As part of our “Fellows Friday” web feature, we focus on the artistic lives of our Pew Fellows: their aspirations, influences, and creative challenges. This week, we speak to 2011 Pew Fellow Joy Feasley, a self-described “landscape painter” whose work tends to be small-scale and intimate—supernatural scenes painted in rich, saturated colors that result in a hybrid of abstract and figurative art.
What could you imagine doing if you didn’t do what you do?
I sometimes paint the things I think I could be doing. A lighthouse keeper, lookout in a fire tower. I wonder if I would be good at divining. I am good at finding four-leaf clovers.
What images or things keep you company in the space where you work?
Color charts, a planisphere, binoculars, and a photograph of my Rottweiler, Fanny, swimming in Echo Lake, Mount Desert, Maine.
How does residing in this region contribute to your artistic practice?
There is a collaborative spirit in Philadelphia. When someone has an exhibition, we say, “What can we do to help?” Museums such as the Fabric Workshop and Museum, and cooperative galleries like Vox Populi, encourage experimentation and have created a communal laboratory for art.
What is your favorite title of an art work?
“I’ll Be Your Mirror” by the Velvet Underground, and hence the title of Nan Goldin’s book of photographs.
If you could live with only one piece of art, what would it be?
The Garden of Earthly Delights by Hieronymous Bosch. I could look at that painting forever and see something new every day.
The City of Philadelphia’s Office of Arts, Culture and the Creative Economy manages the largest and oldest public art program in the country, while The Mayor’s Fund for Philadelphia seeks to improve quality of life for all Philadelphians by facilitating collaborations between the city’s public, private, and non-profit sectors.
“What is an appropriate monument for the current city of Philadelphia?” Five temporary public artworks, created by artists Ai Weiwei, Zoe Strauss, Kara Crombie, Kaitlin Pomerantz, and Alexander Rosenberg, and on-site “laboratories” for public feedback will consider this question and notions of monumentality within the civic sphere.
Artist Ken Lum discusses the importance of “the local” in the globalized realm of the visual arts.
Poet and 2011 Pew Fellow CAConrad is well known for poetry collections such as A Beautiful Marsupial Afternoon and The Book of Frank. His latest book is ECODEVIANCE: (Soma)tics for the Future Wilderness.
LaVaughn Robinson (1927–2008) was a tap dancer and a 1992 Pew Fellow.
Claire Tancons is a curator, writer and researcher whose work focuses on carnival, public ceremonial culture, and popular movements.
Member-run artist collective Vox Populi will launch a curatorial fellowship program dedicated to performance art, hosting five curatorial fellows in total over a period of two years.
From its beginning in 1815 as the nation’s first major urban water supply system to its role today as an environmental education and outreach center, the Fund for the Water Works has been an innovator in clean water and environmental health.
Melanie Bilenker (Pew Fellow, 2010) translates the historic art of Victorian hair jewelry into work that reflects upon the contemporary era.
Built on a foundation of public dialogue and interaction, the Re-Place-ing Philadelphia project used art as a lens for viewing the city and its history.
Originally trained as a muralist, 2011 Pew Fellow Tim Portlock began experimenting with digital media platforms in the late ’90s.
Named for Doylestown’s most famous son, the Pulitzer Prize-winning writer James A. Michener, this museum was founded in 1988 with a regional focus, housing a collection of Pennsylvania impressionist paintings.