INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3390,2,'2015-04-04 15:16:34','2015-04-04 19:16:34','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\n\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\n\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\n\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\n\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\n\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\n\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\n\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\n\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\n\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\n\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\n\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\n\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\n\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\n\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\n\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted by an uncaring dominant Anglo-centric world.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\n\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\n\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\n\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(2015) (<em>Listen to the City)</em>, and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in urban music from South America to the Caribbean and beyond and his interest in street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in South America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\n\n&nbsp;\n\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org','Filadelfia: New Perspectives','','inherit','closed','closed','','3318-revision-v1','','','2015-04-04 15:16:34','2015-04-04 19:16:34','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\r\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\r\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\r\n\r\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\r\n\r\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\r\n\r\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\r\n\r\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\r\n\r\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\r\n\r\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\r\n\r\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\r\n\r\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\r\n\r\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\r\n\r\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\r\n\r\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\r\n\r\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted by an uncaring dominant Anglo-centric world.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\r\n\r\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\r\n\r\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\r\n\r\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(2015) (<em>Listen to the City)</em>, and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in urban music from South America to the Caribbean and beyond and his interest in street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in South America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\r\n\r\n&nbsp;\r\n\r\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org',3318,'http://tallerpr.org/2015/04/04/3318-revision-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3392,2,'2015-08-19 11:29:00','2015-08-19 15:29:00','Feria del Barrio celebrates community and culture to the beat of live percussions on <strong>Sunday, September 13, 2015</strong>. Join us in Philadelphia’s famed Centro de Oro as thousands gather to enjoy this family-friendly outdoor festival supported by our TV media partner, Comcast and Telemundo.\n\n[caption id=\"attachment_3990\" align=\"alignleft\" width=\"300\"]<img class=\"wp-image-3990 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Foto-Pirulo-Traje-Gris-web-300x300.jpg\" alt=\" foto Pirulo Traje Gris \" width=\"300\" height=\"300\" /> Directly from Puerto Rico, Pirulo y La Tribu[/caption]\n\nWith live music, kids corner, arts &amp; crafts, great foods, prizes, and featuring salsa star, directly from Puerto Rico, Pirulo y La Tribu. With additional participation by La Banda Loca, Chiko Swagg and Mambodelphia.\n\n<em>Música en vivo, actividades para los niños, kioskos de comida, información y la participación, directamente de Puerto Rico, Pirulo y La Tribu además de la participación de La Banda Loca, Chiko Swagg y Mambodelphia.</em>\n\nNow in its 31<sup>st</sup> year, Taller Puertorriqueño in partnership with Congreso, GALAEI, HACE and Raíces Culturales proudly presents Feria del Barrio. It is the largest event presented by a coalition of organizations dedicated to the promotion of arts, culture, education, health and community economic development.  Together, we serve tens of thousands each year.','The 2015 Annual Feria del Barrio','','inherit','closed','closed','','3391-autosave-v1','','','2015-08-19 11:29:00','2015-08-19 15:29:00','',3391,'http://tallerpr.org/2015/04/05/3391-autosave-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3400,2,'2015-04-06 15:56:06','2015-04-06 19:56:06','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\n\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\n\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\n\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\n\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\n\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\n\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\n\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\n\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\n\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\n\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\n\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\n\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\n\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\n\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\n\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\n\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\n\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\n\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(2015) (<em>Listen to the City)</em>, and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in urban music from South America to the Caribbean and beyond and his interest in street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in South America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\n\n&nbsp;\n\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org','Filadelfia: New Perspectives','','inherit','closed','closed','','3318-revision-v1','','','2015-04-06 15:56:06','2015-04-06 19:56:06','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\r\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\r\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\r\n\r\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\r\n\r\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\r\n\r\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\r\n\r\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\r\n\r\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\r\n\r\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\r\n\r\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\r\n\r\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\r\n\r\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\r\n\r\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\r\n\r\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\r\n\r\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\r\n\r\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\r\n\r\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\r\n\r\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(2015) (<em>Listen to the City)</em>, and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in urban music from South America to the Caribbean and beyond and his interest in street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in South America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\r\n\r\n&nbsp;\r\n\r\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org',3318,'http://tallerpr.org/2015/04/06/3318-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3401,2,'2015-04-07 12:35:53','2015-04-07 16:35:53','<a href=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\"><img class=\"aligncenter size-full wp-image-2786\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\" alt=\"Art Pages HEADER\" width=\"800\" height=\"300\" /></a>\n\n<h2 style=\"text-align: center;\"><strong>Requesting submissions of art from all artists and artists at heart for a very special exhibition</strong></h2>\n\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for a very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, Taller will host an exhibition entitled <em>Art Pages, All Art is Welcomed</em>. The exhibition will feature artwork created and submitted by its talented community. The only guidelines for the show are that the artwork is the artist’s own and can fit in an 11 inches square box.  The art will be listed anonymously and will sell for $15 each. Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nThe requirements are:\n\n<ul>\n    <li>Submit only one work</li>\n    <li>The work is no larger than 11” square  (If the work measures 8.5 in x 11in, Taller can provide a frame.)</li>\n    <li>The work is your own</li>\n    <li>The work is ready to hang on the wall</li>\n    <li>Works in all mediums are accepted, e.g. photography, paintings, and drawings etc.</li>\n</ul>\n\nThe artwork must be brought to Taller any time, Monday to Saturday, from 10 am – to 4:30 pm between the dates of April 6 to 15 for hanging. No late work will be accepted.\n\n*The exhibition is open to all artists.  Space is limited. Taller retains the right to refuse work it deems inappropriate.  The work will be on display from April 17 to May 9 2015.\n\nFor more information and for details contact Rafael Damast at 215-426-3311 or by email at rdamast@tallerpr.org\n\nDownload the PDF <a title=\"PDF Version\" href=\"http://tallerpr.org/wp-content/uploads/2015/02/Art-Pages-Request-for-work-2015.pdf\" target=\"_blank\">here</a>.','Open Call for Art Pages','','inherit','closed','closed','','2764-revision-v1','','','2015-04-07 12:35:53','2015-04-07 16:35:53','<a href=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\"><img class=\"aligncenter size-full wp-image-2786\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\" alt=\"Art Pages HEADER\" width=\"800\" height=\"300\" /></a>\r\n<h2 style=\"text-align: center;\"><strong>Requesting submissions of art from all artists and artists at heart for a very special exhibition</strong></h2>\r\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for a very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, Taller will host an exhibition entitled <em>Art Pages, All Art is Welcomed</em>. The exhibition will feature artwork created and submitted by its talented community. The only guidelines for the show are that the artwork is the artist’s own and can fit in an 11 inches square box.  The art will be listed anonymously and will sell for $15 each. Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nThe requirements are:\r\n<ul>\r\n	<li>Submit only one work</li>\r\n	<li>The work is no larger than 11” square  (If the work measures 8.5 in x 11in, Taller can provide a frame.)</li>\r\n	<li>The work is your own</li>\r\n	<li>The work is ready to hang on the wall</li>\r\n	<li>Works in all mediums are accepted, e.g. photography, paintings, and drawings etc.</li>\r\n</ul>\r\nThe artwork must be brought to Taller any time, Monday to Saturday, from 10 am – to 4:30 pm between the dates of April 6 to 15 for hanging. No late work will be accepted.\r\n\r\n*The exhibition is open to all artists.  Space is limited. Taller retains the right to refuse work it deems inappropriate.  The work will be on display from April 17 to May 9 2015.\r\n\r\nFor more information and for details contact Rafael Damast at 215-426-3311 or by email at rdamast@tallerpr.org\r\n\r\nDownload the PDF <a title=\"PDF Version\" href=\"http://tallerpr.org/wp-content/uploads/2015/02/Art-Pages-Request-for-work-2015.pdf\" target=\"_blank\">here</a>.',2764,'http://tallerpr.org/2015/04/07/2764-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3402,2,'2015-04-07 13:07:35','2015-04-07 17:07:35','<a href=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\"><img class=\"aligncenter size-full wp-image-2786\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\" alt=\"Art Pages HEADER\" width=\"800\" height=\"300\" /></a>\n\n<h2 style=\"text-align: center;\"><strong>Requesting submissions of art from all artists and artists at heart for a very special exhibition</strong></h2>\n\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for a very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, Taller will host an exhibition entitled <em>Art Pages, All Art is Welcomed</em>. The exhibition will feature artwork created and submitted by its talented community. The only guidelines for the show are that the artwork is the artist’s own and can fit in an 11 inches square box painted on the wall.  The art will be listed anonymously and will sell for $15 each. Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nThe requirements are:\n\n<ul>\n    <li>Submit only one work</li>\n    <li>The work is no larger than 11” square  (If the work measures 8.5 in x 11in, Taller can provide a frame.)</li>\n    <li>The work is your own</li>\n    <li>The work is ready to hang on the wall</li>\n    <li>Works in all mediums are accepted, e.g. photography, paintings, and drawings etc.</li>\n</ul>\n\nThe artwork must be brought to Taller any time, Monday to Saturday, from 10 am – to 4:30 pm between the dates of April 6 to 15 for hanging. No late work will be accepted.\n\n*The exhibition is open to all artists.  Space is limited. Taller retains the right to refuse work it deems inappropriate.  The work will be on display from April 17 to May 9 2015.\n\nFor more information and for details contact Rafael Damast at 215-426-3311 or by email at rdamast@tallerpr.org\n\nDownload the PDF <a title=\"PDF Version\" href=\"http://tallerpr.org/wp-content/uploads/2015/02/Art-Pages-Request-for-work-2015.pdf\" target=\"_blank\">here</a>.','Open Call for Art Pages','','inherit','closed','closed','','2764-revision-v1','','','2015-04-07 13:07:35','2015-04-07 17:07:35','<a href=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\"><img class=\"aligncenter size-full wp-image-2786\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Art-Pages-HEADER.png\" alt=\"Art Pages HEADER\" width=\"800\" height=\"300\" /></a>\r\n<h2 style=\"text-align: center;\"><strong>Requesting submissions of art from all artists and artists at heart for a very special exhibition</strong></h2>\r\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for a very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, Taller will host an exhibition entitled <em>Art Pages, All Art is Welcomed</em>. The exhibition will feature artwork created and submitted by its talented community. The only guidelines for the show are that the artwork is the artist’s own and can fit in an 11 inches square box painted on the wall.  The art will be listed anonymously and will sell for $15 each. Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nThe requirements are:\r\n<ul>\r\n	<li>Submit only one work</li>\r\n	<li>The work is no larger than 11” square  (If the work measures 8.5 in x 11in, Taller can provide a frame.)</li>\r\n	<li>The work is your own</li>\r\n	<li>The work is ready to hang on the wall</li>\r\n	<li>Works in all mediums are accepted, e.g. photography, paintings, and drawings etc.</li>\r\n</ul>\r\nThe artwork must be brought to Taller any time, Monday to Saturday, from 10 am – to 4:30 pm between the dates of April 6 to 15 for hanging. No late work will be accepted.\r\n\r\n*The exhibition is open to all artists.  Space is limited. Taller retains the right to refuse work it deems inappropriate.  The work will be on display from April 17 to May 9 2015.\r\n\r\nFor more information and for details contact Rafael Damast at 215-426-3311 or by email at rdamast@tallerpr.org\r\n\r\nDownload the PDF <a title=\"PDF Version\" href=\"http://tallerpr.org/wp-content/uploads/2015/02/Art-Pages-Request-for-work-2015.pdf\" target=\"_blank\">here</a>.',2764,'http://tallerpr.org/2015/04/07/2764-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3407,641,'2015-04-09 13:27:18','2015-04-09 17:27:18','<a href=\"http://tallerpr.org/wp-content/uploads/2015/04/wing-earrings.jpg\"><img class=\"  wp-image-3424 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/wing-earrings-225x300.jpg\" alt=\"wing earrings\" width=\"228\" height=\"304\" /></a>\r\n\r\nJoin Taller Puertorriqueño with jewelry-maker Aida Devine as she guides you step-by-step through an easy-to-follow introduction to creating a beautiful set of earrings using precious gemstones and ceramic beads.\r\n\r\nLeave with finished jewelry and perhaps the perfect present for Mother\'s Day.\r\n\r\nNo experience necessary, and all materials are provided.\r\n\r\nParty is for ages <b>21+ </b>\r\n\r\nHors d\'oeuvres and refreshments will be served.\r\n\r\n<b>Space is limited, so purchase your tickets below.</b>','Jewelry-Making Party','','publish','closed','closed','','jewelry-making-party','','','2015-04-20 13:08:59','2015-04-20 17:08:59','',0,'http://tallerpr.org/?post_type=tribe_events&#038;p=3407',0,'tribe_events','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3411,641,'2015-04-07 16:41:11','2015-04-07 20:41:11','Jewelry Party at the Taller Puertorriqueño Julia de Burgos Gift Shop','Jewelry Party','','publish','closed','closed','','jewelry-party','','','2015-04-20 13:07:08','2015-04-20 17:07:08','',0,'http://tallerpr.org/downloads/jewelry-party/',0,'download','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3412,641,'2015-04-07 16:47:30','2015-04-07 20:47:30','','tickets button for jewelry workshop web','','inherit','closed','closed','','tickets-button-for-jewelry-workshop-web','','','2015-04-07 16:47:30','2015-04-07 20:47:30','',3407,'http://tallerpr.org/wp-content/uploads/2015/04/tickets-button-for-jewelry-workshop-web.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3413,641,'2015-04-07 16:48:49','2015-04-07 20:48:49','Jewelry Party at the Taller Puertorriqueño Julio de Burgos Gift Shop. ','Jewelry Party','','inherit','closed','closed','','3411-revision-v1','','','2015-04-07 16:48:49','2015-04-07 20:48:49','',3411,'http://tallerpr.org/2015/04/07/3411-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3420,641,'2015-04-07 17:08:46','2015-04-07 21:08:46','','image for gemstones and beads jewelry party red banner web','','inherit','closed','closed','','image-for-gemstones-and-beads-jewelry-party-red-banner-web','','','2015-04-07 17:08:46','2015-04-07 21:08:46','',3407,'http://tallerpr.org/wp-content/uploads/2015/04/image-for-gemstones-and-beads-jewelry-party-red-banner-web.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3424,641,'2015-04-09 13:17:58','2015-04-09 17:17:58','','wing earrings','','inherit','closed','closed','','wing-earrings','','','2015-04-09 13:17:58','2015-04-09 17:17:58','',3407,'http://tallerpr.org/wp-content/uploads/2015/04/wing-earrings.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3425,641,'2015-04-09 13:19:30','2015-04-09 17:19:30','','Daniel de Jesús','','publish','closed','closed','','daniel-de-jesus','','','2015-04-09 13:19:30','2015-04-09 17:19:30','',0,'http://tallerpr.org/?post_type=edd_payment&#038;p=3425',0,'edd_payment','',1);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3427,641,'2015-04-09 13:19:30','2015-04-09 17:19:30','','3425 | tet | 1','','publish','closed','closed','','3425-tet-1','','','2015-04-09 13:19:30','2015-04-09 17:19:30','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3427',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3428,2,'2015-04-09 14:42:14','2015-04-09 18:42:14','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\n\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\n\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\n\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\n\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\n\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\n\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\n\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\n\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\n\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\n\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\n\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\n\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\n\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\n\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\n\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\n\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\n\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\n\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city. He feels that working in this manner bring him in direct contact with people and the artifacts the they leave behind: Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in South America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\n\n&nbsp;\n\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org','Filadelfia: New Perspectives','','inherit','closed','closed','','3318-revision-v1','','','2015-04-09 14:42:14','2015-04-09 18:42:14','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\r\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\r\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\r\n\r\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\r\n\r\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\r\n\r\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\r\n\r\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\r\n\r\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\r\n\r\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\r\n\r\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\r\n\r\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\r\n\r\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\r\n\r\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\r\n\r\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\r\n\r\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\r\n\r\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\r\n\r\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\r\n\r\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city. He feels that working in this manner bring him in direct contact with people and the artifacts the they leave behind: Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in South America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\r\n\r\n&nbsp;\r\n\r\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org',3318,'http://tallerpr.org/2015/04/09/3318-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3429,2,'2015-04-09 15:02:14','2015-04-09 19:02:14','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\n\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\n\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\n\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\n\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\n\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\n\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\n\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\n\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\n\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\n\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\n\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\n\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\n\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\n\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\n\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\n\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\n\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\n\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city.  Working in this manner he says, brings him into direct contact with the artifacts people leave behind: from the yard sale signs to the lost cat signs, to commissioned street signs and graffiti. In these images he sees a rhythm in urban society taking shape which he reflects in his drawings and events.  As the part of the events he creates elaborate dj booths out of the hand drawn posters, postcards and ephemera he finds and which represents in his in installation at Taller.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in Latin America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\n\n&nbsp;\n\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org','Filadelfia: New Perspectives','','inherit','closed','closed','','3318-revision-v1','','','2015-04-09 15:02:14','2015-04-09 19:02:14','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\r\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\r\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\r\n\r\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>\'</strong>, a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\r\n\r\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\r\n\r\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\r\n\r\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\r\n\r\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\r\n\r\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\r\n\r\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\r\n\r\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\r\n\r\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\r\n\r\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\r\n\r\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\r\n\r\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\r\n\r\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\r\n\r\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\r\n\r\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city.  Working in this manner he says, brings him into direct contact with the artifacts people leave behind: from the yard sale signs to the lost cat signs, to commissioned street signs and graffiti. In these images he sees a rhythm in urban society taking shape which he reflects in his drawings and events.  As the part of the events he creates elaborate dj booths out of the hand drawn posters, postcards and ephemera he finds and which represents in his in installation at Taller.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in Latin America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\r\n\r\n&nbsp;\r\n\r\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org',3318,'http://tallerpr.org/2015/04/09/3318-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3430,2,'2015-04-10 10:55:56','2015-04-10 14:55:56','<div class=\"page\" title=\"Page 2\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n\n<img class=\"aligncenter size-full wp-image-3431\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Three-Sides-to-Every-Story_NMAJH-Postcard.png\" alt=\"Three-Sides-to-Every\" width=\"612\" height=\"396\" />\n\nSunday, April 19 at 4 pm\n\n$15/$12 Members\n\nIn commemoration of Yom HaShoah (Holocaust Remembrance Day), we welcome back the award-winning Guy Mendilow Ensemble in a debut performance with the Philadelphia Girls Choir. Join the artists for “a musical trek from bustling Mediterranean ports and resplendent Balkan capitals to communities shattered in the Second World War and all but forgotten.” Compositions will be performed in English and Ladino, the centuries-old Judeo-Spanish language.\n\nCoffee and dessert to follow.\n<div class=\"page\" title=\"Page 2\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n\nReserve your space today! Details and tickets at <a title=\"National Museum of American Jewish History\" href=\"http://www.nmajh.org/CalendarEvent.aspx?eventid=301\" target=\"_blank\">NMAJH.org</a>  215.923.3811 | Corner of 5th and Market Streets, Philadelphia\n\n$15/$12 Members\n<a href=\"http://tickets.nmajh.org/WebStore/shop/ViewItems.aspx?CG=TKT&amp;C=MBRTKT\" target=\"_blank\">Purchase Member tickets</a>\n<a href=\"https://tickets.nmajh.org/webstore/shop/ViewItems.aspx?CG=TKT&amp;C=PPE\" target=\"_blank\">Purchase Non-member tickets</a>\n\n*Photo: Guy Mendilow Ensemble by Gretjen Helene\n\n<i>Presented in partnership with the Consulate General of Israel to the Mid-Atlantic Region, Raíces Culturales Latinoamericanas, and Taller Puertorriqueño</i>\n\n</div>\n</div>\n</div>\n</div>\n</div>\n</div>\n\n<span style=\"font-family: ff-tisa-sans-web-pro, sans-serif; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; color: #000000; line-height: 20px;\"> </span>','THREE SIDES to EVERY STORY','','publish','closed','closed','','three-sides-to-every-story','','','2015-04-10 10:57:37','2015-04-10 14:57:37','<div class=\"page\" title=\"Page 2\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n\r\n<img class=\"aligncenter size-full wp-image-3431\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Three-Sides-to-Every-Story_NMAJH-Postcard.png\" alt=\"Three-Sides-to-Every\" width=\"612\" height=\"396\" />\r\n\r\nSunday, April 19 at 4 pm\r\n\r\n$15/$12 Members\r\n\r\nIn commemoration of Yom HaShoah (Holocaust Remembrance Day), we welcome back the award-winning Guy Mendilow Ensemble in a debut performance with the Philadelphia Girls Choir. Join the artists for “a musical trek from bustling Mediterranean ports and resplendent Balkan capitals to communities shattered in the Second World War and all but forgotten.” Compositions will be performed in English and Ladino, the centuries-old Judeo-Spanish language.\r\n\r\nCoffee and dessert to follow.\r\n<div class=\"page\" title=\"Page 2\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n\r\nReserve your space today! Details and tickets at <a title=\"National Museum of American Jewish History\" href=\"http://www.nmajh.org/CalendarEvent.aspx?eventid=301\" target=\"_blank\">NMAJH.org</a>  215.923.3811 | Corner of 5th and Market Streets, Philadelphia\r\n\r\n$15/$12 Members\r\n<a href=\"http://tickets.nmajh.org/WebStore/shop/ViewItems.aspx?CG=TKT&amp;C=MBRTKT\" target=\"_blank\">Purchase Member tickets</a>\r\n<a href=\"https://tickets.nmajh.org/webstore/shop/ViewItems.aspx?CG=TKT&amp;C=PPE\" target=\"_blank\">Purchase Non-member tickets</a>\r\n\r\n*Photo: Guy Mendilow Ensemble by Gretjen Helene\r\n\r\n<i>Presented in partnership with the Consulate General of Israel to the Mid-Atlantic Region, Raíces Culturales Latinoamericanas, and Taller Puertorriqueño</i>\r\n\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n<span style=\"font-family: ff-tisa-sans-web-pro, sans-serif; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; color: #000000; line-height: 20px;\"> </span>',0,'http://tallerpr.org/?p=3430',0,'post','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3431,2,'2015-04-10 10:50:52','2015-04-10 14:50:52','','Three Sides to Every Story_NMAJH Postcard','','inherit','closed','closed','','three-sides-to-every-story_nmajh-postcard','','','2015-04-10 10:51:25','2015-04-10 14:51:25','',3430,'http://tallerpr.org/wp-content/uploads/2015/04/Three-Sides-to-Every-Story_NMAJH-Postcard.png',0,'attachment','image/png',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3432,2,'2015-04-10 10:55:56','2015-04-10 14:55:56','<div class=\"page\" title=\"Page 2\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n\nSunday, April 19 at 4 pm\n\n$15/$12 Members\n\nIn commemoration of Yom HaShoah (Holocaust Remembrance Day), we welcome back the award-winning Guy Mendilow Ensemble in a debut performance with the Philadelphia Girls Choir. Join the artists for “a musical trek from bustling Mediterranean ports and resplendent Balkan capitals to communities shattered in the Second World War and all but forgotten.” Compositions will be performed in English and Ladino, the centuries-old Judeo-Spanish language.\n\nCoffee and dessert to follow.\n<div class=\"page\" title=\"Page 2\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n\nReserve your space today! Details and tickets at <a title=\"National Museum of American Jewish History\" href=\"http://www.nmajh.org/CalendarEvent.aspx?eventid=301\" target=\"_blank\">NMAJH.org</a>  215.923.3811 | Corner of 5th and Market Streets, Philadelphia\n\n$15/$12 Members\n<a href=\"http://tickets.nmajh.org/WebStore/shop/ViewItems.aspx?CG=TKT&amp;C=MBRTKT\" target=\"_blank\">Purchase Member tickets</a>\n<a href=\"https://tickets.nmajh.org/webstore/shop/ViewItems.aspx?CG=TKT&amp;C=PPE\" target=\"_blank\">Purchase Non-member tickets</a>\n\n*Photo: Guy Mendilow Ensemble by Gretjen Helene\n\n<i>Presented in partnership with the Consulate General of Israel to the Mid-Atlantic Region, Raíces Culturales Latinoamericanas, and Taller Puertorriqueño</i>\n\n</div>\n</div>\n</div>\n</div>\n</div>\n</div>\n\n<span style=\"font-family: ff-tisa-sans-web-pro, sans-serif; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; color: #000000; line-height: 20px;\"> </span>','THREE SIDES to EVERY STORY','','inherit','closed','closed','','3430-revision-v1','','','2015-04-10 10:55:56','2015-04-10 14:55:56','<div class=\"page\" title=\"Page 2\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n\r\nSunday, April 19 at 4 pm\r\n\r\n$15/$12 Members\r\n\r\nIn commemoration of Yom HaShoah (Holocaust Remembrance Day), we welcome back the award-winning Guy Mendilow Ensemble in a debut performance with the Philadelphia Girls Choir. Join the artists for “a musical trek from bustling Mediterranean ports and resplendent Balkan capitals to communities shattered in the Second World War and all but forgotten.” Compositions will be performed in English and Ladino, the centuries-old Judeo-Spanish language.\r\n\r\nCoffee and dessert to follow.\r\n<div class=\"page\" title=\"Page 2\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n\r\nReserve your space today! Details and tickets at <a title=\"National Museum of American Jewish History\" href=\"http://www.nmajh.org/CalendarEvent.aspx?eventid=301\" target=\"_blank\">NMAJH.org</a>  215.923.3811 | Corner of 5th and Market Streets, Philadelphia\r\n\r\n$15/$12 Members\r\n<a href=\"http://tickets.nmajh.org/WebStore/shop/ViewItems.aspx?CG=TKT&amp;C=MBRTKT\" target=\"_blank\">Purchase Member tickets</a>\r\n<a href=\"https://tickets.nmajh.org/webstore/shop/ViewItems.aspx?CG=TKT&amp;C=PPE\" target=\"_blank\">Purchase Non-member tickets</a>\r\n\r\n*Photo: Guy Mendilow Ensemble by Gretjen Helene\r\n\r\n<i>Presented in partnership with the Consulate General of Israel to the Mid-Atlantic Region, Raíces Culturales Latinoamericanas, and Taller Puertorriqueño</i>\r\n\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n<span style=\"font-family: ff-tisa-sans-web-pro, sans-serif; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; color: #000000; line-height: 20px;\"> </span>',3430,'http://tallerpr.org/2015/04/10/3430-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3433,2,'2015-04-10 10:57:37','2015-04-10 14:57:37','<div class=\"page\" title=\"Page 2\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n\n<img class=\"aligncenter size-full wp-image-3431\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Three-Sides-to-Every-Story_NMAJH-Postcard.png\" alt=\"Three-Sides-to-Every\" width=\"612\" height=\"396\" />\n\nSunday, April 19 at 4 pm\n\n$15/$12 Members\n\nIn commemoration of Yom HaShoah (Holocaust Remembrance Day), we welcome back the award-winning Guy Mendilow Ensemble in a debut performance with the Philadelphia Girls Choir. Join the artists for “a musical trek from bustling Mediterranean ports and resplendent Balkan capitals to communities shattered in the Second World War and all but forgotten.” Compositions will be performed in English and Ladino, the centuries-old Judeo-Spanish language.\n\nCoffee and dessert to follow.\n<div class=\"page\" title=\"Page 2\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n\nReserve your space today! Details and tickets at <a title=\"National Museum of American Jewish History\" href=\"http://www.nmajh.org/CalendarEvent.aspx?eventid=301\" target=\"_blank\">NMAJH.org</a>  215.923.3811 | Corner of 5th and Market Streets, Philadelphia\n\n$15/$12 Members\n<a href=\"http://tickets.nmajh.org/WebStore/shop/ViewItems.aspx?CG=TKT&amp;C=MBRTKT\" target=\"_blank\">Purchase Member tickets</a>\n<a href=\"https://tickets.nmajh.org/webstore/shop/ViewItems.aspx?CG=TKT&amp;C=PPE\" target=\"_blank\">Purchase Non-member tickets</a>\n\n*Photo: Guy Mendilow Ensemble by Gretjen Helene\n\n<i>Presented in partnership with the Consulate General of Israel to the Mid-Atlantic Region, Raíces Culturales Latinoamericanas, and Taller Puertorriqueño</i>\n\n</div>\n</div>\n</div>\n</div>\n</div>\n</div>\n\n<span style=\"font-family: ff-tisa-sans-web-pro, sans-serif; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; color: #000000; line-height: 20px;\"> </span>','THREE SIDES to EVERY STORY','','inherit','closed','closed','','3430-revision-v1','','','2015-04-10 10:57:37','2015-04-10 14:57:37','<div class=\"page\" title=\"Page 2\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n\r\n<img class=\"aligncenter size-full wp-image-3431\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Three-Sides-to-Every-Story_NMAJH-Postcard.png\" alt=\"Three-Sides-to-Every\" width=\"612\" height=\"396\" />\r\n\r\nSunday, April 19 at 4 pm\r\n\r\n$15/$12 Members\r\n\r\nIn commemoration of Yom HaShoah (Holocaust Remembrance Day), we welcome back the award-winning Guy Mendilow Ensemble in a debut performance with the Philadelphia Girls Choir. Join the artists for “a musical trek from bustling Mediterranean ports and resplendent Balkan capitals to communities shattered in the Second World War and all but forgotten.” Compositions will be performed in English and Ladino, the centuries-old Judeo-Spanish language.\r\n\r\nCoffee and dessert to follow.\r\n<div class=\"page\" title=\"Page 2\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n\r\nReserve your space today! Details and tickets at <a title=\"National Museum of American Jewish History\" href=\"http://www.nmajh.org/CalendarEvent.aspx?eventid=301\" target=\"_blank\">NMAJH.org</a>  215.923.3811 | Corner of 5th and Market Streets, Philadelphia\r\n\r\n$15/$12 Members\r\n<a href=\"http://tickets.nmajh.org/WebStore/shop/ViewItems.aspx?CG=TKT&amp;C=MBRTKT\" target=\"_blank\">Purchase Member tickets</a>\r\n<a href=\"https://tickets.nmajh.org/webstore/shop/ViewItems.aspx?CG=TKT&amp;C=PPE\" target=\"_blank\">Purchase Non-member tickets</a>\r\n\r\n*Photo: Guy Mendilow Ensemble by Gretjen Helene\r\n\r\n<i>Presented in partnership with the Consulate General of Israel to the Mid-Atlantic Region, Raíces Culturales Latinoamericanas, and Taller Puertorriqueño</i>\r\n\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n<span style=\"font-family: ff-tisa-sans-web-pro, sans-serif; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 12px; vertical-align: baseline; background-color: transparent; color: #000000; line-height: 20px;\"> </span>',3430,'http://tallerpr.org/2015/04/10/3430-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3434,2,'2015-04-10 14:09:19','2015-04-10 18:09:19','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\n\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\n\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\n\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>,</strong> a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\n\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\n\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\n\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\n\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\n\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\n\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\n\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\n\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\n\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\n\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\n\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\n\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\n\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\n\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\n\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city.  Working in this manner he says, brings him into direct contact with the artifacts people leave behind: from the yard sale signs to the lost cat signs, to commissioned street signs and graffiti. In these images he sees a rhythm in urban society taking shape which he reflects in his drawings and events.  As the part of the events he creates elaborate dj booths out of the hand drawn posters, postcards and ephemera he finds and which represents in his in installation at Taller.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in Latin America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\n\n&nbsp;\n\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org','Filadelfia: New Perspectives','','inherit','closed','closed','','3318-revision-v1','','','2015-04-10 14:09:19','2015-04-10 18:09:19','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\r\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\r\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\r\n\r\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>,</strong> a Puerto Rican born artist who grew up in Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\r\n\r\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\r\n\r\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\r\n\r\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\r\n\r\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\r\n\r\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\r\n\r\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\r\n\r\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\r\n\r\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\r\n\r\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\r\n\r\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\r\n\r\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\r\n\r\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\r\n\r\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\r\n\r\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city.  Working in this manner he says, brings him into direct contact with the artifacts people leave behind: from the yard sale signs to the lost cat signs, to commissioned street signs and graffiti. In these images he sees a rhythm in urban society taking shape which he reflects in his drawings and events.  As the part of the events he creates elaborate dj booths out of the hand drawn posters, postcards and ephemera he finds and which represents in his in installation at Taller.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in Latin America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\r\n\r\n&nbsp;\r\n\r\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org',3318,'http://tallerpr.org/2015/04/10/3318-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3435,2,'2015-04-10 14:10:07','2015-04-10 18:10:07','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\n\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\n\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\n\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>,</strong> a Puerto Rican born artist from Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\n\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\n\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\n\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\n\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\n\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\n\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\n\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\n\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\n\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\n\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\n\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\n\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\n\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\n\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\n\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\n\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\n\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\n\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city.  Working in this manner he says, brings him into direct contact with the artifacts people leave behind: from the yard sale signs to the lost cat signs, to commissioned street signs and graffiti. In these images he sees a rhythm in urban society taking shape which he reflects in his drawings and events.  As the part of the events he creates elaborate dj booths out of the hand drawn posters, postcards and ephemera he finds and which represents in his in installation at Taller.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in Latin America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\n\n&nbsp;\n\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org','Filadelfia: New Perspectives','','inherit','closed','closed','','3318-revision-v1','','','2015-04-10 14:10:07','2015-04-10 18:10:07','<h3 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3281\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Filadelfia-Exhibition-WP-Slider-1024x341.jpg\" alt=\"Filadelfia Exhibition\" width=\"1024\" height=\"341\" /></h3>\r\n<h3 style=\"text-align: center;\">March 6 to April 4, 2015</h3>\r\nNoting that the Spanish name for Philadelphia, <em>Filadelfia</em>, is similar in spelling and sound but implies a foreign perspective, this exhibition highlights the views of a select group of eight Latino artists living in the city. Working in installation, sculpture, video, photography, and quasi-relational aesthetics, these artists check their connections to places and objects, social markers and urban environments, the nature and relationship of power in society, and the role of history and migration in shaping identity. Informed and formed by their distinct histories and experiences, these artists share their vision and offer us <em>New Perspectives</em>.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1124\" href=\"http://www.flickr.com/photos/58941148@N03/16931437356/\"><img style=\"float: left;\" title=\"DSC_1124\" src=\"http://farm8.staticflickr.com/7585/16931437356_bdfe23a6f0_m.jpg\" alt=\"DSC_1124\" width=\"240\" height=\"160\" /></a> Grimaldi Baez, \"Anatomy of a Handsome Sailor\" (2015) Crayon and pencil[/caption]\r\n\r\n<strong><a title=\"Grimaldi Baez\'s website\" href=\"http://grimaldibaez.tumblr.com\" target=\"_blank\">Grimaldi Baez</a>,</strong> a Puerto Rican born artist from Massachusetts, crayon and pencil wall drawing <em>Anatomy of a Handsome Sailor </em>(2015) can be viewed as a statement to his virtuosity as a draftsman and to the flirtations of his youth.  Made with spiraling humor and whimsy it echoes with familiar characters the imagination of childhood.  We see in the wall the vestiges of Kilroy, Popeye, Mickey Mouse and the crawling of ants like ripples of memory, and yet through the layered spirals in yellow and blue we also note the adult mind at work linking the seemingly arbitrary lines like a long string of thoughts into fleeting ideas. But to Baez, the work represents a record of the four hours it took for him to put this together, lost in the mechanical process of drawing and in the background sound of jackhammers pounding the street.\r\n\r\nYet, in further analysis Baez acknowledges in his description of the work the greater complexity of his creation,  that there are elements to “love” and to “study” and admire in what may other wise be a “generic man.”  Once the exhibition is over, the work will be painted over and it will become memory with its traces outlined in documentation and anecdotes.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1170\" href=\"http://www.flickr.com/photos/58941148@N03/16337257893/\"><img style=\"float: right;\" title=\"DSC_1170\" src=\"http://farm9.staticflickr.com/8724/16337257893_168dd8d9d8_m.jpg\" alt=\"DSC_1170\" width=\"240\" height=\"160\" /></a> Roxana J. Pérez-Méndez, \"Cortando Cana II\" (2014) Pepper’s Ghost Hologram and mixed media[/caption]\r\n\r\nWith the field song and rhythmic sound of slashing and hacking we come to <strong><a title=\"Roxana J. Pérez-Méndez website\" href=\"http://roxanaperez-mendez.com\" target=\"_blank\">Roxana Perez-Mendez</a>’</strong>s <em>Cortando Caña II (Cutting Cane II) </em>(2014), a single channel video installation with air plants.   The video installation uses an old theater trick called the Pepper’s Ghost Hologram, which uses mirrored two-way glass that when standing directly in front of the work creates a three dimensional effect.  In this work we see multiples of the same woman cutting and slashing stalks of cane that are represented by the air plants. The “women” are toiling in the black field of the screen while a Spanish hymn hauntingly plays in the background, Psalm 29, as if in prayer for deliverance from the back-breaking work and a difficult life.  Standing before this holographic work that almost slips into reality the viewer is forced to bear witness to what must be the daily drudgery of their life.  Yet, in their faces and movements exists an inner strength and resilience.\r\n\r\nPerez-Mendez is an artist whose work focuses on the experiences that shape immigrant identity that she sees specifically through her lens as a Puerto Rican woman.  In her work she puts herself as a protagonist, embodying the pain and challenges of the people she depicts.  The audience is always implicated, forced by the method of her technique to stand just so to appreciate the circumstances of those she is \"embodying\" and maybe just wonder what they can do.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1125\" href=\"http://www.flickr.com/photos/58941148@N03/16769916790/\"><img style=\"float: left;\" title=\"DSC_1125\" src=\"http://farm8.staticflickr.com/7612/16769916790_4e07609b6e_m.jpg\" alt=\"DSC_1125\" width=\"240\" height=\"160\" /></a> Mark C Martinez, \"Hinesville, GA to Philadelphia, PA\" (2015) Mixed media on canvas.[/caption]\r\n\r\n<a title=\"Mark C. Martinez\'s website\" href=\"http://www.mark-martinez.com\" target=\"_blank\"><strong>Mark C. Martinez</strong></a> as both a Korean and Puerto Rican-American artist is also interested in exploring the power of identity in shaping perceptions.   His work, though, is both abstract and concrete, referring to objects and images that permeate his life and memory.  In his three-dimensional work for the show, <em>Hinesville, GA to Philadelphia, PA </em>(2015), he brings elegantly these references to bear.  In the form of a three-panel screen he evokes the memory of the divider that was in his home in Georgia. In the neon junk car signs papering the face of the divider he took from his current neighborhood, he references Latino North Philadelphia.  But these signs, like the divider itself, have been internalized and transmuted by his experiences. The signs have been cut and reworked into puns, gibberish, and forms of color and light and combined with the physicality of the divider subtly imposing its presence on the viewer: forcing the viewer to walk around it in wonder of what lies behind it, or what is being hidden.\r\n\r\nMartinez, a recent Tyler School of Art graduate, is an artist who is not only interested in the surfaces of his work but also in the way we interact with it.  His artistic investigation often creates an environment that makes the viewer move through, not just see it, causing the viewer to question their relationship to his work that borders on experience.  Martinez describes his process as an investigation into identity and the dynamics of power - by blending sculpture, painting, collage and decollage he aims to do so.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<img style=\"float: right;\" title=\"DSC_1153\" src=\"http://farm9.staticflickr.com/8715/16956028552_3d9dedc43b_m.jpg\" alt=\"DSC_1153\" width=\"160\" height=\"240\" /> José Ortiz-Pagán, \"Exit #1\" (2015) String art and wood panel[/caption]\r\n\r\nThe realities and the power relationship between his native Puerto Rico and the United States form the basis of <a title=\"José Ortizp-Pagán\'s website\" href=\"http://corruptedtime.com\" target=\"_blank\"><strong>José </strong><strong>Ortiz-Pagán</strong></a>’s current work, <em>Exit #1 </em>(2015<em>)</em>.  The work, made with nails and red thread to form the contours of the island of Puerto Rico with the word “Exit” neatly spelled in it, comments on the current state of affairs gripping the island: its economic troubles, the increasing migration of its citizens, and the high crime rate. For Ortiz-Pagán, the problems affecting his home, where his family lives, contrast with where he lives now, in the United States - a country that he sees as a colonizer that exacerbates Puerto Rico\'s problems by  unjustly asserting its will to control the politics and freedom of his people.\r\n\r\nOrtiz-Pagán\'s aim is always to create a space in his work for conversation about what he calls “post-industrial realities” that affect the tropics.  Time and power dynamics are always at play, corroding perspective and interfering with how we communicate with each other.  In considering the migration aspect of <em>Exit #1, </em>it is as much a question he asks himself of what he is doing here as it is an expression of the situation affecting his homeland.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"160\"]<a title=\"DSC_1156\" href=\"http://www.flickr.com/photos/58941148@N03/16769893180/\"><img style=\"float: left;\" title=\"DSC_1156\" src=\"http://farm9.staticflickr.com/8700/16769893180_6fc21c5508_m.jpg\" alt=\"DSC_1156\" width=\"160\" height=\"240\" /></a> Miguel Antonio Horn, \"Guardian I\" (2015) 3D Printed ABS[/caption]\r\n\r\nWhere we sit in relation to power, is the focus of <a title=\"Miguel Antonio Horn\'s website\" href=\"http://miguelantoniohorn.com\" target=\"_blank\"><strong>Miguel Antonio Horn</strong></a>’s two sculpture pieces <em>Guardian I </em>(2015) and <em>Cajalleros</em> (2015).  Situated just over our eyesight on a slender iron pedestal, the fully armored foot-tall police officer with shield of <em>Guardian</em> <em>I </em>conveys an ominous sense of menace.  It is commentary he says on the underlying question that plagues not just American society but the world in general with the increasing militarization of police forces.  As an American and a Colombian/Venezuelan he recognizes a similarity in the way that police dress and conduct themselves in answer to protests in Ferguson as well as in Caracas, Venezuela.  Are the police, he asks, dressed to keep peace or are they dressed to suppress dissent?  With their armor on, and the anonymity that their mask provides, that question becomes increasingly difficult to answer.\r\n\r\nIn contrast, <em>Cajalleros</em>, a series of cast concrete figures set across the floor of the gallery in a variety of poses from sitting to standing to lying seemingly unconscious, is of the forgotten and invisible of society.  The name, cajalleros, in Spanish means people of the street. By making their faces indistinct it highlights their invisibility to us.  For Horn, the use of scale is also intentional. For both series, the foot-tall size of the sculptures and the relative position to the viewer puts into relation ideas of power.  To stand above the eye line, is to look down with strength; to be below the eye line is to be removed and presented as weak.  The way the figures stand also conveys that persons power.  Horn in these two series brings our humanity into question in the way see each other and behave.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"160\"]<a title=\"DSC_1148\" href=\"http://www.flickr.com/photos/58941148@N03/16956032792/\"><img style=\"float: right;\" title=\"DSC_1148\" src=\"http://farm8.staticflickr.com/7595/16956032792_37d3e600ce_m.jpg\" alt=\"DSC_1148\" width=\"160\" height=\"240\" /></a> Michelle Angela Ortiz, \"Quizas Mañana Nuestro Llanto Quede Atrás\" (2012) Cut wood, acrylic paint, high output lighting, straw hat and looped audio[/caption]\r\n\r\nPhiladelphia-born <a title=\"Michelle Angela Ortiz\'s website\" href=\"http://www.michelleangela.com\" target=\"_blank\"><strong>Michelle Angela Ortiz </strong></a>draws from memories and personal stories in her installation <em>Quizas Mañana Nuestro Llanto Quede Atras (Hopefully Tomorrow our Sorrow Remains Behind Us) (2012). </em>The installation, an eight-foot square light box with  cut out outlines of a shanty, represents the home where her deaf grandfather in Puerto Rico lived and, with a looped recording of her father singing, is a meditation on family bonds and longing for something better.  The work is both elegant and powerful. It tells the story of a son who although blessed with a lovely voice could not offer comfort to his father who was unable to hear.  This distinction, Ortiz points out, is what alienated her grandfather from his community on the island.  The song “Amor Adios” (Goodbye My Love; listen to it <a title=\"Amor Adios \" href=\"https://soundcloud.com/michelleangela-1/amor-adios\" target=\"_blank\">here</a>) is what her father used to sing to his father.  It is ballad of longing and of wishing that the person returns to a better time without suffering. Ortiz in her installation creates an atmosphere of sadness but one that also embodies hope and want.\r\n\r\nOrtiz, who is a prominent muralist, is an artist who sees art as playing an active role in society. In her work, she strives to give back to communities the stories and the culture that she often sees co-opted.  Finding this humanness, and sense of respect for others is where she finds her place, and in this installation it is where she hopes we find our compassion.\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"240\"]<a title=\"DSC_1144\" href=\"http://www.flickr.com/photos/58941148@N03/16931421426/\"><img style=\"float: left;\" title=\"DSC_1144\" src=\"http://farm8.staticflickr.com/7589/16931421426_1a0743cfea_m.jpg\" alt=\"DSC_1144\" width=\"240\" height=\"160\" /></a> Jaime Alvarez, \"Memento\" (2012) Framed archival inkjet prints[/caption]\r\n\r\nFor the Puerto Rican born photographer <a title=\"Jaime Alvarez\'s website\" href=\"http://www.jaimephoto.com\" target=\"_blank\"><strong>Jaime Alvarez</strong></a> removing the relationship to objects as codified by memory is the subject of <em>Memento </em>(2012).  Starkly photographed with black backgrounds, the color prints of small tchotchkes that he mainly bought from second-hand stores are made bereft of sentimentality with plastip - dark tinted liquid rubber.  The giraffe, the angels, the little boy and other items that in homes are often imbued with sentimental value are stripped of expression. Photographed from the back the viewer is forced to question their relationship to them. Each photograph, side by side, then reflects on to the other that question of its own connection to memory and in turn our own connection to the objects.  He causes us to wonder if we really know what is in front of us: the shape of the tchotchke, its weight, or its size.  The exquisite photographs in this context becomes anchors to the here and now.\r\n\r\nAlvarez is also an installation and video artist.  In his work he has paid homage to science fiction, space, and abstraction. In <i>Memento </i>he confronts the power of nostalgia by forcing us to see without distractions, removing light and focusing on detail.\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"240\"]<a title=\"DSC_1132\" href=\"http://www.flickr.com/photos/58941148@N03/16957381375/\"><img style=\"float: right;\" title=\"DSC_1132\" src=\"http://farm8.staticflickr.com/7654/16957381375_a641ccc9e8_m.jpg\" alt=\"DSC_1132\" width=\"240\" height=\"160\" /></a> Juan Bustamante, \"Escucha la Ciudad\" (2015) Water color, printed posters, and mix media installation[/caption]\r\n\r\nThe artist/dj/cultural event producer <a title=\"Juan Bustamente\'s website\" href=\"https://www.facebook.com/juanderful.juan?fref=browse_search\" target=\"_blank\"><strong>Juan Bustamante</strong></a> rounds out the exhibition with his installation <em>Escucha la Ciudad </em>(<em>Listen to the City </em>and the <a title=\"Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”\" href=\"http://tallerpr.org/2015/03/18/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\"><em>Tropacalismo</em></a> event he is producing with his co-founder, Greg Scruggs, for Taller on March 27.  With roots from Colombia and his interest in sound system culture from South America to the Caribbean and beyond and his attraction to street art, he creates exuberant events that not only  promote urban Latino culture but place them in Philadelphia\'s backyard. To promote these events he creates hand drawn posters that he distributes across the city.  Working in this manner he says, brings him into direct contact with the artifacts people leave behind: from the yard sale signs to the lost cat signs, to commissioned street signs and graffiti. In these images he sees a rhythm in urban society taking shape which he reflects in his drawings and events.  As the part of the events he creates elaborate dj booths out of the hand drawn posters, postcards and ephemera he finds and which represents in his in installation at Taller.  Partnering with Scruggs, he brings us their fifth annual Tropicalismo event, a scholarly celebration of the various incarnations of Carnaval in Latin America and the world.  This will be the closing event for the <em>Filadelfia</em> exhibition, signifying, with his installation, the increasing influence and intermingling of a vibrant urban Latino and Caribbean culture in America.\r\n\r\n&nbsp;\r\n\r\nFor more information on this exhibition contact Rafael Damast at rdamast@tallerpr.org',3318,'http://tallerpr.org/2015/04/10/3318-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3437,641,'2015-04-13 16:56:59','2015-04-13 20:56:59','Taller Puertorriqueño\'s annual springtime fundraiser celebrates community, creativity, emerging talent, and the noteworthy achievements of our youth.\r\n\r\nWe invite you to a sweet \"Dulce Primavera\", a special buffet of traditional Puerto Rican/Latin American desserts, delicious food, music by <a href=\"https://youtu.be/_mEpXzu38o8\" target=\"_blank\">Los Bomberos de la Calle</a>, a silent auction including Phillies memorabilia, artwork, and more, and a performance by Taller students.\r\n\r\nJoin us for this lighthearted gathering, and support Taller\'s community-wide Puerto Rican/Latino arts and cultural programming for children and youth.\r\n\r\nClick <strong><a href=\"http://tallerpr.org/wp-content/uploads/2015/04/Spring-into-Motion-e-vite-2015.jpg\">here</a></strong> to download the e-vite to share with friends! (right-click the image to save to your computer)\r\nJoin our Facebook event for updates, to see who is planning to attend, and to invite friends and family. Click <strong><a href=\"https://www.facebook.com/events/1616405218570982/\" target=\"_blank\">here</a></strong>.\r\n\r\n<span style=\"color: #009149;\">Didn\'t make the advance ticket deadline? <em>Don\'t fret!</em> <strong>You are welcome to pay at the door. Prices at the door are as follow:</strong></span>\r\n\r\n<strong>Sponsor a Guest (<em>help offset the costs of performing students\' parent/guardian attendance</em>):</strong>\r\n$25\r\n\r\n<strong>Individual UNDER 30 years of age:</strong>\r\n$35\r\n\r\n<strong>Individual OVER 30 years of age:</strong>\r\n$70\r\n\r\n<strong>Couple:</strong>\r\n$100\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\"><strong>HUGE thanks to our amazing event sponsors:</strong></p>\r\n<p style=\"text-align: center;\"><a href=\"https://www.pnc.com\" target=\"_blank\"><img class=\"aligncenter wp-image-3521 size-full\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Screen-Shot-2015-04-10-at-5.17.33-PM.png\" alt=\"PNC Bank\" width=\"176\" height=\"54\" /></a></p>\r\n<a href=\"https://www.susquehanna.net\" target=\"_blank\"><img class=\"aligncenter wp-image-3522\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Screen-Shot-2015-04-10-at-4.13.50-PM.png\" alt=\"Susquehanna Bank\" width=\"200\" height=\"47\" /></a>\r\n<p style=\"text-align: center;\"><strong>V&amp;J Creations</strong></p>\r\n<p style=\"text-align: center;\"><strong>Smoking J\'s Desserts</strong></p>\r\n<p style=\"text-align: center;\"><strong>Shoprite</strong></p>\r\n<p style=\"text-align: center;\"><strong>Nova Hair Salon</strong></p>\r\n<p style=\"text-align: center;\"><strong>Mt. Airy Arts Garage</strong></p>\r\n<p style=\"text-align: center;\"><strong>Philadelphia Brewing Company</strong></p>','Spring into Motion/Disfrute una Dulce Primavera: Celebrating Youth Creativity','','publish','closed','closed','','spring-into-motiondisfrute-una-dulce-primavera-celebrating-youth-creativity','','','2015-05-15 15:31:58','2015-05-15 19:31:58','',0,'http://tallerpr.org/?post_type=tribe_events&#038;p=3437',0,'tribe_events','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3445,641,'2015-05-15 09:26:31','2015-05-15 13:26:31','Taller Puertorriqueño\'s annual springtime fundraiser celebrates community, creativity, emerging talent, and the noteworthy achievements of our youth.\n\nWe invite you to a sweet \"Dulce Primavera\", a special buffet of traditional Puerto Rican/Latin American desserts, delicious food, music by <a href=\"https://youtu.be/_mEpXzu38o8\" target=\"_blank\">Los Bomberos de la Calle</a>, a silent auction including Phillies memorabilia, artwork, and more, and a performance by Taller students.\n\nJoin us for this lighthearted gathering, and support Taller\'s community-wide Puerto Rican/Latino arts and cultural programming for children and youth.\n\nClick <strong><a href=\"http://tallerpr.org/wp-content/uploads/2015/04/Spring-into-Motion-e-vite-2015.jpg\">here</a></strong> to download the e-vite to share with friends! (right-click the image to save to your computer)\nJoin our Facebook event for updates, to see who is planning to attend, and to invite friends and family. Click <strong><a href=\"https://www.facebook.com/events/1616405218570982/\" target=\"_blank\">here</a></strong>.\n\n<strong>Get your tickets in advance, and save $5-$10!</strong> Register at the <strong>bottom</strong> of the page before <span style=\"text-decoration: underline;\">3pm on Friday, May 15th</span>.\n\nDidn\'t make the advance ticket deadline? <em>Don\'t fret!</em> <strong>You are welcome to pay at the door. </strong>Prices at the door are as follow:\n\nSponsor a Guest (<em>help offset the costs of performing students\' parent/guardian attendance</em>):\n$25\n\nIndividual UNDER 30 years of age:\n$35\n\nIndividual OVER 30 years of age:\n$70\n\n&nbsp;\n\n<hr />\n\n&nbsp;\n\n<p style=\"text-align: center;\"><strong>Huge thanks to our amazing event sponsors:</strong></p>\n\n<p style=\"text-align: center;\"><a href=\"https://www.pnc.com\" target=\"_blank\"><img class=\"aligncenter wp-image-3521 size-full\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Screen-Shot-2015-04-10-at-5.17.33-PM.png\" alt=\"PNC Bank\" width=\"176\" height=\"54\" /></a></p>\n\n<a href=\"https://www.susquehanna.net\" target=\"_blank\"><img class=\"aligncenter wp-image-3522\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Screen-Shot-2015-04-10-at-4.13.50-PM.png\" alt=\"Susquehanna Bank\" width=\"200\" height=\"47\" /></a>\n\n<p style=\"text-align: center;\"><strong>V&amp;J Creations</strong></p>\n\n<p style=\"text-align: center;\"><strong>Smoking J\'s Desserts</strong></p>\n\n<p style=\"text-align: center;\"><strong>Shoprite</strong></p>\n\n<p style=\"text-align: center;\"><strong>Nova Hair Salon</strong></p>\n\n<p style=\"text-align: center;\"><strong>Mt. Airy Arts Garage</strong></p>\n\n<p style=\"text-align: center;\"><strong>Philadelphia Brewing Company</strong></p>','Spring into Motion/Disfrute una Dulce Primavera: Celebrating Youth Creativity','','inherit','closed','closed','','3437-autosave-v1','','','2015-05-15 09:26:31','2015-05-15 13:26:31','',3437,'http://tallerpr.org/2015/04/14/3437-autosave-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3456,641,'2015-04-15 09:21:44','2015-04-15 13:21:44','','Spring into Motion e-vite 2015','','inherit','closed','closed','','spring-into-motion-e-vite-2015','','','2015-04-15 09:21:44','2015-04-15 13:21:44','',3437,'http://tallerpr.org/wp-content/uploads/2015/04/Spring-into-Motion-e-vite-2015.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3457,641,'2015-04-15 09:25:42','0000-00-00 00:00:00','','E-vite: Spring into Motion/Disfrute una Dulce Primavera: Celebrating Youth Creativity','','draft','closed','closed','','','','','2015-04-15 09:25:42','2015-04-15 13:25:42','',0,'http://tallerpr.org/?post_type=download&#038;p=3457',0,'download','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3458,2,'2015-04-15 14:07:55','2015-04-15 18:07:55','<strong>March 17<sup>th</sup>, 2015</strong>\n\n<strong>For Immediate Release</strong>\n\n<img class=\"aligncenter size-medium wp-image-3074\" src=\"http://tallerpr.org/wp-content/uploads/2015/02/TROPICALISMOsolo20151-300x194.jpg\" alt=\"TROPICALISMOsolo2015\" width=\"300\" height=\"194\" />\n\n&nbsp;\n\n<p style=\"text-align: center;\"><strong>Location and date:</strong>   Friday, March 27th, 2015, 7:00 PM</p>\n\n<p style=\"text-align: center;\">2557 N. 5th St., Philadelphia, PA  19133</p>\n\n<p style=\"text-align: center;\">$10 Suggested Donation</p>\n\n<p style=\"text-align: center;\"><strong>Website</strong>: <a href=\"http://tallerpr.org/event/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\">http://tallerpr.org/event/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/</a></p>\n\n&nbsp;\n\n[caption id=\"attachment_1351\" align=\"alignleft\" width=\"152\"]<img class=\"wp-image-1351\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/Ed.-Building-Circle-300x300.png\" alt=\"Education Building\" width=\"152\" height=\"152\" /> The Roberto Hernández Theater 2557 N. 5th St., Philadelphia,[/caption]\n\n<iframe src=\"https://player.vimeo.com/video/124633062\" width=\"489\" height=\"274\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n\n<a href=\"https://vimeo.com/124633062\">Tropicalismo, Carnaval Panel Discussion</a> from <a href=\"https://vimeo.com/tallerpr\">Taller Puertorriqueño</a> on <a href=\"https://vimeo.com\">Vimeo</a>.\n\n<strong>Tropicalismo</strong> presents a celebration of Carnaval, hosted and curated by Juanderful (Juan Bustamante) and Gregzinho (Greg Scruggs), the adventurous DJ pair behind Tropicalismo. The event will be held in Taller Puertorriqueño’s Roberto P. Hernández Theater as a closing party for <a title=\"Filadelfia: New Perspectives\" href=\"http://tallerpr.org/event/filadelfia-new-perspectives/\"><em>Filadelfia: New Perspectives</em></a>  –  a group exhibition of Latino artists who are pushing the boundaries of contemporary art in Philadelphia. The exhibition is now on view through April 4th.\n\n&nbsp;\n\nAs an expression of music, folklore, costume, food, and dance, Carnival represents local culture at its richest. The traditional pre-Lent celebration of Catholic Europe is now a global phenomenon that is especially strong in Latin America and the Caribbean. Carnival has also taken root in cities home to immigrant populations who use the event to share their heritage, and Philadelphia is certainly no exception. Join Tropicalismo, Philly’s leading platform for Afro-Latin-Caribbean culture, as they explore the unique Carnival traditions of the City of Brotherly Love and Sisterly Affection — from Mummers to Carnaval de Puebla to Philly Caribbean Carnival to Brazilian and Puerto Rican celebrations — with an interactive salon on Carnaval culture featuring presentations from local artists and organizers, a live demonstration of Puerto Rican Carnival rhythms, visual displays, festive food and refreshments, live dancers, and of course the soundtrack that keeps the Carnaval massive partying in the streets.\n\n<strong>Featured guests:</strong>\n\n<a title=\"20150327-_DSC2446\" href=\"http://www.flickr.com/photos/58941148@N03/16965369831/\" rel=\"\"><img class=\"alignleft\" style=\"float: left;\" title=\"20150327-_DSC2446\" src=\"http://farm8.staticflickr.com/7622/16965369831_2f3cc62019_m.jpg\" alt=\"20150327-_DSC2446\" width=\"240\" height=\"178\" /></a>Edgar Ramirez, San Mateo Carnavalero; Sheila Buchanan, Jesse Engaard, Rabble Rousers NYB; Caribbean American Heritage Foundation of Pennsylvania; Alex Shaw, Alô Brasil; and  Los Bomberos de la Calle\n\n<strong>With special guests:</strong>\n\nJaime Alvarez, Grimaldi Baez, Miguel Antonio Horn, Mark C. Martinez, Michelle Angela Ortiz, José Ortiz Pagán, and Roxana J. Pérez-Méndez\n\n*The party proceeds will benefit Taller’s many cultural programs and keep Tropicalismo going!\n\n**FREE parking across the street in the municipal parking lot.\n\n&nbsp;\n\nPhotos of the event are <a title=\"Flickr Album\" href=\"https://www.flickr.com/photos/tpr_visual_arts/sets/72157649297709934/\" target=\"_blank\">here</a>.\n\n<strong>About Tropicalismo</strong>\n\nFounded in 2010, Tropicalismo is the city’s first platform dedicated to both old-school rhythms and nu-skool riddims from Latin America, Africa, and the Caribbean. Co-curators Juanderful and Gregzinho have provided Philly a multisensory experience of life in our hemisphere at storied venues such as Walnut Room, Fluid, Silk City, Underground Arts, Dahlak Paradise, and the Calvary Center for Culture and Community. Guests get down to the sounds that bump out of makeshift buses and Carnival sound systems alike all across the Americas. They taste local food that fuels late nights on the dance floor, usually from small businesses in Philly\'s growing immigrant hubs, and experience the cultural events and holidays that mark the year for different communities, from Día de los Muertos (Day of the Dead) to Carnival.\n\nTwitter: @TropicalismoPHL                     Facebook: <a title=\"Tropicalismo\" href=\"https://www.facebook.com/groups/Tropicalismo.Mundial?_rdr\" target=\"_blank\">Facebook.com/groups/Tropicalismo.Mundial</a>\n\n<strong>About Taller</strong>\n\nTaller Puertorriqueño, Inc. (Taller) is a community-based cultural organization whose primary purpose is to preserve, develop and promote Puerto Rican arts and culture, grounded in the conviction that embracing one\'s cultural heritage is central to community empowerment.  Taller is also committed to the representation and support of other Latino cultural expressions and our common roots.\n\nTaller was founded in 1974 in Northwest Kensington, Philadelphia as a graphic arts workshop to provide a creative outlet and cultural education for community youth. Today, four decades later, our organization is the longest-operating and largest Latino arts and cultural organization in the Philadelphia region.\n\nTwitter: @TALLERPR                Facebook: <a title=\"Taller Puertorrequeño\" href=\"Facebook.com/tallerpr.org\" target=\"_blank\">Facebook.com/tallerpr.org</a>\n\n<strong>CONTACT</strong>\n\nRafael Damast\n\nCurator  &amp; Visual Arts Program Manager\n\nTaller Puertorriqueño\n\nrdamast@tallerpr.org\n\n215-426-3311\n\n<a href=\"https://twitter.com/tallerpr\" target=\"_blank\"><img class=\"aligncenter wp-image-3252\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Twitter_logo_blue.png\" alt=\"Twitter_logo_blue\" width=\"80\" height=\"65\" /></a>\n\n<p style=\"text-align: center;\"><span style=\"color: #3366ff;\">“.@TallerPR and @TropicalismoPHL team up for a Carnaval extravaganza!”</span></p>\n\n<p style=\"text-align: center;\"><span style=\"color: #3366ff;\">“Carnaval en Philly! Join @TallerPR &amp; @TropicalismoPHL for a dance party!”</span></p>\n\n<p style=\"text-align: center;\"><span style=\"color: #3366ff;\">“Grab some friends, and dance the night away Carnaval style with @TallerPR &amp; @TropicalismoPHL!”</span></p>','Carnaval en Philly A Closing Party for “Filadelfia: New Perspectives”','','inherit','closed','closed','','3248-revision-v1','','','2015-04-15 14:07:55','2015-04-15 18:07:55','<strong>March 17<sup>th</sup>, 2015</strong>\r\n\r\n<strong>For Immediate Release</strong>\r\n\r\n<img class=\"aligncenter size-medium wp-image-3074\" src=\"http://tallerpr.org/wp-content/uploads/2015/02/TROPICALISMOsolo20151-300x194.jpg\" alt=\"TROPICALISMOsolo2015\" width=\"300\" height=\"194\" />\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\"><strong>Location and date:</strong>   Friday, March 27th, 2015, 7:00 PM</p>\r\n<p style=\"text-align: center;\">2557 N. 5th St., Philadelphia, PA  19133</p>\r\n<p style=\"text-align: center;\">$10 Suggested Donation</p>\r\n<p style=\"text-align: center;\"><strong>Website</strong>: <a href=\"http://tallerpr.org/event/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/\">http://tallerpr.org/event/carnaval-en-philly-a-closing-party-for-filadelfia-new-perspectives/</a></p>\r\n&nbsp;\r\n\r\n[caption id=\"attachment_1351\" align=\"alignleft\" width=\"152\"]<img class=\"wp-image-1351\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/Ed.-Building-Circle-300x300.png\" alt=\"Education Building\" width=\"152\" height=\"152\" /> The Roberto Hernández Theater 2557 N. 5th St., Philadelphia,[/caption]\r\n\r\n<iframe src=\"https://player.vimeo.com/video/124633062\" width=\"489\" height=\"274\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<a href=\"https://vimeo.com/124633062\">Tropicalismo, Carnaval Panel Discussion</a> from <a href=\"https://vimeo.com/tallerpr\">Taller Puertorriqueño</a> on <a href=\"https://vimeo.com\">Vimeo</a>.\r\n\r\n<strong>Tropicalismo</strong> presents a celebration of Carnaval, hosted and curated by Juanderful (Juan Bustamante) and Gregzinho (Greg Scruggs), the adventurous DJ pair behind Tropicalismo. The event will be held in Taller Puertorriqueño’s Roberto P. Hernández Theater as a closing party for <a title=\"Filadelfia: New Perspectives\" href=\"http://tallerpr.org/event/filadelfia-new-perspectives/\"><em>Filadelfia: New Perspectives</em></a>  –  a group exhibition of Latino artists who are pushing the boundaries of contemporary art in Philadelphia. The exhibition is now on view through April 4th.\r\n\r\n&nbsp;\r\n\r\nAs an expression of music, folklore, costume, food, and dance, Carnival represents local culture at its richest. The traditional pre-Lent celebration of Catholic Europe is now a global phenomenon that is especially strong in Latin America and the Caribbean. Carnival has also taken root in cities home to immigrant populations who use the event to share their heritage, and Philadelphia is certainly no exception. Join Tropicalismo, Philly’s leading platform for Afro-Latin-Caribbean culture, as they explore the unique Carnival traditions of the City of Brotherly Love and Sisterly Affection — from Mummers to Carnaval de Puebla to Philly Caribbean Carnival to Brazilian and Puerto Rican celebrations — with an interactive salon on Carnaval culture featuring presentations from local artists and organizers, a live demonstration of Puerto Rican Carnival rhythms, visual displays, festive food and refreshments, live dancers, and of course the soundtrack that keeps the Carnaval massive partying in the streets.\r\n\r\n<strong>Featured guests:</strong>\r\n\r\n<a title=\"20150327-_DSC2446\" href=\"http://www.flickr.com/photos/58941148@N03/16965369831/\" rel=\"\"><img class=\"alignleft\" style=\"float: left;\" title=\"20150327-_DSC2446\" src=\"http://farm8.staticflickr.com/7622/16965369831_2f3cc62019_m.jpg\" alt=\"20150327-_DSC2446\" width=\"240\" height=\"178\" /></a>Edgar Ramirez, San Mateo Carnavalero; Sheila Buchanan, Jesse Engaard, Rabble Rousers NYB; Caribbean American Heritage Foundation of Pennsylvania; Alex Shaw, Alô Brasil; and  Los Bomberos de la Calle\r\n\r\n<strong>With special guests:</strong>\r\n\r\nJaime Alvarez, Grimaldi Baez, Miguel Antonio Horn, Mark C. Martinez, Michelle Angela Ortiz, José Ortiz Pagán, and Roxana J. Pérez-Méndez\r\n\r\n*The party proceeds will benefit Taller’s many cultural programs and keep Tropicalismo going!\r\n\r\n**FREE parking across the street in the municipal parking lot.\r\n\r\n&nbsp;\r\n\r\nPhotos of the event are <a title=\"Flickr Album\" href=\"https://www.flickr.com/photos/tpr_visual_arts/sets/72157649297709934/\" target=\"_blank\">here</a>.\r\n\r\n<strong>About Tropicalismo</strong>\r\n\r\nFounded in 2010, Tropicalismo is the city’s first platform dedicated to both old-school rhythms and nu-skool riddims from Latin America, Africa, and the Caribbean. Co-curators Juanderful and Gregzinho have provided Philly a multisensory experience of life in our hemisphere at storied venues such as Walnut Room, Fluid, Silk City, Underground Arts, Dahlak Paradise, and the Calvary Center for Culture and Community. Guests get down to the sounds that bump out of makeshift buses and Carnival sound systems alike all across the Americas. They taste local food that fuels late nights on the dance floor, usually from small businesses in Philly\'s growing immigrant hubs, and experience the cultural events and holidays that mark the year for different communities, from Día de los Muertos (Day of the Dead) to Carnival.\r\n\r\nTwitter: @TropicalismoPHL                     Facebook: <a title=\"Tropicalismo\" href=\"https://www.facebook.com/groups/Tropicalismo.Mundial?_rdr\" target=\"_blank\">Facebook.com/groups/Tropicalismo.Mundial</a>\r\n\r\n<strong>About Taller</strong>\r\n\r\nTaller Puertorriqueño, Inc. (Taller) is a community-based cultural organization whose primary purpose is to preserve, develop and promote Puerto Rican arts and culture, grounded in the conviction that embracing one\'s cultural heritage is central to community empowerment.  Taller is also committed to the representation and support of other Latino cultural expressions and our common roots.\r\n\r\nTaller was founded in 1974 in Northwest Kensington, Philadelphia as a graphic arts workshop to provide a creative outlet and cultural education for community youth. Today, four decades later, our organization is the longest-operating and largest Latino arts and cultural organization in the Philadelphia region.\r\n\r\nTwitter: @TALLERPR                Facebook: <a title=\"Taller Puertorrequeño\" href=\"Facebook.com/tallerpr.org\" target=\"_blank\">Facebook.com/tallerpr.org</a>\r\n\r\n<strong>CONTACT</strong>\r\n\r\nRafael Damast\r\n\r\nCurator  &amp; Visual Arts Program Manager\r\n\r\nTaller Puertorriqueño\r\n\r\nrdamast@tallerpr.org\r\n\r\n215-426-3311\r\n\r\n<a href=\"https://twitter.com/tallerpr\" target=\"_blank\"><img class=\"aligncenter wp-image-3252\" src=\"http://tallerpr.org/wp-content/uploads/2015/03/Twitter_logo_blue.png\" alt=\"Twitter_logo_blue\" width=\"80\" height=\"65\" /></a>\r\n<p style=\"text-align: center;\"><span style=\"color: #3366ff;\">“.@TallerPR and @TropicalismoPHL team up for a Carnaval extravaganza!”</span></p>\r\n<p style=\"text-align: center;\"><span style=\"color: #3366ff;\">“Carnaval en Philly! Join @TallerPR &amp; @TropicalismoPHL for a dance party!”</span></p>\r\n<p style=\"text-align: center;\"><span style=\"color: #3366ff;\">“Grab some friends, and dance the night away Carnaval style with @TallerPR &amp; @TropicalismoPHL!”</span></p>',3248,'http://tallerpr.org/2015/04/15/3248-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3459,0,'2015-04-16 10:30:41','2015-04-16 14:30:41','','','','publish','closed','closed','','3459','','','2015-04-16 10:36:06','2015-04-16 14:36:06','',0,'http://tallerpr.org/?post_type=edd_payment&#038;p=3459',0,'edd_payment','',2);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3462,641,'2015-10-23 11:35:05','2015-10-23 15:35:05','&nbsp;\n\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/11/YAP-logo-new-2015.jpeg\"><img class=\"alignleft wp-image-4421 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/YAP-logo-new-2015-300x300.jpeg\" alt=\"YAP logo new 2015\" width=\"300\" height=\"300\" /></a><a href=\"http://youthartistprogram.tumblr.com\">The Youth Artist Program</a></strong> (YAP) is an after school arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world. No prior artistic training is necessary to participate in our program.\n\n<em><strong><a href=\"http://youthartistprogram.tumblr.com\">El Programa para Jóvenes Artistas</a> </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Daniel de Jesús at 215-423-6320 or ddejesus@tallerpr.org</b>\n\nTentative schedule\n\nFall Semester September 8 - December 18, 2015\n\nSpring Semester January 11 - June 17, 2016\n\nDownload the application here: <a href=\"http://tallerpr.org/wp-content/uploads/2013/11/YAP-application-Version-4-January-2015.pdf\">YAP Application- 2015</a>\n\nPlease visit our <a href=\"http://youthartistprogram.tumblr.com\">Blog</a> to see what we are up to everyday! <a href=\"http://youthartistprogram.tumblr.com\">YAP on TUMBLR</a>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;\n\n[embed]https://vimeo.com/80834762[/embed]\n\n&nbsp;','Youth Artist Program','','inherit','closed','closed','','40-autosave-v1','','','2015-10-23 11:35:05','2015-10-23 15:35:05','',40,'http://tallerpr.org/2015/04/17/40-autosave-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3463,641,'2015-04-17 10:52:25','2015-04-17 14:52:25','&nbsp;\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\n\n&nbsp;\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Asdrey Irizary, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\n\n[embed]https://vimeo.com/53116179[/embed]','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-17 10:52:25','2015-04-17 14:52:25','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\r\n\r\n&nbsp;\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Asdrey Irizary, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]',40,'http://tallerpr.org/2015/04/17/40-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3464,641,'2015-04-17 10:52:49','2015-04-17 14:52:49','&nbsp;\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\n\n&nbsp;\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\n\n[embed]https://vimeo.com/53116179[/embed]','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-17 10:52:49','2015-04-17 14:52:49','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\r\n\r\n&nbsp;\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]',40,'http://tallerpr.org/2015/04/17/40-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3465,641,'2015-04-17 10:56:06','2015-04-17 14:56:06','&nbsp;\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\n\n&nbsp;\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-17 10:56:06','2015-04-17 14:56:06','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\r\n\r\n&nbsp;\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]\r\n\r\n&nbsp;',40,'http://tallerpr.org/2015/04/17/40-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3466,641,'2015-04-17 10:56:59','2015-04-17 14:56:59','&nbsp;\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\n\n&nbsp;\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;\n\n[embed]https://vimeo.com/80834762[/embed]','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-17 10:56:59','2015-04-17 14:56:59','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\r\n\r\n&nbsp;\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]\r\n\r\n&nbsp;\r\n\r\n[embed]https://vimeo.com/80834762[/embed]',40,'http://tallerpr.org/2015/04/17/40-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3467,641,'2015-04-17 11:00:51','2015-04-17 15:00:51','[contact-form][contact-field label=\'Name\' type=\'name\' required=\'1\'/][contact-field label=\'Email\' type=\'email\' required=\'1\'/][contact-field label=\'Parent name\' type=\'text\'/][/contact-form]\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\n\n&nbsp;\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;\n\n[embed]https://vimeo.com/80834762[/embed]','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-17 11:00:51','2015-04-17 15:00:51','[contact-form][contact-field label=\'Name\' type=\'name\' required=\'1\'/][contact-field label=\'Email\' type=\'email\' required=\'1\'/][contact-field label=\'Parent name\' type=\'text\'/][/contact-form]\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\r\n\r\n&nbsp;\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]\r\n\r\n&nbsp;\r\n\r\n[embed]https://vimeo.com/80834762[/embed]',40,'http://tallerpr.org/2015/04/17/40-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3468,641,'2015-04-17 11:05:20','2015-04-17 15:05:20','[contact-form][contact-field label=\'Sign up for YAP and set up your registration\' type=\'name\' required=\'1\'/][contact-field label=\'Email\' type=\'email\' required=\'1\'/][contact-field label=\'Parent name\' type=\'text\'/][contact-field label=\'Parent contact email\' type=\'text\'/][/contact-form]\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\n\n&nbsp;\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;\n\n[embed]https://vimeo.com/80834762[/embed]','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-17 11:05:20','2015-04-17 15:05:20','[contact-form][contact-field label=\'Sign up for YAP and set up your registration\' type=\'name\' required=\'1\'/][contact-field label=\'Email\' type=\'email\' required=\'1\'/][contact-field label=\'Parent name\' type=\'text\'/][contact-field label=\'Parent contact email\' type=\'text\'/][/contact-form]\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\r\n\r\n&nbsp;\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Asdrey Irizarry, Education Director, at 215-423-6320 or airizarry@tallerpr.org.</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]\r\n\r\n&nbsp;\r\n\r\n[embed]https://vimeo.com/80834762[/embed]',40,'http://tallerpr.org/2015/04/17/40-revision-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3489,0,'2015-04-17 14:31:04','2015-04-17 18:31:04','','3474 | Southwest Airline Voucher | 7','','publish','closed','closed','','3474-southwest-airline-voucher-7','','','2015-04-17 14:31:04','2015-04-17 18:31:04','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3489',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3490,0,'2015-04-17 14:31:04','2015-04-17 18:31:04','','3474 | Southwest Airline Voucher | 8','','publish','closed','closed','','3474-southwest-airline-voucher-8','','','2015-04-17 14:31:04','2015-04-17 18:31:04','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3490',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3492,641,'2015-04-20 13:07:14','2015-04-20 17:07:14','<a href=\"http://tallerpr.org/wp-content/uploads/2015/04/wing-earrings.jpg\"><img class=\"  wp-image-3424 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/wing-earrings-225x300.jpg\" alt=\"wing earrings\" width=\"228\" height=\"304\" /></a>\n\nJoin Taller Puertorriqueño with jewelry-maker Aida Devine as she guides you step-by-step through an easy-to-follow introduction to creating a beautiful set of earrings using precious gemstones and ceramic beads.\n\nLeave with finished jewelry and perhaps the perfect present for Mothers Day.\n\nNo experience necessary, and all materials are provided.\n\nParty is for ages <b>21+ </b>\n\nHors d\'oeuvres and refreshments will be served.\n\n<b>Space is limited, so purchase your tickets below.</b>','Jewelry-Making Party','','inherit','closed','closed','','3407-autosave-v1','','','2015-04-20 13:07:14','2015-04-20 17:07:14','',3407,'http://tallerpr.org/2015/04/20/3407-autosave-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3496,641,'2015-04-20 17:49:06','2015-04-20 21:49:06','&nbsp;\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\n\n&nbsp;\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world. No prior artistic training is necessary to participate in our program.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Daniel de Jesús at 215-423-6320 or ddejesus@tallerpr.org</b>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;\n\n[embed]https://vimeo.com/80834762[/embed]\n\n&nbsp;','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-20 17:49:06','2015-04-20 21:49:06','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\"><img class=\"size-full wp-image-1418 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/10977041233_401fab159c_n.jpg\" alt=\"10977041233_401fab159c_n\" width=\"320\" height=\"240\" /></a>\r\n\r\n&nbsp;\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world. No prior artistic training is necessary to participate in our program.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Daniel de Jesús at 215-423-6320 or ddejesus@tallerpr.org</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]\r\n\r\n&nbsp;\r\n\r\n[embed]https://vimeo.com/80834762[/embed]\r\n\r\n&nbsp;',40,'http://tallerpr.org/2015/04/20/40-revision-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3499,641,'2015-04-20 18:00:22','2015-04-20 22:00:22','&nbsp;\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092.jpg\"><img class=\" size-medium wp-image-3497 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092-300x259.jpg\" alt=\"IMG_1092\" width=\"300\" height=\"259\" /></a>\n\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world. No prior artistic training is necessary to participate in our program.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Daniel de Jesús at 215-423-6320 or ddejesus@tallerpr.org</b>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;\n\n[embed]https://vimeo.com/80834762[/embed]\n\n&nbsp;','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-20 18:00:22','2015-04-20 22:00:22','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092.jpg\"><img class=\" size-medium wp-image-3497 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092-300x259.jpg\" alt=\"IMG_1092\" width=\"300\" height=\"259\" /></a>\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an afterschool arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world. No prior artistic training is necessary to participate in our program.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Daniel de Jesús at 215-423-6320 or ddejesus@tallerpr.org</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]\r\n\r\n&nbsp;\r\n\r\n[embed]https://vimeo.com/80834762[/embed]\r\n\r\n&nbsp;',40,'http://tallerpr.org/2015/04/20/40-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3500,641,'2015-04-20 18:00:36','2015-04-20 22:00:36','&nbsp;\n\n&nbsp;\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092.jpg\"><img class=\" size-medium wp-image-3497 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092-300x259.jpg\" alt=\"IMG_1092\" width=\"300\" height=\"259\" /></a>\n\n<strong>The Youth Artist Program</strong> (YAP) is an after school arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world. No prior artistic training is necessary to participate in our program.\n\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\n\n<b>For more information, please contact Daniel de Jesús at 215-423-6320 or ddejesus@tallerpr.org</b>\n\n[embed]https://vimeo.com/53116179[/embed]\n\n&nbsp;\n\n[embed]https://vimeo.com/80834762[/embed]\n\n&nbsp;','Youth Artist Program','','inherit','closed','closed','','40-revision-v1','','','2015-04-20 18:00:36','2015-04-20 22:00:36','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092.jpg\"><img class=\" size-medium wp-image-3497 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/IMG_1092-300x259.jpg\" alt=\"IMG_1092\" width=\"300\" height=\"259\" /></a>\r\n\r\n<strong>The Youth Artist Program</strong> (YAP) is an after school arts training program for high school students to support the development of art skills and academic competencies with the final goal of stimulating the pursuit of post-high-school education. YAP provides students an opportunity to build a solid portfolio of work for art college application or other post-secondary pursuits. Our program gives young artists tools they will need to thrive in a competitive academic arts world. No prior artistic training is necessary to participate in our program.\r\n\r\n<em><strong>El Programa para Jóvenes Artistas </strong>(YAP)<strong> </strong>es un entrenamiento para estudiantes de escuela secundaria en el que desarrollan destrezas en las artes visuales y fortalecimiento académico con la meta final de estimularlos a perseguir estudios después de graduarse de escuela superior.  El programa provee a los estudiantes la oportunidad de desarrollar un portafolio de trabajos artísticos que necesitan para desarrollarse como artistas y triunfar en el competitivo mundo académico.</em>\r\n\r\n<b>For more information, please contact Daniel de Jesús at 215-423-6320 or ddejesus@tallerpr.org</b>\r\n\r\n[embed]https://vimeo.com/53116179[/embed]\r\n\r\n&nbsp;\r\n\r\n[embed]https://vimeo.com/80834762[/embed]\r\n\r\n&nbsp;',40,'http://tallerpr.org/2015/04/20/40-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3501,2,'2015-04-21 09:45:01','2015-04-21 13:45:01','','Slider - Art Pages','','inherit','closed','closed','','slider-art-pages','','','2015-05-26 16:09:17','2015-05-26 20:09:17','',0,'http://tallerpr.org/wp-content/uploads/2015/04/Slider-Art-Pages.png',0,'attachment','image/png',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3502,2,'2015-04-21 11:34:40','2015-04-21 15:34:40','<h2 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />April 17 to May 9, 2015</h2>\n\n<strong><em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em></strong>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\n\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nArt work for sale by:\n\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\n\n&nbsp;','ART PAGES, All Art is Welcomed','','publish','closed','closed','','art-pages-all-art-is-welcomed','','','2015-05-26 16:12:46','2015-05-26 20:12:46','<h2 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />April 17 to May 9, 2015</h2>\r\n<strong><em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em></strong>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\r\n\r\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nArt work for sale by:\r\n\r\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\r\n\r\n&nbsp;',0,'http://tallerpr.org/?p=3502',0,'post','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3503,2,'2015-04-21 10:05:43','2015-04-21 14:05:43','','Art Pages Collage','','inherit','closed','closed','','art-pages-collage','','','2015-04-21 10:06:05','2015-04-21 14:06:05','',3502,'http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3504,2,'2015-04-21 10:06:19','2015-04-21 14:06:19','','ART PAGES, All Art is Welcomed','','inherit','closed','closed','','3502-revision-v1','','','2015-04-21 10:06:19','2015-04-21 14:06:19','',3502,'http://tallerpr.org/2015/04/21/3502-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3505,2,'2015-04-21 10:32:26','2015-04-21 14:32:26','For its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nThe artist in display are:\n\n&nbsp;','ART PAGES, All Art is Welcomed','','inherit','closed','closed','','3502-revision-v1','','','2015-04-21 10:32:26','2015-04-21 14:32:26','For its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nThe artist in display are:\r\n\r\n&nbsp;',3502,'http://tallerpr.org/2015/04/21/3502-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3506,2,'2015-04-21 11:09:09','2015-04-21 15:09:09','','Art Pages Collage 2','','inherit','closed','closed','','art-pages-collage-2','','','2015-04-21 11:09:09','2015-04-21 15:09:09','',3502,'http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3507,2,'2015-04-21 11:34:40','2015-04-21 15:34:40','<img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />\n\n<em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\n\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nArt work for sale by:\n\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\n\n&nbsp;','ART PAGES, All Art is Welcomed','','inherit','closed','closed','','3502-revision-v1','','','2015-04-21 11:34:40','2015-04-21 15:34:40','<img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />\r\n\r\n<em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\r\n\r\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nArt work for sale by:\r\n\r\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\r\n\r\n&nbsp;',3502,'http://tallerpr.org/2015/04/21/3502-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3509,2,'2015-04-22 09:33:58','2015-04-22 13:33:58','<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\"><img class=\"aligncenter wp-image-2432 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2014/10/Images-of-40-Slider-1024x426.jpg\" alt=\"Images of Identity : Taller Puertorriqueño 1974 - 2014\" width=\"1024\" height=\"426\" /></div>\n<div class=\"column\">\n<p style=\"text-align: center;\"><b>November 7, 2014 - January 31, 2015</b></p>\n\n\n[caption id=\"attachment_2552\" align=\"alignleft\" width=\"233\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders.jpg\"><img class=\"wp-image-2552\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders-300x196.jpg\" alt=\"Taller\'s first staff\" width=\"233\" height=\"152\" /></a> Taller’s first staff in 1974.In the upper left with beard and glasses is Rick Hall, a founder of Taller who helped shape the original mission with Domingo Negrón. Domingo Negron is pictured sitting in the front in the lower right corner.[/caption]\n\nCelebrating 40 years of engaging and building community through the arts, this exhibition is a survey of Taller’s response to the needs and aspirations of the community it represents.  Multi-media installations, videos, photographs, art and interviews retell the story of the struggle,  resilience and creativity of the people behind Taller who made and make the organization.\n\nThe exhibition begins before Taller’s creation in 1974, when heightened postwar migration and immigration of Latinos to Philadelphia resulted in ethnic tensions. After World War II, Philadelphia’s Puerto Rican population grew to the third largest in the country.  This exhibition examines how Taller’s founders used art and cultural  production as instruments for ethnic pride and a means of self-sufficiency. Printmaking was not only an art form to be maintained but also a trade that could be capitalized on.  The bookstore (as it was known then) not only promoted and sold culturally specific items but was also an introduction to running a business.  Taller became a center for artists and intellectuals to gather, and also a place for community investigation and documentation, as “Batiendo la Olla”, the oral history project, demonstrated.\n\n[caption id=\"attachment_2593\" align=\"alignright\" width=\"111\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline.jpg\"><img class=\"wp-image-2593 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline-111x300.jpg\" alt=\"Taller Timeline\" width=\"111\" height=\"300\" /></a> Taller Timeline[/caption]\n\nAs Taller’s members changed and its role in the area expanded, the programs began to include more and more youth activities.  It was through meeting their needs that Taller best fulfilled its mission to promote Puerto Rican and Latino culture and understanding.  Art was a doorway leading to self-expression and personal growth.\n\n<iframe src=\"//player.vimeo.com/hubnut/user/tallerpr/uploaded_videos?color=44bbff&amp;background=000000&amp;slideshow=0&amp;video_title=1&amp;video_byline=1\" width=\"400\" height=\"300\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\n\nWith this perspective, an artist’s work, no matter how abstract or esoteric, is never separate from the community or culture to which it belongs.  Art is part of a broader conversation that references history, language, privilege and experience.  And artists, as members of a community, refer to this conversation - whether consciously or not. Through the public display of their work the artist speaks to their community and the public, and in so doing echoes their people’s aspirations by demanding acknowledgement.\n\nThe United States has been called a melting pot because of the ethnic and racial diversity of its population.  Taller Puertorriqueño, by calling attention to cultural distinctions and experiences, both challenges this notion and proves it true: Integration matters, but not at the cost of losing one’s identity.\n\nFor further information or images, please contact Rafael Damast @ 215-426-3311 or rdamast@tallerpr.org\n\n&nbsp;\n\nFor more information, download the description of the show <a title=\"Press Release\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity.pdf\" target=\"_blank\">here</a>.\n\nPara obtener más información, descargue la descripción del espectáculo <a title=\"En epañol\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity-Sp.pdf\" target=\"_blank\">aquí</a>.\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />\n\n&nbsp;\n\n&nbsp;\n\n</div>\n</div>\n</div>\n</div>','IMAGES OF IDENTITY: Taller Puertorriqueño 1974 - 2014','','inherit','closed','closed','','2551-revision-v1','','','2015-04-22 09:33:58','2015-04-22 13:33:58','<div class=\"page\" title=\"Page 1\">\r\n<div class=\"section\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\"><img class=\"aligncenter wp-image-2432 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2014/10/Images-of-40-Slider-1024x426.jpg\" alt=\"Images of Identity : Taller Puertorriqueño 1974 - 2014\" width=\"1024\" height=\"426\" /></div>\r\n<div class=\"column\">\r\n<p style=\"text-align: center;\"><b>November 7, 2014 - January 31, 2015</b></p>\r\n\r\n\r\n[caption id=\"attachment_2552\" align=\"alignleft\" width=\"233\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders.jpg\"><img class=\"wp-image-2552\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders-300x196.jpg\" alt=\"Taller\'s first staff\" width=\"233\" height=\"152\" /></a> Taller’s first staff in 1974.In the upper left with beard and glasses is Rick Hall, a founder of Taller who helped shape the original mission with Domingo Negrón. Domingo Negron is pictured sitting in the front in the lower right corner.[/caption]\r\n\r\nCelebrating 40 years of engaging and building community through the arts, this exhibition is a survey of Taller’s response to the needs and aspirations of the community it represents.  Multi-media installations, videos, photographs, art and interviews retell the story of the struggle,  resilience and creativity of the people behind Taller who made and make the organization.\r\n\r\nThe exhibition begins before Taller’s creation in 1974, when heightened postwar migration and immigration of Latinos to Philadelphia resulted in ethnic tensions. After World War II, Philadelphia’s Puerto Rican population grew to the third largest in the country.  This exhibition examines how Taller’s founders used art and cultural  production as instruments for ethnic pride and a means of self-sufficiency. Printmaking was not only an art form to be maintained but also a trade that could be capitalized on.  The bookstore (as it was known then) not only promoted and sold culturally specific items but was also an introduction to running a business.  Taller became a center for artists and intellectuals to gather, and also a place for community investigation and documentation, as “Batiendo la Olla”, the oral history project, demonstrated.\r\n\r\n[caption id=\"attachment_2593\" align=\"alignright\" width=\"111\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline.jpg\"><img class=\"wp-image-2593 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline-111x300.jpg\" alt=\"Taller Timeline\" width=\"111\" height=\"300\" /></a> Taller Timeline[/caption]\r\n\r\nAs Taller’s members changed and its role in the area expanded, the programs began to include more and more youth activities.  It was through meeting their needs that Taller best fulfilled its mission to promote Puerto Rican and Latino culture and understanding.  Art was a doorway leading to self-expression and personal growth.\r\n\r\n<iframe src=\"//player.vimeo.com/hubnut/user/tallerpr/uploaded_videos?color=44bbff&amp;background=000000&amp;slideshow=0&amp;video_title=1&amp;video_byline=1\" width=\"400\" height=\"300\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\nWith this perspective, an artist’s work, no matter how abstract or esoteric, is never separate from the community or culture to which it belongs.  Art is part of a broader conversation that references history, language, privilege and experience.  And artists, as members of a community, refer to this conversation - whether consciously or not. Through the public display of their work the artist speaks to their community and the public, and in so doing echoes their people’s aspirations by demanding acknowledgement.\r\n\r\nThe United States has been called a melting pot because of the ethnic and racial diversity of its population.  Taller Puertorriqueño, by calling attention to cultural distinctions and experiences, both challenges this notion and proves it true: Integration matters, but not at the cost of losing one’s identity.\r\n\r\nFor further information or images, please contact Rafael Damast @ 215-426-3311 or rdamast@tallerpr.org\r\n\r\n&nbsp;\r\n\r\nFor more information, download the description of the show <a title=\"Press Release\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity.pdf\" target=\"_blank\">here</a>.\r\n\r\nPara obtener más información, descargue la descripción del espectáculo <a title=\"En epañol\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity-Sp.pdf\" target=\"_blank\">aquí</a>.\r\n\r\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n</div>\r\n</div>\r\n</div>',2551,'http://tallerpr.org/2015/04/22/2551-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3510,2,'2015-04-22 09:39:14','2015-04-22 13:39:14','<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\"><img class=\"aligncenter wp-image-2432 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2014/10/Images-of-40-Slider-1024x426.jpg\" alt=\"Images of Identity : Taller Puertorriqueño 1974 - 2014\" width=\"1024\" height=\"426\" /></div>\n<div class=\"column\">\n<p style=\"text-align: center;\"><b>November 7, 2014 - January 31, 2015</b></p>\n\n\n[caption id=\"attachment_2552\" align=\"alignleft\" width=\"233\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders.jpg\"><img class=\"wp-image-2552\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders-300x196.jpg\" alt=\"Taller\'s first staff\" width=\"233\" height=\"152\" /></a> Taller’s first staff in 1974.In the upper left with beard and glasses is Rick Hall, a founder of Taller who helped shape the original mission with Domingo Negrón. Domingo Negron is pictured sitting in the front in the lower right corner.[/caption]\n\nCelebrating 40 years of engaging and building community through the arts, this exhibition is a survey of Taller’s response to the needs and aspirations of the community it represents.  Multi-media installations, videos, photographs, art and interviews retell the story of the struggle,  resilience and creativity of the people behind Taller who made and make the organization.\n\nThe exhibition begins before Taller’s creation in 1974, when heightened postwar migration and immigration of Latinos to Philadelphia resulted in ethnic tensions. After World War II, Philadelphia’s Puerto Rican population grew to the third largest in the country.  This exhibition examines how Taller’s founders used art and cultural  production as instruments for ethnic pride and a means of self-sufficiency. Printmaking was not only an art form to be maintained but also a trade that could be capitalized on.  The bookstore (as it was known then) not only promoted and sold culturally specific items but was also an introduction to running a business.  Taller became a center for artists and intellectuals to gather, and also a place for community investigation and documentation, as “Batiendo la Olla”, the oral history project, demonstrated.\n\n[caption id=\"attachment_2593\" align=\"alignright\" width=\"111\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline.jpg\"><img class=\"wp-image-2593 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline-111x300.jpg\" alt=\"Taller Timeline\" width=\"111\" height=\"300\" /></a> Taller Timeline[/caption]\n\nAs Taller’s members changed and its role in the area expanded, the programs began to include more and more youth activities.  It was through meeting their needs that Taller best fulfilled its mission to promote Puerto Rican and Latino culture and understanding.  Art was a doorway leading to self-expression and personal growth.\n\n<iframe src=\"//player.vimeo.com/hubnut/album/3059321?color=44bbff&amp;background=000000&amp;slideshow=0&amp;video_title=1&amp;video_byline=1\" width=\"400\" height=\"300\" frameborder=\"0\" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>\n\nWith this perspective, an artist’s work, no matter how abstract or esoteric, is never separate from the community or culture to which it belongs.  Art is part of a broader conversation that references history, language, privilege and experience.  And artists, as members of a community, refer to this conversation - whether consciously or not. Through the public display of their work the artist speaks to their community and the public, and in so doing echoes their people’s aspirations by demanding acknowledgement.\n\nThe United States has been called a melting pot because of the ethnic and racial diversity of its population.  Taller Puertorriqueño, by calling attention to cultural distinctions and experiences, both challenges this notion and proves it true: Integration matters, but not at the cost of losing one’s identity.\n\nFor further information or images, please contact Rafael Damast @ 215-426-3311 or rdamast@tallerpr.org\n\n&nbsp;\n\nFor more information, download the description of the show <a title=\"Press Release\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity.pdf\" target=\"_blank\">here</a>.\n\nPara obtener más información, descargue la descripción del espectáculo <a title=\"En epañol\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity-Sp.pdf\" target=\"_blank\">aquí</a>.\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />\n\n&nbsp;\n\n&nbsp;\n\n</div>\n</div>\n</div>\n</div>','IMAGES OF IDENTITY: Taller Puertorriqueño 1974 - 2014','','inherit','closed','closed','','2551-revision-v1','','','2015-04-22 09:39:14','2015-04-22 13:39:14','<div class=\"page\" title=\"Page 1\">\r\n<div class=\"section\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\"><img class=\"aligncenter wp-image-2432 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2014/10/Images-of-40-Slider-1024x426.jpg\" alt=\"Images of Identity : Taller Puertorriqueño 1974 - 2014\" width=\"1024\" height=\"426\" /></div>\r\n<div class=\"column\">\r\n<p style=\"text-align: center;\"><b>November 7, 2014 - January 31, 2015</b></p>\r\n\r\n\r\n[caption id=\"attachment_2552\" align=\"alignleft\" width=\"233\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders.jpg\"><img class=\"wp-image-2552\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Founders-300x196.jpg\" alt=\"Taller\'s first staff\" width=\"233\" height=\"152\" /></a> Taller’s first staff in 1974.In the upper left with beard and glasses is Rick Hall, a founder of Taller who helped shape the original mission with Domingo Negrón. Domingo Negron is pictured sitting in the front in the lower right corner.[/caption]\r\n\r\nCelebrating 40 years of engaging and building community through the arts, this exhibition is a survey of Taller’s response to the needs and aspirations of the community it represents.  Multi-media installations, videos, photographs, art and interviews retell the story of the struggle,  resilience and creativity of the people behind Taller who made and make the organization.\r\n\r\nThe exhibition begins before Taller’s creation in 1974, when heightened postwar migration and immigration of Latinos to Philadelphia resulted in ethnic tensions. After World War II, Philadelphia’s Puerto Rican population grew to the third largest in the country.  This exhibition examines how Taller’s founders used art and cultural  production as instruments for ethnic pride and a means of self-sufficiency. Printmaking was not only an art form to be maintained but also a trade that could be capitalized on.  The bookstore (as it was known then) not only promoted and sold culturally specific items but was also an introduction to running a business.  Taller became a center for artists and intellectuals to gather, and also a place for community investigation and documentation, as “Batiendo la Olla”, the oral history project, demonstrated.\r\n\r\n[caption id=\"attachment_2593\" align=\"alignright\" width=\"111\"]<a href=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline.jpg\"><img class=\"wp-image-2593 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Taller-Timeline-111x300.jpg\" alt=\"Taller Timeline\" width=\"111\" height=\"300\" /></a> Taller Timeline[/caption]\r\n\r\nAs Taller’s members changed and its role in the area expanded, the programs began to include more and more youth activities.  It was through meeting their needs that Taller best fulfilled its mission to promote Puerto Rican and Latino culture and understanding.  Art was a doorway leading to self-expression and personal growth.\r\n\r\n<iframe src=\"//player.vimeo.com/hubnut/album/3059321?color=44bbff&amp;background=000000&amp;slideshow=0&amp;video_title=1&amp;video_byline=1\" width=\"400\" height=\"300\" frameborder=\"0\" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>\r\n\r\nWith this perspective, an artist’s work, no matter how abstract or esoteric, is never separate from the community or culture to which it belongs.  Art is part of a broader conversation that references history, language, privilege and experience.  And artists, as members of a community, refer to this conversation - whether consciously or not. Through the public display of their work the artist speaks to their community and the public, and in so doing echoes their people’s aspirations by demanding acknowledgement.\r\n\r\nThe United States has been called a melting pot because of the ethnic and racial diversity of its population.  Taller Puertorriqueño, by calling attention to cultural distinctions and experiences, both challenges this notion and proves it true: Integration matters, but not at the cost of losing one’s identity.\r\n\r\nFor further information or images, please contact Rafael Damast @ 215-426-3311 or rdamast@tallerpr.org\r\n\r\n&nbsp;\r\n\r\nFor more information, download the description of the show <a title=\"Press Release\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity.pdf\" target=\"_blank\">here</a>.\r\n\r\nPara obtener más información, descargue la descripción del espectáculo <a title=\"En epañol\" href=\"http://tallerpr.org/wp-content/uploads/2014/12/Press-Release-images-of-identity-Sp.pdf\" target=\"_blank\">aquí</a>.\r\n\r\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n</div>\r\n</div>\r\n</div>',2551,'http://tallerpr.org/2015/04/22/2551-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3512,641,'2015-09-03 10:18:36','2015-09-03 14:18:36','&nbsp;\n\n<p style=\"text-align: justify;\"><a title=\"Taller+Rental+Space-Cover\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\"><img class=\"alignleft\" style=\"float: left;\" title=\"Taller+Rental+Space-Cover\" src=\"http://farm8.staticflickr.com/7388/11111309494_95f6fba928_m.jpg\" alt=\"Space Rentals Flyer for Download\" width=\"186\" height=\"240\" /></a>Taller event spaces are perfect for your hosting needs. The Roberto Hernandez Theater in Taller\'s Education building on 5th &amp; Huntingdon, and other events spaces are available for rent as well. We have spaces that can accommodate parties, professional, and cultural events and theatrical productions.</p>\n\nBase rate is $50/per hour.\n\nDownload the flyer <a title=\"Event Space Flyer\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\">here</a>.\n\n<strong>Spaces available for</strong>\n\n• Theater productions\n• Rehearsals\n• Dance Practice\n• Meetings\n• Conferences\n• Parties\n\n&nbsp;\n\n<strong>The Roberto Hernandez Theater amenities</strong>\n\n•Theater lights\n\n•Professional audio equipment\n\n•Projector &amp; screen\n\n•Tables and chairs\n\n•WiFi\n\nand much more.\n\n&nbsp;\n\n<strong>Accessibility</strong>\n\n• The building is a stop for Septa\'s bus 47, get directions <a href=\"http://goo.gl/w9Z2Og\" target=\"_blank\">here</a>.\n\n• Free Parking; directly across is a free municipal parking lot.\n\n&nbsp;\n\n<strong>For more information, contact our Facility Manager: Carlos Pardo</strong> (215) 423-6320 or email him at <a href=\"mailto:cpardo@tallerpr.org\">cpardo@tallerpr.org</a>\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2014/02/teatro2.jpg\"><img class=\"wp-image-4027 alignright\" src=\"http://tallerpr.org/wp-content/uploads/2014/02/teatro2-300x225.jpg\" alt=\"teatro2\" width=\"285\" height=\"214\" /></a><a href=\"http://tallerpr.org/wp-content/uploads/2014/11/10367141_10152445027993679_5013794737725098249_n-2-e1416938735872.jpg\"><img class=\"wp-image-2512 alignright\" src=\"http://tallerpr.org/wp-content/uploads/2014/11/10367141_10152445027993679_5013794737725098249_n-2-300x300.jpg\" alt=\"10367141_10152445027993679_5013794737725098249_n-2\" width=\"221\" height=\"221\" /></a><a href=\"http://tallerpr.org/wp-content/uploads/2014/02/teatro3.jpg\"><img class=\"wp-image-4028 alignleft\" src=\"http://tallerpr.org/wp-content/uploads/2014/02/teatro3-300x225.jpg\" alt=\"teatro3\" width=\"282\" height=\"212\" /></a>\n\n<a href=\"http://tallerpr.org/wp-content/uploads/2014/02/Teatro1.jpg\"><img class=\"wp-image-4026 aligncenter\" src=\"http://tallerpr.org/wp-content/uploads/2014/02/Teatro1-300x225.jpg\" alt=\"Teatro1\" width=\"279\" height=\"210\" /></a>','Facilities and Event Space Rentals','','inherit','closed','closed','','1524-autosave-v1','','','2015-09-03 10:18:36','2015-09-03 14:18:36','',1524,'http://tallerpr.org/2015/04/22/1524-autosave-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3513,641,'2015-04-22 15:50:24','2015-04-22 19:50:24','<p style=\"text-align: justify;\"><a title=\"Taller+Rental+Space-Cover\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\"><img class=\"alignleft\" style=\"float: left;\" title=\"Taller+Rental+Space-Cover\" src=\"http://farm8.staticflickr.com/7388/11111309494_95f6fba928_m.jpg\" alt=\"Space Rentals Flyer for Download\" width=\"186\" height=\"240\" /></a>Taller event spaces are perfect for your hosting needs. The Roberto Hernandez Theater in Taller\'s Education building on 5th &amp; Huntingdon, and other events spaces are available for rent as well. We have spaces that can accommodate parties, professional, and cultural events and theatrical productions.</p>\n\nBase rate is $50/per hour.\n\nDownload the flyer <a title=\"Event Space Flyer\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\">here</a>.\n\n<strong>Spaces available for</strong>\n\n• Theater productions\n• Rehearsals\n• Dance Practice\n• Meetings\n• Conferences\n• Parties\n\n&nbsp;\n\n<strong>The Roberto Hernandez Theater amenities</strong>\n\n•Theater lights\n\n•Professional audio equipment\n\n•Projector &amp; screen\n\n•Tables and chairs\n\n•WiFi\n\nand much more.\n\n&nbsp;\n\n<strong>Accessibility</strong>\n\n• The building is a stop for Septa\'s bus 47, get directions <a href=\"http://goo.gl/w9Z2Og\" target=\"_blank\">here</a>.\n\n• Free Parking; directly across is a free municipal parking lot.\n\n&nbsp;\n\n<strong>For more information, contact our Facility Manager: Carlos Pardo</strong> (215) 423-6320 or email her at cpardo@tallerpr.org\n\n[gallery ids=\"1750,1751,1752,1753,1754,1755\"]\n\n&nbsp;','Facilities and Event Space Rentals','','inherit','closed','closed','','1524-revision-v1','','','2015-04-22 15:50:24','2015-04-22 19:50:24','<p style=\"text-align: justify;\"><a title=\"Taller+Rental+Space-Cover\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\"><img class=\"alignleft\" style=\"float: left;\" title=\"Taller+Rental+Space-Cover\" src=\"http://farm8.staticflickr.com/7388/11111309494_95f6fba928_m.jpg\" alt=\"Space Rentals Flyer for Download\" width=\"186\" height=\"240\" /></a>Taller event spaces are perfect for your hosting needs. The Roberto Hernandez Theater in Taller\'s Education building on 5th &amp; Huntingdon, and other events spaces are available for rent as well. We have spaces that can accommodate parties, professional, and cultural events and theatrical productions.</p>\r\nBase rate is $50/per hour.\r\n\r\nDownload the flyer <a title=\"Event Space Flyer\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\">here</a>.\r\n\r\n<strong>Spaces available for</strong>\r\n\r\n• Theater productions\r\n• Rehearsals\r\n• Dance Practice\r\n• Meetings\r\n• Conferences\r\n• Parties\r\n\r\n&nbsp;\r\n\r\n<strong>The Roberto Hernandez Theater amenities</strong>\r\n\r\n•Theater lights\r\n\r\n•Professional audio equipment\r\n\r\n•Projector &amp; screen\r\n\r\n•Tables and chairs\r\n\r\n•WiFi\r\n\r\nand much more.\r\n\r\n&nbsp;\r\n\r\n<strong>Accessibility</strong>\r\n\r\n• The building is a stop for Septa\'s bus 47, get directions <a href=\"http://goo.gl/w9Z2Og\" target=\"_blank\">here</a>.\r\n\r\n• Free Parking; directly across is a free municipal parking lot.\r\n\r\n&nbsp;\r\n\r\n<strong>For more information, contact our Facility Manager: Carlos Pardo</strong> (215) 423-6320 or email her at cpardo@tallerpr.org\r\n\r\n[gallery ids=\"1750,1751,1752,1753,1754,1755\"]\r\n\r\n&nbsp;',1524,'http://tallerpr.org/2015/04/22/1524-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3514,2,'2015-04-22 16:22:28','2015-04-22 20:22:28','<img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />\n\n<h1 style=\"text-align: center;\">April 17 to May 9, 2015</h1>\n\n<em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\n\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nArt work for sale by:\n\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\n\n&nbsp;','ART PAGES, All Art is Welcomed','','inherit','closed','closed','','3502-revision-v1','','','2015-04-22 16:22:28','2015-04-22 20:22:28','<img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />\r\n<h1 style=\"text-align: center;\">April 17 to May 9, 2015</h1>\r\n<em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\r\n\r\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nArt work for sale by:\r\n\r\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\r\n\r\n&nbsp;',3502,'http://tallerpr.org/2015/04/22/3502-revision-v1/',0,'revision','',0);
