{"id":10467,"date":"2020-08-03T11:41:21","date_gmt":"2020-08-03T15:41:21","guid":{"rendered":"https:\/\/printcenter.org\/100\/?page_id=10467"},"modified":"2026-04-10T19:27:24","modified_gmt":"2026-04-10T23:27:24","slug":"windows-on-latimer","status":"publish","type":"page","link":"https:\/\/printcenter.org\/100\/windows-on-latimer\/","title":{"rendered":"Windows on Latimer"},"content":{"rendered":"

Ongoing series\"\"<\/strong><\/h2>\n

The site-specific \u201cWindows on Latimer\u201d<\/strong> series utilizes The Print Center\u2019s iconic bay window on the 1600 block of Latimer Street to present the vital work of Philadelphia artists. Taking the history of photography as its conceptual foundation, the window itself becomes both a picture frame to look through and a lens onto the world.<\/span><\/p>\n

Initially launched in 2020 as a monthly series of installations, it was lauded as a safe and thoughtful way to access art during the COVID-19 pandemic. It has since become a regular component of The Print Center\u2019s programming, offering us an essential platform to introduce artwork into the public sphere.<\/span><\/p>\n

We are pleased to share these exceptional works with those who walk, run, bike, skate, or drive by!<\/span><\/p>\n<\/div><\/div>

Previously Exhibited Artists:<\/span><\/h2>\n

James B. Abbott<\/strong><\/a><\/span>,\u00a0<\/strong>Jaime Alvarez<\/strong><\/a><\/span>,\u00a0Edna Andrade<\/a><\/strong><\/span>,\u00a0Roxana Azar<\/span><\/strong><\/a>,\u00a0Lisa Blas<\/span><\/a><\/strong>,\u00a0Kevin Claiborne<\/strong><\/a><\/span>, Gerald Cyrus<\/a><\/strong><\/span>,<\/span>\u00a0David Graham<\/span><\/a><\/strong>,\u00a0<\/a>Naomieh Jovin<\/a><\/strong><\/span>,\u00a0Dawn Kim<\/strong><\/a><\/span>,\u00a0<\/strong>Bella Logachova<\/span><\/strong><\/a>,\u00a0Alexis Nutini<\/span><\/a><\/strong>,<\/span> Cecilia Paredes<\/a><\/strong><\/span>, Ted Partin<\/a><\/strong><\/span>,\u00a0Hannah Price<\/a><\/strong><\/span>,\u00a0David Rothenberg<\/strong><\/a><\/span>,\u00a0Krista Svalbonas<\/strong><\/a><\/span>,\u00a0Shawn Theodore<\/strong><\/a> and former University of the Arts students:<\/span>\u00a0Kelly Buruca<\/a><\/strong>,\u00a0<\/span><\/span><\/span>Isabella Kahn<\/a><\/strong>,\u00a0<\/span><\/span><\/span>Maria Kortz<\/a><\/strong>, <\/span><\/span><\/span>Brittney Mallon<\/a><\/strong>,\u00a0<\/span><\/span><\/span>Alex Stevenson<\/a> <\/strong>and <\/span><\/span><\/span>Brielle Walton<\/a><\/strong>.<\/span><\/span><\/span><\/p>\n

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Press Releases<\/span><\/h2>\n

2020<\/a><\/strong>,<\/span> 2022<\/strong><\/span><\/a>, April 2023<\/a><\/strong>, July 2023<\/a><\/strong>, 2024<\/a> <\/strong><\/span>
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Press<\/span><\/h2>\n

\"A sliver of tropical Puerto Rico blooms on snowy Latimer Street<\/a>,\" WHYY<\/a>, Peter Crimmins, December 2020 \u00a0pdf<\/a><\/strong><\/span><\/p>\n

\"Windows on Latimer\" was featured on 6ABC Loves the Arts<\/span><\/p>\n<\/div><\/div>\n

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<\/a>Vaune Trachtman<\/span><\/h5>\n

April 2026<\/span><\/h2>\n
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In Corner<\/em>, a young boy stands on a Philadelphia street corner. Trachtman has added the image of the boy made by her father nearly a century ago to her own image of a landscape in motion, allowing the boy to transcend past and present.<\/span><\/p>\n

Corner<\/em> is from the series \u201cNOW IS ALWAYS,\u201d which reconnects Trachtman with her father, who passed in 1971, and began with the discovery of negatives he made in Philadelphia during the Depression. Using his images enmeshed with her own, Trachtman creates a \u201ccollaboration across time, technology, and media.\u201d The work extends beyond a dialogue with her father, highlighting the relationship between the viewer, the past and the people who inhabit the images; by integrating processes that span the history of photography, she creates a sense of expanded and collapsed time.<\/span><\/p>\n

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Vaune Trachtman, Corner<\/em>, 2021, photopolymer gravure with surface roll. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div>
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Installation view, Vaune Trachtman: Corner<\/em>, 2026<\/figcaption><\/figure>\n<\/div> <\/div>\n

Vaune Trachtman\u2019s<\/strong> (born Philadelphia, PA; lives Brattleboro, VT) work honors historic processes while reimagining them through non-toxic materials; she creates photopolymer gravures using little more than light and water. She is a two-time Photolucida Critical Mass Top 50 artist, a finalist and People\u2019s Choice Award winner in Klompching Gallery\u2019s FRESH ANNUAL, and a finalist for the International Hariban Award. She was a Semifinalist in The Print Center\u2019s 95th and 97th ANNUAL International Competitions. <\/span><\/p>\n

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<\/a>Gerald Cyrus<\/span><\/h5>\n

July \u2013 September 2025<\/span><\/h2>\n
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I came across these two teenagers near the corner of Adam Clayton Powell Boulevard and 135th Street and was immediately struck by their swagger, and at the same time their vulnerability. The precarious balance they pull off on the bicycle may be a metaphor for the balance they will need to navigate through the rest of their lives.<\/em><\/span><\/p>\n

\u2013 Gerald Cyrus<\/span><\/p>\n

In this photograph, teenagers on a bicycle look attentively towards the street. The balance of their poses parallels the geometry of the pavement and the shop windows behind them. Their ease with one another symbolizes the camaraderie found in their Harlem community.<\/span><\/p>\n

Cyrus\u2019<\/strong> approach to composition and style embraces the improvisational nature of jazz and the earthy tones of the blues. He engages in conversation with his subjects, capturing the visual lyricism of their personal narratives. Cyrus prompts us to consider the timeless value of authenticity and the power of collective community.<\/span><\/p>\n

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Installation view, Gerald Cyrus, Two Teenagers on Bike, Harlem, 1993<\/em>, 2025<\/figcaption><\/figure>\n<\/div>
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Gerald Cyrus, Two Teenagers on Bike, Harlem, 1993<\/em>, 1993\/2025<\/figcaption><\/figure>\n<\/div> <\/div>\n

Gerald Cyrus<\/strong> (born 1957, Los Angeles, CA; lives Philadelphia, PA) holds an MFA from the School of Visual Arts, New York. Cyrus\u2019 work is held in the collection of the Wadsworth Athenaeum, Hartford, CT; New Orleans Museum of Art, LA; Museum of the City of New York, NY; and the Philadelphia Museum of Art, among others. His publications include Stormy Monday: New York\u2019s Uptown Jazz Scene<\/em> (2008), Portrait of Camden in Photographs, 2001\u20132008<\/em> (2013) and Harlem Nights 1990-2001<\/em>, (2022). Cyrus was a Pew Fellow for the Arts in 2005 and he is a member of the historic Kamoinge Workshop.<\/span><\/p>\n

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<\/a>Cecilia Paredes<\/span><\/h5>\n

April 2025<\/span><\/h2>\n
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Eve II<\/em> exemplifies what artist Cecilia Paredes<\/strong> calls a \u201cphoto-performance\u201d that she stages for the camera. For her \u201cLandscapes\u201d series, she camouflages her body with paint to match an ornately patterned, floral\u00a0<\/span>fabric used as both costume and backdrop. The images address <\/span>the experience of displacement and relocation. She said, \u201cThe illusion of \u2018disappearing\u2019 into the surroundings is an act of blending in. Without forgetting our origin, one must adjust to belong. It is tough, but it has to <\/span>be done.\u201d<\/span><\/p>\n

In Eve II<\/em>, Paredes stands tall with her hands covering her face. She is surrounded by green, brown and white floral fabric, simultaneously <\/span>evoking the idyllic natural setting in the Garden of Eden and Eve's <\/span>eventual expulsion.<\/span><\/p>\n

This installation complements the exhibition Cecilia Paredes: By my side or back of me<\/em><\/strong><\/a>, on view April 18 \u2013 July 19, 2025.\u00a0<\/span><\/p>\n

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Cecilia Paredes, Eve II<\/em>, 2018, inkjet print<\/figcaption><\/figure>\n<\/div>
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Installation view, Cecilia Paredes: Eve II<\/em>, 2025<\/figcaption><\/figure>\n<\/div> <\/div>\n

Globally recognized, Philadelphia-based Peruvian artist Cecilia Paredes<\/strong> (born 1950) has an extensive exhibition record with solo shows in the United States and abroad. She was included in the 2015 Havana Biennale; the 2007 Bienal of Architecture and Art, the Canary Islands; and the Latin American Pavilion at the 51st Venice Biennale in 2005. Her work is in numerous international collections and American institutions. Paredes attended the Pontifical Catholic University of Peru in Lima, Cambridge School of Art in England, and the Scuola Libera del Nudo of the Academy of Fine Art in Rome. She is represented by Ruiz-Healy Art, New York and San Antonio.<\/span><\/p>\n

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<\/a>Asuka Goto<\/span><\/h5>\n

December 2024 \u2013 January 2025<\/span><\/h2>\n
\nAsuka Goto<\/strong>\u00a0describes\u00a0<\/span>Nakagin Capsule Girls<\/em>: \u201cIn 1973, when my father illegally immigrated to the U.S. from Japan, he brought a single album containing black and white photographs that charted his childhood and adolescence. The images here, which are largely obscured, come from one of those photos. Taken c.1955 in the rural town of Nakaniida in Miyagi Prefecture, the original captured a class of 50 students with their elementary school teacher. While my father appears in the original, the manipulated images in this installation are of his female classmates, whose grave expressions seem to reflect the time and place in which the picture was taken.\u201d<\/span>
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Installation view, Asuka Goto: Nakagin Capsule Girls (WoL)<\/em>, 2024<\/figcaption><\/figure>\n<\/div>
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Asuka Goto, Nakagin Capsule Girls (WoL)<\/em>, 2024, monotype on pigment prints<\/figcaption><\/figure>\n<\/div>
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Asuka Goto<\/strong> (b. Boston, MA; l. Philadelphia, PA) has a BA and Post-Baccalaureate Certificate from Brandeis University, Waltham, MA and an MFA from Tyler School of Art and Architecture, Philadelphia. Her work has been exhibited at 516 ARTS, Albuquerque, NM; BRIC, Brooklyn Public Library, NURTUREart and Tiger Strikes Asteroid, all Brooklyn, NY; CUE Foundation, New York, NY; and Globe Gallery, Newcastle, England. She has been a resident at the Joan Mitchell Center, Lower East Side Print Shop and Skowhegan School of Painting & Sculpture. Goto is Chair of Fine Arts and Associate Professor at Moore College of Art & Design, Philadelphia.<\/span><\/p>\n

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<\/a>Momentary Visions<\/span><\/h5>\n

August \u2013 September 2024<\/span><\/h2>\n
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On June 7, 2024, the University of the Arts (UArts) officially closed with only one week\u2019s warning, marking the loss of one of Philadelphia\u2019s most historic and valued arts institutions. Students were displaced with no promise of continued education and staff were left without jobs. They found themselves subsumed within the trend of institutional closures impacting our wider art community and unexpectedly needing to chart new paths forward. \u00a0<\/span><\/p>\n

Kelly Buruca<\/strong>, Isabella Kahn<\/strong>, Maria Kortz<\/strong>, Brittney Mallon<\/strong>, Alex Stevenson<\/strong> and Brielle Walton<\/strong> were rising seniors at UArts who have continued to make work following the school\u2019s sudden closure. Their photographs and prints share momentary visions of identity and place, tangible anticipations of a promised future, and the collective strength needed to navigate in the wake of the unexpected.<\/span><\/p>\n

This installation of \"Windows on Latimer\" amplifies the enduring voices of the students who have lost an integral cornerstone of their artistic education. It serves as a testament to the resilience we must continue to share as artists and art organizations.<\/span><\/p>\n

\u2013 Alexis Finley, Bradford Intern, The Print Center<\/span>
\nFormer UArts major in Interdisciplinary Arts<\/span>
\nCompleting degree at Drexel University<\/span><\/p>\n

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Installation view, Momentary Visions<\/em>, 2024<\/figcaption><\/figure>\n<\/div>
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(left to right, top to bottom) Maria Kortz, The Wendigo<\/em> (detail), 2024, linoleum print; Kelly Buruca, Transgression 2<\/em>, 2024, photogram; Isabella Kahn, Leaning On You<\/em>, 2023, pigment print; Brittney Mallon, Mushroom Cloud 1<\/em>, 2024, screenprint; Brielle Walton, Field of Poppies<\/em> (detail), 2024, digital photograph; Alex Stevenson, Finding an Ending<\/em>, 2024, digital photograph<\/figcaption><\/figure>\n<\/div>\n
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Kelly Buruca<\/strong> (b. 2001) is from El Salvador and is a former UArts Photography major. Buruca plans to continue pursuing a degree in photography at the Tyler School of Art & Architecture, Temple University, Philadelphia, PA.<\/span><\/p>\n

Isabella Kahn<\/strong> (b. 2003, China) grew up in River Edge, NJ and is a former UArts Photography major and Business and Advertising Practices minor. Kahn plans to continue pursuing a degree in photography at Drexel University, Philadelphia.<\/span><\/p>\n

Maria Kortz<\/strong> (b. 2001) is from Nazareth, PA and is a former UArts Illustration major and Print Media minor. Kortz plans to continue pursuing a degree in design and illustration at the Tyler School of Art & Architecture, Temple University, Philadelphia.<\/span><\/p>\n

Brittney Mallon<\/strong> (b. 2003) is from Keyport, NJ and is a former UArts Illustration major and Print Media minor. Mallon plans to continue pursuing a degree in illustration at The School of Visual Arts, New York.<\/span><\/p>\n

Alex Stevenson<\/strong> (b. 2002) is from Maryland and is a former UArts Photography major. Stevenson plans to continue pursuing a degree in photography at Moore College of Art and Design, Philadelphia.<\/span><\/p>\n

Brielle Walton<\/strong> (b. 2003) is from Bucks County, PA and is a former UArts Photography major. Walton plans to continue pursuing a degree in photography at Moore College of Art and Design, Philadelphia.<\/span><\/p>\n

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<\/a>Edna Andrade<\/span><\/h5>\n

April 2024<\/span><\/h2>\n
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Presented as part of (re)FOCUS<\/a>.<\/span><\/p>\n

The screenprint Enigma<\/em> is characteristic of Edna Andrade\u2019s work, which from the mid-1960s, featured precise, geometric compositions in bold colors. The resulting dynamic optical effect is known as Op Art. Andrade said, \u201cMy ideas come from organic structures, crystallography, physics, gestalt psychology and from games, patterns, puzzles and sunsets at the end of Pine Street.\u201d<\/span><\/p>\n

Enigma<\/em> was included The Print Center\u2019s exhibition, Women Printmakers<\/em>, presented as a part of the 1974 FOCUS festival celebrating women in the arts. Though Andrade was primarily interested in the objectivity of geometry, the image recalls the female form.<\/span><\/p>\n

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Edna Andrade, Enigma<\/em>, 1973. Courtesy of the Estate of Edna Wright Andrade & Locks Gallery, Philadelphia<\/figcaption><\/figure>\n<\/div>
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Installation view, Edna Andrade: Enigma<\/em>, 2024<\/figcaption><\/figure>\n<\/div>\n
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Edna Andrade<\/strong> (b. 1917, Portsmouth, VA; d. 2008, Philadelphia, PA) studied at the Barnes Foundation, Merion, PA; and earned a BFA from the Pennsylvania Academy of Fine Arts (PAFA) and the University of Pennsylvania, both Philadelphia. She was the subject of retrospective exhibitions at Institute of Contemporary Art, PAFA and The Print Center, all Philadelphia. Her work has been featured in numerous group exhibitions across the United States and is found in public collections including the Baltimore Art Museum, MD; Dallas Museum of Art, TX; The Museum of Fine Arts, Houston, TX; Metropolitan Museum of Art and Whitney Museum of American Art, both New York, NY; Virginia Museum of Fine Arts, Richmond; and the Library of Congress, Washington, DC; among many others.<\/span><\/p>\n

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Ted Partin<\/span><\/a><\/h5>\n

December 2023 <\/span>\u2013 January 2024<\/span><\/h2>\n
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Gaul Street (kids in fire hydrant spray)<\/em> was made spontaneously on a hot summer day. The piece is from a larger body of work, \u201cPort Richmond,\u201d that Partin has made since 2019. The series includes a number of portraits of his neighbors, that reveal their enduring spirit and hope. The dance of light and shadow in Gaul Street <\/em>depicts the joy of children cavorting on a Philadelphia neighborhood street. It is a celebration \u2013 a simple ode to the bright tapestry of life in Port Richmond, which is situated less than a mile away from the center of the city\u2019s opioid crisis. \u00a0<\/span><\/p>\n

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Installation view, Ted Partin: Gaul Street<\/em>, 2023<\/figcaption><\/figure>\n<\/div>
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Gaul Street (kids in fire hydrant spray)<\/em>, 2023. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div> <\/div>\nTed Partin <\/strong>received a BA from Fordham College, New York, NY in 2000, and an MFA in photography from Yale University, New Haven, CT in 2004. His work has been exhibited in New York, NY and San Francisco, CA; as well as in Dusseldorf, Germany; Lausanne, Switzerland; Madrid, Spain; Paris, France; and Tokyo, Japan. His first solo museum exhibition was presented in 2010 at the Kunstmuseen Krefeld Museum Haus Esters, Germany. His work is held in the collection of the Yale University Art Gallery and the Fondation de Cartier Pour le Art de Contemporain, Paris. Since 2016, Partin has taught photography at the Yale School of Art.<\/span>
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<\/a>Alexis Nutini<\/span><\/h5>\n

July <\/span>\u2013 September 2023<\/span><\/h2>\n
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Nutini is well known for his abstract, vibrant, complex prints, which combine complicated patterns with layered color, created using a mix of hand-crafted and digital processes. The series, \u201cSwing Low,\u201d is the result of a unique, collaborative process spanning three centuries of technology with input from several artists.<\/span><\/p>\n

The image features a number of linear spirals, which were generated using a 19th<\/span>-century drawing apparatus called a harmonograph. This simple machine employs a pendulum to draw images as it swings. Nutini was invited to use a harmonograph in 2019, when Gerard Brown put one together for his class at Tyler School of Art and Architecture in Philadelphia.\u00a0<\/span>After creating a number of these drawings, Nutini started to experiment with them as the basis for carving woodblocks using a digital CNC router. The collaborative process developed further when Nutini was a virtual visiting artist in 2020 at California State University, Stanislaus. Working with the head of printmaking Martin Azevedo, as well as printmaking technician Alexander Quinones and student assistant Christopher Rodriguez, component blocks for a print edition were created and printed. The team translated Nutini\u2019s initial drawings into woodcuts with a laser engraver, which they then used to print thirty variations with little to no direction from Nutini. The blocks and impressions were shipped from California to Philadelphia, which Nutini then used to complete the works by hand-pulling unique prints.<\/span><\/p>\n

The final images in the \"Swing Low\" series feature a buildup of rich layers of color and overlapping spiral lines resulting in a variety of moir\u00e9 effects and unexpected imagery. The Print Center is pleased to present Swing Low<\/em>, for both its exceptional presence as well as its delve into the history of technology, the creative blending of analog and digital tools, and its celebration of collaboration and chance.\u00a0<\/span><\/p>\n

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Swing Low<\/em>, 2021. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div>
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Installation view, Alexis Nutini: Swing Low<\/em>, 2023<\/figcaption><\/figure>\n<\/div>\n
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Alexis Nutini<\/strong> (b. Mexico City, Mexico; l. Philadelphia, PA) received a BA in fine art from St. Mary\u2019s College of Maryland, St. Mary's City and an MFA in printmaking from the Tyler School of Art & Architecture, Temple University, Philadelphia. Nutini runs Dos Tres Press, where he publishes his own prints and develops collaborative projects with other artists. The focus of Dos Tres Press is experimentation with relief techniques through hand-carved, reduction woodblock printing combined with the digital technology of a CNC router.<\/span><\/p>\n

Nutini was the recipient of a Fulbright Fellowship in Barcelona, Spain and has exhibited his work at venues in Los Angeles, CA; Manhattan, KS; Nashville, TN; Philadelphia and Pittsburgh, both PA; Seattle, WA; and St. Mary's City; as well as in Barcelona, Spain; Brisbane and Melbourne, both Australia; Rome, Italy; and Veracruz, Mexico.<\/span><\/p>\n

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Naomieh Jovin<\/span><\/a><\/h5>\n

March <\/span>\u2013 April 2023<\/span><\/h2>\n
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The Philadelphia-based Jovin has received significant recognition early in her career, including an award from the Magnum Foundation and a Pew Fellowship in the Arts. Her work combines original photography with appropriated images from her family albums to contemplate her Haitian American identity, family history, spirituality and the African diaspora. The work illustrates resistance and intergenerational trauma, as well as how the experiences of our family and our pasts are carried in our bodies. <\/span><\/p>\n

First Communion<\/em> is drawn from her series \u201cGwo Fanm,\u201d which is Haitian Kreyol for \u2018Big Woman.\u2019 For Jovin, a \u2018Gwo Fanm\u2019 is strong vulnerability. A \u2018Gwo Fanm\u2019 stands out in life and stands up for the ones they love, but also endures more than their fair share of the slings and arrows the world throws at them, absorbing hurt and pain that would crush someone less resilient or determined. Jovin considers many of the women in her family as Gwo Fanm \u2013 women who have shouldered burdens beyond most people\u2019s imaginings.<\/span><\/p>\n

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Installation view, Naomieh Jovin: First Communion<\/em>, 2023<\/figcaption><\/figure>\n<\/div>
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Naomieh Jovin, First Communion<\/em>, 2021. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div><\/div>\n

Naomieh Jovin<\/strong> is a first-generation Haitian-American and a <\/span>photographic artist. Jovin has a BFA in Photography and Digital <\/span>Arts from Moore College of Art & Design, Philadelphia, PA. She <\/span>has received an award from the Magnum Foundation Fund, a <\/span>Mural Arts Philadelphia Fellowship for Black Artists, has been a <\/span>LensCulture Critics Choice Winner; an artist-in-residence at the <\/span>Inspiration Lab, University of the Arts, Philadelphia; and was <\/span>named a Fellow in the Arts by The Pew Center for Arts & Heritage <\/span>in 2021. Jovin\u2019s work has been featured in The Nation<\/em> and on <\/span>Buzzfeed, and she has photographed for The New York Times<\/em> <\/span>and Vogue Italia<\/em>. <\/span><\/p>\n

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<\/a>David Graham<\/span><\/h5>\n

December 2022 <\/span>\u2013 January 2023<\/span><\/h2>\n
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Traveling throughout the United States, David Graham<\/strong> captures the colorful and sometimes surreal in the American landscape. He seeks out subjects that celebrate our singular freedom of expression, whether in colorful roadside attractions, idiosyncratic sculptures, or everyday people who revel in impersonating famous characters. Chronicling the American scene with this unique sensibility, Graham celebrates the creativity and dreams of the common man.<\/span><\/p>\n

The photograph Mayfair, Philadelphia, PA<\/em>, was made in the neighborhood where Graham\u2019s father had his offices. Searching for the spirit of the area, Graham found this unique building among mostly nondescript buildings. Attracted by Graham working with his large-format, 8\u201d x 10\u201d camera on a tripod, the owner of the ice cream shop came out to chat. The conversation lasted long enough to allow the figure dressed in purple drapery to walk by \u2013 serendipitously matching the color of the painted bench.<\/span><\/p>\n

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Mayfair, Philadelphia, PA<\/em>, 2020. Courtesy of the Artist and Laurence Miller Gallery<\/figcaption><\/figure>\n<\/div>
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Installation view, David Graham: Mayfair, Philadelphia, PA<\/em>, 2022<\/figcaption><\/figure>\n<\/div><\/div>\n

This installation of \"Windows on Latimer\" is presented in conjunction with <\/span> Graham\u2019s exhibition Then\/Now<\/em> at the University of the Arts (December 8, 2022 \u2013 February 3, 2023) which marks his retirement from teaching photography at the University after 22 years.<\/span><\/p>\n

David Graham (b. 1952, Abington, PA; l. De Pere, WI) received a BFA from the University of the Arts and MFA from Tyler School of Art and Architecture, Temple University, both Philadelphia. He has had solo exhibitions at The Print Center; Cleveland Center for Contemporary Art, OH; International Center of Photography, New York; and Institute of Contemporary Art, Philadelphia. His work is the subject of ten monographs, the most recent is In Plain Sight, 2022. His work has appeared in Harper\u2019s, The New Yorker, The New York Times, and The Philadelphia Inquirer. Graham\u2019s work is in many prestigious museum collections including the Art Institute of Chicago, IL; The Museum of Modern Art, NY; Philadelphia Museum of Art; Princeton University Art Museum, NJ; and San Francisco Museum of Modern Art, CA.<\/span><\/p>\n

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<\/a>Bella Logachova<\/span><\/h5>\n

August \u2013 September 2022<\/span><\/h2>\n
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Bella Logachova\u2019s<\/strong> series \u201cARtNUO (New Ukrainian Ornaments),\u201d combines the iconography and colors of Ukrainian folk art with military symbols in digitally-constructed images to protest the war waged by Russia on Ukraine. The Print Center is proud to exhibit the work of Bella Logachova in support of Ukrainian people everywhere.<\/span><\/p>\n

In February 2022, Russia escalated its war in Ukraine, which was ignited with its invasion and annexation of Crimea in March 2014. DNR (Donetskaya Narodnaya Respublica)<\/em>, made in 2014, chronicles the beginning of the armed conflict in the Donbas region of Ukraine from the perspective of the artist. It depicts pro-Russian separatists forcibly removing civilians from their homes and using them as human shields in active combat. The attackers wear black, blue and red \u2013 the colors of the Donetsk People\u2019s Republic, which was occupied in April 2014. Today it is only recognized by the Russian Federation, Syria and North Korea. \u201cEach work is a documentary story told by means of ornament. Wartime is difficult . . . but we need to do something, to create new things \u2013 it\u2019s our responsibility,\u201d says the artist.<\/span><\/p>\n

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Installation view, Bella Logachova: DNR (Donetskaya Narodnaya Respublica)<\/em>, 2022<\/figcaption><\/figure>\n<\/div>
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DNR (Donetskaya Narodnaya Respublica)<\/em>, 2014, from the series \u201cARtNUO (New Ukrainian Ornaments).\u201d Courtesy of the Artist and Sabine Kutt Photography<\/figcaption><\/figure>\n<\/div>
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This installation of \"Windows on Latimer\" is presented in conjunction with the Castellani Art Museum<\/a><\/strong>, Niagara University, Lewiston, NY, where nineteen works from the series \u201cARtNUO (New Ukrainian Ornaments)\u201d are on view through July 2022 \u2013 June 2023.<\/span><\/p>\n

Bella Logachova<\/strong> (b. Mariupol, Ukraine; l. Kharkiv, Ukraine) graduated from the Kharkiv State Academy of Design and Art, where she currently teaches Media Arts. She is a member of the collective SOSka Group and has exhibited her work throughout Ukraine and Europe. \u201cARtNUO (New Ukrainian Ornaments)\u201d received the Grand Prix at the IX International Triennale in 2015.<\/span><\/p>\n

Prints from Bella Logachova's series \u201cARtNUO (New Ukrainian Ornaments)\u201d are available in The Print Center's Gallery Store<\/span><\/a><\/strong>.\u00a0<\/span>All works are inkjet prints, 20\" x 20\" and in an edition of 10, available for $175. Bella Logachova will donate proceeds from the sale of these prints to support the Ukrainian war effort.<\/span><\/p>\n

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<\/a>Hannah Price<\/span><\/h5>\n

June 2021<\/span><\/h2>\n
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In Hannah Price's <\/strong>installation, Untitled<\/em>, she triangulates photographs from her series: \u201cCursed by Night\u201d (2012-2013) and \u201cSemaphore\u201d (2018). The former, which includes an image of Philadelphia\u2019s City Hall as well as shadowy interior and exterior portraits, explores how society elides Black men with darkness, cursing them into its oblivion. The more recent series, which takes its title from a coded signal system of flag positions, examines the way identities are constructed through physical and material appearance. Price purposefully uses black-and-white photography to heighten the stark contrasts of politics and race in our everyday lives.<\/span><\/p>\n

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(top) City Hall<\/em>, from the series \u201cCursed by Night,\u201d 2013; (bottom left) Untitled<\/em>, from the series \u201cCursed by Night,\u201d 2013; (bottom center) King Solomon<\/em>, from the series \u201cCursed by Night,\u201d 2012; (bottom right) Kayla & Zane<\/em>, from the series \u201cSemaphore,\u201d 2018. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div>
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Installation view, Hannah Price: Untitled<\/em>, 2021<\/figcaption><\/figure>\n<\/div>
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Hannah Price<\/strong> (b. 1986, Annapolis, MD; l. Philadelphia, PA) is a photographer and documentary filmmaker interested in interpersonal relationships, race politics and representations of identity. She holds a BFA from the Rochester Institute of Technology, NY and an MFA from Yale School of Art, New Haven, CT. Her work has been exhibited at numerous venues including The FLAG Art Foundation, New York; Philadelphia Photo Arts Center and Silver Eye Center for Photography, Pittsburgh, PA, and it is in the permanent collection of the Philadelphia Museum of Art. Price became a Magnum nominee member in 2020.<\/span><\/p>\n

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<\/a>Lisa Blas<\/span><\/h5>\n

May 2021<\/span><\/h2>\n
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In Dawn Studio (palettes on the run)<\/em>, we feature 14 photographs by Lisa Blas<\/strong> \u2013 distilled from over 4,000 \u2013 that chronicle fragments of her working process for the ongoing series \"Dawn Studio,\u201d begun during the COVID-19 pandemic. Every morning, Blas works on multiple paintings, pausing periodically to photograph their surfaces and their intersections on her worktable. Her watercolor and gouache paintings take the form of lacunae or apertures, that are at once voids and portals. Hovering between painting and photography, the images in this installation capture the intimate details of this ritualistic exercise, giving viewers a glimpse into the artist\u2019s studio.<\/span><\/p>\n

This installation complements the exhibition Fit to Print<\/em><\/strong><\/a><\/span>, on view through June 30, 2021.\u00a0<\/span><\/p>\n

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Installation view, Dawn Studio (palettes on the run)<\/em>, 2021<\/figcaption><\/figure>\n<\/div>
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14 photographs from the series \"Dawn Studio,\" 2020 - 2021. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div><\/div>\n

Lisa Blas<\/strong> (b. 1967, Burbank, CA; l. New York, NY) holds a BA in political science from the University of Southern California, Los Angeles and an MFA in painting from Claremont Graduate University, CA. She has exhibited at numerous institutions, including Marquee Projects, Bellport, NY; Ortega y Gasset Projects, Brooklyn; Gettysburg College, PA; Carriage Trade, The Emily Harvey Foundation, Kai Matsumiya Gallery, Pierogi Gallery and Tanja Grunert Gallery, all New York; as well as at Rossicontemporary, Brussels, Belgium and Mus\u00e9e Matisse, Cateau-Cambr\u00e9sis, France. Since 2015, Blas has produced a weekly RSS feed titled \u201cMonday\u2019s image,\u201d where she pairs the front page of a local newspaper with a work of art from a museum collection. In March 2021, her paintings from \u201cDawn Studio\u201d were published in Effects Journal<\/em>. <\/span><\/p>\n

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<\/a>Dawn Kim<\/span><\/h5>\n

April 2021<\/span><\/h2>\n
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In Fourteen Freedoms<\/em>, Dawn Kim<\/strong> focuses on Philadelphia\u2019s association with ideas of \u201cliberty\u201d and \u201cfreedom.\u201d This collection of images, pulled from online marketplaces like Craigslist and eBay, gives new context to these hotly debated concepts in untraditional ways and makes a humorous nod to Franklin D. Roosevelt's 1941 \"Four Freedoms\" speech and subsequent responses, including the eponymous artist-led collective.\u00a0<\/span><\/p>\n

This installation complements the exhibition Dawn Kim: Half Rest<\/em><\/strong><\/a><\/span>, awarded from our 95th ANNUAL, on view through April 30, 2021.\u00a0<\/span><\/p>\n

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Dawn Kim, Fourteen Freedoms<\/em>, 2020. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div>
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Installation view, Fourteen Freedoms<\/em>, 2021<\/figcaption><\/figure>\n<\/div><\/div>\n

Dawn Kim<\/strong> (b. Seoul, South Korea; l. Austin, TX) examines invisible systems of power through text and image. She received a BFA from the Art Center College of Design, Pasadena, CA and an MFA in Photography from Yale University, New Haven, CT. Kim has exhibited at numerous venues, including Luke Glanton Gallery, Amsterdam, NY; Whitespace Gallery, Atlanta; ACRE, Chicago, IL; Yale School of Art, New Haven, CT; Blackbox Gallery and Hap Gallery, both Portland, OR; and Washer Dryer Projects, Salt Lake City, UT; as well as at Para Site, Hong Kong. Kim is the 2020-21 St. Elmo Arts Fellow at the University of Texas at Austin.<\/span><\/p>\n

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<\/a>David Rothenberg<\/span><\/h5>\n

March 2021<\/span><\/h2>\n
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David Rothenberg<\/strong>, who has lived in New York City for more than 20 years, is inspired by the way people interact with its landscape. In \u201cRoosevelt Station,\u201d he turns to his local subway in the Jackson Heights neighborhood of Queens. In the glow of the station\u2019s colored-glass concourse, he candidly captures people from all walks of life \u2013 from rush hour commuters and students to airport-bound travelers and panhandlers.<\/span><\/p>\n

This installation complements the exhibition David Rothenberg: Landing Lights Park<\/em><\/strong><\/a><\/span>, awarded from our 95th ANNUAL, on view through April 30, 2021. The book Roosevelt Station<\/em><\/strong><\/a> (Perimeter, 2021) can be purchased online from The Print Center\u2019s Gallery Store.<\/span><\/p>\n

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Installation view, Roosevelt Station<\/em>, 2021<\/figcaption><\/figure>\n<\/div>
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Untitled<\/em>, 2019 and 2020, from the series \u201cRoosevelt Station,\u201d 9 pigment prints. Courtesy of the Artist<\/span><\/figcaption><\/figure>\n<\/div>
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David Rothenberg<\/strong> (b. Mission Viejo, CA; l. Queens, NY) is a photographer and educator. He received a BFA from Parsons School of Design, New York and an MFA from Bard College, Annandale-on-Hudson, NY. Rothenberg received the PHOTO 2021 x Perimeter International Photobook Prize for his forthcoming book Roosevelt Station<\/em>. His work has been exhibited at and is in the collection of the Museum of the City of New York, among other venues.<\/span><\/p>\n

The Artist would like to thank the Queens Art Fund and the New York City Department of Cultural Affairs, Greater New York Arts Development Fund for their support of the creation of this work.<\/span><\/p>\n

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<\/a>Kevin Claiborne<\/span><\/h5>\n

February 2021<\/span><\/h2>\n
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Kevin Claiborne<\/strong> is a multidisciplinary conceptual artist whose practice crisscrosses photography and printmaking. His work examines and questions intersections of identity, environment and mental health within the Black American experience. The title of this work is excerpted from a recent poem by the artist. It refers to the system of racial classification in which anyone with even a single Black ancestor, i.e. \u201cone drop\u201d of Black blood, is considered to be Black. Interested in the pervasive ways in which society identifies people, Claiborne critically addresses this and other such practices is his work at large.<\/span><\/p>\n

This installation complements the exhibition Kevin Claiborne: Before I Died I Was Invisible<\/em><\/strong><\/a><\/span>, awarded from our 95th ANNUAL, on view through April 30, 2021.\u00a0<\/span><\/p>\n

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ONE DROP<\/em>, 2020, from the series \u201cBLACKNESS IS.\u201d Courtesy of the Artist <\/span><\/figcaption><\/figure>\n<\/div>
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Installation view, ONE DROP<\/em>, 2021<\/figcaption><\/figure>\n<\/div>
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Kevin Claiborne<\/strong> (b. Camp Springs, Maryland; l. New York, NY) holds a BS in Mathematics from the historically Black college North Carolina Central University, Durham and an MS in Higher Education Administration from Syracuse University, New York. He currently is an MFA Visual Arts Candidate at Columbia University, New York. In 2020, he had a solo exhibitions at Thierry Goldberg Gallery, New York. His work is in the collection of the Whitney Museum of Art, New York.<\/span><\/p>\n

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<\/a>Jaime Alvarez<\/span><\/h5>\n

December 2020 \u2013 January 2021<\/span><\/h2>\n
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Jaime Alvarez<\/strong> is a Philadelphia-based artist known for \u201cFishtown Daily,\u201d his ongoing photographic series of deadpan urban landscapes, as well as detail-oriented object studies. As temperatures drop this winter in Philadelphia, escape to the tropics through \"Windows on Latimer\" at The Print Center!\u00a0<\/span><\/p>\n

For this installation, Alvarez takes us to El Yunque National Forest in his native Puerto Rico, the only tropical rainforest in the United States. Covering 28,000 acres, it is home to over 200 species of flora and fauna \u2013 some not found anywhere else in the world. These include the Coqui, a very small, loud frog that is very common in Puerto Rico, yet still in danger of extinction.<\/span><\/p>\n

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Installation view, El Yunque<\/em>, 2020. Photo: Jaime Alvarez<\/figcaption><\/figure>\n<\/div>
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El Yunque<\/i>, 2020, Pigment print. Courtesy of the Artist<\/span><\/figcaption><\/figure>\n

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Jaime Alvarez<\/strong> has a BFA in Photography from the Rhode Island School of Design, Providence and an MFA from the Cranbrook Academy of Art, Bloomfield Hills, MI. He has exhibited nationally and internationally, and is in the permanent collection of Comcast and the Mexic-Arte Museum, Austin, TX.<\/span><\/p>\n

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Krista Svalbonas<\/span><\/a><\/h5>\n

November 2020<\/span><\/h2>\n
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Krista Svalbonas\u2019<\/strong> site-responsive installation What Remains<\/em> compiles nine black-and-white photographs of Soviet-era apartment buildings in Latvia and Lithuania, embellished with laser-cut patterns culled from traditional Baltic folk art. As a whole, the installation meditates on the concept of home and what it means to be \u201cat home\u201d at this time. \u201cIdeas of home and dislocation have always been compelling to me as the child of immigrant parents who arrived in the United States as refugees,\u201d says Svalbonas. \u201cThis history has made me acutely aware of the impact of politics on architecture, and in turn on people\u2019s daily lived experience.\u201d Since the start of the COVID-19 pandemic, our relationship to \u201chome\u201d has changed drastically. Svalbonas\u2019 work reflects how these buildings \u2013 relics of the Soviet past \u2013 can be repurposed today. <\/span><\/p>\n

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What Remains<\/em>, 2020, Nine laser-cut pigment prints, Courtesy of the Artist<\/figcaption><\/figure>\n<\/div>
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Installation view, What Remains<\/em>, 2020<\/figcaption><\/figure>\n

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Krista Svalbonas<\/strong> holds a BFA in Photography from Syracuse University and an MFA from the State University of New York at New Paltz. Her work has been exhibited at Howard Yezerski Gallery, Boston; ISE Cultural Foundation and Klompching Gallery, both New York; and Utah Museum of Contemporary Art, Salt Lake City. Her work is found in the collection of the Cesis History and Art Museum, Latvia. Recent awards include a Baumanis Grant, Rhonda Wilson Award, Puffin Foundation Grant and a Bemis Center for Contemporary Art Fellowship. Svalbonas is an Assistant Professor at St. Joseph\u2019s University, Philadelphia.<\/span><\/p>\n

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Roxana Azar<\/span><\/a><\/h5>\n

October 2020<\/span><\/h2>\n
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Roxana Azar<\/strong>\u2019s photo-based sculptural installation\u00a0Projections<\/em>\u00a0brings a psychedelic kaleidoscope of biomorphic plant life to The Print Center\u2019s window. It is part of a larger series of holographic photo-collages featuring botanical imagery printed on opalescent materials. The installation changes in color based on the time of day and angle of view.<\/span><\/p>\n

To Azar, artwork is \u201ca way to work through anxiety and create joyful moments.\u201d In our current moment, \u201cSurrounding myself with plants has been healing,\u201d Azar says, \u201cI love that people can walk past and experience the work in different ways at different times of days.\u201d Rooted in close observation of flora in the greenhouses and gardens of the Philadelphia region and beyond, it playfully translates organic forms through manipulation and transformation of shape, color and light. \u201cMy work reimagines floral arrangements and projects what they might look like in the future.\u201d<\/span><\/p>\n

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Installation view, Projections<\/em>, 2020<\/figcaption><\/figure>\n<\/div>
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Projections<\/em>, 2020, Installation view
Holographic acrylic, three panels, 18\u201d x 60\u201d each, Unique<\/figcaption><\/figure>\n

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Inspired by science fiction, plant intelligence, anxiety and floral design, Roxana Azar<\/strong> produces multi-media works combining photography, sculpture and collage. Azar holds a BFA from Tyler School of Art and Architecture, Temple University and an MFA from Virginia Commonwealth University, Richmond. In addition to exhibiting nationally and internationally, Azar has been published in Mossless<\/em>,\u00a0Papersafe<\/em>,\u00a0Vice<\/em>\u00a0and\u00a0Yen Magazine<\/em>.<\/span><\/p>\n

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James B. Abbott<\/span><\/a><\/h5>\n

September 2020<\/span><\/h2>\n
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James B. Abbott<\/strong> takes us to the spectacular Cape Cod National Seashore with High Tide, Low Tide, High Tide<\/em>. The three black-and-white triptychs taken on Cape Cod can transport the viewer to any special place of solitude. Abbott says, \u201cIn this new age of uncertainty, I find myself seeking solace in the memory of a place, a personal place, one that I fell in love with, have history with and tried to understand through my photographs.\u201d<\/span><\/p>\n

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High Tide, Low Tide, High Tide<\/em>, 2020. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div>
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Installation view, High Tide, Low Tide, High Tide<\/em>, 2020<\/figcaption><\/figure>\n

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James B. Abbott<\/strong> is a photographer whose subjects range from Venice, Italy to the Ben Franklin Bridge in Philadelphia, from urban cityscapes to the solitude and rich natural beauty of Cape Cod. Abbott received a BFA from the Cranbrook Academy of Art, Bloomfield Hills, MI. His work is included in many public and private collections, including the Allentown Art Museum, PA; Cranbrook Art Museum; and Philadelphia Museum of Art.<\/span><\/p>\n

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Benefit Print<\/strong><\/a><\/span><\/h2>\n

Abbott has generously created a benefit edition of<\/span> High Tide, Low Tide, High Tide<\/em><\/strong><\/a>: inkjet print, 15 \u00bc\u201d x 11\u201d (image), 17 \u00bd\u201d x 13\u201d (sheet), in an edition of 25 for $300. All proceeds will directly benefit The Print Center.<\/span><\/p>\n

\"These crisis times have clarified who and what are important to me. This includes The Print Center - which must continue to educate, nourish and bring us together as a community. Please join me in offering your support!\" \u2013 James B. Abbott<\/span><\/p>\n

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Shawn Theodore<\/span><\/a><\/h5>\n

August 2020<\/span><\/h2>\n

Shawn Theodore<\/strong> brings us face-to-face with essential workers. Known for his dynamic street photography, Theodore began creating tightly cropped portraits of restaurant workers, janitors, delivery people and security guards in 2017. \u201cBlack folks in the service industry see their invisibility firsthand,\u201d says Theodore, \u201cI wanted to take a different approach in sharing a part of my practice that a lot of people are not aware of.\u201d I See You Not Seeing Me<\/em> makes the presence of these individuals palpable both in the image as well as in the reflections cast.<\/span><\/p>\n

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Installation view, I<\/em> See You Not Seeing Me<\/i>, 2020<\/figcaption><\/figure>\n<\/div>
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I See You Not Seeing Me<\/i>, 2020. Courtesy of the Artist<\/figcaption><\/figure>\n<\/div>
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Shawn Theodore<\/strong> is an interdisciplinary artist whose work opens broad conversations regarding the shaping of agency and imagery, new forms of storytelling and the trajectory of the collective Black consciousness. He holds a BA in Journalism, Public Relations and Advertising from Temple University, Philadelphia and is currently enrolled in the MFA program in Photography at Savannah College of Art and Design, Atlanta, Georgia. He has exhibited at Catherine Edelman Gallery, Chicago; Steven Kasher Gallery, New York; African American Museum in Philadelphia; Art Sanctuary, Philadelphia; University of the Arts, Philadelphia; and Virginia Museum of Contemporary Art, Virginia Beach, among others.<\/span><\/p>\n<\/div><\/div><\/div><\/div>

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The Print Center would like to thank the artists for their participation and collaboration with additional thanks to James B. Abbott for his help in conceiving this series and his services as Master Printer. <\/em><\/p>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Ongoing series The site-specific \u201cWindows on Latimer\u201d series utilizes The Print Center\u2019s iconic bay window on the 1600 block of Latimer Street to present the vital work of Philadelphia artists. Taking the history of photography as its conceptual foundation, the … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"class_list":["post-10467","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/10467","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/comments?post=10467"}],"version-history":[{"count":24,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/10467\/revisions"}],"predecessor-version":[{"id":18135,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/10467\/revisions\/18135"}],"wp:attachment":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/media?parent=10467"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}