ZOE STRAUSS: Gelatin
DEADRINGER projects, Atlanta, GA
1 - 30 May 2015
DEADRINGER projects is pleased to welcome American photographer and installation artist Zoe Strauss for a presentation of “Gelatin” a 35mm slide show installation created at the Meat Sciences Lab during her yearlong tenure as Dodd Chair at the University of Georgia’s Lamar Dodd School of Art (Athens, GA).
“Gelatin has been used in the production of photographic products for over 100 years. The gelatin used in photographic products comes from the bones and hides of pigs and cattle.” - KODAK
A community-based artist, the majority of photographer Zoe Strauss’ work is inspired by her hometown of Philadelphia. Influenced by documentary photographers such as Walker Evans, William Eggleston, and Nan Goldin, Strauss’ portraits, documentation of signage, mundane objects and urban sprawl focus on the allure of overlooked realities. She recently completed “Under I-95,” a 10-year project resulting in a photography installation of those photographed under a section of Interstate 95 in Philadelphia.
Strauss is the recipient of numerous awards including a Seedling Award in photography from the Leeway Foundation (2002), and a Pew Fellowship (2005). She has had a solo exhibition at the Institute of Contemporary Art, Philadelphia (2006) and been included in a variety of group exhibitions including the Central Museum in Utrecht (2006), the Art Institute of Chicago (2009) and the 2006 Whitney Biennial. Strauss is also the founder of the Philadelphia Public Art Project.
The Shape of a Pocket: parallel thoughts in contemporary practice
Sandler Hudson Gallery, Atlanta, GA
25 July - 6 September 2014
The Shape of a Pocket: parallel thoughts in contemporary practice is a series of contemporary art pairings that explore intriguing intersections between gallery-represented artists and those artists making work outside of a traditional gallery model.
The title The Shape of a Pocket is borrowed from a 2001 collection of essays by art critic John Berger where "a pocket is formed when two or more people come together in agreement." Curated by Kelly Kristin Jones, this effort recognizes agreements within and encourages an enlargement of the aesthetic explored in a variety of studios, venues and practices. This collaborative approach pushes beyond the limits of seemingly fixed identities and official discourse while introducing a new generation of practitioners.
Exhibiting his sculptural wood pieces for the first time, HENSE continues to reform and repurpose elements of the urban landscape. Manipulating images harvested from nature magazines, Winnie Gier considers the landscape a malleable "site" and the power of formed color to encourage a new relationship to the land. Both artists investigate displacement and the recontextualization of images while offering a rich vocabulary of place.
Inspired by the metaphysical symbol of the bindu, Don Cooper's paintings are a meditation on spiritual transcendence. Steffen Sornpao uses his camera to recreate a tech-induced stupor resulting from binge-watching old television shows on his computer monitor. Both artists contemplate the mass/void while luring the viewer into participation.
Carol Mode and Jane Winfield each deal in an abstracted landscape to offer not only a new vision but also a new perspective on the South. Using an array of materials and techniques, each painter employs a lavish spectrum of mark-making vocabulary to build intrigue and connection between medium and place, and between viewer and image.
Mario Petrirena's collaged photographs circle to form poetic narrative, while Michael Reese's mixed media images connect the personal with the heavens to create a new legacy of lineage. In each work, materials lend themselves to a new narrative of not only the photographed subjects, but also of the artist himself.
Teresa Bramlette Reeves' new collage work presents a portrait of a romanticized history and a private fascination. Maggie Ellis paints her way through her family's excessive and overwhelming longings. Reeves and Ellis each employ a deeply Southern narrative to evoke both private and public histories.
P. Seth Thompson and Marc Brotherton each offer a constructed visual response to a world shaped and often compromised by the onslaught of digitized input. With influences ranging from quantum physics and science fiction to schematic drawings and video games, both Thompson and Brotherton consider the increasingly spectralized and distorted line separating the "real" from the "imaginary".
Twin Kittens Gallery, Atlanta, GA
17 January - 5 March 2014
Responding to the complexities of perceptions, Chicago-based artist Aimee Beaubien, uses the camera as a starting point to playfully reconfigure object, subject and motion. Phantasmagoric patterns twist together in spontaneous forms; reconstructed family snapshots upend expectations of time, space and place.
Experimenting with scale, color and space, Beaubien offers a new consideration of both the fragment and the whole. The resulting image undermines the photographic frame as these tangled inventions overlap and intersect. Fragments joined into a matrix of shifting planes and disorienting scale relationships alternate between recognition and abstraction. The physicality of these layered works activates compelling paths of visual explorations tapping into multiple narratives.
Born on the border of Kentucky and Tennessee, Aimee Beaubien traveled through many states before landing in Chicago, Illinois where she lives and works. Beaubien received her MFA (1993) from the School of the Art Institute of Chicago where is an Adjunct Associate Professor in the Department of Photography. Her photo-based work has been exhibited in the US, Spain, Germany, Italy and reviewed in various publications including Art in America, Art on Paper, and Art Papers. This is her first exhibition at TWIN KITTENS.