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Programming in September: Sascha Hughes-Caley: Unfinished Crown

Unfinished Crown Performance-based artist Sascha Hughes-Caley responds to Tamsen Wojtanowski and Elaine Livingston’s collaborative exhibition In The Yard this September Drawing upon her interest in the flattening effect of rehearsed language and television, Hughes-Caley works to differentiate between genuine affinity and nostalgia. In this negotiation between past and present, one character’s remembered story evolves into … Continue reading

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The Print Center Awards Two NAPOLEON Members

The Print Center Awards Two NAPOLEON Members Tamsen Wojtanowksi and Marc Blumthal are both award winners in the Print Center’s 89th Annual International Competition Tamsen Wojtanowksi is listed as a finalist, winning the Trinity Framing Certificate. Marc Blumthal is a semi-finalist and won the Stockbridge Fine Art Print Certificate. Both artists have their work on … Continue reading

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Wait… There Was Even A Question of It??!!

If you are reading this blog post, chances are you love art and culture. If you love art and culture, there is a chance (albeit likely a smaller chance) that you like opera. If you made it this far – and like opera – then you undoubtedly like (love) Verdi. So, could someone who likes … Continue reading

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Invisible City: Shane Darwent’s ‘Southside All Stars’ by Rachel White

Invisible City: Shane Darwent’s Southside All Stars An essay by Rachel White Shane Darwent’s studio is filled with things. Dotting over the floor or ensconced like curios on a shelf, one can find, among many items, a plastic scooter, a doghouse, a braid of artificial hair. These objects once held a meaningful purpose, but the … Continue reading

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Tamsen Wojtanowski and Elaine Livingstone: In the Yard

In the Yard a multi-dimensional exhibition by NAPOLEON member Tamsen Wojtanowski and writer Elaine Livingstone For their collaborative exhibition, In the Yard, Wojtanowski and Livingstone call on the audience to both observe and remember. Interested in the different ways storytelling inserts itself into our daily lives and interacts with the sense of self, personal history, and … Continue reading

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The Archive Is Trending

The Archive Is Trending Join the members of NAPOLEON for a night of programming at PAFA in response to their show-within-a-show in PAFA’s main gallery exhibit Traction Company. What is the role of the archive in the age of social media? How do we record our achievements and experiences, collections and contributions, so that they … Continue reading

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Title Magazine reviews Matthew Colaizzo’s “Locality”

Steve Basel reviews the work of Matthew Colaizzo in “near and far: Locality at Napoleon Gallery” In his review of the June 2015 exhibition, Steve Basel writes: “…we are left to contemplate and readdress is the “ordinary” – one that is as ever-present as the skies, common as the universe, unique as the grain of wood, and as … Continue reading

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Eunjung Park: Arrangements, an Essay by Kayla Romberger

Eunjung Park: Arrangements An Essay by Kayla Romberger There is a passage in Don Quixote in which the two protagonists, Don Quixote and his squire, Sancho Panza, encounter a statue that can speak—an “enchanted” bronze head fashioned after the marble portrait bust of a Roman emperor, whose responses “correspond to the questions put to it.”[i] … Continue reading

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NAPOLEON at the Pennsylvania Academy of Fine Art

NAPOLEON at the Pennsylvania Academy of Fine Art Our buddies at Traction Company invite NAPOLEON to do an exhibition within their exhibition at PAFA We couldn’t be more honored to be included and excited for our dance partners, Traction Company, for this huge accomplishment. From the PAFA website: Traction Company is a 12-person artist collective … Continue reading

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KnightArts Covers “Locality”

Chip Schwartz reviews Locality in “The raw yet refined reflections of Matthew Colaizzo.” In his review of the June 2015 exhibition, Chip Schwartz writes: “Taking cues from zen-inspired landscapes and Japanese printmaking masters like Hokusai, Colaizzo does not seek to dutifully recreate the locations he references, nor does he conceptualize his representations beyond what they are. … Continue reading

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