by Linh-Ho Carter
03 /09.04
 There
are so many stories about the open road—it seems inextricably
linked to adventure and quiescent reflection. The long stretches
of interconnected streets, highways and driveways form an impossible
web of new and strange vistas, a perfect recipe for telling a grand
ole story. new
work, presented by Barkin-Leeds (Suntrust Plaza Gallery), however,
seems less concerned with narratives but more about pensive observation
and the artist’s deep admiration for the open road. Ivcevich’s
voyage on 75 North, 24 West and 65 North from Atlanta to Indiana,
gave this artist much grist for a very thoughtful and beautiful
show.
Digital prints and lots of resin seem to dominate
the feel of this exhibit—mediums of which Ivcevich seems to
have mastered. Resin is an extremely volatile substance; pouring
resin requires even, slow distribution—a bad pour can result
in insidious bubbles forming on the surface. Done correctly it gives
the piece a finished look—images underneath benefit from a
slick and vibrant new life. “Bales Under an Airstream
Sky” 2004, is a good example. The artist daydreams in
Technicolor, where golden bales dot a stretch of acidic green grass
shouldering a lonely two-lane highway. Like “Elephants
on Parade”, Airstreams float along the Teletubbie-blue
sky—a little strange, sure, but being a passenger in Ivcevich’s
trippy ride is well worth it.
Whereas Airstreams incite romantic sentiments
of summer vacations and the pioneer spirit, big rigs offer a more
utilitarian approach to life on the road. In “Rest Stop
Enlightenment” and “Big Rig Apparition”
2004, Ivcevich places the viewer head on with these whales of the
road. Like deer caught in headlights, the 18-wheeler in “Rest
Stop Enlightenment” hypnotizes you with its glaring armory
of lights. “Big Rig Apparition” captures a
semi barreling forward along a curved bridge. This piece has a nice
tonal feel, resulting from what seems to be a solarization technique
with the aid of computer manipulation.
 Ivcevich
has little regard for reality. In many of his digital prints (including
the aforementioned pieces), the artist uses vestiges of flat enamel
paint to highlight various objects in his photographs—an effective
method, pulling background into foreground. Using disparate techniques,
the artist combines a psychedelic “Yellow Submarine”
palette with washed out colors or imposing flat silhouettes
over realistic photography. What could be a color theory nightmare
turns into a stylistic advantage for Ivcevich. In “Cows
and Vans” 2004, he stealthily paints over a white van
and lane markers to punctuate his subjects from the background.
Departing from the digital prints and resin are his series of four
acrylics on panel, “Ghost on Highway: Big Rig, Truck,
Airstream, Pickup” 2004. Ivcevich pays homage to these
denizens of the road, shaping each panel into its respective name.
The artist returns to his roots, applying flat enamel paint over
syringe injected outlines of hardened acrylic. Though elegantly
bathed in all white, this work is not as visually engaging as his
other work, and feels more interior design driven—a pitfall
of minimalist work. Similarly, “Blue Bridge Over Blue
Grass Waters” (I and II) 2004, seems equally tepid.
Installation, a darling of Ivcevich’s repertoire is included
in “And I’ll Love You Forever” 2004—a
striking floor piece composed of four paint-drip-shaped resined
panels. It is refreshing to see new techniques from a frequently
exhibited talent; many local celebrity artists seem fearful of breaking
from the style and techniques that brought them their recognition
in the first place. Ivcevich shows steady growth as an artist, especially
in terms of content and subject matter, overcoming signs of stagnation
in last year’s solo show at Salt Works Gallery.
is a worthwhile show that evokes a
reevaluation of our love/hate relationship with the road—a
feeling sometimes negatively tied to traffic and long commutes.
Ivcevich reminds us of all the good things: the kitschy billboards,
retired couples in Airstreams, undiscovered landscapes, and most
of all, that anxious, intoxicating feeling of being free.
“Ghost on the Highway” runs until April 1st at Suntrust
Plaza Gallery, located on the lower level of the Suntrust Plaza
building. Hours are Mon. – Fri. from 10AM to 6PM, and Sat.
from 11AM to 4PM. This exhibit is part of “First Thursdays”,
marking the closing reception for this show. All artwork is for
sale, prices range from $300 - $3,500. For more information, please
call Barkin-Leeds at 404-816-9777.
 
by Linh-Ho Carter
01 /01.04
 MOCA
GA (Museum of Contemporary Art) opened its doors Wednesday night
for a special preview of its current exhibition "The Georgia
7". Curated by, and ,
this show highlights seven emerging and promising young artists
from Georgia. This exhibition is presented as part of ATLart[04],
a month long effort lead by AGA (Atlanta Gallery Association) to
increase awareness and appreciation of art.
The most notable talent is Athens artist, . Galloway's large oil on canvas depictions use juxtaposition
to create narratives within each piece. Using a "picture in
picture" motif, the artist paints headless bodies of youth
in mid scene interacting or alone. There is sexual tension in the
stills; whether the viewer is angled perching down the supple breasts
of a girl or entangled in the sheets where a boy is having an early
morning hard-on. Galloway seems very adept with the control of light,
his paintings have a feeling of being wrapped in cashmere-everything
is soft and supple. Unlike other realists, Galloway makes little
attempt to capture subjects in excruciating detail. Skin is depicted
as plastic-like and airbrushed.
On the opposite wall is Atlanta artist , a recent Atlanta College of Art graduate. Diehl uses
flat enamel paint, similar to house paint, as a background for her
pasted on collages. Diehl's minimalist pieces deal with travel and
voyage-from luggage to strategically placed planes and ships. The
artist's work is devoid of foreground or background, just lines
that indicate a horizon. As this type work is becoming frequently
mimicked, a different subject matter would make this style of work
more challenging. However, the dark blue piece with collages of
what seems like constellations is thoughtful and elegant.
"Suburbia"
series of warm toned photographs seems like a departure from the
more in your face photographs of her previous work with computer-manipulated
dolls. Pree's current series is subtler, giving us glances through
mirrors and turned corners of a "typical" suburban black
home. In "untitled #3", it offers a humorous scene of
a woman in the bathroom completely engaged within the pages of Oprah's
"O" Magazine.
mixed media work is
superb. In "Myth of Progress", the artist uses mixed media
ranging from roofing materials to human hair to depict an image
of a young Chinese girl holding a cigarette. Next to the girl, the
artist mockingly uses car decals to mimic burning flames. The artist
uses sarcasm in much of his work, where disparate images are placed
together. Kenney does very little painting in his work-most are
found materials. When viewed from afar, "Migration" looks
like a serene image of ibises flying across a Japanese silkscreen
background. Upon closer inspection, the "silk screen"
is actually made up of cigar labels, a very clever use and arrangement
of an uncommon material. Underneath is a nature scene of deer in
woods done in a paint-by-numbers motif.
In the front of the gallery,,
a student at ACA, installs his "Tubescape" (120"x192"),
an installation of multiple elongated tubes filled with water and
ink. The installation works with a switch that releases blue dye
into the water, creating variations of blue in each tube. The ink
then remain serenely still in the water, as if clouds suspended
in the sky. This work is extremely sophisticated and not indicative
of an artist still in school. Lewis seems to have a keen sensibility
for space and design.
, a recent graduate at
UGA, presents a series of 43- 8"x8" black and white paintings
of satellite-like images of various addresses in Atlanta. While
topography is a fascinating subject matter, especially when the
subject is local, the paintings themselves are tepidly executed.
Video has not been overlooked in this exhibition with two video
shorts by filmmaker . In
"Carolyn Got Kicked", Land uses stylistic manipulation-
the result is like looking at the world through a beaded glass window.
Kudos to the curators for pulling together a very thoughtful, sophisticated,
and engaging exhibition. There were many strong offerings in the
show, greatly outnumbering a few weak ones. It does suffer however,
from falling into the same convenience trap as other recent exhibitions
that attempt to give a representation of artwork throughout Georgia-
they usually only represent artists in the major cities. In this
case, and most cases, they are Atlanta, Athens and Savannah. Larger
cities tend to serve as a barometer for trends and talents within
that state, but by combing through talents in smaller cities, we
are able to get a more well rounded view of the offerings out there.
However an exhibition of this caliber is to be applauded; it is
encouraging to see such strong work coming from our state. What
is even more encouraging is that these artists' work can be viewed
confidently side by side with more recognized and established national
artists. Bravo!
This exhibition runs until March 27th. MOCA is located at 1447
Peachtree Street, Atlanta GA. Admission is free to members/ $3 suggested
donation for non-members. For hours and directions, please call:
404-881-1109
by Linh-Ho Carter
01 /12.04
LOVING GEEK LOVE
Aileen Loy and Mike Katinsky’s adaptation of Katherine Dunn’s
1989 novel Geek Love is simply superb. Loy is the Artistic Director
and Katinsky is the Managing Director of Sensurround Stagings, a
theatrical production company whose current projects are housed
at the Horizon Theatre Company in Little 5 Points. Recently they
have produced “A Clock Work Orange” and the "Clive
Barker Project."
Geek Love follows the fictitious story
of the Binewski’s Fabulon, a traveling carny family in which
the children’s unique deformities make them the main attraction.
Al Binewski, a shrewd businessman, with his wife Crystal Lil, tries
to turn their ill fortune around. Through ingestion of copious amounts
of pharmaceuticals, insecticides, and radioisotopes, Lil managed
to produce a brood of genetically engineered children.
The Fabulon consists of Arturo the flipper limbed
waterboy; Chick, an innocent and reluctant mentally gifted wonder
kid; musically talented conjoined twins Iphi and Electra; and Oly,
an albino hunchback who narrates the tale for us. The Binewskis
seem to live in their own microcosm. In mainstream society, such
physical aberrations would be considered hideous, in their alternate
universe, these “deformities” are prized. Those born
without these abnormalities are affectionately called “the
norms.” Arturo, or Arty, feels slighted after Chick comes
into the picture and starts questioning his significance in the
family’s business. After trying psychic readings, calculative
and clever Arty decides to create what he considers a sure moneymaker:
a church. Arty exploits the panacea affects of the church and corrals
lost souls into his arcane propaganda, PIP: Peace, Isolation, Purity.
In order to have PIP, one must be like its leader, de-limbed. Doc
P, a virulent and questionable surgeon travels with the family and
performs the operation on members of the congregation. Arty’s
deliverance, however, is tinged with acrimony. One cannot help but
to draw parallels between his evangelism to that of 1970’s
evangelist Jim Jones, where he led 911 people to Jonestown to commit
suicide through ingestion of cyanide.
Weaved throughout this story is Oly’s
struggles when she tries to protect her own idea of beauty. Oly’s
daughter Miranda is confronted by a seemingly altruistic Miss Lick
who offers to surgically remove Miranda’s animal like tail.
The story itself seems almost too outrageous at times, like Gabriel
Marquez’s Buenida family in 100 Years of Solitude.
I wanted to empathize with the characters- I began to wonder if
they were just victims of circumstance without moral fortitude,
yet, even the most earnest intentions become incredibly sadistic.
There are a few holes in the story, notably, Miss Lick’s intention
to remove Miranda’s tail, which contradicts her mission to
deform young women.
The soundtrack is extremely crisp and wonderfully
conducted. The director effectively uses silhouettes to reference
situations, however, a few of the special effects seem campy at
times. Charlie Burnett is incredibly poignant as the misunderstood
Arturo. Anessa Ramsey, Olympia, keeps the play moving seamlessly
through engaging narration and deceives all of us into thinking
that she really is an anemic hunchback. Duly noted, Kalina McCreery
and Caroline Masclet’s performance as the conjoined twins
Iphi and Electra make you want to take them away from all the splendid
chaos. Just when you begin to question the outrageousness of it
all, you’re reminded that sometimes reality is stranger than
fiction. Geek Love is a splendid, horrifying, hallucinogenic and
tragic tale that wants to cuddle you in a warm blanket of thorns.
The limited engagement of Geek Love begins January
8thW-Sa at 8 pm, Su at 5 pm Through January 25th Tickets are $12-$15
For reservations call (404)614-0990 or (404)584-7450 or email reservations@sensurroundstagings.com
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Arts
& Theater Reviews 
“Ghost
on the Highway”