Announcing Rob Matthews at the National Portrait Gallery
posted: 12/6/12
Gallery Joe is thrilled to announce Rob Matthews' participation in the exhibition, Portraiture Now: Drawing on the Edge at the National Portrait Gallery in Washington, D.C.! Portraiture Now includes the work of 6 artists, each presented in an individual gallery in the museum. Rob Matthews is represented by 21 of his portraits, the earliest of which dates to 2005. The exhibition, titled "Portraiture Now: Drawing on the Edge", is on display from November 16, 2012 - August 18, 2013 at the National Portrait Gallery, Smithsonian Institute.
Texas Contemporary Art Fair
posted: 10/2/12
The Texas Contemporary Art Fair which features presentations from 65 galleries showcasing contemporary work from the most innovative, progressive and driven artists from around the world. Gallery Joe will be exhibiting work from Charles Ritchie, Roland Flexner, and Allyson Strafella, among others. The show runs from October 18-21, 2012 at the George R. Brown Convention Center in Houston, TX.
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Marilyn Holsing receives Fellowship In The Arts
posted: 6/8/12
Marilyn Holsing has just received a Fellowship In The Arts from the Independence Foundation for the largest amount they award to continue working with dioramas and video. Congratulations, Marilyn!
Astrid Bowlby installation acquired for West Collects 2012
posted: 5/16/12
Astrid Bowlby is among the artists being acquired by the West Collection for West Collects 2012. Winners will be exhibited in the fall at City Hall.
Jill O'Bryan review by Edith Newhall in The Philadelphia Inquirer
posted: 5/6/12
If you think you’re picking up strange vibrations at Gallery Joe, you’re not alone. Jill O’Bryan’s drawings can do that to you. I know I felt a scraping vibration when I saw a work of hers in a group show there, “Very, Very Large Drawings,” in 2009. I later learned that O’Bryan made that enormous drawing of geologic-looking markings by taking a roll of paper into the New Mexico mountains, laying it flat on a slab of rock, and rubbing its entire surface with graphite. This time, walking through O’Bryan’s first solo show at Gallery Joe, I sensed someone breathing. It emanated from the drawings in the main gallery, in fact from one of the first works I saw, nm 7, a vertical drawing/painting in which rows of black and gray thumbprint-size brushmarks in liquid graphite on white paper vary in darkness. The visual effect is of syncopation, but also of a repeated physical effort varying in strength. Those marks, it turns out, record the number of breaths
Emily Brown will be a panelist at the Philadelphia Museum of Art
posted: 4/24/12
Friday, April 27 at 6:30 pm, Emily Brown will be a panelist at the Philadelphia Museum of Art. She will present her own work, and then with two other artists and curator Joseph Rishel, discuss Vincent Van Gogh's work in the exhibition "Up Close"
Gallery Joe participating in VIP Paper Online Fair!
posted: 4/18/12
From Thursday, April 19 - Sunday, April 22, Gallery Joe is participating in the VIP Paper Online Fair. Visit our virtual booth, entrance is free!
Mia Rosenthal American Landscapes reviewed by Victoria Skelly in The Broad Street Review
posted: 4/5/12
“American Landscapes” reminds me of Alan Watts’s comment in Zen and the Beat Way: “Some Chinese painters like to let everything go wild. But the ideal they are aiming at— and you have to be a tremendous master to achieve it— is to let everything go wild within limits, to create the situation that is orderly overall but allows unexpected, random surprises.” Discovering “American Landscapes” is precisely that sort of random and wholly unexpected pleasure.
Mia Rosenthal reviewed by Todd Keyser in Title Magazine
posted: 3/29/12
"Appropriating the likes of Albert Bierstadt, Thomas Cole, and John Frederick Kensett is not unlike the work of earlier postmodern artists; Sherrie Levin and Richard Pettibone both straightforwardly depict the work of their modernist predecessors. But Rosenthal’s work is much more playful and even quirky, not clinical or cool as these artists’ works can be. Stylistically, her drawings are not naturalistic so much as pop, and when standing back from each work, the small iconic images converge to form something quite different than the landscape paintings of Thomas Cole. Rosenthal’s contrasting color flickers to great effect and reminds us of Marcel Duchamp’s favorite post-impressionist painter George Seurat."
Mia Rosenthal reviewed on The Artblog by Ben Meyer
posted: 3/21/12
In lieu of brush strokes by the thousands, organisms by the thousands form the contours of the natural world in Mia Rosenthal’s American Landscapes, her first solo outing with Gallery Joe. In the show, which consists primarily of reinterpreted 19th-century paintings from the Hudson River School, Rosenthal converts the pastoral landscapes into images built on whimsical line drawings of units of individual species of flora and fauna.
American Landscapes and show, don't tell reviewed by Edith Newhall in The Philadelphia Inquirer
posted: 3/21/12
Granular . . . Mia Rosenthal and Sharka Hyland are well-paired in their first solo shows at Gallery Joe. Rosenthal's ink drawings of flora and fauna are a homage to the Hudson River School painters; Hyland's pencil drawings pay tribute to the written words of Flaubert, Tolstoy, Dickens, and Nabokov.
Video produced of Marilyn Holsing's installations of Further Tales of Young Marie
posted: 3/9/12
Matt Suib and Aaron Igler of Greenhouse Media have created a video of Marilyn Holsing's installations 'Young Marie in Hiding' and 'Gossipers and Tongue Waggers' which is available to view on YouTube:
Joan Waltemath wins Creative Capital Grant.
posted: 1/14/12
Joan Waltemath is a recipient of a 2012 grant in Film/Video and Visual Arts from Creative Capital
Charles Ritchie talk at Arcadia University
posted: 1/13/12
‘34 Years of Keeping a Journal: Notes on a Daily Practice for Artists and Writers’, Arcadia University, Glenside, PA, January 23, 4:30 pm at Arcadia’s Little Theatre (directly adjacent to art gallery) The journals of Charles Ritchie have been created continuously since 1977 and record the artist's direct response to his subjects. Now numbering 136 books, the images contained within often provide insight into the creation of a work or lay groundwork for new drawings and prints while his private notations in nearly illegible script track the artist’s dreams. This lecture is a wide-ranging look at the artist’s journaling practice beginning with a description of the artist’s current journal and how it is used. Continuing, Ritchie looks back to the origins of his interest in the book form and the dawn of his enthusiasm for art and studying the creative process. A brief chronology relates how the books emerged and evolved over more than three decades augmented by descriptions of technical methods including notes on painting in watercolor and a discussion about how dreams are remembered and their significance in self-study. A brief look at artists, writers, and poets follows, reflecting the importance of models in developing the artist’s journaling practice. In conclusion, selected journal studies are presented alongside completed drawings, offering a dialogue between the proposed image and its resolution.
Marilyn Holsing reviewed on Artgrind
posted: 1/5/12
The “Further Tales of Marie Antoinette” is the story that did not yet happen, but it is suggestive of the kind of life a young girl in that position might have had. Marie Antoinette is a metaphor for tragedy, self-destruction, over control or out of control. The drawings not only point to the ominous future of Marie Antoinette, but also suggest her mischievous character, and perhaps the particular darkness that can find it’s home in a young girl’s life.
Review and Slideshow on Huffington Post
posted: 1/4/12
"Marilyn Holsing Gives Marie Antoinette's Magical Femininity A Modern Touch" review and slideshow of Further Tales of Young Marie Antoinette.
Marily Holsing reviewed on Artblog
posted: 1/4/12
Further Tales of Young Marie Antoinette at Gallery Joe continues Marilyn Holsing’s fascination with the notorious French queen. The exhibition generally avoids presenting an overly sympathetic view of the royal, who may or may not be deserving of her disgraced reputation. Instead, in the imagined scenes, young Marie’s identity serves as a jumping off point for the artist. Meticulously detailed, Holsing’s works on paper resemble tapestries from a distance, complete with toile illustrations.