In Philadelphia, Practice, the art space that opened not so long ago in 2012, focuses on performance, participation, and experimentation. Their current exhibit is entitled “Taken” and aims to analyze the processes which revolve around appropriation. Whether you call them rip-offs, artistic license, or anything else, in the 21st century, few themes are as relevant and heated as the sharing of images, music and information.

Erin M. Riley, “Fun.”

As a clear nod to product placement and advertising, a few artists make their sources more than evident. Erin M. Riley’s inclusion entitled “Fun” is a hand-woven wool tapestry hanging loosely from the wall. The weaving depicts a woman in a pink top and skirt who is apparently passed out (although her face is featureless, betraying the status of her eyes). In her hand is a bottle of beer which, based on the color, is quite possibly of the Pabst Blue Ribbon or cheap malt liquor variety. While advertisements would generally depict bar-goers as having the time of their lives, the potency and consistency of cheap beer typically lends itself more to excess. Riley seeks to provide a bit of truth in advertising with this piece.

Christopher Aque, “Rock.”

Christopher Aque doesn’t even bother to disguise the brand for his sculptures entitled “Rock.” Scattered around the floor of the show are Abercrombie & Fitch shopping bags filled with hardened concrete. The bags themselves are bursting in places and present physical obstacles for visitors to avoid tripping over. Perhaps representative of the weighty baggage that accompanies unchecked consumerism and greed, the rock-like abs of the bags’ models tell another story of body image issues and potentially dangerous social ideals.

The Broadzilla DJs, “Show Posters, 2006-2013.”

One section of the gallery is composed entirely of show posters used for Broadzilla DJ shows from 2006 – 2013. These Philly-based dance parties promote themselves using posters which fairly obviously lift their designs from popular culture. Images referencing the movie Home Alone, the band Sublime, old Led Zeppelin concerts, and even Britney Spears’ head-shaving incident are just some of the hooks that promoters throw out to catch the attention of potential attendees.

Ben Porten takes a huge leap of ownership by allowing others to access his personal internet accounts. A simple computer in the corner of the gallery sits glowing and ready for users, already logged into Porten’s Facebook account. Any visitor could enter the space and send messages, post status updates, or even read private material. Part performance and fully lodged in the worlds of identity and appropriation, Porten’s bold move says a lot about how much emphasis we put on our digital selves. The price for the work? “Buy me for as much as you can, price is negotiable or best offer. Or I’ll trade you for a job.”

Practice will be showing “Taken” through April 27. It is also on display in conjunction with Knight Arts grantee Little Berlin’s exhibit “Repeat,” which consists of content taken from the internet and reproduced.

Practice is located at 319 North 11th St., Philadelphia, on the second floor; [email protected]; practicegallery.org.