LGTripp Gallery closes March 31, 2015

Posted on: Monday, June 1st, 2015

LGTripp Gallery - Lights out

The lights are always on at LGTripp GALLERY… until now.

Our latest exhibition, which closed on Saturday, March 14, was our last. Over the previous five years, we at LGTripp Gallery have had the privilege of working with some of the finest and most committed artists from Philadelphia (and beyond), devoting our programming to a focus on abstraction and non-objective work. We’ve experienced wonderful opportunities to collaborate with other art organizations, host memorable events, meet thousands who’ve walked through our door, and inspired so many to look at art in new ways and acquire works for their personal collections.

Our heart felt thanks and gratitude to all. We close with beautiful and long-lasting memories.

For additional information or inquiries, we can be reached at contact@lgtrippgallery.com.

Charles Kalick and Nazanin Moghbeli Exhibition

Posted on: Wednesday, February 18th, 2015

Artist’s Choice 2014 Exhibition

Posted on: Thursday, January 8th, 2015

A group exhibition of 17 artists represented by the gallery.

A Holiday Wish

Posted on: Tuesday, December 23rd, 2014

A Holiday Wish to all who have been friends and patrons of LGTripp Gallery in 2014.
Thank you!

Anthony Vega Exhibition

Posted on: Tuesday, November 11th, 2014

Great reviews for RSVP 2014, Donna Usher and Miriam Singer’s latest exhibitions

Posted on: Friday, September 19th, 2014

From The Art Blog…

Walking through LGTripp is not only a visual delight, but a delight for the mind as well. Moving from piece to piece and experiencing each artist’s different approach to abstraction and their emotional representation of it…

Read the full review

From Broad Street Review…

At the LGTripp Gallery, paintings by Donna Usher and Miriam Singer surge with vitality. Just being surrounded by these works seems to awaken your senses — you feel more alive and responsive.

Read the full review

Donna Usher and Miriam Singer Exhibitions

Posted on: Thursday, September 11th, 2014

Gallery Hours

Posted on: Friday, August 22nd, 2014

The gallery is open by appointment only until September 5th when we kick off the Fall season with an exhibition presenting works by gallery artists, Donna Usher and Miriam Singer.

Enjoy the final weeks of summer and Happy Labor Day. We look forward to seeing you soon!

RSVP 2014 Invitational

Posted on: Friday, July 18th, 2014

Edith Newhall reviews Jon Manteau’s current exhibition, “Philadelphia Historical Artifacts”.

Posted on: Thursday, June 5th, 2014

We’re excited and grateful for Edith Newhall’s of Jon Manteau’s current exhibition in the Philadelphia Inquirer (6/1/2014).

Galleries: Jon Manteau: But wait, there’s more!

By Edith Newhall
Sunday, June 1, 2014

The first time I saw Jon Manteau’s current exhibition at LG Tripp Gallery, I was overwhelmed by the sheer volume of work making up his latest one-person show there, “Philadelphia Historical Artifacts.”

Almost anyone and anything you can think of that has had a major impact on this city’s history and stature in the world has been transformed into a Manteau artwork of one kind or another.

William Penn is reimagined as a lifelike child in a life-size sculpture; house paint is artfully poured onto a scan of a photograph of Grace Kelly; a cast-concrete sculpture of a soft pretzel (also poured with latex) blown up to mega-scale perches on a pedestal, in the spirit of Claes Oldenburg.

An installation of Manteau’s abstract, poured latex paintings on plywood from 2003 and 2004 with various found Americana (iron works, stoneware jugs, baseball bats) mimics the “ensembles” of the Barnes Foundation’s gallery walls. Having known and liked his poured-latex paintings in the past, I mostly limited my focus to his newer poured paintings on huge swaths of carpet that hang on the wall and roll out majestically onto the floor (they look surprisingly like tapestries). A show made up entirely of paintings like these – one per wall, ideally – would have made me happy.

A second visit left me with an entirely different impression of his show – that it has to be the over-the-top carnival it is to juggle the diversity it contains. (There are poured-resin works included here that easily predate his poured paintings of 2003, qualifying this show as a mid-career survey of sorts.)

The second time around, I accepted that I could not take in absolutely everything in this show and that allowing for the occasional serendipitous encounter might be the best approach. The individual works that make up wall-mounted rows of dozens of postcard-size painted digital scans of Philacentric photographs, which at first I’d found almost off-putting in their multitude and abundance of Philly references, turned out to be consistently clever and affecting. I came across my favorite pieces (besides the painted carpets) on the wall of the back office: three ink-jet prints of views of Philadelphia from the 1970s (I.M. Pei’s Society Hill Towers among them) poured with house paint that simultaneously reminded me of Gene Davis Franklin’s Footpath, painted on the Parkway in 1972, and Brian De Palma’s Blow Out.

So, Jon Manteau can do it all, like Robert Rauschenberg before him. But I’ll hope for a future show of big paintings.