All About Art



MossRehab's All About Art event is an international juried exposition and sale open to artists with physical, cognitive, visual and hearing disabilities. Eligible media include works on paper, works on canvas or board, mixed media, sculpture, jewelry, photography and fine crafts.

The show, held at the MossRehab main campus in Elkins Park, Pa., began on April 25, and runs through June 24, 2014. You can view the exhibition any time during normal business hours. There is no fee or ticket required.

There are 229 pieces of artwork by 69 artists displayed in this year's exhibition, and following are some of the editor's favorites. This is just a small taste of many many remarkable pieces in this exhibition...


Jen Dacota. (Hobe Sound, Fl)
Visual Impairment & Comprehension issues
brought on by Stroke

Philip Taylor (Philadelphia, Pa.)
Coronary Artery Disease

Judy Bird (Grass Valley, Ca)
Traumatic Brain Injury

Salvatore Damiano (Trenton, NJ)
Paralysis due to
Spinal Cord Injury

Romaine Samworth (Malvern, Pa)
Visual Impairment

Karadeg Ollivier  (Brittany, France)
Down's Syndrome

Daphne La Croix (Philadelphia, Pa)
Lymphedema


Purchase artwork online.

Originally known as the "International Exhibition by Artists with Physical Disabilities," the All About Art event was inaugurated by MossRehab in 1979. After a few years off, the exhibit returned in 2005 and has become an annual event. It is believed to be the first east coast exhibition of its kind. The Art Committee annually requests prominent members of Philadelphia's art scene to jury the show and recognize exceptional artwork through awards.

Moss Rehab
60 Township Line Road
Elkins Park, PA 19027
(P) 215-663-6000

Tending Space Fellowships for Artists

Hemera Foundation is a philanthropic organization dedicated to introducing secular contemplative views and practices into mainstream society, focusing on education, women and children, and the arts. Hemera develops and invests in strategic initiatives that lead to sustainable systemic cultural change. The Foundation is a private foundation established in September 2007.

The aim of Hemera’s Tending Space Fellowship Program for Artists is to nurture the creative practice of seeing things as they are—and to live and to create from this insight. Toward this end, we will support artists with opportunities for both contemplation and creation. Application is open to those who are deeply engaged with, and have a demonstrable commitment to, an art form and who also have an interest in beginning or deepening a spiritual practice.

Frequently Asked Questions:

1. Who can apply? (Eligibility requirements.)                                                      
  • Anyone with a demonstrable interest in meditation/prayer/contemplation and the arts may apply.
2. What is the commitment?                                                                                      
  • The time commitment to be a fellow is between 4-6 months. Within that period a fellow commits to: attending a meditation/contemplation retreat and an arts retreat; maintaining regular communication with their art and meditation mentors; regular journaling; two weeks of studio time; a post-retreat dialogue; and one piece of work created and documented with the experience of retreat, mentorship, and the power of art in mind. This work does not have to be based on your fellowship experience, though it should draw on the depth and experience of contemplation and the relationships that has been cultivated. This work is an opportunity to experiment with creating in a new way.
3. What should be included in the application materials?                                              
  • In addition to general information we ask that you provide two short pieces of writing describing why you are applying for this fellowship, and what role art plays in your life and the world. We also ask for an uploaded portfolio. This could take the form of video, still images, audio, or written material.
4. What schools and programs are eligible?                                                         
  • We have a working list of recommended centers and programs however we aim to tailor retreats and workshops to a fellow’s needs.
5.  What is unique about the Tending Space Fellowships for artists?
  • Unlike many traditional fellowships, we are supporting artists with a question in mind. Can art serve to help the world, and if so what does that require of the artist? It is our belief that there are certain practices for the artist that aid this question, such as contemplation, meditation, relaxation, listening, and discipline. As a result, we are providing a context for an artist to investigate those elements on their own and within community.
  • This is also our pilot program year, so much of it is an experiment. We are seeking artists who are committed to, or interested in being committed to, this view of art and life so that we can fine-tune our fellowship and create community as we learn.        
6. How is art viewed in the context of this fellowship program?
  • We believe that art has the capacity to genuinely help our world, to instill it with sanity, love, joy, and beauty. This does not mean that art has to look a certain way, or achieve a standard aesthetic of some kind. (We are not advocating a “love and light” approach to art at all.) It does mean that art needs to be tethered to Truth, according to the logic of the piece being created. We accept that there is an order, a truth, within life and craft. As a viewer, we instinctively know this kind of art when we see it. It might disturb us, cheer us up, or confuse us, but somehow we recognize that we aren’t being lied to. This is refreshing. In today’s art world there is a tremendous amount of energy put into cleverness, shock, and wit in order to build up one’s career or image as an artist. We are advocating another way, perhaps a longer road.
  • How does one cultivate this tether to truth? Our inspiration has been through slowing down, making friends with yourself though meditation and contemplation, spending the time to really master your craft and listen to the materials, and fine-tuning the senses as tools for communication. Most of all, we are interested in supporting you to genuinely find your way.
7. What kind of work/artist does Hemera Foundation want to support?                                
  • At this time there isn’t one kind of work that we are more interested in supporting than another. We will work with an artist who can articulate and demonstrate a genuine interest in living this total artistic life and design a fellowship program that best suits them. The only requirement is that you have a demonstrable commitment to art making as a central part of your life and a desire to purse meditation/contemplation as a part of your art and life.
  • A “demonstrable commitment” does not mean that you are professional or attempting to be professional, necessarily; it means that you have spent time on your craft already and experienced the road of creativity enough to supply some body of work illustrative of your artistic interest. We will not be supporting craft development with this fellowship, so it is important that the artist already has a strong sense of the mechanics and lineage of the craft that they are engaged in.
8. How does Hemera Foundation define “artist?” Or “contemplative artist?” 
  • In this context, the definition of “artist” is one who is meeting their craft with the view and practice of meditation. It is not necessarily someone who is paid for his or her work. However, it is also not someone who is engaged in a craft with only personal interests, ex. therapeutic interests. “Artist” may also be extended to someone who is living their daily life with a sense of awareness and creativity.
9. How often are the Tending Space Fellowships offered? 
  • Once per year, running from June through December.
10. What kind of projects does Hemera Foundation NOT support?                                          
  • There are no art forms that we will automatically rule out. It’s also possible that an artist has a project that they would like to devote time to starting or finishing. If this is the case, we would like to dialogue with you about how it might be impacted by this amount of retreat and support, and if you are open to it changing as you go.
11. What about collaborative projects?                 
  • The fellowship program is open to groups and ensembles but the dollar amount provided will not change, so the total will be divided among the members (i.e., allocated to the group as a whole and not the individual members).
12. What are the review criteria?                                                                             
  • The review will be based on a combination of need, interest and experience.

Xingyang Cai


Xingyang Cai  Still Life series (2014)



 A recent submission of work from Xingyang Cai has such a unique and interesting contemporary feeling to it. The surreal use of color and lighting is half unsettling, half soothing. There is a subtle sensuality that also seemingly borders on the pornographic. In other words, I look at these images with a sense of uncertainty and my reaction may depend on my mood or emotions.  I see an almost Ikebana sculptural quality to these images.They capture momentary slices of the cycles of impermanence, as well as nature's war between perceived beauty and the grotesque.Sculpture acting as metaphor to our own particular sensitivities. A metaphor from the soul, resonating within.



Xingyang Cai  Still Life series (2014)


 I asked Xingyang Cai to send me a brief statement about this series using his native language...

自从波普艺术流行以来,人民看待身边事物的眼光也发生了变化。物质世界的一切仿佛被赋予了第二种身份,某种象征性的隐喻。这种现象让我非常着迷,我试图去发现物体的颜色,质地和形状可以给人带来的某种暗示。就像有些材质和颜色总能激发人的性幻想,而有些颜色和结构会显得冷酷和遥不可及。而特定的事物往往可以给人更加直接的感受,他们可能是某种特定品牌的商品或是某种食物。他们就像被定义了某种生活的态度或是文化因素。我在拍摄这组静物的时候非常注意颜色的搭配,包括背景和色光的选用。每次会尝试多种搭配的方式,最后挑选让我满意的效果。

English translation-

"Pop Art remains popular as people look at things through evolving eyes. All the material world seems to have been given a second identity, some symbolic metaphor. I was very fascinated by this phenomenon, I tried to find the color of objects, textures and shapes that can bring some kind of hint. Like some of the material and color can always inspire people's sexual fantasies, and some color and structure will become cold and distant. And certain things can often give a more direct experience, they may be a particular brand of product or some food. They are defined as the attitude of some of life or cultural factors. I pay attention to the color mix in this group still life when shooting, including choice of background and shade. Each tries to match a variety of ways, and finally let me pick satisfactory results".


Xingyang Cai  Still Life series (2014)


我是一个自由摄影师也是还是一名在校大学生。我深爱着当代艺术和摄影。主要拍摄人像和静物,摄影的过程对我来说很像是装置艺术。我组合好被摄物和光,背景的关系。 然后再用相机记录下来,所以其实花在摄影本身的时间是很短的。

"Xingyang Cai (born in Yangzhou, China) is a student at Temple University in Philadelphia, Pa. He is a freelance photographer specializing in portraiture and still life work."


Xingyang Cai  Still Life series (2014)

Xingyang Cai  Still Life series (2014)


Xingyang Cai  Still Life series (2014)


Here are links to see more work by Xingyang Cai

Michael Snow: Photo-Centric

Michael Snow: Photo-Centric
February 1- April 27, 2014
Philadelphia Museum of Art


"My paintings are done by a filmmaker, sculpture by a musician,films by a painter, music by a filmmaker, paintings by a sculptor, sculpture by a filmmaker, films by a musician, music by a sculptor... sometimes they all work together. Also, many of my paintings have been done by a painter, sculpture by a sculptor, films by a filmmaker, music by a musician".
-Michael Snow (1967)


Michael Snow (2014)

The Philadelphia Museum of Art presents the photographic work of Canadian filmmaker, painter, sculptor,composer, writer, visual artist, & musician Michael Snow (b. 1928), the first United States exhibition of Snow's work in over four decades. This is a brilliantly presented collection of work curated by Adelina Vlas, assistant curator of modern and contemporary art at PMA. This is the first major exhibit curated by Vlas, and it is solid in every way. 

If you are not familiar with the photography of Michael Snow, join the club. The only previous exhibition of Snow's work was a 1976 Museum of Modern Art showing of ten pieces in Projects: Michael Snow- Photographs. Despite the fact that Snow's 1967 film Wavelength is often cited as one of the greatest underground and art house films ever made, his work has received almost no critical attention in the United States. Wavelength might be the best place to start if you want to explore Snow's work. It is a 45 minute zoom-in. Excruciatingly structural, with no apparent plot, there is no turning back once you have engaged with this film. See for yourself, love it or hate it...




Several visual elements from Wavelength make appearances in the current PMA exhibit. Snow's first photographic work, Four to Five (1962) consists of 16 silver prints all including the same cardboard silhouette of a walking woman placed in various outdoor environments. Atlantic (1967) is a grid of thirty metallic open ended boxes, each containing a photograph of choppy surface water. If you took the time to watch Wavelength to completion, you will notice the silhouetted walking woman and the water image as the film reaches its final frames.

Michael Snow: Photo-Centric
Philadelphia Museum of Art

Virtually every piece in this exhibit engages the viewer. Cerebral and puzzling conceptual work mixes well with lighthearted and outright funny work. Several works require physical movement in order to be fully appreciated. Atlantic (1967) becomes a performing sculpture as the viewer moves about the room. Crouch, Leap, Land (1970) offers up a unique surprise to those willing and able to crouch low enough to peek underneath these hanging images. In Medias Res (1998), among the most enjoyable works in this exhibit, is a floor mounted image that must be walked around to completely appreciate, and Powers of Two (2003) is a large four panel transparency suspended from the ceiling that is meant to be viewed from both sides as a cohesive single image. The exhibit is spaciously displayed with a very contemporary feel. The vibe I got was as if walking into a street level gallery in Chelsea rather than the usual stodginess of a museum.

Michael Snow: Photo-Centric
Philadelphia Museum of Art

At a time when major institutions are exploring photography's identity crisis and still (yawn) asking "What is a Photograph?", it is refreshing beyond words to experience first hand the mature confidence of an artist who has quietly engaged in the dialogues of modern and conceptual art, moving 'art' into photography, without the slightest sense of genre specific insecurity. Snow bridges all the gaps, both representational and generational. There is deep wisdom and intelligence to be found in every corner of this show that opens on February 1st and runs until April 27th. I'll go out on a limb and suggest that this is the most important photography exhibit you should see in 2014.

The exhibition catalog is only $20 and is a big help in understanding the context of each piece.  Signed copies are available at no extra cost.

Favorite Books 2013


My five favorite books of 2013... and this was a year that I did some solid collecting... Holy Bible, PIGS, Iris Garden, and all three LBM Dispatches (Three Valleys, Colorado, Texas Triangle) to name drop a few. I liked them all but these were my top five. Click the photo captions for book details.


1. Favorite overall-   Emmet Gowin

Emmet Gowin

2. Favorite exhibit publication-  Ink Art

Ink Art

3. Most fun -  Ping Pong

Ping Pong

2. Best curating -  The Unphotographable

The Unphotographable

5. Most fascinating-    Various Small Books

Various Small Books

Happy New Year!   My resolution for 2014 is to attend some Photobook Fairs. (I didn't attend any in 2013).

Surreal Illusionism

"From a Friend" (1904)

The Surreal Illusionism exhibition at the Finnish Museum of Photography
features nearly 500 photographic postcards that offer a surprising wealth
of pictorial ideas, high artistic quality and photographic allure. Surreal
fantasies, mysterious dreams, role-play, glamorous divas and irony are
running wild in the postcards. All these will transport viewers into the
fascinating, forgotten golden era of industrial photography in the early
20th century and the early history of modern photographic art.

The late 1890s saw the emergence of a number of factories in Europe that
were involved in the creation of a new art form. Photographs were not
printed on the cards, like today, but, instead, real photographs were
produced by using mechanised exposures and development processes. The
production of photographic postcards, also known as "real photo
postcards", became a sizable industry, and the end products were
distributed as far away as South America and Australia. The phenomenon
only lasted for two decades but resulted in millions of photographs.
Today, these cards are coveted collector's items.

From today's perspective, photographic postcards are fascinating
particularly because of the photomontage techniques used. The combination
of images and drawings, and multiple exposure were some of the methods
used in industrial photography a hundred years before "photoshopping".
Because industrial colour photography was yet to be invented, the cards
were coloured by hand. It is the craft that makes these mass-produced
images unique. The synthetic world of colours further increases the
mystery of the images.

The golden age of photographic postcards drew on the urban popular culture
that began to emerge in the early 20th century. The rise of the cinema,
the modern culture of sun-bathing, eroticism, circus and variety shows
inspired the imagery of the cards. Technical innovations, such as the
aeroplane, stimulated the imagination.

The heyday of postcards began to wane after the First World War. The
various innovations, however, lingered on. Artistic ideas such as
synthetic cubism and collage are based on expressive techniques that were
used in the postcards as early as the beginning of the 20th century.

In the 1920s and 1930s, a group of avant-garde artists and poets began to
draw inspiration from dreams, fantasy and the depths of the unconscious.
An art movement known as surrealism emerged. The photographic postcards
presented at the exhibition were "surrealist" before the word was even
invented!

The exhibition also includes an installation created specifically by
artist Jouko Korkeasaari for this show.

The curator of the exhibition is art researcher, docent Harri Kalha.
Kalha's book Ihme ja kumma: surrealismia ja silmänlumetta 1900-luvun alun
postikorttitaiteessa (WSOY 2012) serves as a good companion to the
exhibition.

The exhibition is part of the 2013 Helsinki Festival.

Fantasy Card Competition together with Paletti Oy:
www.valokuvataiteenmuseo.fi/en

Further information on the exhibition:
Chief curator Anna-Kaisa Rastenberger 050 518 7619,
anna-kaisa.rastenberger@fmp.fi
Curator Reetta Haarajoki, +358 50 432 7562reetta.haarajoki@fmp.fi

Further information on workshops, guided tours and public program: Head of
education and public programmes Erja Salo, +358 44 2706216,
erja.salo@fmp.fi

Exhibition hours Tue–Sun, 11–18 Wed, 11–20. Admission fees 8 / 6 euros,
under-18’s free.
The Finnish Museum of Photography, Cable Factory, Tallberginkatu 1 G,
00180 Helsinki
tel. +358 9 6866 3621 / fmp@fmp.fi /  www.valokuvataiteenmuseo.fi/en