The Galleries at Moore are one of five venues presenting the exhibition, The Graphic Unconscious in conjunction with Philagrafika 2010, Philadelphia’s international festival celebrating the print in contemporary art. Philagrafika 2010 will focus on artistic practices that engage the visual, intellectual and creative frontiers in printmaking and how these approaches relate to social and political issues in the public sphere. The Graphic Unconscious, the core exhibition of the festival, is curated by José Roca, Philagrafika Artistic Director of Philagrafika 2010, with John Caperton, Curator of Prints and Photographs at the Print Center; Sheryl Conkelton, for Temple Gallery, Temple University; 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.
On view at Moore College of Art & Design The projects on view at Moore will highlight artists who employ printmaking in patterning and ornamentation of 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. The artists—Gunilla Klingberg (Sweden), Virgil Marti (Philadelphia), Paul Morrison (London), Betsabeé Romero (Mexico), and Regina Silveira (Brazil)—have created new works or re-imagined existing pieces that 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 environmentally scaled projects wrap walls, cover floors, and obscure windows, transforming the gallery spaces: Gunilla Klingberg’s patterned vinyl spans the windows across the college entrance; Betsabeé Romero’s imprinted tire tracks and carved tires line the walls of Graham Gallery; Regina Silveira’s bold patterns swarm across the floors and climb the walls of the Goldie Paley Gallery; Virgil Marti’s reflective wallpaper illuminates the Window on Race Street by day and night; and Paul Morrison’s 40-foot-long boldly graphic outdoor mural extends the exhibition into the immediate community.
GUNILLA KLINGBERG: BRAND NEW VIEWJanuary 29 – April 11, 2010In 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.
January 29 – April 11, 2010Virgil 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: HAUSTORIUM
January 29, 2010 – ongoing (permanent installation)20th Street Exterior Wall of Levy GalleryPaul 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.
BETSABEE ROMERO: GETTING ALWAYS INTO ANOTHER JAIL
January 29 – April 11, 2010In 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.
REGINA SILVEIRA: MUNDUS ADMIRABILIS AND OTHER PLAGUES
January 29 – April 11, 2010In 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.