Review: wild chrysalis bloom at whitespace, Atlanta

October 7, 2021
Burnaway
By Bryn Evans

For the recently opened wild chrysalis bloom at whitespace, the Atlanta-based artist carries the crux to new dimensions with an offering that alchemizes tension and chaos into cosmic, energetic forces, yielding what Thompson calls “collective soul transformation.” Intricate weavings, illustrations, and stoneware come together in a bold assertion: materiality enables the conceptual thing to come alive.

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Review: Three exhibitions at whitespace, Atlanta

August 24, 2021
Burnaway
By Noah Reyes

At whitespace, an array of glittering colors and exquisite sensorial moments resound between three exhibitions from four artists currently on view. Just inside the entryway to the main gallery, a colorful maypole with a rainbow of streamers and pom poms greets visitors. Didi Dunphy’s solo exhibition, Wishful Thinking is delightful in its candy painted luster. The mash-up of playful iconography with sleek, industrial fabrication reads like a Lisa Frank sticker book meets Mies van der Rohe furniture. Beyond the polished materiality of Dunphy’s work, she also weaves in ideas referencing modernist principles of minimalism, surrealism, and pop culture through a blend of sculpture, print, and performance.

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Review: Three exhibits at whitespace gallery are playful, thought provoking

August 17, 2021
ArtsATL
By Jerry Cullum

The three exhibitions at whitespace and the adjacent whitespec and shedspace through September 4 offer the best possible combination for this difficult August — they can be taken as lighthearted amusement even as they remain seriously thought provoking.

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Review: Water, water everywhere in Amy Landesberg’s “Natural Forces”

July 7, 2021
ArtsATL
By Jerry Cullum

Amy Landesberg, whose Natural Forces exhibition is at Whitespace through July 17, has long engaged with issues of fluidity and liquefaction — metaphorically in the design firm Liquid Inc., in which she partnered in the 1990s, and literally in this most recent artistic investigation of the impact of water on its surroundings. Landesberg bases her ink-on-paper drawings (in which the ink composing them, she points out, is 95 percent water) on a variety of visual sources: scientific illustration, GPS data or her own photography. The drawings are representational, but the scale of the area being represented is far from obvious.

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Review: Inside Out at whitespace, Atlanta

March 25, 2021
Burnaway
By Carlos Nunez

Mindless driving is one of my guilty pleasures. Moving through the road while muscle memory takes the steering wheel is as dangerous and stupid as it sounds. Cruising inside my bubble, stuck in state of risky nothingness. The spell breaks momentarily as other cars start appearing near me. I suddenly find myself surrounded by strangers, and the only information about them I could collect came from their car models, tacky stickers and customized license plates—all external and inconclusive. My mind drifts away from driving and onto the significance exterior qualities hold in our interactions.

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Review: Atlanta artist Eric Mack tackles both granular and grand in a solo show

March 17, 2021
AJC
By Felicia Feaster

Mack has become a prolific gardener whose Instagram account is porn for plant people. And the new work in his Whitespace Gallery solo show “Of Stone and Stem” intercuts that interest in the natural world with the same kinetic bricolage of materials and form that has always defined his art. It’s exciting to see that fragments of Mack’s signature remain, but developed and enlarged with his new anthophile interests.

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Review: Vesna Pavlović at whitespace, Atlanta

February 12, 2021
Burnaway
By Leia Genis

What is immediately noticeable about most of the photographs in Vesna Pavlović’s exhibition “Traversing Geographies, Complicating Memories” is the diminished presence of people in their frames. Human bodies, history, and memory feel central to the works in spite of this but are pantomimed through man-made interiors and objects rather than represented directly. These man-made interiors spaces’ and objects’ ghostly absence of people creates a void for the viewer to fill with speculation and mystery. Pavlović demonstrates throughout her this body of work that memory does not exist as an embodied idea, but rather as a place and its history.

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