“The notion of the city as a dynamic, and inherently equitable setting, is central to my work.”
Originally trained as a muralist, Tim Portlock (b. 1969) began experimenting with digital media platforms in the late ’90s. He has since mastered a variety of tools, from gaming software to 3-D animation, and he has used them to make art that investigates the social and economic impact of America’s rapid de-industrialization. “I endeavor to create work that is visually unsettling and that does not fall neatly in one or even two media or visual disciplines,” says Portlock. He creates haunting, post-apocalyptic urban landscapes, often seen from an aerial perspective—depictions of worlds in which industrial culture has come and gone, leaving certain classes and communities blighted in its wake. “In preparation for much of my work, I speak with experts in economics, urban planning, and sociology. My lifelong artistic interest [is] the dialogue between place, cultural vocabularies, and the formation of identity.”
A former member of the artist collective Vox Populi and a professor at Hunter College of the City University of New York, Portlock’s works have been shown around the world, including solo and group exhibitions at the Tate Modern, London; Los Angeles Center for Digital Art; the Ars Electronica Museum, Linz, Austria; and the Museum of Contemporary Art, Chicago, IL. Portlock was in residence at 18th Street Arts Center in Santa Monica, CA in June 2012 with support from the Center. Philadelphia’s Fleisher Art Memorial held a solo exhibition of Portlock’s work in 2012, and in 2013, his work was featured at the Pulse Art Fair in New York, NY.
Artistic director of Miro Dance Theater, Miller has shown her work in venues ranging from England’s Royal Opera House to New York’s Whitney Museum of American Art.
The National Constitution Center is the only nonprofit, nonpartisan institution devoted to the United States Constitution.
Filmmaker and Pew Fellow David Scott Kessler on creating environmentally-conscious art, turning limitations into creative assets, and more.
Performance artist Zachary Fabri will present a performance work consisting of a series of walks and performative actions exploring the process of mourning in response to African American murders.
Ashton Cooper and Sue Pierce discuss the challenges Pati Hill faced as an artist working in an emerging medium.
In this month’s Pew Fellows news highlights, CAConrad wins the Believer Poetry Award, Geoff Sobelle’s play The Object Lesson heads to Australia, and Opera Philadelphia presents Jennifer Higdon’s Cold Mountain.
The Philadelphia Photo Arts Center is a nonprofit organization devoted to the study, practice, and appreciation of photography in the Philadelphia region.
Mark Beasley is a curator and writer from the United Kingdom who is currently the Robert and Arlene Kogod Secretarial Scholar, Curator of Media and Performance Art at the Hirshhorn Museum and Sculpture Garden.
The Rosenbach of the Free Library of Philadelphia opened to the public in 1954 and is located in the former home of brothers Philip and Dr. A.S.W. Rosenbach, international dealers in rare books, manuscripts, and fine and decorative arts.
Philadelphia artists Zoe Strauss, Kara Crombie, Alexander Rosenberg, and WE THE WEEDS propose speculative monuments for the city as part of Monument Lab, hosted by The Pennsylvania Academy of the Fine Arts.
Filmmaker Bill Morrison and composer Vijay Iyer created a site-specific installation in Eastern State Penitentiary, a once abandoned 19th-century prison.
Bruce Graham is a playwright and a 1993 Pew Fellow.