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BIRDS. GRIDS AND WORDS
Snowy August: Avalanche Collective, which
consists of Blake Carrington, Christopher
Gianunzio and Colin Todd, three students in
the Master of Fine Arts program at Syracuse
University, created a video montage of
early Arctic expeditions. They projected it
onto mountains made from Medium-Density
Fiberboard (MDF), in a recent exhibit at
Broad Street Gallery. "Snow" (made from
biodegradable "Styrofoam") covered the
floor. The group filmed themselves acting
as modern "explorers" in a Wal-Mart parking
lot while visiting Athens. They wore hik
ing gear (in the middle of a Georgia heat
wave), attached ropes to each other (in
case someone fell into a crevice) and pulled
their Mobile Projection unit in a Radio Flyer
wagon. Footage from this performance was
displayed on an old television in a tent in
the gallery. The show came down on Aug. 19.
If you missed the show, check out Avalanche
Collective's website and the Urban Video
Project: www.avalanchecollective.net, www.
urbanvideoproject.com.
Grid Work: Up next at Broad Street Gallery
is "Snap to Grid," an exhibition of typog
raphy drawings by Brett MacFadden, with
a reception on Tuesday, Aug. 28, from 5:30
p.m. to 7:30 p.m. MacFadden, an art director
at Chronicle Books in San Francisco with an
MFA from Cranbrook Academy, has done ex
tensive design work, including the catalogue
for the Georgia Museum of Art show "Modern Martijn van Wagtendonk
Threads: Fasnion and Art by Mariska Karasz."
MacFadden s work, as suggested by the exhibition title, explores
"the creative variation available within even a rigid structure."
Check out more of his work at www.brcttmacfadden.com.
Southern Summer: The concluding event of the Georgia Museum
of Art's "Southern Summer" program is Sunday, Aug. 26 at 3 p.m.
Collectors Lynn Barstis Williams and Stephen J. Goldfarb. alonq
with James C. Cobb and Paul Manoguerra. will participate in a fo
rum "examining the social context of art in the South in the 1920s
through the 1940s." Works on paper from the collection of Barstis
and Goldfarb are currently on view in the exhibit "Imprinting the
South." With traditional printmaking techniques such as aquatints,
etchings, lithographs and woodcuts, artists have created views of
Southern towns and landscapes. New Orleans architecture is promi
nently featured in the work of several artists. Hale Woodruff s
"Returning Home" is a bold linoleum cut typical of the artist's
style. The exhibit is up through Sept. 16. Also on view at GMOA
through Sept. 16 is "John Grabach: Century Man." Grabach's work
was inspired by the cityscape around him. He combines realism
with abstracted brushwork, giving the paintings a vivid, active life.
"Sun, light, and Wind" (1940) depicts a row of houses, laundry on
a line blowing in the wind, and a field of scumbled color in the
lower right-hand corner. Grabach ventured slightly into surrealism
with "Battle of the Sexes" and "Greed," both from the 1940s. For
more info, www.uga.edu/gamuseum.
Mailbox with Hinges: "Mort than Words, Illustrated Letters from
the Smithsonian's Archives of American Art" is on view at the
Georgia Museum of Art. The exhibit is comprised of letters from
thank you to Mimi Gross and Red Grooms for a place to stay while
visiting New York in 1969. Frida Kahlo's letter of thanks to Emmy
Lou Packard, for care given to Drego Rivera in 1940, includes three
lipstick kisses, one for Packard, one for Packard's son, and one for
Rivera. Philip Gustons drawing of "a hairy, pipe-smoking local
from his Woodstock, New York, neighborhood” serves as a visual
description of his experience. Andy Warhol’s biographical infor
mation, written in 1949, to Russell Lynes of Harper's Magazine,
where Warhol had illustrated a story, shows a sample of the artist's
handwriting, poetic language and a simple drawing. Beautifully il
lustrated letters to children, parents, wives and sweetnearts show
intimate sentiments. In a letter to Heda Sterne in 1943, Antoine
de Saint-Exupery shared his excitement over finishing The Littl'•»
Prince, and did so with a drawing. The exhibit offers a book fo*
viewers to create their own letters, with a supply of pencils. And
maybe, just maybe the inspiration will venture out of the museum.
Perhaps after viewing the exhibit, you will go home, sit down and
write y our own letter. Perhaps you will be inspired to take pencil to
paper instead of zapping a quick email to long-distance friends and
family. "More than Words" will be on display through Oct. 14.
Endnotes: The closing reception and artists’ talk for "STRETCH" at
160 Tracy St. Unit 4, Chase St. Warehouses takes place on Sunday,
Aug. 26, 3 p.m. to 6 p.m.
Beth Sale
Email your art news to outthereUllagpole com And please put "Art Hotes” in
the subiect line
Y Paper Birds: "Her Flock," the second installment in the triptych
"Mechanical and Metaphysical Phenomena," by Martijn van
Wagtendonk, is currently on view in the UGA Lamar Dodd School
of Art Main Gallery on Jackson Street. "Her Flock" is a large-
scale installation featuring sculptural, cinematic and kinetic as
semblages. Petite paper birds on wooden pedestals activate when
the viewer approaches, elevating and flapping loudly for several
minutes before descending into rest mode again. A targe silver
belt suspended in a blue circle reflects the viewer's image, as well
as the video projected onto the vaulted ceiling. The image of the
birds flying overhead repeats the flock of paper birds. There is also
an image of a reclining figure projected on the ceiling, lying flat
as if in corpse pose. The exhibit is poetic in concept and comple
tion. "Her Flock" will be up through Sept. 3. The first install
ment in the triptych, titled "No longer the Bachelor's way," is a
motion-activated sculpture. Van Wagtendonk
received a Wilson Center Research Fellowship
that will help to complete the last install
ment, titled "Descending." Read more at
www.visart.uga.edu/galleries.
artists who embellished their communications with illustrations
that entertain, amuse, delight and inform their recipients in a way
that is more than words. These texts and images deserve more than
just a quick glance. Each individual letter is rich with personality.
Get lost in the Paris Bastille Day Celebration of 1901, read instruc
tions from both Thomas Hart Benton and Thomas Eakins on how
to use a camera, see a map to Alexander Calder's home, drawn by
the artist in the style of his mobiles. A handwritten description
by sculptor John Frazee of his trip from New York to Richmond on
one of "the nation's first successful passenger railroad lines" is ac
companied by a drawing of the train. John Sloan's old Ford (drawn
in 1922) climbs a mountain near Santa Fe. Howard Finster's 1981
letter to Barbara Shissler, after a trip to Washington, DC, is deco
rated with portraits of presidents and William Shakespeare. Gladys
Nilsson created a collage on United Airlines stationery to say
14 FLAGPOLE COM AUGUST 22.2007
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