Review_Coverage from BurnAway.Org

"Garage Projects' various One Minute/One Night installations were a pleasant surprise. Each video was extremely brief, but due to the variety and strategic coordination both inside and out of the venue's normal exhibition area, the set became one of my favorites by the end of the night."
Click here to see images and to read more.

One MINUTE/ One NIGHT

Still, Nelson Hallonquist

One MINUTE/ One NIGHT
on 10.24.08 starting at 7:00 pm

One MINUTE/ One NIGHT is a participating exhibition that is part of the Le Flash: Nuit Blanche program that is taking place on October 24, in Castleberry Hill, in downtown Atlanta, Georgia. One MINUTE / One NIGHT is curated by Carolyn Carr and Michael Gibson at Garage Projects. Nuit Blance is organized by Cathy Byrd and Stuart Keeler.

Garage Projects is located in the building Stable 1897. During the One MINUTE/ One NIGHT presentation, Garage Projects' exhibition space will be expanded to includes 5 locations with in and on the building Stable 1897. This will be the first exhibition in the newly configured media driven exhibition space, designed by Nicholas Storck. From this exhibition forward, the programming at Garage Projects will be dedicated to new media and old technology.

One MINUTE/ One NIGHT
Artist curators Carolyn Carr and Michael Gibson offer a special screening of 28 one-minute videos in and around Garage Projects. The only limitation for this international call was for works to be one minute in length. Out of this call came a natural grouping that begged for five independent viewing spaces. This grouping was further governed by the works content, style, and/ or context-- whether in the arrangement of works in various and sometimes improbable exhibition spaces or relationships of works to each other.

The Venues at Stable 1897

I Façade-- Selected works to be arranged to intersect with the façade of the building Stable 1897

Window Box Storefront: A selection of three works which through texture and atmospheric editing relate to early experimental film works of Thomas Edison, Stan Brakage and Ingmar Bergman. Each of these artist delve into narratives that explore the humane psyche as well as, share a common visual approach.

• Chris Lindsay
• Shana Robbins
• Oliver Smith

Façade Upstairs Window: Walking down Peters Street pedestrians encounter a moving image in a second story window, in a dark corner of a historic building, that is surreal in nature.

• Eric Defino

II Garage Projects-- The video calls only stated limitation was that each work was to be 1 minute long. And the randomness out of this loose restriction resulted in a natural communality in content, context and style. The artist being presented here all share everyday mundane affairs by way of waiting, watching and being watched.

• Nelson Hallonquist
• Tonia Hughes and Lisa McGuire
  
• Nicole Rademacher
• Ziad Naccache

The Video Box: A stand alone Monitor inside Garage Projects This work reminds the viewer of the over all happy aura American artists elevated through pop art during the 60s and beyond while examining the issues surrounding the intersection of painting and the moving picture.

• Mark Leibert

III Mélange-- A display of selected submissions that show a cross section of entries that reflect the various approaches, techniques, narratives, and concepts. These works will be on public view in the restaurant SLICE, next door to Garage Projects.

• Sunny Avens
• Benjamin Bellas
• Isidore Bethel
• Lee Blalock
• Yosafa Detsch
• Nichole Gibbs
• Jess Creede Hinshaw
• Zubair Lawrence
• Chanju Lee
  
• Roger Mcleod
• Ross Moreno
• Jeremy Newman
• Robert Peterson
• Chris Riddle
• Dan Shellenbarger
  
• Richard Sudden
• Joan Tysinger
• Christina Washington
• Joseph Whitt

This exhibition is made possible by the donated services from these generous supporters.

Call Video / Film Works deadline September 1, 2008

Call Video / Film Works deadline September 1, 2008

To be presented @ Garage Projects
Castleberry Hill Arts District, Atlanta
OCTOBER 24, 2008
CALLFOR ONE-MINUTE VIDEOS
Curated by Carolyn Carr and Michael Gibson
Presented @ Garage Projects

We invite submissions of one-minute videos for presentation at Garage Projects during LE FLASH, a one-night art event in Castleberry Hill. Selected videos will be on view for an evening when fantastical installations and creative events will be seen throughout the district. Street corners, galleries, shops, roof tops, vacant lots and empty buildings will be sites for light, video, sound and other unexpected environments, performance art, poetry readings, concerts, music, video projections, a marching band, an iron pour and art happenings of all sorts.

CALL FOR VIDEOS: JULY18, 2008
DEADLINE FOR VIDEOS: SEPTEMBER 1, 2008

Proposals accepted via email or post.

EMAIL
Submit to: LeFlash.Oct24@gmail.com
Paste into body of the email: required info and link to site where jurors can view your quicktime video

POST
Garage Projects
ATTN: One-Minute Video
261 Peters Street, S.W.
Atlanta, Georgia 30313
Include video and text file with info required below.

ALL SUBMISSIONS MUST INCLUDE:
Full Name
Contact information: phone, email, physical
Title and duration of video
*Please note the date and site of any recent presentations of the work. If selected, artists will receive notification and instructions re formatting, as needed.

**************************************************************************
Nuit Blanche in Castleberry
Organized by Cathy Byrd and Stuart Keeler
Friday, October 24, 2008 from 7p.m. to Midnight

Second Viewing, Serra Tonight 6/28 @ 7pm (runs 52 minutes)

Marc Josephs' phone-pics of Serra, Promenade

Mobile Phone-pictures courtesy of Marc Joseph

Check out Marcs amazing photographic books published by Steidl
New and Used
American Pit Bull

Richard Serra

GARAGE PROJECTS
Richard Serra: Promenade

OPENING RECEPTION:
FRIDAY, JUNE 27, FROM 7 TO 10PM

Garage Projects
261 Peters Street, S.W.
T 404 302 9074
email: info@garageprojects.com

Richard Serra "Promenade" at the Grande Palais, in Paris. A documentary film from the latest Monumenta artist.

Friday, June 27, 2008
7 - 9 PM
(Castleberry Hill Fourth Friday Art Stroll)

To learn more about this exhibition and film please visit Richard Serra in the New York Times.

truebadoor by allison rentz

truebadoor by allison rentz

OPENING RECEPTION:
FRIDAY, MARCH 24th
7 - 10PM
(Castleberry Hill 4th Friday Art Stroll)

Gallery Hours
Saturday, March 29
Noon - until 5:30 pm

Below from
http://www.influxhouse.com/archives/A2008041/

Tue Apr 29, 2008 :: Tales of the Gothic

Truebadoor: Helpless, naked, piping loud

Allison Rentz in "Truebador"

Last Friday's Castleberry Hill Art Stroll was an improvement over last month's stroll by about a factor of ten. If March's shows appeared to be organized by safety-minded accountants at CNN, April's shows are by in large gutsier and riskier with bigger payoffs and grander, more exhilarating flops.

Which side of the fence Allison Rentz's "Truebador" at Garage Projects fell on is a matter of debate, but I for one won't quibble with her willingness to take a broadminded risky leap.

The installation consisted of her usual materials--plastic sheeting, recycled plastic waste products, rope, tape, sharpie marker, and chains--in a minimal palette of black, grays, white, and red. This is the palette of death metal album covers and Tim Burton flicks. Rentz also seems to allude to heavy metal tropes in the spiky gothic imagery of her ink drawings and in her personal calligraphy, which I always imagine has an Iron Maiden soundtrack playing behind it.

Throughout the performance Rentz engaged in a self-absorbed monologue of gestures, including wrapping, tying, excavating, and rearranging of pieces that recalled imagery of birth, loss (breakdown), and recovery. Periodically, the artist would stop all other activities and intone some speech into a resonating container of some kind (a water bottle?) using long, distended syllables. I wish I could have made out more of the speech, but the noise from the street and the jazz band at Noir competed sonically for attention. Nor did the speech seem particularly intended for me, or for anyone other than Rentz herself and that water bottle or whatever it was.

Drawing from "Truebador," ink on paper in plastic sheet

Rentz's performance was an exercise in public vulnerability. The artist seemed to be trying to figure things out as she went along in an intuitive and naive sort of way. This stands to reason since Allison Rentz has been living more or less in public for the last several years. She begs on the internet for money to help pay her credit card bills. She appears at public lectures and forums and makes loopy announcements about her art empire. For Rentz, there appears to be no distinction between the public and the private. Her performance then took on the feeling of watching a teenager playing with things in her room, refusing to clean it up, while the volume in her earbuds is pumped up to 10.

The whole death metal thing enjoyed a brief, black explosion in the art world a few years ago. Banks Violette and Sue de Beer were displaying their adolescent melancholy to an art world that seemed happy to revel in public teen angst. Is Rentz's work an extension of that aesthetic? Maybe. It certainly shares the same sense of a teenager's personal world of dark forces that require signing a pact of irreversible damnation before being admitted. Her work, too, is adolescent in that way; that is, awkward and looking at itself as a dark imponderable. It is always occupying a space where the world is a terrifying carnival ride of disequilibrium.

But if it is gothic, it's gothic as filtered through a southern sensibility of layered age, rot, history, and decay. Where Violette is shiny and slick, Rentz is worn and broken. She is Southern Gothic. This brokenness in the face of great dark forces brings to mind the southern gothic of Michi Meko's latest gambit at Eyedrum or Brian Parks's lonely music in lost spaces.

These artists are all cringe-inducingly vulnerable. They let their flaws direct their work toward what always feels like a demise or endless struggling of some sort. They are all William Faulkner characters, producing "horror as well as amazement." Succeed or fail, I'm enjoying the experience as they take us down this long, dark slide to oblivion.

Posted by: MAZE on Tuesday, 29 Apr 2008 | 10:29 AM

[3] comments (101 views) |

BLOGS in response to Alison Rentz Performance exhibition at Garage Projects
http://www.influxhouse.com/archives/A2008041/
http:www.ghostmap.blogspot.com/

Anita Arliss: Feeds and Links

Anita Arliss: Feeds and Links

OPENING RECEPTION:
FRIDAY, MARCH 28th
7 - 10PM
(Castleberry Hill 4th Friday Art Stroll)

Gallery Hours
Saturday, March 29
Noon - until 5:30 pm

Feeds & Links

Anita Arilss is a new media artist who, since the year 2000, has used the Internet to disseminate images influenced by consumer culture. Image searches have included interests in: muscle men, hurricanes, old master paintings, currency, hurricanes fences, and Japanese social networks.

For Arliss' exhibition, Feeds and Links, this new series draws from images of young women from a Japanese social network. These depictions are capture, digitally altered and then translated into ink-jet models that ultimately become paintings and works on paper. Arliss refers to this practice as "a hybrid of external and invented realities".

Born in NYC, Arliss received her M.A. in Fine Arts from Hunter College. Today she resides in Atlanta, Georgia and has a studio in the Castleberry Hill Arts District. A featured Culture Pundits Artist, Arliss is on numerous curated international websites. As well, she is a 2009 Forward Arts Foundation Emerging Artist Award Finalist.

BLOGS in response to Anita Arliss' exhibition at Garage Projects
influx house
il faut cultiver notre jardin