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March 6, 2005 REVIEW =
"Accelerating
Sequence: Artists Observe Time and Aging" =
Through
March 26. 10 a.m.-5 p.m. Tuesdays-Saturdays. =
The
verdict: Successfully fresh, creative takes on the implications of getting
older. =
The
generation that sang "Hope I die before I get old" is facing the
realization that many of them will not do that. =
The idea
is sufficiently daunting that most of the work in curator Dan Talley's sh=
ow
at =
Michael Aurbach, however, has confronted death and interred=
his
1984 "Final Self-Portrait" coffin with due ceremony. All that
remains in the gallery is a memorial tablet plus documentation of the old
artwork's Feb. 17 funeral. =
The
stacked layers and printed phrases of E.K. Huckaby's=
"Sedimentality" capture the world-w=
eary
wisdom of having seen it all more than once, but the wall of drawings in
Brant Schuller's "Tracings: 24 Hours of =
CNN
1/1/2005" remind us that these days, it is possible to see it all mo=
re
than once in a few hours. The gifts reserved for age that Lynn
Marshall-Linnemeier commemorates in "Sisi's
Box" of ancestral homages are often squa=
ndered
in an accelerated culture. =
Elizabeth
Lide's symbolic flower-painting
"portraits" of deceased individuals, like Gloria Ortiz-Hernande=
z'
"Sequence" of slowly fading graphite rectangles, turn transience
into lasting beauty. The sculpturally framed video projection of Maria
Artemis' "Quotidian Rift" adds an extraordinary cosmic and
geological dimension, reminding us that tectonic plates don't always prod=
uce
tsunamis. =
The slow
rot of time is symbolized by the accumulated tarnish on the silver displa=
yed
on shelves in Susan Cipcic's
"Reflection," and an equally lovely but poignant reflection on
life's trajectory appears in the fragmented photographs of Lisa Tuttle's
"Translucent Time," taking a woman from babyhood to old age in =
the
space of a few square feet of wall installation. =
Robert Raczka's "Time e/apse," photos of digital
clocks showing the time of parental deaths, is fairly direct. Lloyd Godman's "Timed Lapse," elegant and compl=
ex, is
so oblique in its juxtaposition of growing plants and digital photos gall=
ery
visitors take of themselves that it takes the viewer to figure out its
relation to time and natural processes. =
That
leaves Shugang Wang's "Sweeping," s=
mall
bronze figures that pay homage to the work performed by aging bodies, and
David Ivie's "The Way We're All Going,&q=
uot;
bizarre little memorial sculptures. =
The
latter's toylike qualities seem like appropri=
ate homages for the generation that tried hard not to g=
row
up, much less grow old. =
Small
bronze figures pay homage to the work performed by the elderly in Shugang Wang's "Sweeping."
Copyright 2005 The Atlanta Journal-Constitution |
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