culture

Memento Mori

art history /

Antonio de Pereda, El Sueño Del Caballero (The Gentleman’s Dream), c. 1650

On the banner: Aeterne pungit, cito volat et occidit “Eternally it stings, swiftly it flies and it kills”

Memento Mori, the latin phrase meaning “reminder of death”, began to occur in medieval art as a visual manifestation of the ephemeral nature of life. While the concept can be traced back to the ancient, it became popular in art with the rise of christianity and its philosophy that life is fleeting, earthly desires are distraction and the salvation of the afterlife is eternal. Past the renaissance and as time went on, memento mori became more secular, and refers generally to the brevity of life and the importance of the present moment.

Typically symbolized by skeletons, candles, hourglasses, decaying objects like wilting flowers or rotting fruit, this imagery represents the passage of time and the certainty of death. These motifs can be noticed in anything across contemporary visual media, such as film or fashion, but were originally embodied in small objects like prayer beads or jewelry, as well as sculpture or painting. In the 16th century, Dutch painters began the production of Vanitas paintings; allegorical still lifes of a collection of symbolic objects indicating morality, often relating to piety and memento mori.

The memento mori challenges the viewer to look closely, to hold the image in their mind without immediately reacting to what may be an unsettling visual. To reflect on the art, the viewer’s own life and ultimate death.

Pieter Claesz, Still Life with a Skull and a Writing Quill, 1628, via the Metropolitan Museum of Art

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art history

Xingzi Gu’s “Pure Heart Hall”

Editorial /

Installation view of “Pure Heart Hall” by Xingzi Gu at Lubov Gallery

I love when a gallery is in an off-beat, walk-up, possibly residential building. I like when you have to be buzzed in, or make an appointment, or be led by only a small, inconspicuous and un-explaining sign with the name of the gallery on it. It adds a little suspense to your average city gallery day. This was the case for “Pure Heart Hall” by Xingu Gu at Lubov Gallery, running from April 27th- July 13 in Chinatown, NYC. 

I usually find new artists and gallery openings because I keep my eye on art in the city. This time, I found an image of a painting by Xingzi Gu online– “Rouge”. I thought it was so beautiful, I loved the way the artist treated the paint. I loved the way the figure was treated. It all felt very fresh to me.

Xingzi Gu, Landline, 2023-24, via Lubov Gallery

The physical quase-inaccessibility of the show lies in discord with the press around it. I was easily able to find more works, and more about the artist, who shared their views on their understanding of the body and its aura, and how that manifests in their paintings. All very interesting. I had such good fortune that there was a recently opened exhibition of the artist’s work near me.

The paintings were in oil and acrylic on canvas, applied thinly, which added luminosity to the paintings and didn’t conceal the delicate pencil and raw canvas underneath. Some paintings were hung and some were on the floor, leaning against the wall. The figures of the paintings were youthful and somewhat ambiguous, surrounded by vaporous auras of color. They had geometric or botanical motifs and the fantastical scenes suggested the spiritual. The narrative feels open ended, which only further draws the viewer into the haze.

Xingzi Gu, Untitled (Ruddy or Ruddy Ice), 2024, via Lubov Gallery

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Editorial
Eroica Variations

EROICA VARIATIONS, July 2023

Exhibition /

431 E 6th St, NYC

WED-SAT 12-5pm & by appointment

The Trops takes pride in standing behind emerging artists, whom you may not have heard of- yet- but you should, and likely soon will. By naming this survey after the Beethoven compositions we are putting forth a bold claim that these voices are heroically breaking through as a force to be reckoned with on the world stage.

Featuring:

Ben Ruhe, Nick Farhi, Rene Saheb, Armando Nin, Rawnak Rahman, Vahakn Arslanian,  Jerami Dean Goodwin, David Aaron Greenberg, Conrad de Kwiatkowski

Vahakn Arslanian (b. 1975, Antwerp, Belgium) Having relocated with his family to New York City as an infant, Vahakn Arslanian is fascinated and inspired by roaring jet engine planes, explosives, luminous light bulbs and flickering candlelight. He has been nearly deaf since birth, his only sense of noise is from that which is thundering to the ears, for him, a glimpse at the vibrational frequency of sound. Along with his fascination with planes comes birds. Where this biomimetic pair have in common, Arslansian mends the two, such as his rough paintings and drawings of plane wings with bird feathers. He takes much of his work and frames them in found objects such as vintage plane windows, often broken and cracked.

Vahakn Arslanian 

Fat Bird

Oil on Canvas 

27 ¾ in x 35 ½ in 

2008 

Armando Nin Born and raised in New York, Armando Nin is a painter, photographer, and mixed media artist. His photography work captures the gritty extremities of his surroundings in the City starting in the mid 2000s into present day, and he often uses unconventional materials in his paintings and prefabrications.


Armando Nin

Coreana Chain No.

Unframed Butane Scorched Marine-grade Vinyl 

24in x 36in 

2022

David Aaron Greenberg is an artist who uses multiple modes of expression.​His work has been exhibited in various New York City galleries and is in the permanent collection at Stanford University.​His critical writing has appeared in Parkett, The Fader, Art in America and Whitehot Magazine.​Along with producer David Sisko, he co-founded Disco Pusher, a New York City songwriting and recording duo. Greenberg graduated from Rutgers University, Phi Beta Kappa. He lives in New Jersey and sometimes New York City.


David Aaron Greenberg

NP 

40in x 30in 

Oil on Canvas

2023

Rawnak Rahman Kantha Collection embodies her personal journey of navigating the delicate balance between upholding and challenging traditional Bangladeshi culture. She aims to disrupt and spark discussions around Bangladeshi traditions.


Rawnak Rahman 

“বু” / “bu”

48” x 48”

Mixed media on wood

2023

Ben Ruhe translates interdimensional beings and textures into his distinct figurative language, integrating soulful whimsicality into his mixed media artworks, 

Ben Ruhe

Untitled (captain)

Acrylic Polymer, Ink and Matte Acrylic Medium on Archival paper

14in x 11in

2023

Jerami Dean Goodwin moved to New York City in 2008. Also known as “STAINO”, his graffiti moniker, Jerami attained global notoriety for his outdoor works, recently painting murals in New York City, Los Angeles, Washington D.C. and Peekskill. Putting Out Fires is a series of paintings representing an exploration of new application processes, such as the use of a fire extinguisher. 

Jerami Dean Goodwin

Untitled #1 (White)

Acrylic on canvas

48 x 60 inches

Rene Saheb was born in Tehran, Iran and frequently engages allegory to comment on the social and philosophical phenomenons of life. Saheb received her Bachelor of Art in Professional Design at Limkokwing University of Creative Technology.

Rene Saheb

The Fallen Birds 1

Discarded Ceramic Pieces, paint and Glaze 

2023

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Exhibition

Philadelphia’s Magic Gardens and the South Street Renaissance

Public Art /

Isaiah Zagar, the artist behind Philadelphia’s Magic Gardens

Looking up at the wall, the story in its entirety stares back at you. One by one, each mosaic tile is meticulously placed, revealing an intimately personal construction. Its scale speaks to the energy behind it. Your eyes begin to section off the piece, finding little details, and discovering pieces of the puzzle. Cool tones come together in harmony and mirrored tiles shine out. Figures take shape and reveal expressive faces and phrases. It’s full of life. Facing outwardly and reflectively to the buzzing streets. Isaiah Zagar captures Philly in his murals and regifts it back to the city.

Zagar’s best-known work, Philadelphia’s Magic Gardens, is a beloved gem located on South Street’s Headhouse District. The Magic Gardens is an interactive art exhibit featuring a maze with mosaic walls bursting with color and texture. Walls of found and repurposed objects like glass bottles, bicycle parts, and ceramic dishes cluster together and create a whimsical wonderland for you to get lost in. The unique style and bewitching energy attracts Philadelphians and tourists alike to explore the South Street area, which is where most of Zagar’s work is concentrated.

Since he came to Philadelphia, Zagar’s work has breathed vitality into South Street. The value of his contributions and the powerful potential of public art as a whole can be demonstrated through South Street’s history, providing us with a case study on public art’s impact and relationship with community.

Philadelphia’s Magic Gardens

South Street’s influential origins date back to several immigrant communities who first called it home. It is a long-held tradition that South Street is a designated spot to seek entertainment and eclectic experiences. Originally, it was not a part of the Philadelphia city limits. Live music was not allowed by the Quaker doctrine, so South Street, being on the outskirts, is where live music lived. The depth of this energy can be felt reverberating through the streets and is captured exquisitely through Zagar’s works, which are peppered throughout the area. You can find the sweeping murals on street-facing building exteriors, or tucked into alleys, inviting you to explore where you are. Catching a glimpse of the first mural, then the second, and you’re suddenly searching for more. Your eyes are enticed to take in your surroundings, consciously seeking beauty.

Perusing the neighborhoods of Philadelphia becomes a familiar and energizing pastime. Every block seemingly breeds a new feeling. From Rittenhouse to Old City, from the Gayborhood to South Street; they’re all Philly, uniting in their undercurrents. Grit, ambition, and a vibrant community bond everyone. Each neighborhood connects in close proximity, making a large, urban city feel breezy and quaint. But there was a time when visions of redevelopment and suburban convenience sought to change the city.

First proposed in 1964 by the Philadelphia City Planning Commission, the Crosstown Expressway was a highway expansion that would disrupt this cultural unification by dividing the area by race and income. When the Crosstown Expressway was proposed, South Street was struggling. It was seen as a less desirable area to live in, thus contributing to the campaign for highway expansion. With low-cost property available, bohemians, artists, musicians, and hippies began moving in, including the Isaiah Zagar and his wife, Julia, who moved to South Street in the 60s. As Isaiah began constructing his public artwork, the Zagars effectively joined The South Street Renaissance. Whether they knew it or not, this move was an act of rebellion.

A CCPDCC protest

Soon, the Zagars called on their protesting skills learned in the Peace Corps and fought alongside their neighbors. Culture and art began taking over as they all came together to repair the neighborhood. As they thrust life back into South Street and other neighborhoods joined in the fight, the City Planning Commission was no match for the Philadelphian spirit. Through artistic visions and united voices, South Street was spared, allowing us to continue treasuring it today. Zagar, amongst many, was a part of the effort to protect South Street and the surrounding communities. 

Community organizing was key, namely the Citizens’ Committee to Preserve and Develop the Crosstown Community (CCPDCC). The CCPDCC was created in 1968 by housing activist Alice Lipscomb, community leader George Dukes, and lawyer Robert Sugarman. Alice Lipscomb was an esteemed African American organizer, passionate about her community and its citizens. Fearless and committed, she united groups to fight against slumlords and racist housing policies.

The CCPDCC partnered with a supportive local architectural firm to convince the city South Street was salvageable with new land use plans drawn up as their rebuttal. The new plans were a contentious debate between the CCPDCC and government leaders for years, until Lipscomb broke through to newly elected mayor Frank Rizzo in 1972. Their agreement included scrapping the Crosstown Expressway, rehabilitating low-income housing, reducing household relocation, and supporting local businesses, with additional planning to be directed by the community.

Alice Lipscomb

Lipscomb’s work prevented the decimation of vibrant South Street, rallying citizens to protest alongside her. Her tireless labors of love for Philadelphia inspired Isaiah Zagar to create a sweeping, grand-scale mural in honor of this local hero in 2003 on S Sartain St. His signature style is immediately evident, as is his admiration and respect for Lipscomb. Capturing Lipscomb’s essence through abstract figures and larger than life depictions, this mural amplifies Zagar’s impressive body of work. It is another love letter to South Street.

Zagar’s work has continued to grow since South Street was salvaged, serving as a testament to what could have been lost. The Magic Gardens was completed in the 90’s and has been a cherished part of the locale since. It’s hard to imagine Center City with a major highway plunged through it. Thanks to the hard work for Alice Lipscomb and Isaiah Zagar and others who fought alongside them, it remains intact and vibrant. One Philadelphia stroll is enough to know why the South Street Renaissance fought this threat. 

Isaiah and Julia Zagar

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Public Art