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...
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| Jen Dacota. (Hobe Sound, Fl) Visual Impairment & Comprehension issues brought on by Stroke |
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| Philip Taylor (Philadelphia, Pa.) Coronary Artery Disease |
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| Judy Bird (Grass Valley, Ca) Traumatic Brain Injury |
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| Salvatore Damiano (Trenton, NJ) Paralysis due to Spinal Cord Injury |
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| Romaine Samworth (Malvern, Pa) Visual Impairment |
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| Karadeg Ollivier (Brittany, France) Down's Syndrome |
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| 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
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.)
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.
- 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.
- 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.
- We have a working list of recommended centers and programs however we aim to tailor retreats and workshops to a fellow’s needs.
- 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.
- 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.
- 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.
- 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.
- Once per year, running from June through December.
- 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.
- 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).
- The review will be based on a combination of need, interest and experience.
Xingyang Cai
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| Xingyang Cai Still Life series (2014) |
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| 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。
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".
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| Xingyang Cai Still Life series (2014) |
"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."
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| Xingyang Cai Still Life series (2014) |
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| Xingyang Cai Still Life series (2014) |
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| 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)
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...
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.
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.
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)
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| 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.
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| 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.
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