- Protected: Private Preview of “Safe” photographs by Sandra-Lee Phipps
- CALL FOR ENTRIES: “Short Shorts” a Summer Film Series at whitespace
- Artist Spotlight: Tommy Taylor on Working in Film as a Scenic Painter
- Tomorrow @whitespace: Artist’s Talk with Ann-Marie Manker
- Artist Spotlight: Catching up with Vesna Pavlovic
- Bruce Kravetz on “1.2 cm =” photography by Constance Thalken on view from January 11th through February 16th
- “An Imagined Decembrist Carol” at whitespace | Whitespace Gallery on December events at whitespace!
- “An Imaged Decembrist Carol” at whitespace | Whitespace Gallery on Whitespace returns to Aqua Art Miami for Art Basel December 6 – 9, 2012
- Fernando Lopes on Robin Bernat
- Daniel Castellanos on Tommy Taylor shares his recent experience at Artestudio Ginestrelle
Summer Short Film Series
Call for Artists
Deadline: June 23rd, 2013, 5pm
Are you an artist or film-maker looking for a way to showcase your short films? whitespace gallery in Atlanta, Georgia is currently accepting submissions for a series of short film screenings this summer. These events will be free and open to the public, with films being projected in our outdoor patio after dark. In an effort to showcase new artists, encourage experimentation with film, and grow the Atlanta art community, the subject-matter for the screenings will remain open. Accepted works will be divided into two groups and shown on either July 24th or August 21st. Artists will be notified of their screening date in advance.
- Open subject matter
- Films may not be longer than 10 minutes
- Submissions must be sent via Vimeo or Youtube
- Accepted submissions must be resubmitted via online file transfer or CD in MPEG-4 format
- Email all submissions to email@example.com with “Summer Shorts Series” in the subject line
- Please be sure to include a link to your submission, name, email address, phone number, artist’s
statement and bio in the body of the email
- Please limit your submissions to 5 or less
If you have questions or inquiries, please email firstname.lastname@example.org or call 404.688.1892
“Ya see all them pink and orange tubes inside there? … Well, they’re explosives”
You couldn’t pay me to get up every day at 5 in the morning and drive 30 miles to a dirty warehouse for a job…or so I thought. But, that is what I have been doing for the better part of the past 6 months. Traffic at this hour is nonexistent, the intersection at Ponce and Moreland/Briarcliff -generally a hideous place to be at any hour of the day – is just a blip in the rear view mirror at 5:30 a.m.
I am beginning my third feature film as a scenic painter. Call time is 6:00 a.m.,either at the studio or location. If either are 20 miles from your driveway you consider yourself lucky. After a brief meeting work starts right away and save for three breaks usually does not stop till the sun is on its way back down, though it can go much later. Unlike working in the studio on my paintings, this is a team effort and there are always serious time constraints. There is generally a sense of camaraderie in the studio with everyone working towards a common goal. The movie set is a great leveler. Sure there are stars and people with higher pay grades than others, but everyone has a role and no one can his job without the others doing theirs. It’s a challenge but there is a sense of being part of something bigger that makes it more than bearable.
Tasks vary greatly, one minute you may be painting breakaway garden gnomes, the next rusting out an old Trans Am. One day I was given the project of painting fiber glass cows to make them look more realistic (“I feel obligated to tell you this..but ya see all them orange and pink tubes inside there?” asked the stunt coordinator. “Well those are explosives. They aint gonna go off” , he continued. “You could set them on fire and they wouldn’t go off….but I wouldn’t”) That is another aspect which differs from working in the studio. Often we are using materials that I have never heard of before. Safety is stressed, especially when you are cutting your paint with Kerosene or adding into it sodium silicate, a sort of glass dust that will do things to your lungs you don’t even want to think about. The funny thing about being a scenic is: if you do your job right, audiences don’t notice what you’ve done, unless its done poorly or not at all. And nothing quite matches the feeling you have watching something you have spent weeks working on, outside, in the cold, get blow up!!….Ah! Movies!
The first film I worked on was a real dud. A great learning experience, but really it was just a bunch of ego’s throwing bags of money into a shredder. Conversely, the 2nd film I worked on was extremely well crafted and I believe will be a great movie. The Director of Photography is the top rated DP in the world, the cast and crew were great, it was a real experience and a joy. Prisoners, look for it in December.
I looked into getting involved with the film industry after knowing several friends who had been doing it for a while. Because of the tax incentives, many projects are moving to Atlanta from places like NYC and LA and many of the industries top professionals are relocating here as well. There is much opportunity for work and advancement due to the high volume of filming happening here. This year there will be 20 features films shot in Atlanta, not to mention the loads of TV shows, including Walking Dead, the most viewed show in the WORLD! I just heard that a British film company is building it’s first studio in North America right here in Atlanta.
Working in film has been a great opportunity for me, one that I believe I’ll continue to pursue. Its proven to be a great way to support my art making, while opening up doors of opportunity that I wouldn’t have had otherwise. There is even the possibility that the next project I’m working on may feature some of my paintings (or at least paintings made by me), but we’ll have to wait a year to see it … that is, if it doesn’t wind up on the cutting room floor!! – Tommy Taylor
Join us at whitespace at 2:00pm tomorrow, Saturday, April 20th, for an Artist’s Talk with Ann-Marie Manker. She will be discussing her latest body of work Under the Rainbow, on view through May 11th in the main gallery. Manker will explain her influences and aims for these incredible psychological narrative paintings, featuring young femme fatales in fantasy settings of clouds, rainbows and waterfalls. Manker says that in this exhibition, her characters are “under the influence of the rainbow” … stop by tomorrow to find out more!
whitespace artist, Vesna Pavlovic has been busy these past few months – with a recent installation, Real Images, at Seed Space in Nashville, Spectator Sports, at the Museum of Contemporary Photography in Chicago, and a solo exhibition, Reflections on Images at the Salon of the Museum of Contemporary Art in Belgrade Pavlovic is making a name for herself, both nationally and internationally. Despite her busy schedule, we caught up with Vesna to learn about her recent projects:
whitespace: Can you tell us a bit more about your recent exhibitions at Seed Space in Nashville and the Salon of the Museum of Contemporary Art in Belgrade? How are the works in these shows connected to your earlier work?
Vesna Pavlovic: Real Images, presented earlier this year at the Seed Space in Nashville is a photographic installation which utilizes slide projections and various display surfaces to turn a flat two-dimensional photographic surface into a three-dimensional space, while testing our ability to recognize and perceive images. In this installation I used sandblasted and clear acrylic hemispheres as display structures for the projection of handmade photographic transparencies depicting tourist travels. The movement of the carousel and its sound suggested a strong presence of the photographic apparatus, as well as the sense of nostalgia hovering above the projected images. On occasional moments of blank white light, the audience is left bare to observe the technological apparatus that makes this theatrical experience become alive. Acrylic hemispheres function as lens which captures and transmits images. The construction of the space suggests the nature of travel as a highly constructed experience.
Reflections on Images, on view at the Salon of the Museum of Contemporary Art Belgrade, and curated by Branislav Dimitrijević, utilizes analog photographic technology to explore material properties of photographic imagery, presenting them as both transparent and opaque objects. The show includes two bodies of work, Search for Landscapes (2011), and Fototeka (2013), shown there for the first time. Both works use photographic archives of travel as their starting point.The first is a private archive of a single American family who traveled through the world’s exotic locations between 1960-80s. Second one is the visual record of Yugoslav president Josip Broz Tito’s career and his travels around former Yugoslavia and the world. I came across this public archive in the Museum of Yugoslav history in Belgrade. The archive’s purpose was to keep a personal record of the former President’s activities. What is fascinating about the archive is that it documents Tito’s public as well as private experiences while in office. This tension is central to the character of the archive’s photographic and historical representation and holds relationship to my prior work, which addresses the experience of history through the lens of photographic representation.Translation of both photographic archives poses a set of questions about tourist photography as a genre, and underscores the fragile distinction between private and public realm when it comes to such material.
In both exhibitions, I continue to address visual representations of various social groups and individuals, while pointing to the technological aspects of the photographic medium. While experimenting with display options, I interrogate the role of the photographer in the production and construction of images.
WS: You’re currently showing in a group exhibition at the Museum of Contemporary Photography entitled Spectator Sports, on view through July 2nd. What are the curatorial aims of this exhibition and how will your work tie in with these themes?
VP: Spectator Sports is a group exhibition, curated by Allison Grant, Assistant Curator at the Museum of Contemporary Photography. The exhibition explores the relationship between an athlete and a spectator with a particular focus on the spectator’s perspective. I am showing photographs from the Watching Project. In the period between 2002-2005, I created black and white photographs of people watching games ranging from local basketball events in Belgrade Serbia, to Sacramento Kings NBA audiences, and the games of the Olympic games in Athens, Greece, in 2004. These suspenseful portraits served as a visual symbol of identity, patriotism, love for the game, utopian idea of sport, and the spectacle. Through documenting various situations of absorbing a sporting event, the Watching project engaged a complex relationship between spectators and performers, the audience and the event itself, in live games or through mediated images.
WS: Congratulations on being honored with the Art Matters Foundation 2012 Grant! Can you tell us a little more about the objectives of the Art Matters Foundation as well as your plans for this grant?
VP: The Art Matters Foundation supports visual art projects which are experimental in nature. This is a nomination-only grant, so I was very fortunate to be asked to apply. I have received a support in the form of the fellowship for the ongoing work. I plan to continue working on the material from the Museum of Yugoslav History, as well as the the archive of the Serbian National Film Service. Both of these projects aim to investigate and cast a critical view on the history and memory of the post WWII Yugoslav history.
WS: Whitespace is thrilled to be hosting a solo show of your work at the end of this year. Can you give us a hint as to what we should expect to see and/or experience?
VP: Thank you, I look forward to showing my work in whitespace gallery! I plan to present the new work which continues to explore the archive of the Museum of Yugoslav History, including sound as an additional component in the installation. Besides the Museum’s archive, I am also looking into the Serbian Film News Service archives, considering objects such as vintage film reels as visual records of the former Yugoslav modernity.
Here’s a look at the pieces in Under the Rainbow, new works by Ann-Marie Manker. Feel free to contact us at email@example.com with questions and inquiries.
The Edgewood Avenue Bridge will be closed for renovation starting April 3rd, continuing on through 2014! The renovation will replace the old bridge with a structurally sound design, incorporating the Beltline and pedestrian paths. While we are thrilled about any and all things Beltline, the construction will make it a little more difficult to get to whitespace. If you are coming from I-75, take exit 248C to Freedom Parkway, first right onto Boulevard, left onto Irwin Street, right onto Krog Street and left onto Edgewood Avenue. The gallery will be about two blocks down on your left, just past Spruce Street, parking is available on the south side of the street.
Click “Directions” on the map below and enter your starting address for personalized routes to the gallery. If you get a little lost, please feel free to call us at 404.688.1892.