Emergent Perspectives

A series of exhibitions featuring work by emerging artists in the greater Philadelphia region


Fields of Knowledge
  • Aesthetics / Media
  • Curatorial practice
  • Pedagogy

Organizing Institutions



Judith Stein, Osvaldo Romberg, David Slovic, Jean-Michel Rabaté


Aaron Levy


Andy Warhol Foundation for the Visual Arts

Opens to public



4017 Walnut St
Philadelphia, PA 19104


0% Formal - 100% Informal

Slought is pleased to announce "Emergent Perspectives," a series of exhibitions featuring work by emerging artists in the greater Philadelphia region. With a history of supporting new voices, Slought has invited artist Osvaldo Romberg, architect David Slovic and art historian Judith Stein, among others, to curate exhibitions with emerging Philadelphia voices.

September 11-November 01, 2004

Slought is pleased to announce that the exhibition jurors will include critic and curator Judith Stein, architect and visual artist David Slovic, and Slought senior curators Osvaldo Romberg and Jean-Michel Rabaté.

The exhibition includes work by: Intellectual Property, Michael Barker, Beth Blinebury, Morgan Craig, Jennifer Goettner, Ditta Baron Hoeber, Joseph Hu, Lydia Hunn, Alicia Keller, Diane Laison, Mary Kate Maher, Jessica Mein, Jeff Meyers, Keiko Miyamori, Thomas C. Moore, Michelle Posadas, Lucy Russo, Ruth Shenkman, Tamara Kostianovsky, Ben Volta, David Webber, Mauro Zamora.

June 10-July 10, 2006

Slought is pleased to announce that the exhibition juror will be Slought senior curator Osvaldo Romberg, and the artists exhibited will all be MFA Graduates from three area Philadelphia Art Schools.

The exhibition includes work by Pennsylvania Academy of Fine Arts graduates Blaine Siegel, Amy Walsh, Michelle LeClaire, and Max Maddox; Tyler School of Art graduates Joe Protheroe, Anna Neighbor, Timothy Belknap, and Tricia Lopez; and University of Pennsylvania graduates Wil Medearis, Pernot Hudson, and Brent Wahl.

April 18 - May 18, 2008

Slought is pleased to announce that the exhibition juror will be Slought senior curator Osvaldo Romberg.

The exhibition includes work by artists working with photography, painting, sculpture, and video that are based in Philadelphia, New York, and Berlin. They include: Marisa Baumgartner, Mariya Dimov, Donovan Entrekin, Lily Gottlieb-McHale, Faye Kendall, Joyce Kim, Kai Pedersen, David Romberg, Laura Velez, Billy Dufala, John Greig, Lauren Comito. The opening reception will feature live electronic music improvisation by bilwa.

May 15-June 15, 2009

Slought is pleased to announce that the exhibition juror will be Slought senior curator Osvaldo Romberg, working in collaboration with five emergent artists and architects -- Srdjan Jovanovic Weiss, Asher Barkley, David Romberg, Blaine Siegel, and Constantina Zavitsanos. The generative principle for the exhibition has been the decentralization of the curatorial process, whereby the curator selected five additional curators to broaden the scope of the selection, without interference.

The exhibition includes work by artists and architects including Robert Trempe, Jenny Sabin + Peter Lloyd Jones, Hollwichkushner, Ferda Kolatan + Erich Schoeneberger (su11), Normal Architecture Office, Jahje Bath, Jaegwon Cho, Asher Barkley, Didier Clain, Mariya Dimov, Elliott Hasiuk, Shanjana Mahmud, J Makary, Fay Morgan, Lisa Marie Patzer, David Romberg, Blaine Siegel, Robert Scobey, Aliza Shvarts, Jenny Thwing, Mike Treffehn, Naotomo Umewaka, Brent Wahl, Anastasia M Wong, and Vladimir Zykov. The video works have been grouped according to five thematic categories: architecture, language, sex, the body, and technology. In conjunction with this exhibition, a pop-up exhibition at the Port Richmond Studios will feature artists including Asher Barkley, Alana Bograd, Didier Clain, Aki Torii, and Constantina Zavitsanos.

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Judith Stein is a writer and independent curator. Her biography-in-progress of the art dealer Richard Bellamy earned a Warhol Foundation/Creative Capital Arts Writers Grant in 2008. Other honors include a Pew Foundation Fellowship in the Arts in literary non-fiction (1994); an Award for Best Catalogue, International Art Critics Association, American Section, for I Tell My Heart: The Art of Horace Pippin, (1995); and a writing residency at the Rockefeller Foundation in Bellagio, Italy in 1999.

A native of Chicago, David Slovic received a BA from Cornell University before coming to Philadelphia to study architecture at the University of Pennsylvania and work with Louis Kahn. He started his own experimental architectural practice, first as FRIDAY Architects then as David Slovic Associates. His photographic work began with the book, American Diners, then evolved in installations, collages, drawings and photography shown in national and international venues including The Pennsylvania Academy of Fine Arts (1978), La Biennale di Venezia (1980), PS1, Contemporary Art Center, New York (1981), Yale University (1982) and Lisbon Trienale di Architectura (1999).

Osvaldo Romberg was born and raised in Argentina. In the early 1970s, as a painter and conceptual artist, he began using a grid to analyze the tone and saturation of various colors. Romberg's deconstruction of both individual hues and those of famous historical paintings investigate the political and social conventions of looking and seeing. The works on paper from this period are infused with Romberg's interest in art history, philosophy, linguistics, and informational systems. One of the founders of Slought, Romberg is currently Senior Curator for Artist Projects.

In a 1978 talk by poet Steve Benson in San Francisco, the following questions were raised: "What major problems face someone cultivating a career in the arts? Are these problems useful or detrimental to artists and art work?" Following the interrogative spirit of the late 60s, these exhibitions index the status of the artist in Philadelphia and highlights current cultural practices. They call attention to and explore the continued difficulties of pursuing a career in the arts in a time of widespread social and institutional critique, and the corporatization of contemporary art and life.

These exhibitions also seek to raise a series of related questions: "When a student receives a Masters of Fine Arts, what has he or she learned and achieved? Originality? Capacity for self-criticism? Theoretical or technical proficiency? Knowledge of the historical or contemporary scene? What influences can be detected in the work of these graduates? Their teachers? The work of other students in the program? The magazines and exhibitions available to them in cultural centers and art markets? How much time should it take to graduate, to understand the rules of the game, and to be able to either submit to or subvert those rules?

How many of these graduates will support themselves as artists in the coming years? How many will move from the periphery to the center of the action? How many will compromise and accept peripherical jobs in fields such as illustration and graphic design? How many of these graduates understand, from the beginning, that nobody asked them to be artists, and that the life of an artist is not like other professions, and is not always easy? How many of these graduates will be able to survive the activity of making art without the critique and reflexivity that art schools aim to provide? Are these artists going to be able to cultivate their own sense of self-criticism, and is such a thing ever truly possible without community?

What would an exhibition of work by the same artists look like in five years?