The World is Your Canvas : August 2019

Back in 2002, I had the pleasure of working with Barbara Whiteman for an exhibit I was assisting at the African American Museum in Philadelphia called Dolls To Remember. I had recruited her to help provide a historical context to black dolls. Seventeen years later, we meet again, this time at Philadelphia's City Hall, and on the 65th anniversary year of Brown vs Board of Education. Barbara is the Founding Director of the Philadelphia Doll Museum and she's showcasing a selection of her dolls in an exhibition called Black Dolls Embracing History. This project is in collaboration with Temple Contemporary. Her museum of over 300 dolls is located just down the street from Temple University at 2253 N. Broad St. (at the corner of Broad and W. Dauphin Sts.). They are practically North Philly neighbors.

Nicole Pollard and Barbara Whiteman, City Hall 2nd Floor, 2019

Me:

Did you grow up playing with dolls?

BW:

Yes, I played with both black and white dolls as a child, but mostly with black dolls. I also remember my mother ordering some of my black dolls from magazine advertisements.

Me:
As I recall, you first began collecting black memorabilia, and then during a visit to an antique show, you discovered black dolls that were created in Germany. How did that experience inspire you to become a doll collector?

BW:
My discovery of European black dolls made me more aware of the European doll industry and the so-called "Golden Age of Dolls". Both France and Germany made black ethnic dolls, but Germany made more black dolls than France. Unlike the American doll making industry, these black dolls were well constructed and dressed in the finest of clothing and wigs.

Me:
Can you speak to the evolution of black dolls here in America and some of the circumstances surrounding their creations? For example, what's the significance of the Addy American Girl Doll?

BW:
Early American made dolls were handmade from many types of materials, such as corn husk dolls, nut-faced dolls, and rag dolls. When WWI prevented the import of foreign dolls from Germany, the American doll industry began to create dolls. Many of these dolls did not reflect positive images of black people. Many of the American black dolls had exaggerated and distorted features. These negative images were created to humiliate black people. Although all the Pleasant Company dolls are made from the same mode, Addy American Girl Doll presents positive physical differences in skin coloration and hair texture.

Me:
How important is it for children to have dolls that look like them, that reflect their own cultures?

BW:
A doll is defined as a three-dimensional image of a human being. So culturally, a child may think I'm a human being, why doesn't this doll look like me or other people I know, or my own family? As an educational toy, not only can dolls provide positive images of oneself and family but can also reflect the differences in people around the world.

Barbara Whiteman and Nicole Pollard beside "Addy" and "Thurgood Marshall".

Me:

As you know, this is the 65th anniversary year of Brown vs Board of Education of Topeka where the "doll test" by Drs. Mamie and Kenneth Clark were cited by the Supreme Court as part of their decision to end school segregation. How have you used your collection to help tell this story?

BW:
The Clark "doll test" showed that separation of races produces feelings of inferiority among black children at an early age, with negative psychological effects. Because racism and untrue stories about black people and their achievements, the Philadelphia Doll Museum uses its collection of 300 black dolls to reflect positive images of a people, their culture and world history. The collection has been exhibited in schools and museums in the US and Canada.

To learn more about the significance of the doll tests, please click HERE.

Nicole Pollard installing Black Dolls Embracing History.

For Black Dolls Engaging History, I also had the pleasure of working with Nicole Pollard. She is the Project Manager for Temple Contemporary, which is part of Temple University's Tyler School of Art. To learn more about Temple Contemporary, please click HERE.

Me:
Temple Contemporary's mission is to "creatively re-imagine the social function of art through questions of local relevance and international significance". How does your partnership with the Philadelphia Doll Museum align with this mission?

NP:
The Philadelphia Doll Museum is an international gem right here in North Philadelphia. We get inquiries all the time from visitors to Temple Contemporary who really come to us because they want to get closer to the dolls in the museum. There is a human need, a social need to connect with dolls. For many of us, relating to a doll - giving it a name, a voice, or a new hairstyle was the first way we developmentally recognized what we wanted to see in ourselves and others. Temple Contemporary recognizes and affirms this need. It has been a joy to collaborate with the Philadelphia Doll Museum and I hope that we can continue this relationship.

Black Dolls Embracing History runs thru September 20th in City Hall, 2nd and 3rd Floors, NE corner. City Hall hours are during the week from 9 - 5 pm and closed on weekends and holidays.

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More conversations with the Philadelphia Doll Museum:
https://hiddencityphila.org/2013/03/at-broad-and-dauphin-the-doll-museum-lives-on/
https://www.moundverseinfants.org/philadelphia-doll-museum/
https://video.whyy.org/video/experience-philadelphia-doll-museum/

Photo credit: OACCE

July 22 – September 13, 2019

Art Gallery in City Hall, Room 116

Jurors: Vita Litvak and Amie Potsic

From time to time, I'd like to share a few thoughts on the exhibitions that are presented within City Hall. In my capacity as the facilitator of these exhibitions, I feel an immense sense of gratitude to Philly's artists. I am privileged in this role to be able to get a glimpse into their world and to be able to reflect on their creations. Letting go of one's work can be difficult, so I am deeply appreciative of this vulnerable act of sharing. I should also note that it is not my job to do this, but it's my nature to think within these passing moments as we all do, to absorb and relate, to pick flowers when it's allowed, and continue on our way. This is neither a critique nor a review, but a brief observation. I hope it encourages you to visit the actual exhibition and experience it for yourself.

On another note just to provide some context, it's fair to say that City Hall is not a traditional space for art. It's a platform of our democracy, an active living stage of ceremonies, testimonies and debates, a place of courtrooms and public services, including marriage licenses, deeds, police reports, and passports. It's the center of Philadelphia's governmental universe. And under these circumstances, it's absolutely appropriate for our citizenry's art to be recognized and represented, amplified and interpreted within these sacred halls.

Photo credit: OACCE

Philly Reveal - Through the Photographic Lens features the work of 35 Philadelphia area photographers. It's a juried show organized by Art In City Hall, an initiative of the Office of Arts, Culture and the Creative Economy (OACCE). Artists were asked to "explore Philadelphia’s neighborhoods and public spaces and provide insights to the city’s urban, natural and human landscapes". Through their work, viewers may recognize unique aspects of the city and its inhabitants.

I will share just a few of the works, but here's the list of featured artists. Please follow their links to explore further.

James Abbott, Loren Berckey, Joseph Brin, Bob Bruhin, Karen Bruhin, Paula Burns, Melvin Chappell, Aaron Cohen, Devin Fitchwell, RA Friedman, Marci Green, Gary Grissom, Terrell Halsey, Ann Hartzell, Sarah Kaufman, Janalyn Kidd, Jino Lee, Jennifer Louise, Rob Lybeck, Leah MacDonald, Nathan McChristy, Susan Nam, Sarah Watkins Nathan, Walter Plotnick, Robert Reinhardt, Gene Renzi, Edward Savaria Jr., Sarah Shapiro, Jean Solar, Bryon Tinney, Carla Vaughn, Gen-Wei, Steven Weisz, Jim White, and Mary Agnes Williams.

Photo credit: OACCE

Now A Little About Process:

The featured artists are all accomplished photographers, some with lengthy histories of exhibits, residencies, and awards. They are affiliated with many local clubs and groups, such as the Philadelphia Plastic Club, the Philadelphia Sketch Club, the Photographic Society of Philadelphia, the Da Vinci Art Alliance, the Philadelphia Photo League, Philadelphia Photo Arts Center, and more. Many are also graduates of prestigious schools, including programs from the region. These accomplishments are worthy of our attention, as are the many organizations that support artists and are part of the larger creative community.

However, as part of the magic of juried shows - and there are many - every submission is considered equal and an artist's background and history is not a factor in the selection process. A jury by one's peers, professionals in the field, determine who gets in. I've heard over the years that it's in a sense, a lottery, especially if the submissions are all high quality. It should also be noted that decisionmaking to a juror is not random and without aim, but is highly concentrated, deliberate and based on experience and knowledge.

I organize this process and accept its findings. I then piece the show together before the works arrive, arranging it in a way that I hope respects the jurors' efforts, as well as gives each work of art a carefully-considered space while respecting the overall presentation of the show. Arranging and installing every show involves this kind of orchestration of interacting events.

Somethings I Can Appreciate:

One of the things I can appreciate about photography is that it forces artists to walk among their subjects in order to discover and examine a found moment of truth. At least, that's part of the process. I think it was Willem de Kooning who once said that you should never have a comfortable chair, and photographers are accustomed to getting plenty of exercise.

While all the works in the show capture pointed moments, R.A. Friedman stood in water to capture: Kiss on the Flooded Schuylkill No, this is not a romantic scene from the "City of Lights" (Paris), but our very own City of Brotherly Love, which if you do enough wandering, from City Hall to the Parkway and elsewhere, you may find many French-inspired themes. "Love" is actually in our city's name. We also have a park that acts as its pedestal. And if you've ever been in love, you can relate to its dramatic raging waters and how it makes its participants do inexplicable things. Friedman has captured it perfectly here. I also appreciate how Friedman photographed the empty bench. Absence can be a powerful, inviting presence.

RA Friedman, Kiss on the Schuylkill, Archival inkjet print

"To wander with the camera is one of my great pleasures...I let the lens lead, keeping myself open to things as they unfold...In many ways, the very long walks I take are mediations with the camera." - R.A. Friedman

Speaking of presence and absence, there's a Philly street photographer whom I've long admired and I'm so glad he was selected for this show. Rob Lybeck couldn't make it to the reception, but his piece, Urban Equine, is both beautiful and tragic, romantic in its depiction of otherworldliness, but also in its ominous central figure and the still pool of water that does not reflect it, but rather a cold facade of a building. There is endless meaning to be found in duality. Lybeck is a master of these moments.

Rob Lybeck, Urban Equine, Digital black & white photography

"The city paints its own picture." - Rob Lybeck

So what does Philly Reveal tell us about who we are?:

We are a city that pays attention. Our artists often reflect our hopes and concerns in their work. They are engaged in our communities. They add to local and national conversations on contemporary issues. Yes, in a world that's increasingly getting more interconnected, it would be hard for artists not to weigh in. Artists can often provide a moral conscience. Regardless of the intricacies of policies, art tends to challenge us while reminding us of our common humanity. There are works scattered throughout these walls that do this. They help tell our many stories.

Jean Solar is a street photographer originally from Chile. His Puebla En Washington Avenue not only reveals the cultural diversity of the city, but it also reminds us of the nation's controversial policies on immigration. Philadelphia is a sanctuary city after all, but it also has the distinct honor of being the birthplace of America.

Jean Solar, Puebla En Washington Avenue, Digital photography

"This project is an allusion to the new immigration policies that seek to homogenize the population, and a reference to the U.S. Constitution originally written in Philadelphia" - Jean Solar

Susan Nam's photographs in the show elevate the everydayness in North Philly, a sidewalk scene of passersby, a man sweeping before his front stoop; a pickup truck loaded with smiling children making a wrong turn onto a One Way street. These are scenes of the inner city. I am reminded of the realist painters that pre-dated the Impressionists, genre painters such as Gustave Courbet or Jean Camille Corot. The photographs neither hide nor glorify poverty, but respectfully presents life in the inner city.

Susan Nam, God is in North Philly, 35 mm archival inkjet print

Susan Nam, One Way, 35 mm archival inkjet print

"Photography has become a manifestation for my own fascination with light, my belief that there is a light that exudes from all of us." - Susan Nam

Sarah Kaufman's Devil's Pool Bathers series continues the story of our diverse city and its unique environments. Throughout history, art has celebrated the human body and bathers in particular. I find her appropriation to be quite relevant to contemporary issues. Here, Kaufman also reveals the Wissahickon, a realm of natural settings within Philadelphia that may not be known to outside visitors.

Sarah Kaufman, Devil's Pool Bathers #1, Archival pigment print from medium format

"The work pictures diversity, celebrating the human body interacting with nature, and looks at relationships among people, their bodies, and the environments that they inhabit". - Sarah Kaufman

I am also struck by one particular scene of the city. I will let the artist, Nathan McChristy reveal his work in his own words:

"As an artist, a health care professional, and a combat veteran, it is my responsibility to develop a dialog about the physical and psychological transformations Service members undergo throughout their military careers and beyond. As a Combat Medic in the United States Army, I witness these transformations firsthand as it manifests in the psyche of fellow soldiers, as well as in myself. In the United States only 1% of the population serves in the armed forces, therefore my art practice is focused on bridging the conversation gap that lies between Soldiers and their fellow Americans. Drawing upon my nine years of experience, the aim for my artwork is to emote the internal questioning that takes place when someone trying to comprehend the effects of experiencing trauma. For example, Western Front (2018) and Eastern Front (2018) are two panoramic photographs taken from the rooftop of my Philadelphia home. When seen together they form a 360-degree defensive like perimeter around my family. These pictures represent the difficulty soldiers face during their transition back to the United States upon returning from a combat zone. It is important for us to have the ability to recognize how trauma can affect the human psyche given the volatility of our contemporary world. My mission is to create meaningful visual art that allows my audience to develop an authentic understanding and compassion for their fellow Americans whom have served in our Armed Forces." - Nathan McChristy

Nathan McChristy, Eastern Front, Digital inkjet print, LED lightbox, steel and wood

These are just some of the works on display, but I hope that it gives you a sense of the complexity of ideas and forms represented in this show. Every work has a mission to reveal something. Philly Reveal aspires to tell us something about ourselves and the city we call home. I myself am a transplant. I've lived here since 2000. I can tell you that out of all the places I've lived, Philadelphia residents are the most passionate and civically engaged. The city has an undeniable collective pulse emanating from its many communities. We certainly see it at sporting events, victory parades and other celebrations, but we also see it on our streets, in people sitting on park benches, on front stoops and doorways, and walking through our many public spaces.

Putting a Face to the Arts:

I'd like to share with you some of these wonderful artists. These photos were taken at the reception to Philly Reveal on August 8th and can be seen on Facebook. Click HERE for more.