Opening Reception of “Build A Fire” by Pete Schulte

Below freezing temperatures couldn’t keep the crowd away this past Thursday evening at whitespace gallery for the opening reception of Build A Fire. Pete Schulte’s newly installed exhibition incorporates graphite drawings, large wall drawings, three-dimensional pieces, and a music component.  Schulte created all of these works with the particular gallery spaces of whitespec and whitespace in mind.  Visual and conceptual themes carry from one piece to the next in a subtle and pleasing manner.  Schulte intends for his work to suggest varying meanings and encourages viewers to actively discuss their thoughts and ideas during their visit.

Discussion is exactly what ensued Thursday night.  Both main rooms in whitespace were filled with people experiencing Build A Fire for their first time.  Everyone had the luxury to openly converse with Schulte about his work and inspirations.  If they weren’t picking Schulte’s brain, groups were speculating amongst one another: What is the significance of the instrumental music?  How does “The Clock” tell time?  Are the grooves in “The Clock” related to the grooves on the vinyl record featured in “A Letter Edged In Black”?

A steady flow of people braved the cold to venture over to whitespec, a small project space, to view an additional two pieces featured in Build A Fire.  The pieces in whitespec nicely demonstrate Schulte’s thoughtfulness throughout his creation and installation process.  The first piece, “X”, confronts the viewer as they enter whitespec.  The stark white form of the X wraps around its dark graphite counterpart to create the illusion that the drawing is receding in space.  “X”, located on the wall facing the entrance, draws the visitor into the physical space of whitespec.  Next, one encounters “Lying In State”, a 144 inch-long three-dimensional rectangular aluminum piece.  “Lying In State” rests peacefully in the middle of the brick floor and is surround by bare brick walls that have been painted white.  The expanse of the piece invites the viewer to circumnavigate the entire space and view the object from all angles.

Every other work featured in whitespace was designed and installed with just as much intention and thought as the two pieces in whitespec.  “Broken Line Drawing”, another aluminum piece, is installed in a main room of whitespace.  Many visual similarities can be noticed when comparing “Lying In State” and “Broken Line Drawing”.  It is thought provoking to consider each aluminum object with the other in mind.  Visitors will find themselves revisiting certain works and drawing new connections after they encounter other pieces later on in the exhibit.  The deliberate attention given to the placement of each piece within whitespace creates a unique, introspective experience for every visitor.

Written by: Margaret Gregg

Photo Courtesy of: Erin Branch

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Whitespace Hosts Talk with Featured Artist Beth Lilly

This past weekend Beth Lilly held an engaging talk at Whitespace.  In order to convey her inspiration for her current show, A Moving Image of Eternity, Lilly briefed her audience on her childhood and adolescent years.  Just as she was entering her teenage years, Lilly and her family moved from Atlanta to Snellville, Georgia.  Laughing, she explained how the drastic change from constantly being surrounded by friends to suddenly being completely isolated in middle-of-nowhere Georgia drove her a little crazy.  The climax of her story, though, came when she was finally old enough to drive.  Lilly found solace on Georgia’s interstate roads.  Suddenly, she was removed from the seclusion of her family home in Snellville.  Lilly explained how her hours spent driving led her to understand the concepts of human restlessness and the constant yearning for change.  The interior of her car felt familiar and still, like her inner conscience.  Her exterior environment, however, was in constant motion.  During her drives, Lilly was accompanied by many other cars—all individuals sharing a common motive to move.

Her four current photo series, featured at Whitespace through February 14th, recall Lilly’s experiences and thoughts from her countless drives.  “Lost in Thought”, a nine piece series, nicely demonstrates how Lilly translates her beliefs about the human condition of restlessness to her photography.  Each photograph involves a clear image of an individual or individuals totally absorbed in their conscience.  The stillness of the vehicle they are in represents this intimacy.  The blurred background of their exterior environment is a portrayal of restlessness and change.

In order to capture these particular images, Lilly set her camera lens on a slow shutter speed.  The camera was set up on a tripod in the passenger seat of her car and faced out the window.  Lilly scouted the cars surrounding her for interesting subjects as she drove on the interstate roads of Atlanta.  Once she determined a subject, she would drive alongside the car and use a handheld remote to take photographs with her camera.  Lilly also slyly mentioned that her camera lens hid the flash as she snapped a photo, so drivers around her would not know if or when their image had been captured.  Since the camera was moving at the same speed as Lilly’s subjects when the photographs were taken, the subjects and their cars appear sharp in the final image. The surrounding environment, however, was whizzing by as the camera captured the image, so every other aspect of the photograph appears blurred.  This technique is called panning.

Lilly explains how these nine photographs suggest a departure from reality.  This concept is enhanced by the blurriness and black and white print of each final image.  Each photograph is printed on Kozo paper, a type of Japanese tissue paper.  Kozo is made up of strongly bonded fibers that do not absorb the ink of the image; instead, the ink remains on the surface.  Each image appears to lightly float atop the surface of the Kozo paper—further communicating a fleeting moment in time that is subject to change.

The additional three photo series featured in Lilly’s current exhibit at Whitespace display equally unique, and sometimes humorous, approaches implemented by Lilly in her endeavor to capture and communicate the inevitable states of the human condition.

 

Written by: Margaret Gregg

Photo Courtesy of: Erin Branch

 

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Amy Pleasant Makes her Whitespace Debut with “re /form”

OPENING FRIDAY, JANUARY 10TH FROM 7 TO 10 PM

For the first show of the new year, whitespace gallery will exhibit re/form by Amy Pleasant, her whitespace debut, featuring new works in a variety of media, including paintings, drawings, and objects.

Amy Pleasant’s long nurtured interest in archeology and relics is formative in her work, and her new show acts as an archeological dig of her past works. While her previous works unfold like storyboards, recording the repetitive activities of everyday life, Amy’s new works are a more refined, less narrative effort to excavate the smaller moments of everyday life.

With re/form, Amy continues to explore her interest in gesture and marks and presents drawings that oscillate between simplicity and complexity. Using simple, singular strokes, Amy creates images that retain the qualities of a specific gesture or convey a particular tone that is recognizable to the viewer.

The physical uniqueness of the gallery space at whitespace served as an additional inspiration for the new body of work and influenced how she approached the series. She drew from the building materials and reflected on the utilitarian use of the gallery to explore how people inhabit space. The exhibition incorporates source material and invites the audience to consider how the history of the figure in art has shaped our understanding of the human experience. In this way, the space itself is treated as a component of the installation with the work and the space “animating” each other.

Amy Pleasant received her BFA from The School of the Art Institute of Chicago and an MFA from The Tyler School of Art, Philadelphia, PA. She has held solo exhibitions at Jeff Bailey Gallery, NY; The Birmingham Museum of Art; The Atlanta Contemporary Art Center; CANDYLAND, Stockholm, Sweden; Rhodes College; Tandem Gallery; The Ruby Green Center for Contemporary Art; and The University of Alabama at Birmingham.

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We’re going to Miami: whitespace at Aqua Art Miami 2013


We are excited to return to Miami this December for our third year at Aqua Art Miami at the Aqua Hotel.  One of the best fairs for emerging art during Miami Art Week, Aqua Art Miami will celebrate its 9th consecutive installment this December, and its first as one of the Art Miami LLC family of fairs. Over the years, the fair has been recognized for presenting vibrant and noteworthy international art programs with a particular interest in supporting young dealers and galleries with strong emerging and early-to-mid career artists.

Aqua Art Miami will feature 45 dynamic young galleries from North and South America, Europe and Asia, and innovative special programming including performance art, new media and solo installations.  This year, we will be taking work  by Craig Dongoski, Sarah Emerson, Eric Mack, Amy Pleasant, Seana Reilly, Richard Sexton, Mimi Hart Silver & many more!

Visit us in Room 122!  If you are unable to make it to Miami Art Week this year and would like to request an online preview of the works, please email gallery@whitespace814.com.

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Footage from “Wash” a Performance by Martha Whittington

Thank you to all those who came out to see Martha Whittington’s performance piece, “Wash”, here at whitespace. If you weren’t able to make it, you can check out a video of the performance and photos below:

Click here to view a video of Wash on youtube


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Mark Your Calendars for these Upcoming Events at whitespace

We have some exciting programming planned for the rest of 2013 that we’d like to share with you!  Mark your calendars and join us for the following exhibitions & events:

Thursday, September 12th | 7 – 10 pm
Opening Reception: Claw, Shine, Gloam & Vesper new work by Wendy Given at whitespace and Used Air an installation by Martha Whittington in whitespec
On view through October 12th

Saturday, September 14th | 2pm
Artist Talk with Wendy Given at whitespace

Saturday, September 28th | 2pm
Artist Talk with Martha Whittington at whitespec

Friday, October 18th | 7 – 10 pm
Opening Reception: Fabrics of Socialism new work by Vesna Pavlovic’ and an exhibition by Brett Falcon in whitespec
On view through November 23rd

Thursday, November 14th | 7 pm
Artist Talk and Panel Discussion with Vesna Pavlovic’ at the GSU Center for Collaborative and International Arts
Panelists to be announced

November 30th – January 4th
The December Show a group show featuring work by gallery artists

December 4th – 8th | Miami
whitespace at Aqua Art Miami at the Aqua Hotel
Booth number to be announced

Friday, December 13th | 7 – 10 pm
Opening Reception for The December Show and whitespace Holiday Party
Performances to be announced

 

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Artist Spotlight: Laura Bell and Matt Haffner’s New Mural for Living Walls

whitespace artists Laura Bell & Matt Haffner recently unveiled a new mural as part of the 2013 Living Walls Conference. The duo were asked to paint an abandoned building in the Summerhill neighborhood of Atlanta, just blocks from Turner Field. Living Walls, the nonprofit arts group that brings street artists from around the world to the city of Atlanta, was asked to paint 10 walls in the Summerhill area. Buildings along Georgia Avenue have now been transformed into brightly colored murals thanks to Laura, Matt and the rest of the Living Walls artists.

'The Collector' by Laura Bell & Matt Haffner. Photo by Dustin Chambers

Matt and Laura explain the concept for their mural:

“The mural proposed for the buildings at the corner of Georgia Ave. and Reed St. in the Summerhill Neighborhood of Atlanta is titled The Collector. With The Collector, Haffner and Bell create a work that depicts the figure in an urban landscape, but with proliferation of flora and fauna, examines the complex relationship between the chaos of natural forms and human desire to structure and order that chaos. The mural depicts a crouching man surrounded by colorful flora and fauna, reaching into a tiny doorway in the wall, extending his hand to an elusive insect, just beyond his grasp. This piece neatly marries the styles of these two differing artist; one being figurative and narrative the other being semi-abstract and intuitive, to make a piece that visually engages the community and visitors to the Turner Field area.”

Check out the mural in person at the corner of Georgia Avenue and Reed Street, and see more of Laura & Matt’s latest mural in this article on Huffington Post.

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