“Everything Counts” - Ana Vizcara Rankin at Kitchen Table Gallery

Ana Vizcara Rankin’s Viking Mill Studio, located in the Kensington section of Philadelphia, is filled with her mixed-media maps and new works that will be exhibited in her solo exhibition, “Everything Counts” at Kitchen Table Gallery beginning September 20, 2019. Ana is best known for her large-scale world maps inspired by migration patterns, colonization, and climate change. With Antarctica often oriented at the top and the Arctic Circle positioned at the bottom of the artwork, these maps challenge our notions of reality. Ana points out, “It’s really very self-centered of us to think that we can perfectly and logically orient the entire solar system. There is no clear up or down in the universe.” We are now confronted with new information, a previously unseen, nonbinary conceptualization of our existing world view.

World Map (coffee), Mixed-Media Collage, 2.25 x 3 inches, 2016

World Map (coffee), Mixed-Media Collage, 2.25 x 3 inches, 2016

Elucidation of the unseen seems to link Ana’s early drawings and paintings to her new work.  Blockchain Bootstrap, a large-scale, mixed-media, unframed canvas cascading from ceiling to floor in Ana’s studio, is one example that will be exhibited in “Everything Counts” at Kitchen Table Gallery.  Blockchain Bootstrap, completed in 2019, measures 196 x 96 inches and was created with metal leaf, tar, acrylic, graphite, and charcoal.  Large, map-like areas of grey tones ranging from white to black are linked through extensive layers of mark making. Drips, lines, splatters, paint strokes, carefully applied metal leaf, and blocks of drawing that resemble a binary language or program code become a materialization of the elusive nanoseconds or hashtags that link together successive commands and blocks of data.  Such links are activated every time you boot up your laptop or digital device. Through careful observation of digital imagery and engagement with the process of drawing or painting, in Blockchain Bootstrap, Ana strives to better understand the split seconds that successively make up our virtual worlds.   

Ana’s attempts to understand complex and split-second phenomena are materializations of occurrences and abstract theories typically hidden from our immediate sight.  Her Dispersion Drawings, including Bubble Chamber 2 and Bubble Chamber 7, are small graphite and gesso drawings on reversed drafting film that are comprised of light dots, lines, and spirals on darker backgrounds.  These delicate works, rendered in grey tones, map out subatomic activity ignited inside bubble chambers, an obsolete technology used to detect electrically charged particles.  The chambers contain liquid heated to a level that allows bubbles to form, and their movements are mapped using a large-format film camera. In keeping with Ana’s interest in deconstructing binary theories, quantum mechanics opposes earlier models that describe subatomic structures solely as particles.  The dispersion drawings serve as a map or materialization of the abstract theory. 

The dispersion drawings extend to astronomical activity only detectable via high-powered telescopes.  Crab Nebula is a 24 x 24 inch gesso and graphite drawing on reversed drafting film mounted on panel. Scattered white marks move forward and backward against a dark background or universe to unveil the ongoing process of a supernova exploding and dispersing into space.  Once again, in her quest to better understand the world through the process of making, Ana draws our attention to that which occurs, but escapes our vision

Crab Nebula (dispersion diagram), gesso and graphite on drafting film, reversed, mounted on panel, 24x24inches, 2019

Crab Nebula (dispersion diagram), gesso and graphite on drafting film, reversed, mounted on panel, 24x24inches, 2019

As our studio visit came to an end, I asked Ana if she has always been drawn to the unseen. Describing herself as a chatty child, she recounted one particularly talkative day at the age of four when her grandfather suggested, “Ana, why don’t you try to draw silence?” Ana stayed with that drawing for a long time, illustrating the silence her grandfather sought. She smiled and let me know, “My grandfather held on to the drawing and I was able to see it as an adult. I guess I’m still trying to draw silence.”

Ana’s mixed-media paintings and drawings will be on exhibit in “Everything Counts” at Kitchen Table Gallery September 20 to October 6th, 2019.  You’re invited to the Opening Reception Friday, September 20, 2019, 6:00 to 9:00 pm.

Ana Vizcara Rankin is an Uruguayan American artist based in Philadelphia. She holds an MFA from the Pennsylvania Academy of the Fine Arts and a BA in art history from Temple University. Her work has been exhibited internationally and throughout the United States, including at The Brandywine River Museum of Art and the Embassy of Uruguay in Washington DC. Ana is the recipient of numerous awards including the Judy McGregor Caldwell Purchase Prize, Pennsylvania Academy of the Fine Arts, the Essie Baron Memorial Award, Temple University, the Billikopf Award, Temple University, the Gundersheimer Merit Award, Temple University, and 1st Prize Sister Cities International, Stillwater, OK. Her work is held in international public, corporate, and private collections. You can learn more about Ana and her art at avrankin.com.

Ana Vizcara Rankin and  Blockchain Bootstrap  in her Viking Mill Studio, Philadelphia, PA (2019)

Ana Vizcara Rankin and Blockchain Bootstrap in her Viking Mill Studio, Philadelphia, PA (2019)

Geometry at Site:Brooklyn

I’m pleased to announce that System was selected by Phyllis Tuchman for exhibition in “Geometry” at Site:Brooklyn. For more information, the press release, written by Denise Amses, is posted below.

Geometry Juried by Phyllis Tuchman Opening Reception: Friday, September 20th, 6–9PM

September 20th – October 20th, 2019

165 7th Street, Brooklyn, New York 

Founded by the ancient Greek mathematician Euclid, geometry is the area of mathematics concerned with the study of space and the relationships between points, lines, curves, and surfaces. Geometry’s place in the arts is complex. It includes how artists make use of forms and shapes, both as means of manipulating space and perspective, as well as the formal and abstract exploration of shapes themselves. The connections between geometry and art are as deep as they are wide. Employing rulers and compasses, Islamic art utilized geometry to create elaborate tessellated expanses, while painters in the Renaissance used geometry to devise evermore realistic perspectives, finding vanishing points and lines of sight. Geometric forms may also be found among textile and folk art around the world. 

However, it was in the 20th century when geometry came to occupy such a prominent and self-conscious role in art history. Modern artists, from Kazimir Malevich to Piet Mondrian, from Bridget Riley to Charlene von Heyl, to name only a few, brought geometry and art into a world of its own. Contemporary artists, in Site:Brooklyn’s Geometry elaborate on this long tradition, using geometric theory, naturally occurring patterns and forms, and other means of conjoining math and art. They explore new syntheses between realism, figuration, symbolism, abstraction, and pattern making. These works include painting, sculpture, drawing and multimedia. 

About the Juror: Phyllis Tuchman is an art critic, historian, and curator. She regularly writes for Artforum, The New York Times, Art in America, ARTnews, and various other publications. She recently curated Ellsworth Kelly in the Hamptons at Guild Hall, and has previously put together widely acclaimed exhibitions focusing on Robert Motherwell and Robert Smithson. She has written books about George Segal, Mark Rothko and Helen Frankenthaler. 

Artists: Yura Adams, Charlotte Binau, Paula Cahill, Roberta Caviglia, Dragana Crnjak, Patty deGrandpre, Eric Dever, Aaron Fein, Chuck Fischer, Scott Fisk, Robert Frankel, Donald Furst, Kate Garman, Jeffrey Gelick, Amanda Gentry, Monica Goldsmith, Gwen Gunter, Garry Harley, Susan Rowe Harrison, Andrew Ina, Julia Jueun Jo, Michael Jorgensen, Sam Jungkurth, Loretta Ana Kaufman, Susan Kiefer, Corinne Lapin-Cohen, Dale Lazar, Gail Lehman, SeungTack Lim, Rebecca Lomshek, Dagmar Maini, Marie McInerney, Katie Mongoven, Alx Orphant, Diana Puglisi, Brigitte Radecki, Ernest Regua, Will Rothfuss, Seth Rouser, Barbara Rubensohn, Deborah Salomon, Robert Seng, Scott Sherman, Mary Sloane, Kate Snow, Gregory Steel, Piet K Tsujimura, Louise Victor, Jane Walker 

Press Denise Amses | denise@sitebrooklyn.com | +1 718 625 3646

Gabriel Cosma |gabriel@sitebrooklyn.com | +1 718 962 5408

Learn more about Site:Brooklyn at Site:Brooklyn.com.


Dganit Zauberman: Psychology of the Landscape

Imagine standing in a landscape.  Look at your feet. Look out into the distance. Can you smell the ground and feel the air? Are you struck by the immensity of the land?  Entering one of Dganit Zauberman’s thickly painted, imagined vistas and landscapes, evokes visceral sensations and psychological moods typically elicited by an epic journey into the outdoors.  

Dganit’s paintings are constructed with dried scraps of paint interspersed with traditional painting techniques, creating a dense physicality that simultaneously builds surface and mood.  The paintings are a world of their own, exuding a tension between surface and tacit viscerality unrelated to size or scale. For example, her painting, Eventide, oil on canvas, 10 x 10 inches, 2019, on exhibit at 440 Gallery this summer, provokes a tremendous, deeply felt response disproportionate to its size.

Eventide is an imagined landscape that packs a monumental view and a host of strong sensations into its small surface.  The thick, dense foreground, constructed of scrap paint, is reminiscent of earth or soil. Standing in front of this dark, abstract surface, one can smell parched soil and feel the land beneath their feet. This gives way to a far-off middle ground that is accessed from the left, lower corner. Here, we are confronted with green and gray spaces that in all of their ambiguity harken a moist, more fertile expanse of valley situated in this barren landscape. The middle ground gives way to a mountainous, charcoal-colored horizon line that meets a glowing yellow light reminiscent of daybreak. The physical nature of this painting leaves one with a real sense of how these spaces and the air not only look, but feel and smell.  We are reminded of places real and imagined

Eventide,  Oil on Canvas, 10 x 10 inches, 2019

Eventide, Oil on Canvas, 10 x 10 inches, 2019

Torrent, oil on canvas, 22 x 60 inches, 2019 is featured in the spring edition of Philadelphia Stories.  Torrent intimately pulls us into the sensorial nature of water as it moves over and relates to earth.  A heavy, densely filled sky meets an area of rushing water that cascades into a reservoir or lake and trickles into the thickly painted foreground. Moving forward and backward in the painting, we feel the water move as it interacts with rock, mountain, and basin before finally coming to rest in the damp foreground.  We can feel the coolness of the water and a chill in the air. From a distance we see water, rock, land, and sky that dissolves into chunks, dabs, and strokes of paint as we move in closer to the painting.  This uncanny force between physicality, sensation, and abstraction is linked to a long, historical tradition that includes artists such as Joseph Mallord William Turner, James Abbott McNeill Whistler, Claude Monet, and Anselm Kiefer.

Torrent,  60 x 22 inches, Oil on Canvas, 2019

Torrent, 60 x 22 inches, Oil on Canvas, 2019

Dganit’s interest in the land spans back to her childhood upbringing on a Kibbutz in her native Israel.  Her paintings are built from her interactions with the land, its history, emotion, and memory as she responds to the process of painting itself.  She is a multi-disciplinary artist who also works with drawing, sculpture, photography, and sewing. Dganit moved to the United States in 1992.

Dganit Zauberman studied art at the University of North Carolina Chapel Hill, The University of the Arts in Philadelphia, and The Pennsylvania Academy of the Fine Arts. She was awarded a Bachelor of Fine Arts Degree with Honors from the University of the Arts in 2008 and a Master of Fine Arts Degree from PAFA in 2011. This summer you can see Dganit’s paintings at 440 Gallery in New York City. Dganit exhibits her paintings throughout the United States and works in her studio at Erector Square in New Haven, Connecticut. You can read Dganit’s feature in Philadelphia Stories and learn more about her work at dganitzauberman.com or Inliquid.com.

"The Universe, How Vast, How Small" - Tomorrow Night

I’m thrilled to announce that paintings from my “Current Series” will be on exhibit in “The Universe, How Vast, How Small.” Please join us for the opening reception tomorrow night. For more information, press release and information from Greenpoint Gallery Night is printed below.

Greenpoint Gallery Night 
April 19th, 2019 • 6-9pm

Free & open to the public: The 14th edition of Greenpoint Gallery Night, a twice-a-year gallery crawl highlighting exhibition spaces throughout Greenpoint, Brooklyn. Select neighborhood galleries and businesses that feature art will be participating on Friday, April 19th, from 6-9pm. Come join us in celebrating the diverse and unique art scene in this corner of Brooklyn.

Some highlights include:
"The Universe, How Vast, How Small", a group exhibition at Areté featuring Caroline Blum, Paula Cahill, Goldie Gross, Jeong Hur, Joe Piscopia and Katrina Slavik, & curated by Fay Ku;  recent mixed media works by Upstate-based artist Gail Peachin at Dandelion Wine;  G-Spot Presents: "What Time Is It?", a group show celebrating 4/20 at Brooklyn Safehouse;  Calico has new works by featured artist, Steph Becker;  Plexus Projects presents "Vitrine", the first in a series of video projections in its storefront window viewed from the street - curated by artist Laura Splan;  Opening reception at Yashar Gallery for "Crochet Luminaries", a solo exhibition of recent works by Taryn Urushido inspired by a mix of Japanese lanterns and paper bag luminaries ...and more!
 Visit www.greenpointgalleries.org for more information.

Participating locations for 4/19 include:
Areté Venue and Gallery - 67 West St suite 103
Brouwerij Lane - 78 Greenpoint Ave
Calico Brooklyn - 67 West St suite 203
Dandelion Wine - 153 Franklin St
Dusty Rose - 67 West St suite 216
G-Spot popup @ Brooklyn Safehouse - 120 Franklin St
Imagic Studio - 937 Manhattan Ave
Plexus Projects - 198 Greenpoint Ave
Yashar Gallery - 276 Greenpoint Ave

Afterparty at The Diamond (43 Franklin St) beginning at 9pm with happy hour specials extended 9pm-11pm!

Click map below to open a custom Google Map of participating locations:

See you then!
Scott Chasse, Organizer


Andrea Caldarise: The Intersection of Location and Memory

Andrea Caldarise’s paintings, difficult to categorize, exist at an intersection between collective memory and public space, an intersection that negates any sort of clear-cut autobiographical narrative or interpretation as a specific landscape. Instead, one traverses the paintings as if moving through an irresolute and uncanny situation, the experience taking on something larger than the destination or the painting itself.  This experience moves us closer to an accumulation of historical events and points of view that can’t quite be defined, but are universally and collectively sensed. Andrea chooses to paint spaces she has visited repeatedly, revising her memories and interpretations of the location through time. Things get really interesting when Andrea begins to research a public space and incorporate memories of things that she has heard or failed to hear about each location.  

For example, Andrea’s painting, After Sargent, at the Luxembourg gardens, is a compilation of experiences of walking through the Luxembourg Gardens in Paris, France, alongside childhood memories of studying John Singer Sargent’s painting, In The Luxembourg Gardens (1879), at the Philadelphia Museum of Art.  She thoughtfully combined Sargent’s painted commentary with historical research about proposed plans for the gardens, including the placement of garden architecture and plants to curate a manicured environment and the designers’ intentions to circulate people and air throughout the city’s public space.  In fact, energy and movement through a historied public park are a paramount theme in After Sargent, at the Luxembourg gardens, along with Andrea’s feeling of simultaneously experiencing the gardens as both a memory and a new place.  Andrea also took note of what Sargent didn’t say in his painting, specifically leaving out a building to effectively move us through the painting again and again.

We sense movement in Sargent’s painting through the figures walking along a promenade set against the horizon of the park’s landscape.  In After Sargent, at the Luxembourg gardens, Andrea encapsulates the memory and history ofwandering as the subject.  Any sense of horizon has been removed.  Land, water, and botanical forms gesture as we walk through the painting and sense air circulating along with energy, stirring a familiar feeling.

Andrea Caldarise,  After Sargent, at the Luxembourg gardens,  Oil on Wood Panel, 36 x 36 inches, 2019

Andrea Caldarise, After Sargent, at the Luxembourg gardens, Oil on Wood Panel, 36 x 36 inches, 2019

Next, Andrea pointed to a painting she titled If you are qualified to assist, tell them, a gritty piece with an empty, charred trash can in the lower right corner and a small, dark tree near the center.  A black trail runs through the painting diagonally, and a large tree looms with black leaves while orange, fire-like brush strokes punctuate the left side.  The ground swirls around these forms in shades of green and yellow. This piece takes on a sublime mood as it references the history of Brooklyn’s Prospect Park along with Andrea’s diverse experiences there, including the discovery of mysterious contents in a trash can at the park.  Police were summoned and the area was caution-taped off, creating quite a scene that was never resolved, nothing in the news - just another disturbing and peculiar moment passing through the city. Andrea announced, “I think the world is a tragic place. Uncanny and disturbing things happen all the time.”  Indeed, If you are qualified to assist, tell them transforms Andrea’s experience and knowledge of Prospect Park into a jumping-off point that conveys a collective sense of unease, the feeling that our world is an unknown and bizarre environment with places that we believe to understand holding many untold stories.

If you are qualified to assist, tell them and After Sargent, at the Luxembourg gardens exemplify Andrea’s personalized use of public locales and memory in painting.  The intersection between space and memory acts as a catalyst for the expression of collective and historical experience.  In this way, the paintings become a compilation of multiple viewpoints and past experiences to be traversed psychologically, bringing one closer to a personal, yet universally shared moment.

Andrea Caldarise lives and works in Brooklyn, NY.  She holds an MA in Arts Administration from the University of Pennsylvania and a BFA in Art History and Painting from Tyler School of Art, Temple University.  Andrea has received numerous honors including a recent residency at Trestle Gallery, Brooklyn, NY and Painting Fellowships at the Contemporary Artist Center, Troy, NY.  Andrea’s paintings will be available at The Other Art Fair, an international fair where you can meet and talk with artists directly about their practice, hosted May 2 through May 5, 2019 in Brooklyn, NY.  You can see Andrea’s paintings and learn more about her work at andreacaldarise.com.

Andrea Caldarise, If you are qualified to assist, tell them, Oil on Wood Panel, 40 x 30 Inches, 2018

Andrea Caldarise, If you are qualified to assist, tell them, Oil on Wood Panel, 40 x 30 Inches, 2018

The Universe, How Vast, How Small

Please join us for “The Universe, How Vast, How Small” during Greenpoint Gallery Night. The press release written by Fay Ku follows:

A group exhibition featuring six artists from Areté Venue and Gallery Flat File Program: Caroline Blum, Paula Cahill, Goldie Gross, Jeong Hur, Joe Piscopia and Katrina Slavik. Curated by Fay Ku.

April 19-May 12, 2019

Opening reception Friday, April 19, 6-9pm

How do we recreate the universe within ourselves? What are its building blocks? “The Universe, How Vast, How Small” group exhibition brings together six artists from Areté Venue and Gallery’s Flat File Program whose intimate works on paper, paintings and photographs construct worlds in microcosm, their small scale concentrating largeness of vision, like light intensifying as its focus narrows to a laser beam.

Caroline Blum’s two paintings resemble the hypnotic abstract designs found in Paleolithic cave paintings. Both Seed Book and Winter’s End were inspired by works of art themselves (Musa Mayer’s Night Studio and George Braques, respectively); Blum’s seed-like marks are alphabetic, her own composed sentences, testament to the germinative powers of art.

Paula Cahill’s Current I and Current II are kinesthetic charts, the translation of ephemeral phenomenon onto a two-dimensional surface. Cahill’s works on paper are lyrical attempts to penetrate the inscrutable logic underlying the movements of the nature.

Goldie Gross’s Dingle, Ireland is romantic, harkens to an earlier era, of traditions long disappeared. The uninhabited rural landscape, the watercolor media and even the scale seems to belong to another era. It seems to belong altogether to another era, where the travel, history, and experience can be literally held in the palm of one’s hand.

Jeong Hur’s photographs of celestial bodies are representatives of the non anthropomorphic view of the universe. There is nothing familiar or comforting with this view of the universe. Mysterious, pitiless, Hur’s Boston to NYC 8-2 fills the viewer with cosmological, primal awe.

So meticulously, compulsively crafted, Joe Piscopia’s works seems to erase the human hand. And yet, his work is the recording of an intensely personal inner process, intuitively built, to express the fleeting emotional states of the artist.

Katrina Slavik’s whimsical, mytho-historic worlds are constructed landscapes that slip between different times and dichotomy, her “landscape pieces explore themes of displacement, migration, and co- habitation between people, animals, and plants.”

These six artists attempt to transcend history or time, and limits of personal knowledge, and created intimate-scaled works that capture the grandiose.

“The Universe, How Vast, How Small” will be on view April 19-May 12, 2019. Opening reception will be Friday, April 19, 2019, 6-9pm and a participating venue during Greenpoint Gallery Night.

Sacred Geometry - You're Invited

Please join us for the closing reception and artist talks for “Sacred Geometry” by Phyllis Gorsen and me at Hot Bed with custom horticultural designs by Bryan Hoffman on April 6, 2019 from 6-9 pm. Our new, 2019 paintings are featured in this exhibition along with Bryan’s designs. The exhibit is curated by Bryan Hoffman and James Oliver Gallery. James Oliver Gallery will also host the closing reception for “Reconstruct” with works by Mike Tanis and Benjamin Weaver that evening. Hot Bed and James Oliver Gallery are located at 723 Chestnut Street, Philadelphia. You can learn more here, view opening hours, or schedule a private visit.


Phyllis Anderson's Mountainscapes

Phyllis Anderson, Acrylic on Canvas,  Rockies , 40 x 30 Inches

Phyllis Anderson, Acrylic on Canvas, Rockies, 40 x 30 Inches

Phyllis Anderson’s paintings create a tumultuous sense of movement as they present viewers with the energy, degradation, and beauty inherent in the landscape.  She achieves this by straddling the line between abstraction and representation with a myriad of energetic mark making and rich, jewel-like color. Phyllis describes herself as “sometimes ambushed by the postcard beauty of the landscape” as she strives to communicate the dark side of the western US terrain.  Perhaps, her occasional failure to resist that beauty is what draws us in and communicates the landscape more accurately, in all of its splendor and foreboding.

Splendor, foreboding, and energy characterize the recent series of mountain paintings that depict Phyllis’ experiences of the western landscape as she divides her time between Philadelphia and her Colorado mountain home. For example, Rockies (40 x 30 inches, acrylic) pulls us in with a blue, grey sky and snow-capped mountains, twilight lit in shades of pink and white.  Dark painterly areas indicate trees, foliage, exposed ground, and mountain ridges. Perhaps this is a ski slope situated on a cliff with mountains in the near distance.  One of the most striking aspects of this painting is that the entire scene is set on a diagonal axis, creating a dizzying sense of downward movement. It’s hard not to imagine careening down this slope or falling off of a cliff despite being drawn into the beauty of this painting.

Mountain Lake (24 x 30 inches, acrylic) seduces us with marks in beautiful shades of blue that are sun lit with green tones, depicting a lake in the foreground.  We move back into an intermediate space of mountains demarcated by grey tones of energetic brush strokes, or scribbles, as Phyllis calls them. This mountainous space gives way to a gorgeous sky built of blue and green  brush strokes looming above and moving forward with urgency. That sense of urgency is paramount in this painting and reminds one of the urgent, global climate crisis.

Phyllis Anderson,  Mountain Lake,  Acrylic on Canvas, 24 x 30 inches

Phyllis Anderson, Mountain Lake, Acrylic on Canvas, 24 x 30 inches

Phyllis Anderson,  Sugar Loaf Fire,  Pastel on Paper, 19 x 24 inches

Phyllis Anderson, Sugar Loaf Fire, Pastel on Paper, 19 x 24 inches

Fire, a consequence of climate change, is depicted in Sugar Loaf Fire (19 x 24 inches, pastel on paper).  Again, we are drawn in by a foreground of beautiful blue and green marks. This time, the foreground quickly gives way to a cataclysmic buildup of marks and smudged pastels in grey tones punctuated with hot orange and yellow. A forest fire blocks our view of any background or horizon and keeps us trapped in a shallow space very close to the burning:  beauty and danger all wrapped up in a single image.

Sugar Loaf Fire, Mountain Lake, and Rockies exemplify Phyllis’ extensive vocabulary of drawing and paint strokes derived from the nuances and rhythms of classical music played almost constantly in the Anderson home. Through music, rhythms and movements are recorded and they begin to represent the feeling of a place. Her intent to portray the sheer energy, degradation, and immensity of the landscape is accomplished with an exuberant array of “scribbles” and color that climax into a mixture of splendor and foreboding.    

Phyllis Anderson lives with her husband, Allen Anderson, an accomplished pianist.  Phyllis graduated from the University of Texas, Austin with a BFA in painting. She is a recipient of a Ford Foundation Grant and her work has been exhibited regionally as well as in Texas and Colorado. Her paintings and drawings are currently on exhibit at the InLiquid Gallery, Crane Arts, Philadelphia, and the Noyes Museum at Stockton University, Hammonton, NJ.  Phyllis is a member of 22 Gallery in Philadelphia. You can learn more about Phyllis’ art at phyllisanderson.com.

Philadelphia Open Studio Tours - Saturday, October 13

Please join me when I open my studio Saturday, Oct. 13 from Noon to 6pm. This is my fifth year at the Crane Old School and in honor of this milestone, for the first time ever, I'm offering a discount of 30% on all paintings in my studio through October 14. This includes my very affordable works on paper. If you can't make it to POST, you're welcome to schedule a private studio visit and shipping is available. Adult refreshments and beverages will be available. Many studios and galleries will be open at the Crane Old School and Crane Arts. I hope to see you there! For more information: 
paulacahill.com and https://www.philaopenstudios.org/post/neighborhood/northeast


"Arrangement" and "Insomnia" at the Delaware ContemporaryI'

I'm honored to announce that Arrangement and Insomnia were selected by Michael Kalmbach for "Strong Lines" at the Delaware Contemporary with esteemed, regional artists Brian Conaty, Phyllis Gorsen, Suzy Kopf, and Gregg Morris.  Please join us for the opening reception May 4, 5-9pm.  Exhibition continues through July 28, 2018.  You can read the press release and learn more about the Delaware Contemporary here:  https://www.decontemporary.org/strong-lines/

Arrangement,  Oil on Canvas, 48 x 48 inches, 2017

Arrangement, Oil on Canvas, 48 x 48 inches, 2017

Copyright Paula Cahill 2018. All rights reserved.