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For Immediate Release
January 19, 2010
(Philadelphia, PA) The Galleries at Moore are one of five venues presenting The Graphic Unconscious, the core exhibition of Philagrafika 2010, Philadelphia's inaugural international festival celebrating the print in contemporary art. Showcasing the work of more than 300 artists and uniting 88 Philadelphia art institutions, Philagrafika 2010 is set to be one of the largest arts events in the US. Philagrafika 2010 exhibitions are on view from January 29 through April 11, 2010.
“The long-anticipated opening of Philagrafika 2010 represents a significant moment in Philadelphia’s cultural history,” says Happy Craven Fernandez, president of Moore College of Art & Design. “Moore is delighted to be one of the five venues for The Graphic Unconscious, an exhibition that brings many internationally known artists to Philadelphia for the first time, giving our students and the public unique access to never before seen works of art.”
The Graphic Unconscious is the core exhibition organized by the Philagrafika 2010 artistic director José Roca and the curatorial team: John Caperton, Curator of Prints and Photographs at The Print Center; Sheryl Conkelton, independent curator; Shelley Langdale, Associate Curator of Prints and Drawings at the Philadelphia Museum of Art; Lorie Mertes, Director/Chief Curator of The Galleries at Moore College of Art & Design and Julien Robson, Curator of Contemporary Art at Pennsylvania Academy of the Fine Arts.
The exhibition explores the ubiquitous presence of printed matter in our visual culture, exposing the print component in sculptural, environmental, performance, pictorial and video works, and highlighting their relevance to contemporary art and society. It includes works by 35 artists from 18 countries on display across five venues: Moore College of Art & Design; Pennsylvania Academy of the Fine Arts; Philadelphia Museum of Art; The Print Center and Temple Gallery, Tyler School of Art, Temple University.
The curators for The Graphic Unconscious made the decision to group the artists in a way that relates to the unique mission and/or strength of the collection of the institution where the work is displayed, rather than dividing the core exhibition among the five venues by theme. The exhibition includes significant installations at each site, with work that explores topics including pattern and ornamentation, accessibility and dissemination, collaboration and community, the authority of print and craftsmanship and aesthetics and the print in the public sphere.
The Graphic Unconscious at The Galleries at Moore
The exhibition at Moore is free and open to the public and features five major site-specific installations by internationally-renowned artists: Gunilla Klingberg (Sweden), Virgil Marti (US), Paul Morrison (UK), Betsabeé Romero (Mexico) and Regina Silveira (Brazil).
“The projects on view at Moore highlight artists who employ printmaking in patterning and ornamentation in their work, drawing upon the college’s 160-year-long tradition of focus on the fine and applied arts of textile design, graphic design, interior architecture and fashion,” says Lorie Mertes, director and chief curator of the galleries and one of the five curators of The Graphic Unconscious. “The artists have created new works or reimagined existing pieces intermingling media and disciplines. Their processes reflect the renewed interest in the creative potential of printmaking strategies traditionally used for patterning, wallpaper and fabrics when applied to contemporary artistic practice.”
The five environmentally scaled projects wrap Moore’s walls, cover the floors and obscure windows. Transforming non-traditional spaces into venues for art: Gunilla Klingberg’s bright orange patterned vinyl spans the windows across the college entrance; Betsabeé Romero’s strips of transparent paper imprinted using elaborately carved tires climb the walls of Graham Gallery; Regina Silveira’s patterns of oversized insects swarm across the floors and walls of the Goldie Paley Gallery; Virgil Marti’s reflective wallpaper and mirrored surfaces illuminate the Window on Race Street by day and night; and Paul Morrison’s 40-foot-long boldly painted mural of a fantasy landscape extends the exhibition beyond the gallery to the walls outside and into the immediate community.
More about the projects at The Galleries at Moore
In Brand New View, Gunilla Klingberg has covered the windows of the college entrance in bright orange vinyl patterns that illuminate the interior of the gallery with vivid patterned light. The large elaborate designs are composed of smaller logos and brands found in supermarkets that have been reconfigured into geometric abstractions that recall Moorish patterns and the designs of Persian carpets and eastern mandalas.
Virgil Marti’s window-gallery display of mirror balls, silver Mylar wallpaper, and faux fur is redolent with references to richly decorated Rococo interiors. The effect of silver and white and reflective surfaces creates a slick, cool environment that becomes more “chilling” when bones are revealed to be the underlying patterning in the wallpaper’s surface. The space is populated by floating specters as the image of the viewer is dematerialized into a thousand fragments by the multiple mirrored surfaces.
Paul Morrison’s new work at Moore spans the height and length of the college’s 40-foot-long exterior wall. It incorporates found images of trees and shrubs culled from various sources from art history and popular culture that are manipulated, edited, and collaged together to create an oddly populated landscape growing out of the cracks in the sidewalk along 20th Street. A single large tulip springs out in the foreground, a hopeful reminder of the spring yet to come and the persistence of nature.
In Mexico City, tires on public transportation vehicles are used well past the absence of any tread, which causes many of the city’s automobile crashes. For her project at Moore, Betsabeé Romero reclaimed these used tires that have caused so many disasters and carved into them, retreading them with images of species of birds native to various countries. The birds take symbolic flight across the walls and ceiling of the gallery on an imprint of the tread that extends from each tire on long sheets of translucent paper that span the height and length of the gallery.
In Regina Silveira’s Mundus Admirabilis and Other Plagues, vinyl is incorporated along with screenprinting on porcelain and embroidery on fabric. The installation invokes the mythology of biblical plagues. Instead of locusts, hail, or pestilence, Silveira uses a domestic setting invaded by common pests to suggest that the plagues in our own time are the images that contaminate our everyday existence: crime and violence, degradation of the environment, corruption, and other ills that invade our lives and psyches.
Philagrafika 2010: The Graphic Unconscious is on view at The Galleries at Moore College of Art & Design from January 29 – April 11, 2010. The Galleries at Moore, which are free and open to the public, will host a public opening and meet the artists brunch: Friday, January 29, 10 am – 1 pm with special opening weekend hours on Saturday and Sunday January 30 -31 from 10 am – 5 pm. Located at 20th Street and The Parkway, Philadelphia, PA regular Gallery hours are Monday through Friday 11 am to 7 pm and Saturday 11 am to 5 pm, closed on Sundays and all academic and legal holidays. For gallery information call 215.965.4027 or visit www.thegalleriesatmoore.org or www.moore.edu. For more information on Philagrafika 2010 and The Graphic Unconscious go to www.philagrafika2010.org.
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The Galleries at Moore receives generous support from Moore College of Art & Design and the Friends of The Galleries at Moore. The Galleries also receive state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency as well as program support from the Philadelphia Cultural Fund and the Barra Foundation.
Major support for The Graphic Unconscious exhibition has been provided by:
Philadelphia Exhibitions Initiative, a program of The Pew Center for Arts and Heritage, National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, Inc.
Additional support for individual artist projects on view at Moore College of Art & Design has been provided by:
Fundação Nacional de Artes -FUNARTE/MinC; Fundação Bienal de São Paulo; Fundación/Colección Jumex; International Artists Studio Program In Sweden (IASPIS)
Moore College of Art & Design educates students for inspiring careers in art and design. Founded in 1848, Moore is the nation's first and only women's art college. Moore's career-focused environment and professionally active faculty form a dynamic community in the heart of Philadelphia's cultural district. The College offers nine Bachelor of Fine Arts degrees for women. A coeducational Graduate Studies program was launched in summer, 2009. In addition, Moore provides many valuable opportunities in the arts through The Galleries at Moore, a Continuing Education Certificate program for adults, the 91-year-old acclaimed Youth Art Program for girls and boys grades 1-12, The Art Shop and the Sculpture Park. For more information about Moore, visit www.moore.edu.
About the artists on view at The Galleries at Moore:
Philagrafika 2010: The Graphic Unconscious
Gunilla Klingberg has worked with many types of consumer goods, or their branding and logos, combining them physically or graphically to the point that they lose their individual form and become something altogether new. Klingberg has used paper and plastic bags from supermarkets, cheap rice-paper lamps, surveillance mirrors like those used in convenience stores, neon lights, plastic flowers, fans, and in general any product that is readily available in a consumer economy. She often combines logos in geometric patterns so that they become pure form, and their communicative role neutralized, only recognizable as distinct brands upon a close inspection. Klingberg’s is a poignant take on the pervasiveness of corporate persuasion in our daily lives, while turning them into beautiful, seductive environments where the viewer is immersed.
Klingberg was born in Stockholm, 1966; lives and works there. She studied magazine and newspaper design at RMI-Berghs, Stockholm, and sculpture at Konsfstack, University College of Arts, Crafts, Design, Stockholm. Numerous solo exhibitions across Europe. Received five-year working grant from the Swedish Visual Arts Fund, 2005.
Informed by a wide range of art-historical and pop-cultural references, Virgil Marti creates hybrid objects and environments that merge found imagery from art nouveau, baroque and rococo with 1960s psychedelia and science fiction. Marti’s landscape at once evokes the grandeur of Hudson River school painting and the kitsch of glow in the dark head-shop posters of the Garden of Eden from the 1960s and ’70s. This confluence can be seen in his fluorescent flocked wallpaper of a panoramic landscape lit by black lights. It combines sci-fi-inspired imagery based on the 1976 film of The Man Who Fell to Earth with designs drawn from the work of Frank Furness, the late-19thcentury architect who designed the Pennsylvania Academy of the Fine Arts.
Marti was born Saint Louis, Missouri, 1962. Lives and works in Philadelphia. He holds and MFA from Tyler School of Art, Temple University, Philadelphia, 1990. Pew Fellowship in the Arts, 1995. Solo exhibitions held at: Hirshhorn Museum and Sculpture Garden, Washington, D.C. 2007; Memphis College of Art, 2005; Santa Monica Museum of Art; Institute of Contemporary Art, University of Philadelphia, 2003; Morris Gallery, Pennsylvania Academy of the Fine Arts, Philadelphia, 2001; Moore College of Art & Design, Philadelphia, 1992. Group exhibitions include: Tristan Lowe, Virgil Marti, Peter Rose and Ryan Trecartin at The Fabric Workshop and Museum, Philadelphia, 2009; Montreal Biennial, 2007; Whitney Biennial 2004, Whitney Museum of American Art, New York; Flowers Observed, Flowers Transformed, The Andy Warhol Museum, Pittsburgh 2004 and On the Wall: Wallpaper and Tableau at The Fabric Workshop and Museum, Philadelphia, 2003.
Paul Morrison creates boldly graphic, black-and-white landscape paintings, wall drawings, sculpture and animations. His work incorporates found imagery of nature culled from various pictorial genres and different time periods, such as Disney cartoons, early botanical illustrations, and Northern Renaissance woodcuts. Morrison manipulates the images by removing color, editing detail, and altering scale. The separate images are then collaged together to create a new composition which is transferred onto canvas or, for site-specific murals, directly on the wall or panels using an elaborate system of stencils and black acrylic paint.
Often large-scale and site-specific, Morrison’s work reinterprets the physical space in which it is shown and positions the viewer within a fantastical landscape. Shifting sensations of scale and space transforms the viewer’s experience of the familiar and allows for associative interpretations of the artist’s imagery.
Morrison was born in Liverpool, 1966. Lives and works in Sheffield and London. Received his MFA from Goldsmiths College of Art, London, 1998. Solo exhibitions include: The Horticultural Society of New York; Manchester Art Gallery, Manchester, 2009; Las Vegas Art Museum, Nevada, 2008; Bloomberg Space, London, 2007; Irish Museum of Modern Art, Dublin (2003); Wallworks: Ingrid Calame/Paul Morrison, Aspen Art Museum, Colorado, 2001; UCLA Hammer Museum, Los Angeles, 2000. Commissions and long term installations include: Museum of Art, Rhode Island School of Design, Providence; Arts Towada, Towada Arts Center, Aomori, Japan, 2008; Contemporary Art Museum, Honolulu, 2006; and Bloomberg, Public Art Fund, New York, 2005.Group shows include: the Museum of Modern Art, Tate Britain, and the Andy Warhol Museum, Pittsburgh.
Betsabeé Romero repurposes used tires in her work to make reference to the fact that the wheel is often described as the technical innovation of Western culture. Romero turns this cultural myth on its head by showing that the wheel had a long history in Aztec and Maya culture, where it was used primarily for printing and sport activities. By carving tread back into used automobile tires and using them as print mechanisms she recovers the Mesoamerican iconography and memory that has been erased by the technology of speed.
Romero was born in Mexico City, 1963; lives and works there. She holds an MA in the history of art, and MFA from Universidad Nacional Autonoma de Mexico, 1987. Romero has exhibited regularly in Mexico and abroad, and recently had a solo show, Lágrimas Negras, at Museo Amparo, Puebla, Mexico, 2009. Other solo shows include: Éxodo, site-specific installation, El Faro del Oriente, Iztapalapa, Mexico, 2007; El cielo al revés, Centro Cultural de España, Mexico City, 2006; SUR, traveled to: Escuela Nacional de Bellas Artes, Lima, Peru; National Planetarium, Bogota, Colombia; Palacio de Correos de Rio de Janeiro, Brazil; La Recoleta and Museo Proa, Buenos Aires, Argentina. She was awarded first prize at the Cairo Biennale, Egypt, 2006.
For more than 30 years, Regina Silveira has been investigating the ways in which reality is represented, and the codes and procedures used to achieve its representation. She has used various methods to rework and deconstruct images of shadows and silhouettes, producing paradoxical images that often inhabit space without a solid form or visible source. Silveira has also used
traces and imprints to speak about presence and absence and has used several printing techniques in her work, which often attains architectural proportions.
Making parodic use of perspective–-a system that should guarantee an accurate representation of forms in relation to the physical space they occupy—the artist makes visible the distortions that appear in the process of projection. She also references the anamorphosis, a system of geometric deformation which produces enigmatic images and which was first used to create visual curiosities in the 16th century. Through the deformation of the Renaissance projection technique, Regina Silveira breaks down the indexical relationship existing between an object and its shadow, and between the shadow and the object that produces it.
Silveira was born in Porto Alegre, Brazil, 1939. Lives and works in São Paulo. She has a PhD from Escola de Comunicações e Artes da Universidade de São Paulo, 1984. Since the 1970s, Silveira’s work has been featured in numerous solo and group exhibitions around the world. Shadow Line a survey of her work, was recently presented at the Centro Cultural Banco do Brasil, Rio de Janeiro, 2009. Among her many remarkable projects are environmentally scaled works created for significant buildings including: the Reina Sofia’s Palacio de Cristal in Madrid, 2005; the Centro Cultural España, Montevideo, Uruguay, 2004; and the Centro Cultural Banco do Brasil in São Paulo, 2003. In 1998 she covered the facade of the Brazilian architect Oscar Niemeyer’s building with more than 2,000 square feet of vinyl for the 24th São Paulo Biennale and in 1996 she created a highly political work on immigration for the inauguration of Robert Venturi’s extension of the Museum of Contemporary Art, San Diego.
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Philagrafika 2010 was initiated by the Philagrafika organization, formerly known as the Philadelphia Print Collaborative. Philagrafika builds upon the Philadelphia region's rich printmaking history and abundant artistic resources to enhance the city's presence as an international center for innovative printmaking. The organization was founded in 2000 by a group of arts professionals that recognized a growing convergence of artists, educators, curators, non-profit arts organizations, galleries, print workshops and museums that needed a central organizing body for cooperative initiatives that would exceed the capacity of any single organization. For more information, visit www.philagrafika.org.
Artists: Set to be one of the largest arts events in the United States, Philagrafika 2010 will showcase the work of more than 300 artists from around the world. Find more information about participating artists at www.philagrafika2010.org/artists
Dates: January 29 – April 11, 2010
Press Preview Day: Wednesday, January 27, 2010
Complete Online Calendar: www.philagrafika2010.org/calendar
Official Website: www.philagrafika2010.org
To read a preview article about Philagrafika and view photos of the installations at Moore visit http://www.phrequency.com/blog/Philagrafika_2010.htm
Director of Communications
Moore College of Art & Design