Last First Friday I pulled legwarmers on under my pants, stuffed gloves in my pockets, and donned a fuzzy hat with earflaps as I got ready to spend the night hopping from gallery to gallery.  The problem was that as soon as I stepped outside I realized I’d made a grave mistake in assuming the beginning of January meant winter weather!  Did anyone else end up with pockets crammed full of extraneous knitwear last First Friday??

I started my rounds at The Clay Studio, where Yinka Orafidiya’s “All or Nothing” exhibition was the main event.  I was in awe of her courage in transcribing her journals on the walls of the space and exploring her struggle with chronic depression through her pottery.  Orafidiya is a Leeway Foundation grantee, and she will give away the cups she made at the end of the exhibition to symbolize her healing while simultaneously spreading the message of awareness to a wider audience.  There were many other artists exhibiting recent work at The Clay Studio, though, and the two pieces I really fell in love with were these two incredibly different pitchers.  I love the modern “coloring in the lines” look of the pitcher by Brian Jones, and that little square on the lid is the perfect touch!  Adam Posnak‘s pitcher is reminiscent of the popular rooster motif for kitchen designs, but instead he’s depicted a buzzard.  That’s my kind of kitchen motif!

 

Next, I stopped by The Knapp Gallery to see Karl Frank Slocum’s exhibition “Following the Lines.”  As the title implies, Slocum’s approach to furniture making in this exhibition relies on following the natural lines, shapes, and “imperfections” of the wood slab in both the construction and design of his pieces.  Instead of imposing his own shapes and structures on the wood, Slocum’s method allows the wood to speak for itself, and the resulting pieces are functional celebrations of the natural character of the medium.

 

 

 

Over at 309 Gallery was the near-closing of an exhibition called “The Conjurer” featuring JL Schnabel’s Bloodmilk Jewelry and Christina Brown’s photography for the line’s lookbook.  The crystals, chains, and metal claws are shown in cases alongside natural artifacts such as bones, eggshells, and wood which enhance the mystical theme of the line and give the show a bit of a Mütter Museum vibe.  Brown’s photography is the perfect complement to the jewelry, her images all at once shrouding and revealing and tricking the eye.   This show is only running through January 15th, so make sure you check it out THIS WEEKEND!

 

 

 

 

I was perhaps most excited to check out Jay Hardman’s “Unsustainable” show at Space 1026.  I’d heard from a reliable source that his cake sculptures depicting construction sites still emitted the sweet, sweet smell of cake and frosting.  And I was not disappointed!  Space 1026 definitely smelled the best last First Friday.

 

 

Finally, I made one final stop at Vox Populi to see how much more art I could feast my eyes on before getting stuffed!  My favorite exhibition belonged to Brie Ruais, who showed a series of work called “Unfolding: Performing Sculpture”.  Demarcating the boundary of the space was a long piece of malleable clay that stretched down the wall and smeared its way across the floor.  I was pretty sure the point was to create a new performance sculpture with various imprints of the people who tread upon it, but I admit to stepping over it like almost everyone else – just in case.  There were a few faint footprints across the piece, but mostly I thought it looked pretty good the way it was originally!

 

 

Written and photographed by Carina Giamerese: Contributing Writer, Side Arts.

Currently showing at the Asian Arts Initiative is an exhibition titled Witness: Artists Reflect on 30 Years of the AIDS Pandemic.  After visiting the show, I was fortunate to be able to speak with David Acosta, the curator of Witness and a central figure in countless Philadelphia arts organizations and community arts projects.  In this, part one of our conversation, Mr. Acosta speaks about his experience curating “Witness”, the purpose of the exhibition, and importance of utilizing art to start conversations about the social and political effects of HIV/AIDS on our communities.  Stay tuned for part two of our conversation, in which he offers advice for artists interested in producing their own community arts projects.

“Getting a really broad section of artists across age, race, gender, sexual orientation was a really important consideration [in curating Witness], and the other critical consideration was anchoring the show with some work that had been produced during the most difficult years of the epidemic. A lot of the artists were proposing new work which was very exciting, but I was really seeking artists who had worked through a period of very heightened preoccupation with AIDS and the politics of AIDS with federal policies, [or] the lack thereof, and so I went out very specifically to look for that work. I know HD Ivey who had done a lot of work in that period, [and] I specifically wanted some pieces I remember seeing many many years ago that had been produced in the 80s during the Reagan and Bush years at a very important juncture in the AIDS epidemic politically in this country, as well as socially.  I really needed them to be in the show because I wanted to create that plane and that continuity.”

Acosta described Witness as “powerful and moving but not in a very in your face kind of way. A lot of people came to me and said, ‘[Witness] is not sad, it’s just really beautiful.’  Gabriel Martinez’s “Anthology” for example, which is a lovely piece – those are the 12 albums. He took his Donna Summer LPs and basically destroyed them to create this piece. But it’s just beautiful, and it’s a very moving piece because it’s red, and it’s evocative of blood and body fluid. There’s almost a danger to it, but then it’s also celebratory in the fact that this was the music that a lot of gay men were dancing to in the midst of the epidemic. I think even many gay men were dancing to this music unaware that HIV/AIDS had entered these community circles and would wipe out almost two generations of gay men. So there was an implicit trust in myself that the artists [might] create stuff that could be sad [but] I trusted them to be able to have some reflective distance about the epidemic.  So the show allows people to reflect and to go into personal spaces about remembrance and love and loss but not in a way that’s overwhelming.”

He explains that his purpose in curating this exhibition was “not necessarily to call communities to action but to ask communities to bear witness in their own way.  Because there’s been 30 years of the epidemic, it’s difficult to draw people’s attention to something that’s been around for so long, [even though it] remains so incredibly central and devastating to some communities where its still having a huge impact – young gay men in this country, for example, [and] specifically young gay men of color. The infection rate [and] the prevalence in some of these communities is high and rivals in many ways some of the numbers that we see coming out of specific parts of Africa. And so it was a way to also have people recognize that it is still present, that it’s still very much a part of the fabric of our communities, however we define those.  And also the title was [inspired by] a very important exhibition that was held in NYC [in 1989] curated by Nan Goldin called “Witnesses: Against Our Vanishing.” And that show remains one of the first and most powerful shows [addressing HIV/AIDS]. So in a sense I was also paying homage to that exhibition.”

When I get out to First Friday, I’m usually looking for something a little bit different. Don’t get me wrong, I love stopping in galleries like Artists’ House, and I stared for quite a while at Adam Vinson’s tiny realist oil painting “Pear and Marble” last Friday. However, as a photographer, I’m often drawn more strongly to three dimensional work, which is why the current exhibition at Wexler Gallery is one of my top picks this month, along with shows at Brave New Worlds and Gallery ML.

I found some interesting jewelry and glass sculptures on the ground floor at Wexler Gallery, including a dish set by Roy Lichtenstein, a hypnotizing light sculpture created by reflections and shadows by Sydney Cash, and this blown glass bird sculpture by William Morris.  However, my fancy was really tickled once I stepped up the stairs to the gallery’s second floor. I loved this delicate and sculptural glass chair by Brent Kee Young and was mesmerized by the lines created by David Trubridge’s Garden Bench.  One of the exhibits that just opened on Friday is Hideaki Miyamura‘s beautiful collection of ceramic vessels and sculptures that exemplify his uniquely iridescent and almost holographic style of glazing.

Next, for something a little different, I checked out “Sonic Generation” at Brave New Worlds which celebrates the 20th anniversary of Sonic the Hedgehog (and, of course, Tails!). I never had a video game console growing up, but I still managed to play the first world of Sonic about a million times and watched the cartoon every Saturday. There’s just something about that hedgehog and his blue mohawk-resembling spikes that is so badass! The show is small, but anyone in the Sonic Generation should take a few minutes to stop by, reminisce, and pick up a few affordable prints and posters. You can also download David Landis’s (FREE) papercraft pdf that gives you step by step instructions and all the graphics you need to create your own three dimensional Sonic fan art.

Finally, for something completely different, my final pick is the last body painting show at ML Gallery until the springtime. This space is one of only two in the world dedicated to body art painting and photography exclusively, and model JEM (*warning – site is NSFW!) was there on First Friday to model some body paint in the flesh.  I loved Nix Herrera‘s intricate airbrush stencil of a hundred dollar bill on a woman’s torso, and Lawren Alice‘s series of monarch butterfly inspired designs (photographed by Noah Musher) were bold, graphic, intriguing, and perfect to hang in your home.  The intersection of paint, body art, photography, and the human form represented by the artists showing at ML Gallery is visual feast not to be missed.   Actually, drooling is probably a more appropriate response.

Hideaki Miyamura‘s ceramics are showing at Wexler Gallery until January 28, 2012.

Sonic Generation is showing at Brave New Worlds through the end of December.

Gallery ML‘s current body painting exhibition is showing through the end of December.

 

Written and photographed by Carina Giamerese: Contributing Writer, Side Arts.

In 1978 or ‘79, an art student named Robert Leitch was driving around on trash day near Juniper and South Streets, a historically African-American neighborhood, when a pile of objects out on the curb caught his eye.  You can see where this is going.  Leitch salvaged what he could, and the resulting collection includes 1200 small sculptures attributed to an unknown artist known only as Philadelphia Wireman.  Leitch sold the collection to the Janet Fleisher Gallery, now Fleisher-Ollman Gallery, and he, too, remained anonymous until his death to avoid conspiracy theories of himself as the artist.

The only thing known for certain about the Wireman is what can be gleaned from his work, but he does not seem to be a very warm and fuzzy kind of dude.  I say “dude” because the general consensus is that many of these wire sculptures lack marks from the use of tools and therefore were likely bent, wrapped, and twisted by a hand strong enough to manipulate the various gauges of wire into such tight coils and tangles.  The bits of broken pieces of plastic, paper, and metal trapped inside these intricate wire cages evoke feelings of captivity; pointed ends and sharp edges suggest weaponry; and the overall aesthetic of the broken up, rusted out, disintegrated, and discarded being transformed into art certainly did not conform to what the gallery world viewed as Art with a capital A in the late ‘70’s.  Yet, a few of the sculptures bore such a striking resemblance to the human heart, I couldn’t help but notice a more tender side of them: a delicately crumpled plastic wrapper barely contained, a piece of red thread clinging loosely, a few tiny beads emerging from the chaos.

Things That Do shows the Wireman’s work alongside power objects of other unidentifiable artists from West Africa along with the “healing machines” of Emery Blagdon. The most striking of the West African sculptures depict bondage more literally than the Wireman does, and all three collections contain objects that are thought to resonate with the power of their forms, often utilizing concentric circles and other shapes that illicit a sense of radiating energy, transforming the sum of their parts into something much more sacred indeed.

Things That Do is showing at the Fleisher-Ollman Gallery (1616 Walnut Street, Suite 100) through December 10, 2011.  For the story behind another fascinating anonymous Philadelphia artist, check out Resurrect Dead, the recent documentary about solving the puzzle of the Toynbee Tiles.

Written and photographed by Carina Giamerese: Contributing Writer, Side Arts.

Get wire sculpture supplies at Blick Art Materials.

Ana B. Hernandez at the Center For Emerging Visual Artists explains her inspiration for her art installation in the Felicity R. “Bebe” Benoliel Gallery in the Barclay Building on Rittenhouse Square, October 27th, 2011.  Ana made the pilgrimage known as the Camino de Santiago, the scallop shells have a special meaning marking the historic trail for travelers.

 

Photographs and video by DoNBrewerMultimedia

Jessica Hoffman: Forever and After at 110 Church Street Gallery is an investigation into time through found objects of different forms of communication: letters, photo slides and movie footage.  Combining formerly modern modes of communication, the photo slide show, with a Damien Hirst style presentation, the result of scratching on the film negatives saved in tiny bottles, then presented as a slide show is a form of drawing with light.  The show has many provacative takes on how we communicate and the tools we use to send love, remember the past and share memories with one another.  Read more about Jessica Hoffman: Forever and After @ DoNArTNeWs.

DoN Brewer, Contributing Writer, Side.Arts

Philadelphia Open Studio Tours 2011 connected artist Alison Stigora and curator Eileen Tognini to create a spectacular site specific installation, Crossing Jordan, in the huge industrial space called The Skybox at 2424 York Street Studios.  Friday, October 14th, 2011 the opening reception was an experience design of exquisite taste, bold vision and refined style,  from a delicious cocktail designed specifically for the evening with whiskey and exotic citrus’ to toasted marshmallows poking out of tufts of grass to the smooth electronic jazz from Heath Allen, the evening is memorable on so many levels and senses.  Alison Stigora’s installation is unique and uniquely Philadelphian because of the spirit of collaboration and cooperation the arts community is showing to the city and the world.  POST is a great example of coordinating a huge city wide art event with so many disparate elements then echoed by Alison Stigora‘s wildly complex creation of charred tree limbs.   Artist Gregory Brellochs’ said. “… it’s muscular, like a charcoal drawing in space.”  Susan Stromquist, a volunteer to help construct the piece was inspired by Alison’s management capabilities and her determination to get the job done on time but with precision and care, each log is hand prepared with charring, shaping and sealing, there is no smell and little dust even though it looks like the remains of a tidal wave of forest fire has swept through the hall.

Video and Photographs by DoNBrewerMultimedia

DoN Brewer, Contributing Writer, Philly.SideArts

The Hopkins House Gallery of Contemporary Art on the banks of the Cooper River is a haven for art enthusiasts who crave modern art, new artists, and contemporary techniques with challenging content in an intimate, welcoming environment.  Under the art direction of curator Bruce Garrity, the old stone house is an art space with a maximizing mobile wall, glowing reflected light from the river and three rooms of gallery space.  Hopkins House Gallery has continually exhibited cutting edge art by New Jersey regional artists since the 1970’s!  In fact, the Hopkins House Gallery is where I was accepted in my first juried art show.  As a young artist, being included in an art show and attending a swanky wine and cheese reception helped to change my life and continue to pursue art.

The Camden County Cultural & Heritage Commission utilizes the gallery for true community outreach, an outpost for the arts in southern New Jersey. Marketing Director, Sue Shorter said,” We usually have over one hundred programs throughout the year that feature local artists and sometime we get people from outside the area.  Everyone from poetry to artists to children’s programs, jazz concerts and many outreach programs – fundraising workshops and a recent workshop on disability sensitivity.  For the most part, most of our programs are free.  It’s a fantastic way to reach out to our Camden County and local citizens, as well as Philadelphia and the wider community, through the arts.” I asked her about the biggest challenges the gallery is confronted with?  “Probably, the biggest challenge, which is everywhere, is funding.  Funding has been cut in many areas.  As the marketing person, I can’t spend on promotions the way I did years ago but we found ways of being able to cut the budget and still reach the audience.  Even some of our programs have seen an audience increase of participants, for example, children’s programs.  We’re using the internet a lot, instead of sending out notices through the mail, we’re doing the e-mail blogs, that’s probably the biggest hurdle but we’ve been doing very well with that, our numbers are either the same or better.  One of the things, as a marketing person, that I do is on all the sign-up sheets one of the questions is, “How did you hear about the program?”  So that way we know are they going to the library?  Are they picking up a flyer, which costs virtually nothing?  Or seeing it on Channel 19, which posts community events on TV, or the newspapers like the Philadelphia Inquirer, Courier Post, Gloucester County Times, the Haddonfield local paper…”

Executive Director Sandra Turner-Barnes explained that the gallery is just part of the arts programs they provide.  “Hopkins House is the headquarters of the Camden County Cultural Commission, it’s where we live and work.  The Hopkins House Gallery of Contemporary Art is important but other programs funding grass roots organizations in the community like The Settlement School, Chimes Musical Voices, Haddonfield Plays and Players, South Camden Theater, there are so many.”  Camden County has long been a center for the creative arts, in 1897 the poet Jessie Redmon Faucet came from the area and went on to become editor of the NAACP Crisis Magazine.  She was one of the first to publish Langston Hughs and Contee Cullen.  This rich creative history inspired a writing competition that annually draws young writers from the South Jersey region to submit their poems.  Turner-Barnes says, “I’m amazed at the talent.”  An accomplished poet, the author of “But Mostly Love”  who will be reading at the 9/11 Memorial at the Village Vanguard this year, says nationally renowned poets come to read their work at Hopkins House.

“The Arts for Teens programs offer high school kids the opportunity to participate in a wide range of arts at the Rutgers Camden campus for a whole day.  Instructions on how to sing, dance, critique, professional crafts like how to build a stage, you name it.  This year we even had hip-hop and rock guitar workshops.  We have Jazz in the Park.”  The disability sensitivity workshop is a good example of the connection the gallery has with the community, the organization even arranges live musical performances for people who are shut in with disabilities and cannot attend the theater.

Marketing Director Sue Shorter says of the galleries curator, “Bruce Garrity has been a blessing here, all the work that he has done, everything from painting the walls to hosting the art exhibition.  I also did some coordinating programs and it’s true that it takes months in advance for the planning.  The end result is that new artists, that doubted themselves but staff encourages them, and they put their artwork in one of our contest, we don’t like to call them contests, but then they win.  It could be a twenty year old, it could be a seventy-five year old and they’re just like, ecstatic, that they were recognized, that’s happened several times in this past year.  To me, that’s the ultimate reward.”

Executive Director Sandra Turner-Barnes says, “Bruce is the greatest guy I know.  He’s so dedicated he takes care of this place like it’s his home.  But as a curator I can’t say enough about how much he’s appreciated.  He has been here six years, but the young man with a vision has surpassed what I could imagine.  I trust him to do anything.  His own artwork is phenomenal; I was in the library at Rutgers and his painting was instantly recognizable.  I don’t know where he finds the time; he’s a great visionary of today, tomorrow and days to come.  Our art is our humanity; it doesn’t take much to encourage a young child or an adult.  Everyone has a gift; those of us who find it are lucky.  Art allows you to live another day and share your gift with the next person.  It’s a gift from God.”

The current exhibition at Hopkins House Gallery of Contemporary Art is a group show called 3 Rooms / 3 Views showcasing mixed media painting by Scott Cranmer, mixed media sculpture by Erin Rose-Boyle and photographs by me, DoN Brewer.  I contacted the other artists in the 3 Room / 3 Views show to learn more about their work.  Scott Cranmer’s insightful portraits of artists painted on layers of torn fabric and sensual figure studies mixed with lace fill the first floor, his collection is titled “Artists and Muses”.  Cranmer said of his art, “I was painting portraits of friends and family. I started digging through my mom’s old photos of deceased family members and began painting them. I needed a way to express mortality. I had just lost both my parents. I wanted to be like Frankenstein bringing back the dead. My girlfriend at the time was a fabric artist and then it dawned on me to use torn fabric, which would allude to skin. I began tearing up old t-shirts at first. All my posted artists faces and self-portraits were made with torn women’s underwear (I ran out of old t shirts and I started using my girlfriend’s panties and I just ran with it). As for the jump from dead ancestors to dead artists, I ran out of dead relatives and got really excited about portraying my struggle with mortality through my dead heroes.  I begin by gluing the torn fabric on a blank canvas. Then I paint an under painting, add the skin tone, just like a regular portrait. The magic happens after I glaze over the canvas in between the fabric pieces with a blue grey. This creates the contrast and makes the fabric pop off the face. With the ‘muses’ series I went from torn fabric to cut lace tablecloths. I wanted to paint females and express a different side. They were fun for me. I wanted to create a voyeuristic affect by placing the lace on top of the painting so there is a layer between the viewer and the painting. I also experimented with spray painting patterns from the lace in the background and even onto the figure. There is still an element of death in that the figures are left grey and the red black and grey palette. But I wanted them to be sexy too.  I am not showing anywhere else at the moment but am hoping to soon. I’ve been in a few group shows in Fishtown but this is the first time I was able to show a whole series (in this case two series).”

Erin Rose-Boyle’s group of mixed media sculpture is called “This is Not My Home”.  Her surreal sculptures mash-up anatomy, geometry, architecture and industrial shapes into a metaphor of family and home with really simple materials like foam, paper and tape.  Do you always work with a limited palette of materials?  “No, I work with what I have at the time and things I can reuse and recycle.  I do not have a website and do a bad job of advertising myself as an artist.  I adjunct all over and know a wide group of people that I stay in touch with on Facebook.  I post images there rather on a website.”  Erin Rose-Boyle, a wildly talented sculptor, is an excellent example of an emerging contemporary artist benefiting from the Hopkins House Gallery of Contemporary Art exhibits and the exposure, publicity and recognition it provides.

 

Bruce Garrity contacted me through Facebook; a short instant message, “Can you do a show?”  Yes, of course, I typed back.  “What do you want to call it?”  “Abstract Landscape Photographs”, I said.  I was able to select from several series of photographs I’ve produced for art shows with The Center for Emerging Visual Artists, Da Vinci Art Alliance, Photographic Society of Philadelphia and others galleries and curate what feels to me like a greatest hits show, an art retrospective.  I have that great feeling of accomplishment that Sue Shorter and Sandra Turner-Barnes spoke about.  I still have the watercolor I entered in that art show back in the seventies, now I have a full room of photographs on display in an upper gallery at the Hopkins House Gallery of Contemporary Art.  And there’s a big banner hanging on the front of the building with my name on it!  The young artist who submitted a single watercolor decades ago to the urbane gallery in the park,  has an entire gallery of artwork on display; years of seeing and capturing the strange, the surreal and spiritual images with my camera is now on view for the next person to see.

 

 

 

The Artists Reception for 3 Rooms / 3 Views is September 10^th, 2011, 2 – 4:00PM.

 

 

 

 

 

 

 

DoN Brewer, Contributing Writer, SideArts

Photographs by DoN Brewer.

The Barnes Foundation, an extraordinary collection of art amassed by Albert C. Barnes, has been one of America’s strangest art museums from the day its doors opened in 1925. Barnes’s unique juxtapositions of paintings and objects were intended to help the viewer learn to look closely at art. The original building, in Merion, Pa., closed at the end of June — the collection will be relocated to a new one in Philadelphia next year — but The NY Times has created an interactive tour of some of the old museum’s highlights.

Take the tour here:

http://www.nytimes.com/interactive/2011/07/09/arts/design/20110709-barnes-art-pano.html

The Wall Street Journal also recently published an article about how to transport priceless art. The Barnes Collection is valued at $25 Billion including 181 paintings by Pierre-Auguste Renoir, 69 by Paul Cézanne, 59 of Henri Matisse as well as the work of many more. So how do you move many billions of dollars in art through Philadelphia? “Very carefully,” says Barnes spokesman Andrew Stewart.

Read how here:

http://online.wsj.com/article/SB10001424052702303936704576397591560905516.html

Brooke Hine‘s studio at 915 Spring Garden Studios is a mess, 7 years of animistic ceramic sculpture parts piled high in corners, alien skeletons hanging from the ceiling, shiny blobs of ceramics with fluttering cat whiskers cling precariously to a shelf, wiggly tentacles are poking through the wall, plates & bowls are stacked everywhere like a Mad Hatter Tea Party and a trove of ceramic jewelry hangs haphazardly from the lip of a mug spilling onto a custom plate.  Signs of creativity are everywhere, there seems to be a million things going, the nature of her medium is to be continually working on new work because of the hurry up and wait process, but Brooke knows exactly what she’s doing.  Her bangs are cut too short but she’s fit & tan from playing Ultimate Frisbee, the recent alumni of the Center for Emerging Visual Arts Fellowship program is narrowing her art production focus incorporating a bit of her unique surrealism into objects for everyday life.  She still is pursuing gallery shows, site specific installations of her iconic ceramics and curating for galleries but she really likes seeing her work used in a more functional way, spotting a necklace on a lady on the street or selling one of a kind plates to someone who will look at them every day makes her feel good.

Jewelry is a new direction for her, the amulets look like they’re from part of a larger sculpture, you would expect them to be fragile but they become very durable after firing.  The natural shapes and neutral tones are simple yet sophisticated like her sculptures, strange and compelling textures and silhouettes.  Using image transfer decals, Brooke is re-purposing large plates and bowls she acquired from the old Philadelphia Hotel with her signature fluid designs.  Hines says the designing of decals in Illustrator and having them produced for transfer to ceramics is addictive, allowing her to micro mass produce utilitarian objects infused with her amorphous design sensibility.  She’s setting up an eCommerce page on her web-site, forgoing the popular on-line arts sites in favor of her own digital store front.  Once again this Fall her studio will be part of the Philadelphia Open Studio Tours (915 is not usually open to the public) offering a chance to see her workspace and art showcase.  Brooke exhibited work at the Kimmel Center for the Performing Arts as part of the Summer Solstice promotional event for POST and is an outspoken proponent for the value of the grass roots arts event.  She finds the resources, exposure and promotion POST & CFEVA offers to be invaluable.  915 Spring Garden Art Studios was an early precursor to the now city-wide open studio art event and the five levels of studios are enough to keep you occupied for hours without leaving the building.  Hine’s is thinking of selling off pieces of one of her larger sculptures like the one that was installed at Urban Outfitters headquarters at the Navy Yard, each element is a sculpture in it’s own right anyway so why not let people have part if not the whole.  Maybe by October Brooke HIne’s studio will be ready for crowds with room to move around, but for now the space is hoarded with ideas.

 

 

 

 

 

 

 

 

 

 

 

 

 

DoN Brewer, SideArts Contributing Writer

Photos by DoN Brewer