Whitespace Winter Exhibitions (fridays)

From the venue:

LAND OF HEROES / HAND OF ZEROES | Craig Dongoski

Craig Dongoski is a Full-Time Professor at Georgia State University in Atlanta, Georgia USA. Dongoski has been exploring and articulating the mark in its most basic form (both graphically and aurally) for much of his career. The intention is that through varied interpretations of the marks, a contribution is made to the art historical dialogue within the origin of human expression. Professor Dongoski has performed and produced work each year on the island of Kefalonia, Greece since 2011. He has a considerable body of work. Most recently, in a one-artist exhibition he presented The Primates NoteBook, employing his drawing-sound experiments and innovations in tandem with chimpanzees through the Language Research Center in Atlanta, Georgia. Dongoski was Invited Lecturer, Dolphinity: International Symposium of Dolphin Consciousness * Dolphin Embassy * Tenerife, Canary Islands. In 2016, he was the Invited Lecturer, CAIROTRONICA; International Symposium on Electronic Arts (in cooperation with The Planetary Collegium); Palace of the Arts * Cairo, Egypt. Most recently he was included in the Timeless Fragments Group Exhibition in Brindisi, Italy. And The Pulled Edition at Tong-In Gallery in Seoul, Korea. He was also selected to participate in the GATHERED Exhibition at The Museum of Contemporary Art of Georgia.

exhibit page here

Drawings | Curated by Phillip McClure

featuring Sara Hess & Sara Malpass
 

“Last summer, Sara Hess sent me a photo of the chicken wire fence that lines her garden in Athens, GA. She had woven wisteria in and out of the metal squares, twisting the vine to form a large, swooping capital “L” before curling the line skyward to create the next shape, an “I.” In Sara’s hands, the vine twisted into a meaningful shape. Hess mentioned in her note that she’d been thinking about Sara Malpass’s list when drawing the wisteria through the fence’s grid.

Throughout her nearly 30 years at NIAD Art Center in Richmond, CA, Sara Malpass spent entire days culling words from her current readings and interests. Lists spilled down her page, one word bridging to the next as Malpass took inventory of the letters, syllables, and shapes–piles of seemingly disparate ideas. In one list,

Walls

Wedge

Whose

When

emerge as an exercise in alliteration or, perhaps, an interest in the undulating curve of a “W.” Like Hess’s vine, Malpass’s distinctive script transcends its traditional utility. These are marks on a page: tools for both drawing and dictation.

exhibit page here

COLOR-NAME-ZOOM | Michael Stradley

Contemporary color is abstract. Unlike color for the medieval painter, color is no longer derived directly from specific locations or named in reference to physical materials. Many contemporary colors do not emerge from the natural world at all, and are instead produced by synthetic chemistry or conjured up by digital displays.

Our current relationship between colors and their names reflects this. PANTONE, for example, uses two color naming systems in parallel: a precise numerical system used in practice by designers; and a clever set of color names for consumers. “Rose Quartz” and “Living Coral,” PANTONE’s Color of the Year selections from 2016 and 2019, are far more suggestive and loaded than their respective PANTONE codes: Pantone 13-1520 or Pantone 16-1546.

COLOR-NAME-ZOOM is an investigation into the relationship between pure color and the act of naming. A series of colors appear on-screen, superimposed with a name assigned to that color by one of many paint corporations. The resulting moving-image is a trip through a vast sea of language, naming, marketing, and stealthy projection of gender, identity, and other associations onto color.

exhibit page here