Below are installation shots of SPRING SOLOS 2008.
Twice a year, the AAC picks a half dozen or so of the best contemporary atists working in the Mid-Atlantic region and gives each of them her or his own gallery. This year's installment of SPRING SOLOS is the first in which I participated in picking the artists--along with Claire, the exhibitions committee, and guest panelists Philip Barlow and Angela Jerardi.
The reception is tonight--Friday, April 11, from 6:00 to 9:00 pm. All of the artists will be on hand, as will the usual food and wine. Looks like we might have dodged the rain for this evening, so come by!
Prisma-goggles. Don't ask me what they do. (Also: Please refrain from trying them on.)
A dancing dress for a legless lady.
View of Jennie Fleming's work in the main corridor.
Fleming makes photocollages using pictures of spectacularly un-scenic places--strip malls and convenience stores along Route 1, for example. She then reproduces those collages using all sorts of methods appropriate to the tourist trade--refrigerator magnets, flip books, postcards, vinyl banners. All unlimited editions.
View of one of her original modular collages.
Jeremy Drummond's ongoing project--includes steel panels, die-cut vinyl auto decals, photographic prints, and video.
View of the two channel video, This could Be Anywhere, This Could Be Everywhere, and the wall-filling installation, Drive By--consisting of blurry video stills taken while driving through suburban developments.
More of the Street Sign series. Yes, these are all real intersections--no doctored names here.
Jennifer Mattingly's tiny matchbox dioramas. Spend enough time with these, and your eyes may get a little taxed. It's a worthwhile sort of pain, though.
Downstairs is Jacklyn Brickman's installation, Flock. The piece consists of semiopaque sheets of plexi pierced at intervals by inset tiny magnifying lenses--surrounding thousands of grains of corn attached to thin wire armatures.
Brickman's work is all about invasive species, man's meddling with the natural order, and coupling unnatural materials with natural ones--in diorama-like settings that seem to mimic didactic science museum displays.
View through one of Brickman's lenses.
Laure Drogoul turns in a dramatic installation using vintage military uniforms and two channels of video--one depicting guards at Arlington Cemetary; the other showing white-gloved hands at a seance, performing motions that mimic those of the guards' precise ritualized movements.
A sound system in the space plays an excerpt from When You Wish Upon a Star in a continuous loop.
Twice a year, the AAC picks a half dozen or so of the best contemporary atists working in the Mid-Atlantic region and gives each of them her or his own gallery. This year's installment of SPRING SOLOS is the first in which I participated in picking the artists--along with Claire, the exhibitions committee, and guest panelists Philip Barlow and Angela Jerardi.
The reception is tonight--Friday, April 11, from 6:00 to 9:00 pm. All of the artists will be on hand, as will the usual food and wine. Looks like we might have dodged the rain for this evening, so come by!
Erin Williams: View of the inventions (fictitious) of her 19th century alter ego, Minnie Eureka Young.
Edison may get all of the props for the gramophone, but Minnie invented her own version around the same time. History is indeed fickle.
Apparatus for Chronological and Anamnestic Aberration. That's a time machine to you, bub.
This humane hunting device fires a net made of waxed linen.
Photo of the artist dressed as her alter ego and bagging some bear.
Prisma-goggles. Don't ask me what they do. (Also: Please refrain from trying them on.)
A dancing dress for a legless lady.
View of Jennie Fleming's work in the main corridor.
Fleming makes photocollages using pictures of spectacularly un-scenic places--strip malls and convenience stores along Route 1, for example. She then reproduces those collages using all sorts of methods appropriate to the tourist trade--refrigerator magnets, flip books, postcards, vinyl banners. All unlimited editions.
View of one of her original modular collages.
Jeremy Drummond's ongoing project--includes steel panels, die-cut vinyl auto decals, photographic prints, and video.
View of the two channel video, This could Be Anywhere, This Could Be Everywhere, and the wall-filling installation, Drive By--consisting of blurry video stills taken while driving through suburban developments.
More of the Street Sign series. Yes, these are all real intersections--no doctored names here.
Jennifer Mattingly's tiny matchbox dioramas. Spend enough time with these, and your eyes may get a little taxed. It's a worthwhile sort of pain, though.
Downstairs is Jacklyn Brickman's installation, Flock. The piece consists of semiopaque sheets of plexi pierced at intervals by inset tiny magnifying lenses--surrounding thousands of grains of corn attached to thin wire armatures.
Brickman's work is all about invasive species, man's meddling with the natural order, and coupling unnatural materials with natural ones--in diorama-like settings that seem to mimic didactic science museum displays.
View through one of Brickman's lenses.
Laure Drogoul turns in a dramatic installation using vintage military uniforms and two channels of video--one depicting guards at Arlington Cemetary; the other showing white-gloved hands at a seance, performing motions that mimic those of the guards' precise ritualized movements.
A sound system in the space plays an excerpt from When You Wish Upon a Star in a continuous loop.
posted by jhcudlin at 10:04 AM
1 Comments:
The Jacklyn Brickman installation is gorgeous. I may have to head to Arlington
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