“I wait patiently for the moments in the studio when I feel transported to an otherworldly landscape.”
“The major concern of my work is to paint the invisible,” says Joy Feasley (b. 1966). “This idea is most easily illustrated by holding a prism to sunlight, as it reveals a spectrum of colors, always there but not always visible.” A mid-career artist who arrived in Philadelphia from New England in the late 1980s, Feasley considers herself a landscape painter, though her landscapes forego trees, sunsets, and waves, and instead seek to describe a mood. Her work tends to be small-scale and intimate, depictions of supernatural scenes painted in rich, saturated colors that are a hybrid of abstract and figurative art. Feasley, a two-time recipient of Leeway Foundation Window of Opportunity grants, also works in sculpture, printmaking, and installation. She studied at Massachusetts College of Art, Cooper Union, and the School of the Museum of Fine Arts in Boston. Her work has been shown widely in Philadelphia, including solo exhibitions at Locks Gallery, Fleisher Art Memorial, and Vox Populi. She has also shown in group exhibitions in Raleigh, NC; Tokyo, Japan; Waltham, MA; and Brooklyn, NY. During a Center-supported residency at Santa Monica’s 18th Street Arts Center in May 2013, Feasley worked on paintings and installations for a two-person show (with 2013 Pew Fellow Paul Swenbeck), at Adams and Ollman Gallery in Portland, OR, which opened in June 2013.
The Pennsylvania Horticultural Society is a nonprofit organization, founded in 1827, dedicated to creating beauty and building community through gardening, greening, and learning.
In 2017, the Center celebrates the 25th anniversary of the Pew Fellowships in the Arts, with a lively website and short film highlighting a quarter-century of steadfast belief in the value and impact of artists.
Cheryl Hess is a media artist and a 2005 Pew Fellow.
Scott Magelssen is associate professor of theater at Bowling Green State University, where he teaches theater history and performance studies, and is the editor of The Journal of Dramatic Theory and Criticism.
Roddy Bogawa’s work is known for its investigation of history and culture via lyrical lo-fi means and innovative narrative structures.
April welcomes a number of Center-funded performances to the region.
Joseph C. Thompson has spearheaded the creation of MASS MoCA from its beginnings in 1987 to its realization in 1999.
Alan W. Moore is an art historian and activist whose work addresses cultural economies and groups and the politics of collectivity.
Rose Sherman joined the Minnesota Historical Society in 1999 as director of enterprise technology.
Originally created with Center support for the 2012 FringeArts Festival, Georgia Tech Arts now presents Thaddeus Phillips’ Red-Eye to Havre de Grace at the Ferst Center for the Arts.
The first comprehensive museum exhibition of James Castle’s work consisted of over 300 drawings, text works, and handmade books.
Frances Negrón-Muntaner is a filmmaker and a 1994 Pew Fellow.