LIMR Art Gallery Spring 2010 Exhibition

March 14th, 2010

Watercolors, pen and ink work, and an oil painting by Ted Mosher will be shown at Lankenau Institute for Medical Research in March and April, 2010.

Location:   100 E. Lancaster Avenue
                       Wynnewood, PA
                       Lower Level

Opening Reception: Tuesday, March 23, 5:00 to 7:30 P.M.

Gallery hours: Tuesday – Friday, 9:00 A.M. to 4:00 P.M.

Also exhibiting: Blythe Hoyle and Doree Loschiavo.

Current Studio Views – November, 2009

November 11th, 2009

studio view

studio view two

 studio view one

Watercolors to appear in “The Best and the Brightest”

September 12th, 2009

IMG_0144edit

Several watercolors, including this one, were used on the set of The Best and The Brightest when the movie was shot in Philadelphia this summer. The movie will star Neil Patrick Harris and  Amy Sedaris, and should be out next year. The scenes with the watercolors were shot at the Philadelphia Waterworks.

Noted In Passing
  • Of Colored Glass
    March 14, 2010 | 7:02 am

    I am very moved by one detail
    in the coronation at Vlachernai of John Kantakuzinos
    and Irini, daughter of Andronikos Asan.
    Because they had only a few precious stones
    (our afflicted empire was extremely poor)
    they wore artificial ones: numerous pieces of glass,
    red, green, or blue. I find
    nothing humiliating or undignified
    in those little pieces of colored glass.
    On the contrary, they seem
    a sad protest against
    the unjust misfortune of the couple being crowned,
    symbols of what they deserved to have,
    of what surely it was right that they should have
    at their coronation—a Lord John Kantakuzinos,
    a Lady Irini, daughter of Andronikos Asan.

    C.P. Cavafy

  • Why We Do It
    March 13, 2010 | 10:10 pm

    The accepted standard of expenditure in the community or in the class to which a person belongs largely determines what his standard of living will be. It does this directly by commending itself to his common sense as right and good, through his habitually contemplating it and assimilating the scheme of life in which it belongs; but it does so also indirectly through popular insistence on conformity to the accepted scale of expenditure as a matter of propriety, under pain of disesteem and ostracism. To accept and practice the standard of living which is in vogue is both agreeable and expedient, commonly to the point of being indispensable to personal comfort and to success in life. The standard of living in any class, so far as concerns the element of conspicuous waste, is commonly as high as the earning capacity of the class will permit—with a constant tendency to go even higher. The effect upon the serious activities of men is therefore to direct them with great singleness of purpose to the largest possible acquisition of wealth, and to discountenance work that brings no pecuniary gain. At the same time the effect on consumption is to concentrate it upon the lines which are most evident to the observers whose good opinion is sought; while the inclinations and aptitudes whose exercise does not involve an honorific expenditure of time or substance tends to fall into abeyance through disuse.

    Thorstein Veblen,  The Theory of the Leisure Class, pp. 39-40

  • Just Plain Hedonism
    December 3, 2009 | 8:40 am

    This celebratory aspect of Neo-Baroque is perhaps most clearly reflected in its luxuriant color. Aglow with candy hues, Neo-Baroquists can barely contain their raucous limes, yellows, blues, and pinks. Added to the melee are such audacious materials as Angelo Filomeno’s taxidermied peacocks, vomiting faceted garnets into pools of blood-red glass, and crystal-encrusted, iridescent silk embroideries…..Refined, minimalist taste has been resolutely banished. Late twentieth century’s visually spare, conceptual inquiry led to a ravenous hunger for something to look at and revel in again. Neo-Baroque feeds this sensory void. Tantalizing, it is intended for consumption first by the senses, then by the intellect.

    Joyce Korotkin in tema celeste contemporary art, July/August 2004.

  • RSSArchive for Noted In Passing »