseur of unlikely but evocative details, of subliminally perceived, fragmentary images and events of a kind that would loiter on the periphery of vision had she not delivered them to the ring of attention. Much has been made of the idiosyncratic iconography of Bolande’s objects, but though her works may be initially reticent, and thwart conclusive explanation, they are far from incommunicative, resonating amply in the connotative

  • Robin Winters

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    The territory explored in this two-part installation, Leaning Missives/Floating Vessels, 1988, was the playground of the

    imagination. The missives, black-ink drawings on sheets of 8-by-6-inch galvanized tin, were installed in the gallery's

    small entry space, arranged in two evenly spaced sets of 10 and one of 16 and set on shallow, eye-level ledges that

    traversed three of the room's walls. The drawings depicted elements from Robin Winter's familiar pictographic repertoire-

    quickly rendered, quasi-primitive images of maps, heads, and human or animal figures. While the rows of drawings could

  • Robin Winters

    The territory explored in this two-part installation, Leaning Missives/Floating Vessels, 1988, was the playground of the imagination. The missives, black-ink drawings on sheets of 8-by-6-inch galvanized tin, were installed in the gallery’s small entry space, arranged in two evenly spaced sets of 10 and one of 16 and set on shallow, eye-level ledges that traversed three of the room’s walls. The drawings depicted elements from Robin Winter’s familiar pictographic repertoire—quickly rendered, quasi-primitive images of maps, heads, and human or animal figures. While the rows of drawings could have

  • “Matter of Time”

    This exhibition marked the tenth anniversary of the Academy’s Morris Gallery, a space dedicated to showing Pennsylvania-affiliated artists. It also inaugurated “Philadelphia Art Now,” a three-year series of city-wide events intended to promote local artists. The original concept for the exhibition was to commission a single, integrated, collectively created project on the theme of time, to be produced by the 12 participants selected by an academy-appointed review committee. Not surprisingly, the intended collaboration gradually devolved into a series of solo and dual efforts (with one three-member

  • Connie Coleman and Alan Powell

    Exhortation, seduction, intimidation: Connie Coleman and Alan Powell’s ambitious video trilogy, entitled Negotiations for a Heaven on Earth: Threats, Promises, Desires, 1988, takes on these tactics of mass media manipulation in order to critique television’s power to fashion cultural consciousness. The piece employs borrowed texts and imagery from actual broadcast footage, reconstituting them via state-of-the-art image-processing; in terms of sophistication and methodology, the processing technique mirrors high-end media technology. The artists also devised three sculptural environments—one each

  • Mary Kelly

    Mary Kelly works on a remarkably ambitious scale. Corpus, completed in 1985 and shown here in its entirety, is only the first section of her ongoing Interim project. Begun in 1983, Interim focuses on the experiences of middle-aged women, a heretofore rather ignored segment of our society, through a planned exploration of four themes: body, money, history, and power.

    Corpus’ formal and conceptual complexity demands careful description, as there are no insignificant details in Kelly’s work. It consists of 30 paired panels of image and text, arranged in five groups, three pairs to a group. The five

  • Robert Gober

    There were only five pieces in this show of Robert Gober’s sculpture, an austere distillation of his work that emphasized its elegiac quality. Gober made these generic, unassuming objects out of such materials as plaster, wood, wire lath, and enamel. They were carefully installed in the gallery’s bilevel space: Slip Covered Armchair, 1986–87, occupied a corner adjacent to Two Basinless Sinks, 1986, in the smaller, upper entry room, while Untitled, 1984 (a single sink), Plywood, 1987, and Untitled, 1986 (a single bed) were juxtaposed in the larger, lower room. The way they were arranged, separated

  • “Photo-Mannerisms”

    “Photo-Mannerisms,” a group exhibition of 18 artists, posited photography as the quintessentially mannerist art form. The intriguing conflation of the two was here arrived at via a Lacanian interpretation of Parmigianino’s Self-Portrait in a Convex Mirror, 1524, which the show’s curator, Klaus Ottmann, expounds upon in a brochure that accompanied the show. According to Ottmann, this painting corresponds to the essence of photography. “The photograph,” he writes in the middle of the brochure, “substitutes the mirror, the reflection of the Self, for the experience of the Other.” He shores up and

  • Brower Hatcher

    Brower Hatcher's formally complex works are also allegories of time and the imagination. They are fantasy structures, the spaces of and for dreams, in which evocations and images of past, present, and future are conjoined in order to “invite reflection on what we have been, what we are, and what we may become”—Hatcher's description of the response he hopes his works will produce. This exhibition featured a selection of large and small sculptures, drawings, and proposals for public art, including a maquette for a project in Philadelphia and a drawing for a permanent piece commissioned by the

  • Jody Pinto

    The impetus for Jody Pinto’s Fingerspan, 1987, her first permanent large-scale public sculpture in the United States, was a Fairmount Park Art Association project begun in 1980. The association invited artists to propose public art projects for this Philadelphia park that would, in the sponsor’s terms, “be utilitarian, site-specific, and integral to community life.” Pinto’s original proposal for a triple, split-tongued pier to snake out over the Wissahickon Creek in Fairmount Park proved infeasible for technical/environmental reasons. Eventually, at the suggestion of local citizens, the site

  • Peter D’Agostino

    There was a great deal to recommend Peter D’Agostino’s interactive videodisc installation DOUBLE YOU (and X, Y, Z), 1987, besides its state-of-the-art technology. Installed in its own room, DOUBLE YOU was also a convincing piece of sculpture, with four 20-inch color monitors encased at about eye level in a white partition wall that zigzagged in an open W-like configuration. (This structural pun was paralleled by the work’s many other visual/verbal puns, including that of its title, which refers to, among other things, the children’s “alphabet song” and particle physics.) The monitors were

  • “1967: At the Crossroads”

    “1967: At the Crossroads” was an unusual survey that offered a serious appraisal of the ’60s through a cross section of what its curator, Janet Kardon, considers a pivotal year within a revolutionary ten-year span. The works of 36 artists—all begun, first exhibited, or completed in 1967—were gathered together to evoke the zeitgeist of 20 years ago. Together, they represented Minimalism, post-Minimalism, Conceptualism, Pop, Color Field, and earthworks, all at different points of influence and development. Also included were some amusing and pertinent objects that threw the artworks into broader

  • Jack Tworkov

    Jack Tworkov’s is an exemplary body of work, the product of a lifelong devotion to painting. This exhibition was the first retrospective to survey Tworkov’s entire career of more than 50 years. It began with Tworkov’s early Cézannesque still lifes and figures, and traced his painstaking, often painful progression toward Abstract Expressionism, and his subsequent dissatisfaction with what he called its “enforced spontaneity”; and it articulated how this led to the development of his mature abstract style, with its signature meld of geometry and gesture.

    Despite his associations with the New York

  • Laurence Bach

    Laurence Bach’s new series of photographs entitled “Nightspells,” 1986, continue his signature style, combining a Constructivist syntax and Surrealist vocabulary within the framework of a lapidary attention to formal description. They were made, as was all his prior work, on the Greek island of Paros where he summers. They employ, too, the familiar lexicon of objects fusing quotidian function and classical allusion—amphorae, marble fragments, broken wineglasses, stones, pottery shards, cutlery, gauzy fabric—and display the compositional legerdemain with which he has constructed his other recent,

  • Georgia Marsh

    Georgia Marsh’s vaporous landscapes want to have it both ways: to embody the tangible atmospherics of real time and place and simultaneously to evoke the evanescent ambiguities of color field painting. The specter of Rothko that hovers in the vicinity of her paintings is thus joined by evocations of certain 19th-century Europeans, for example Caspar David Friedrich and J. M. W. Turner. As she arrived at landscape painting through abstraction, it seems logical that her recent work explores their rapprochement.

    The paintings in this exhibition progressed chronologically from moody night scenes to

  • Phoebe Adams

    Phoebe Adams’ new sculptures, rooted in physiological phenomena, appear by turns anatomical and archaeological, excavated from the earth and summoned from the artist’s subconscious. They evoke a wide range of associations with such organic processes as fossilization and decomposition, and natural forms such as skeletons, ammonites, human organs and bones, crustacean appendages, pods, and cocoons. Undulant bronzes at once awkward and curiously graceful, they spiral, thrust, and uncoil themselves from the walls on which they are hung, sometimes anchored by smoother, more abstract shapes such as