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January 30, 2005 Staff REVIEW = "MOCA majors" <= o:p> =
Through
Feb. 19. 10 a.m.-6 p.m. Mondays-Fridays; 11 a.m.-4 p.m. Saturdays. Lower
Lobby, =
The
verdict: An engaging sampling of MOCA's
permanent collection. =
The
Museum of Contemporary Art of Georgia inaugurates its space at =
The show
casts a wide net. The two oldest paintings depict small-town scenes that
would have been typical of rural =
For his
New South landscape, Ivcevich relegates the
greenery, painted in stylized, outlined shapes, to the bottom of the canv=
as,
where it's dwarfed by the ghostly electrical tower that looms above. =
Thomas,
who later took up abstraction, is among several influential artist/profes=
sors
represented here. The late Ed Ross, whose minimalism inspired a generatio=
n of
Atlanta College of Art students, is well-represented by the 1974 painting
directly across from the entrance, whose surface, white and ghostly like =
old
plaster, is inflected with pale drops of paint and wax. A
counterpoint to Ross' Zen calm, =
Yes,
Virginia, we do have an art history. =
The
exhibition includes midcareer =
My only
complaint -- a nit, really -- is that the show is a bit too well-mannered=
. A
little messiness or provocation would give it some zing. Chalk that up,
perhaps, to MOCA's sensitivity to its =
corporate
environment, or to the corporate origins of MOCA<=
/b>'s
collection. =
This
does not take away from the exhibition, however, or its import. MOCA's new gallery, courtesy of SunTrust and
Portman Properties, is great for downtown, which needs all the cultural a=
menities
it can get. It's great for the museum, which needed more gallery space th=
an
its Midtown venue could provide and wanted to reach a broader audience. I=
t's
great for =
In sum, MOCA's new museum space is a win-win-win-win
situation.
Copyright 2005 The=
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