Grizzly Grizzly’s May/June exhibit, Illuminations, features “Tsaibernetic” sculptures by artist London Tsai and two-dimensional works by his late father, cybernetic sculptor Wen-Ying Tsai. In Illuminations, London explores how an art process is passed down through generations. He embodies not only the physical process of making that captivated his father but a manifestation of his father’s aura, as London establishes his own voice in cybernetic sculptures. In his essay, From Two to Three, David B. Auerbach details the greater meaning of cybernetic sculpture and the inexorably intertwined relationship between artwork, viewer, and artist.
2020 programming is supported by Added Velocity which is administered by Temple Contemporary at Tyler School of Art and Architecture, Temple University, and funded by the William Penn Foundation.
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Jennie Thwing’s solo exhibit at Grizzly Grizzly was one of only a handfull of shows we presented in a year cut short by the COVID-19 pandemic. Thwing’s personal perspective on the Trump era, Black Lives Matter, the pandemic, and the twenty-four-hour news stream become a rhythmic mantra in her video installation and a response to the extraordinary turmoil of this pivotal year. Roksana Filipowska’s essay extends “a small gesture of appreciation, in hindsight, for artists like Thwing, who gave form to the nebulous and for the exhibitions still waiting for their audiences.”
2020/21 Grizzly Grizzly programming and residencies are supported by Added Velocity which is administered by Temple Contemporary at Tyler School of Art and Architecture, Temple University and funded by the William Penn Foundation.
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Back in March, at the onset of the COVID-19 pandemic, Grizzly Grizzly premiered Rome, 1947, a much anticipated solo exhibition by Leah Modigliani. Her new work was made in response to our contemporary political climate to be exhibited in the midst of the democratic primaries in this important election year. In this coinciding essay, Ksenia Nouril, The Print Center’s Jensen Bryan Curator, examines the underpinnings, histories, and connections at play in Modigliani’s work, while also adeptly adjusting her lens to adapt to the unforeseen changes that have upended our lives in ways that would have been unknowable just a few short months ago.
2020 programming is supported by Added Velocity which is administered by Temple Contemporary at Tyler School of Art and Architecture, Temple University and funded by the William Penn Foundation.
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Imin Yeh’s February exhibit, The Drawer of Extra Sauce, is site-specific installation that consists of hundreds of handmade sculptures built out of paper, often hiding within plain site, laboriously replicated from collections of found objects, everyday detritus, and infrastructure embellishments. Mary Salvante’s essay gives a written tour of Yeh’s world of meticulously crafted paper sculptures. Salvante illuminates the profound ironies, complexities of value and craft, and the deeply personal connections between the artist and the objects she renders.
2020 programming is supported by Added Velocity which is administered by Temple Contemporary at Tyler School of Art and Architecture, Temple University and funded by the William Penn Foundation.
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Jessica Jane Julius’ installation, Between Now and Now, is created primarily from millions of tiny glass reflector spheres, traditionally manufactured for use in highway markings. These spheres shine brightly when exposed to light in an otherwise dark environment, creating a luminous effect. Julius’ installation visualizes the notion of complex systems and networks that exist in the world around us. Mary Smull’s essay playfully illuminates the artist’s themes through the context of the chandelier. Her essay builds a relational connection through chance encounters with various manifestations of the crystalline lighting fixture, drawing connections through the fleeting rainbow refraction of a single prismatic crystal to the pomp and circumstance of the Philadelphia Mormon Temple’s opulent crystal chandelier.
2020 programming is supported by Added Velocity which is administered by Temple Contemporary at Tyler School of Art and Architecture, Temple University and funded by the William Penn Foundation.
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Grizzly Grizzly is proud to celebrate our 10th anniversary with a two-month show featuring the works of former Grizzly Grizzly members: Ruth Scott Blackson, Michael Ellyson, Michael Konrad, Jacque Liu, Cindy Stockton Moore, Joshua Weiss + Jacob Lunderby, and Bruce Wilhelm. Cindy Stockton Moore’s essay overviews the exhibit, In Retrospect, applying her institutional memory to celebrate and contextualize the artist members whose work and curation have shaped the identity of Grizzly Grizzly over the past 10 years.
Through a generous grant from the Velocity Fund, we hired writers to create critical and creative essays for each of the ten shows produced since September 2018. On Friday, September 6, 2019, we launched a print publication which features these essays, along with photographic documentation of the shows, and an introductory essay by Roberta Fallon. This project was supported in part by The Velocity Fund administered by Temple Contemporary with generous funding from The Andy Warhol Foundation for the Visual Arts.
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Brookes Britcher interviews Jackie Brown for her October exhibit at Grizzly Grizzly, Kinetic Matter. This site-specific installation explores biological flux, living systems, and human manipulations of nature. Brown’s current installations are fueled by advances in bioengineering, and experiments that involve combining or altering basic components of natural forms.
2020 programming is supported by Added Velocity which is administered by Temple Contemporary at Tyler School of Art and Architecture, Temple University and funded by the William Penn Foundation.
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Ricky Yanas’ essay, Glitch, Gulf, Glyph, Grid, Graph, Gram: On the Digital Humanism of Lee Arnold's Sidereal Messenger, It is the eighth in a series of essays archiving one year of Grizzly Grizzly exhibitions, in celebration of our 10th year as an artist collective. Throughout the year, we will be collaborating with exhibiting artists and emerging and established writers to produce essays that critically reflect on the exhibitions and expand the ideas explored in our experimental project space. In addition to being posted on this blog, the collected essays will culminate in our first bound publication, to be released in September 2019. Support for this year-long project, that fosters writing in the visual arts, was generously provided by The Velocity Fund administered by Temple Contemporary with generous funding from The Andy Warhol Foundation for the Visual Arts.
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Lance Winn’s essay, Trust the Process, or On the Self, Conscious, overviews A Different Kind of Time a two-person exhibit with Jackie Milad and Charles Goldman. It is the seventh in a series of essays archiving one year of Grizzly Grizzly exhibitions, in celebration of our 10th year as an artist collective. Throughout the year, we will be collaborating with exhibiting artists and emerging and established writers to produce essays that critically reflect on the exhibitions and expand the ideas explored in our experimental project space. In addition to being posted on this blog, the collected essays will culminate in our first bound publication, to be released in September 2019. Support for this year-long project, that fosters writing in the visual arts, was generously provided by The Velocity Fund administered by Temple Contemporary with generous funding from The Andy Warhol Foundation for the Visual Arts.
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Deborah Barkun’s essay, A Guided Walk Through the Contemporary Sublime: Shannon Lean Collis’ Kiewa, is the fifth in a series of essays archiving one year of Grizzly Grizzly exhibitions, in celebration of our 10th year as an artist collective. Throughout the year, we will be collaborating with exhibiting artists and emerging and established writers to produce essays that critically reflect on the exhibitions and expand the ideas explored in our experimental project space. In addition to being posted on this blog, the collected essays will culminate in our first bound publication, to be released in September 2019. Support for this year-long project, that fosters writing in the visual arts, was generously provided by The Velocity Fund administered by Temple Contemporary with generous funding from The Andy Warhol Foundation for the Visual Arts. Kiewa was made possible by the Bogong Centre for Sound Culture's residency program and the Canada Council for the Arts. Nous remercions le Conseil des arts du Canada de son soutien.
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John Muse’s essay, Fully Animated, on Nomi Talisman’s and Dee Hibbert-Jones’ exhibition at Grizzly Grizzly, Then That Night…, is the sixth in a series of essays archiving one year of Grizzly Grizzly exhibitions, in celebration of our 10th year as an artist collective. Throughout the year, we will be collaborating with exhibiting artists and emerging and established writers to produce essays that critically reflect on the exhibitions and expand the ideas explored in our experimental project space. In addition to being posted on this blog, the collected essays will culminate in our first bound publication, to be released in September 2019. Support for this year-long project, that fosters writing in the visual arts, was generously provided by The Velocity Fund administered by Temple Contemporary with generous funding from The Andy Warhol Foundation for the Visual Arts.
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This essay by Laurel McLaughlin is the fourth in a series of essays archiving one year of Grizzly Grizzly exhibitions, in celebration of our 10th year as an artist collective. Throughout the year, we will be collaborating with exhibiting artists and emerging and established writers to produce essays that critically reflect on the exhibitions and expand the ideas explored in our experimental project space. In addition to being posted on this blog, the collected essays will culminate in our first bound publication, to be released in September 2019. Support for this year-long project, that fosters writing in the visual arts, was generously provided by The Velocity Fund administered by Temple Contemporary with generous funding from The Andy Warhol Foundation for the Visual Arts.
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