Navigating the History of the Globe Dye Works

In conjunction with the opening of the Catagenesis exhibition, we will be showing a film about the history of Globe Dye Works.  Independent Curator Cheryl Harper, and Philadelphia Sculptors President Leslie Kaufman are responsible for the bulk of the work that has gone into the film, along with a small crew.

Bill Greenwood, Company Treasurer and Plant Superintendent, 1965

Recently, Cheryl and Leslie visited with the oldest surviving manager of the Globe Dye Works, Wilson "Bill" Greenwood, at his home in Moorestown, NJ.  Bill is a spry 89 years of age and he has a glowing energy while talking about his life at Globe, as well as the business' history.

Bill Greenwood, Reminiscing through one of many Globe scrapbooks, 2012

The film will describe the fascinating story of a truly unique and impressive family business.  The company was founded in 1865 by Richard Greenwood (who had emmigrated from Liverpool, England when he was 12), along with his friend William Bault.  It was Richard who had experience with textiles, his father was a loom weaver back in England, and he eventually bought out Mr. Bault (who was an engineer).  

Richard Greenwood, Co-Founder of Globe Dye Works, 1880s

Richard Greenwood knew what he was doing.  He had a reputation as the "indigo doctor" and was consulted on "sick" batches of indigo dye throughout the country.  Not only was he skilled in the art of textile dying, but he also laid the foundation of a stunningly functional family business.  It has been said that 10-15% of family businesses survive three generations, Globe excelled through five (Bill represents the fourth generation).  Richard (pictured above) had a visceral presence in the business throughout its existence; long after his death there was a life-size photo of him on view at Globe, a stern and proper Victorian keeping a watchful eye on his beloved operation.

Come visit the Catagenesis Exhibition (on view at the Globe Dye Works, September 9th - October 21st) to learn more about the Greenwood family and their extraordinary Globe Dye Works!

Featured Artists: Carolyn Healy & John Phillips

Carolyn Healy and John Phillip's work and methodology could not be better suited for this show and the exhibition space.  As collaborators of site-specific multimedia installations, Carolyn is the sculptor while John considers the environment that she creates and adds the sound and video components.  Their process begins by spending a lot of time in the space; Carolyn has discussed the importance of the smell and the vibe while John described his interest in researching the history of the place - in this case mainly workers and their traditions.  Their work begins with concrete ideas and becomes abstract in form.  

Fig. 1. Carolyn and John in their raw space for the Catagenesis show.

Carolyn has been scavenging the Globe for objects to use in their installation.  Below are carts full of spools of thread that were dyed at the Globe Dye facility which Carolyn has collected for potential use in the show.  Their artist statement expresses a strive to keep the technology that they use invisible and describes what they create as a "nonverbal 'theater' of the mind."  By merging these heady ideas with their visual and audible creations Carolyn and John will no doubt merge a complex, sensual wonderland into the Globe Dye Works.

Fig. 2. Items that Carolyn has set aside to potentially use in their installation.

Featured Artist: Gandalf Gavan

"I am attracted to art that has that sense of humour and tension between seriousness, ambivalence and play." Gandalf Gavan, (Phong Bui, Brooklyn Rail, May 2010)

Gandalf Gavan is trying to keep things simple these days.  He moves quickly, almost joltingly around Globe Dye Works, but it is clear that when it comes to art making, Gavan is able to trust his instincts.  Upon entering the exhibition space he had an immediate attraction to a big tub of zeolite and decided to hone right in.  

Gandalf Gavan, Daedelus's Song, Oaxaca, Mexico, 2003.

Gavan's ability to transform a space without entirely taking it over is due to his utilization of surroundings without nullifying them.  He invites his media to employ light as an additive rather than a costume.  His past work has involved many media, notably here are neon and mirror, and often express his interest in light.  In terms of the zeolite, he is excited about its quality of refracting light as well as its ability to shift our perception of the material.  

Gandalf Gavan, Infinite Infinities, P.S.1., Long Island City, NY, 2007.

Zeolite, a water softener, has been a focus for many visitors into the Globe Dye Works.  I would credit it's luring texture as it's most seductive attribute, but its constant shifting of color and light have been just as powerful in honing us in.  Gavan filled a baggie of zeolite to bring back to his Brooklyn studio; I can't wait to see what he does with the stuff.

Globe Dye Works, Tub of Zeolite.

Featured Artist, Scott Pellnat

This weekend I was fortunate to meet Scott Pellnat, one of our invited artists for Catagenesis, at the Globe Dye Works exhibition space.  Described by local art blogger Don Brewer as an "accomplished woodworker and avid dumpster diver," Scott's quirky constructions are a perfect match for this exhibition.

In chatting with Scott, his ability to reconfigure and transform space immediately surfaced.  Scott is currently living and working in Somerset, NJ (though he has previously hailed from NY and Philadelphia).  He described his current surroundings as decidedly suburban, and it seems that he has peeked the interest of both his neighbors and local police with the decidedly un-conventional studio he has built on his property.  Local interest was peeked several years ago with the studio/home he created (tower and all!) in south Philly.

Scott talked about his process as starting out abstract and becoming concrete in form.  His connection to the space at Globe Dye Works was both definitive and amorphous.  His current work is with boats, and he immediately observed a direct parallel between the roof of the building and the hull of a ship.  However, he also discussed his response to the space as being layered - another layer involving the historical narratives surrounding the space (not necessarily historical facts).  

It's doubtful that even Scott has a palpable idea of how all these layers will emerge in his final installation.  I am particularly excited to see how his work will manifest in the exhibition space; without a doubt, these boats will have depth.

First Visit to Globe Dye Works

Yesterday was my first visit to the exhibition space at Globe Dye Works. Wow.  This place is huge, raw, and jam packed with possibility.  My walk through was with Leslie Kaufman (Director of Philadelphia Sculptors) and about ten artists who are planning to submit proposals for jury selection (five artists have been chosen to participate and another ten will be selected by our jury).

We walked through with slack jaws and cameras flashing.  Many of the artists were giddy - inspiration visible in their excited eyes and the air thick with ideas.

The space has intricate wooden rafters and the ground is strewn with abandoned equipment (this building was actively dying fabric until 2005).  Beams of light stream in through the roof; it feels like both an industrial wasteland and an enchanted playground.

I was struck by the contrast between vast open space and intimate niches - surely this show will invite artists to work both large and small.  The sheer largeness of the space is coupled by boundless details.  We all took a few minutes to run our hands through a vat of what looked like rusty sand - Leslie explained it was Zeolite, a water softener.  It felt like velvet.

I could go on to attempt to describe this place, but it really must be seen to be believed.  Leslie put it well when she said, "If you're into texture, than this is the place to be."

This is going to be a great show.

Welcome to the Blog!

This is a blog about the process of putting together Catagenesis, an exhibition of site specific installations in the Frankford area of Philadelphia.  The exhibition is sponsored by Philadelphia Sculptors (namely Director Leslie Kaufman, Independent Curator Cheryl Harper, a few interns and an array of devoted volunteers) and it will take place at the Globe Dye Works.

Five artists have been invited to participate and ten more will be chosen through a juried process.  The exhibition will open on September 9, 2012, and there is much work to be done to get us there.  I hope you will enjoy hearing about the process.