Author Archives: gallerymanager

Morgan Alexander | remembering, forgetting, and remembering again

Review: Morgan Alexander’s elegant shrines to nature and found materials, at Swan Coach House Gallery

April 28,2014
ArtsAtl.com
By Donna Mintz
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Morgan Alexander is the 2013–14 recipient of the Forward Arts Foundation’s Emerging Artist Award. His exhibition remembering, forgetting, and remembering again, at the Swan Coach House Gallery through May 30, proves why he justly deserves the honor.

Alexander brings a Japanese aesthetic to a Southerner’s respect for family and love of the land, joined with an Eastern influence in thought and practice. He creates shrines to things that once were while making something completely new.

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Morgan Alexander: where have they gone, where are they going; charred cypress wood (Photo courtesy Swan Coach House Gallery)

Meg Aubrey | SCORE: Artists in Overtime

A Sports Sociologist Assesses “SCORE: Artists in Overtime”

April 26,2013
burnaway.org
By Mary G. McDonald
View more Meg Aubrey

Meg Aubrey’s paintings feature larger-than-life, colorfully adorned figures, like the soccer moms cheering on children at play on a green, well-manicured playing field. Another painting contains similarly dressed white couples with beverages in hand seemingly posing for a group photo at a pre-game tailgating event. The combination of bucolic landscapes and the nearly identical uniforms of fandom evoke both the comfort and conformity of suburbia, a theme that runs through much of Aubrey’s art.

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Meg Aubrey, Red, 2013, oil on canvas.

Laura Bell | Gurgle and Seep

Little Active Worlds: The Tactile Forms of Laura Bell

March 13,2013
burnaway.org
By Yves Jeffcoat
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Laura Bell—drawer, painter, printmaker, and professor—deviates from her earlier work with her current exhibition at Whitespace Gallery, Gurgle and Seep [February 22-March 30, 2013]. While Bell explores similar themes in previous work—nature, growth, disruption, and disorder—her current use of stitching, embroidery, and three-dimensional forms has caused her organic shapes to multiply and grow in new ways.

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Detail: Laura Bell, Spillover, 2012, hand embroidery, dimensional appliqué, glass beads, and thread-wrapped wire on stained and painted linen, 17 x 14 inches, courtesy of the artist.

Review: Laura Bell’s intriguing new dimension beyond painting, at Whitespace gallery

March 8,2013
ArtsAtl.com
By Stephanie Cash
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Changing gears can be a risky proposition for artists. They can fail miserably or achieve a breakthrough that propels their career forward. Laura Bell took the gamble, and the results, on view at Whitespace gallery through March 30, are winning.

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Laura Bell’s “Congregate,” in wool felt, glass beads, stained and painted linen, and embroidery thread.

Meg Aubrey | Domiciled

Review: Meg Aubrey limns an uneasy suburbia, of soccer moms and sameness, in “Domiciled”

September 13,2012
ArtsAtl.com
By Jerry Cullum
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The new paintings and drawings in Meg Aubrey’s “Domiciled,” at Whitespace through October 13, reflect an increasingly familiar social condition. Whether you talk about “liquid modernity” with sociologist Zygmunt Bauman, or “Noplaceness” as in the book of that title that ArtsATL co-founder Catherine Fox and I co-wrote with Cinqué Hicks, large parts of American life entail being “domiciled,” in the neutral legal term, in communities that could be anywhere, engaging in styles of life that are largely indistinguishable from one city to another, if only because the people who engage in them have often moved very recently from one city to another.

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Meg Aubrey's Queen of the Cul de Sac

ARTSpeak: Meg Aubrey’s Domiciled at Whitespace Gallery

September 4, 2012
burnaway.org
By Jeremy Abernathy
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Gaining inspiration from her own surroundings, Aubrey focuses on the landscapes and figures in modern suburban neighborhoods and how they represent feelings of emptiness and loneliness within such a structured lifestyle.

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Artwork by Meg Aubrey

Meg Aubrey | … After the Suburbs: artwork from the post-cookie-cutter landscape

Review: “After the Suburbs” at Kiang Gallery a trenchant look at nature/culture divide

March 22, 2011
ArtsAtl.com
By Jerry Cullum
View more Meg Aubrey

Today, suburbs still signify a safe and predictable environment for many Americans, and Meg Aubrey’s little paintings (at left) focus on the iconography of that predictability: neatly trimmed trees on a roadway median, a red brick mailbox, a red shopping cart at the edge of a mall parking lot, and a “For Sale” sign, left generically blank in Aubrey’s rendering.

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Meg Aubrey's Painting