Two disparate shows at DaVinci and Cerulean

Among the art exhibitions crowding Philadelphia galleries this month are two divergent expressions for today, each valid within its métièr.

The DaVinci Art Alliance exhibits varying responses by 18 artists to various forms of discrimination. It's inspired by the International Opera Guild's new production of Buffalo Soldier, based on the U.S. Army's African American 92nd Infantry Division, which fought heroically in Italy in World War II, only to encounter the same old racial discrimination when its GIs returned home.

"Triumphing over Discrimination" isn't just another bleeding-heart liberal dirge. This one has some surprises that just might revise your concepts.

David Foss's Freedom Tower, for example, offers a chance to picture yourself behind bars, looking out at the world. Suspended inside an elevated tower hangs a reflecting silver ball. Looking at it, you will not be tempted to straighten your hair; you just want to escape.

Inside We Are All Alike, by Deanna McLaughlin, interprets that hackneyed slogan with a three-dimensional transparent plastic bust, decorated with images of multi-ethnic notables, enclosing a miniature skeleton of the human frame (bones of all races are the same color and configuration). The bust is encircled with multiple strands of barbed wire. An obvious message, perhaps; but it would make an effective tool for any primary or middle school.

A German's obstacles

Brigitte Rutenberg's three mixed media constructions recall her difficulties as a German immigrant more than three decades after World War II as she dealt with the bureaucratic roadblocks to citizenship.

Arthur Ostroff's digital montages, with reprints of actual photographs of the Buffalo Soldiers, gives a visual perspective to the regiment, putting its history in a context that now seems incredible.

Alden Cole's oil paintings of homosexual tenderness and love are beautifully composed and painted, not confrontational and consequently furthering popular acceptance.

For all the diverse forms of discrimination on display, none of the 18 artists addressed discrimination suffered by Latinos, and the exhibition contains very few references to the difficulties of being Muslim in this society. Who will accept the challenge? Remember: One image is worth a thousand words.

Eternal question

"Is It Time?," at the Cerulean Arts Gallery, presents new work by ten accomplished artists who seek to answer the eternal question: Is the time now? I would say: "Yes, go for it."

This exhibition curated by Don Kaiser is as varied as today's art expression. Vince Romaniello's six tondos in graduated sizes encompass various abstract compositions that seem to embody the universe as seen from distant planets. His palette pleases, and the various elements form a complementary unit.

Nic Coviello's painting seems to capture a lovely spring day until the thought registers: The smokestacks are those of the nuclear plant in Limerick, Pa. Let's hope this is not their time.

It's poignant to view two works by the recently deceased artist Warren Angle, both of them evocations on awakening life and growth. Angle's diversity of technique complements each entry.

Chimes on the quarter-hour

Other works on display range from Nancy Sophy's subtle, abstract painting, Magic Garden, of poppy seed oil and pastel on paper, to Jon Manteau's painted driftwood pieces.

Randall Cleaver's sculpture compositions— Where Did the Time Go?, in the gallery's window on the street, and Time Compressor in the garden, which chimes on the quarter hour"“confront the universal issue of life: past, present and future.

Clarence Wood's torn paper collage paintings and Betsy Miraglia's collages— one with found objects— are tactile expressions by artists who understand color and composition in creating a unified entity.

"Is It Time?" is an exuberant expression of art today. It makes you want to see more of each artist's work plus gives hope that art still includes paintings and sculpture; it's not just video and loud sound projection.