I went to the 14th street gallery openings kick off of the season last Saturday evening. After sweating it out in the galleries and on the streets, here is a report.
The William Christianberry's show at Hemphill had the most to say. At least it was most engaged with the art world in which I live. An art world where people make things. At the entryway of the gallery, just passed the free, red carpenter pencils, there was Dream Building (Gothic) a church-esque spire that had this dizzying light effect at its middle from the intersection of shadows from the dowels that support the steeple. It was lit very dramatically.
The photographs are really what drive the show for me. There was an interesting narrative play in House and Car, Near Akron, Alabama1978–2005 in the back gallery. They at first seem to want to tell a story of a neglected blue car, but about halfway through the series the car drops out of the story and the deteriorating house comes into focus. I thought that was a cool way to tell a story of age, neglect, and Nature's reclaiming of our stuff. You know, After Nature stuff.
No wine available. No worries.At Irvine we saw Teo Gonzalez and for some reason I think I saw this same show last year.
There was wine, but I didn't have any. It looked a little pale. Likely Pinot Grigio. The show at G looked like big photo prints on plexi and canvas with what I call "techno" shapes glazed on top, vaguely recalling the forms of the animal subjects printed beneath. There were roller derby paintings there as well, but...whatever, I've already said too much about that. (If G posted updates to their website I could have some imagery for you.)
There was also an encased hive of bees with headphones attached. What is it that you heard in the headphones do you think? I was expecting to hear the sweet minimalist couterpoint of the buzzing beesong. Instead I heard Boards of Canada, or maybe someone more abstract like Anders Ilar. The case looked hot too. It was fogging up on the inside.
Overall I was left a little flat.
The wine was a tanic red. Didn't catch the label. It was 90 degrees in G that night. I am sure that had an effect.
Adamson Gallery did have a tart, pale, flat, Pinot Grigio and some Chuck Close, Roni Horn, as well as some nice Victor Schrager pigment prints.
I didn't go to Curator's Office because I had to run. You may take the virtual tour here.
The William Christianberry's show at Hemphill had the most to say. At least it was most engaged with the art world in which I live. An art world where people make things. At the entryway of the gallery, just passed the free, red carpenter pencils, there was Dream Building (Gothic) a church-esque spire that had this dizzying light effect at its middle from the intersection of shadows from the dowels that support the steeple. It was lit very dramatically.
The photographs are really what drive the show for me. There was an interesting narrative play in House and Car, Near Akron, Alabama1978–2005 in the back gallery. They at first seem to want to tell a story of a neglected blue car, but about halfway through the series the car drops out of the story and the deteriorating house comes into focus. I thought that was a cool way to tell a story of age, neglect, and Nature's reclaiming of our stuff. You know, After Nature stuff.
No wine available. No worries.At Irvine we saw Teo Gonzalez and for some reason I think I saw this same show last year.
There was wine, but I didn't have any. It looked a little pale. Likely Pinot Grigio. The show at G looked like big photo prints on plexi and canvas with what I call "techno" shapes glazed on top, vaguely recalling the forms of the animal subjects printed beneath. There were roller derby paintings there as well, but...whatever, I've already said too much about that. (If G posted updates to their website I could have some imagery for you.)
There was also an encased hive of bees with headphones attached. What is it that you heard in the headphones do you think? I was expecting to hear the sweet minimalist couterpoint of the buzzing beesong. Instead I heard Boards of Canada, or maybe someone more abstract like Anders Ilar. The case looked hot too. It was fogging up on the inside.
Overall I was left a little flat.
The wine was a tanic red. Didn't catch the label. It was 90 degrees in G that night. I am sure that had an effect.
Adamson Gallery did have a tart, pale, flat, Pinot Grigio and some Chuck Close, Roni Horn, as well as some nice Victor Schrager pigment prints.
I didn't go to Curator's Office because I had to run. You may take the virtual tour here.
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