Atlanta Journal-Constitution, The = (GA)

August 21, 2005
Section: Arts & Books
Edition: Home; The Atlanta Journal-Constitution
Page: <= span style=3D'font-size:10.0pt;font-family:Geneva'>L10

VISUAL ARTS: the theme's the thing
Photos fuse together for a look beneath
= CATHERINE FOX

REVIEW =

= "Photography"

= Through Oct. 28. 10 a.m.-6 p.m. weekdays; 11 a.m.-4 p.m. Saturdays. The Museum of Contempo= rary Art of Georgia at SunTrust Plaza. = 303 Peachtree St., Atlant= a (lower lobby).

= 404-881-1109.

= Verdict: A showcase for 14 fine regional photographers.

= "Photography" showcases the work of 14 -- no surprise here -- regional photographers. <= o:p>

= What is surprising, though, is that this group of unrelated photographs, selected= by jurors Ellen Fleurov, Lisa Kurzner and Susan = Todd-Raque, coalesce into an absorbing whole. Themes and imagery reverberate and ricochet throughout the Museum of Contemporary Ar= t of Georgia's SunTrust Plaza gallery.

= Photos by Atlantans Corinne Adams and Mike Jensen, f= or example, demonstrate the difference between looking and seeing. The curio= us shadowy forms in Adams' sepia-toned di= gital print of a circus tent exemplify her delight in capturing visual moments = that would otherwise go unnoticed.

= In his glossy color photos, Jensen creates new readings of architecture by findi= ng unusual viewpoints. In "Trans-America Building #1, San Francisco, Ca," he presents = the skyscraper so that its facade is almost horizontal. You can read it as a = vast plane advancing into deep space or a striking geometric abstraction.

= A number of photographers find interesting ways to go beneath facades. Alabama artist= Pinky Bass and Atlantan Marilyn Suriani literally g= et under the skin. Bass embroiders a series of unglamorous nude self-portrai= ts with images of her innards --heart and lung, uterus --in cheery pink and turquoise threads. Her pictures bring to mind Atlanta artist Jon Riis' tapestry coa= ts of the same subject, but she forgoes Riis' anatomical correctness for insouc= iant visual effect.

= Suriani uses X-rays effectively in meditations on aging and mortality. The fleshy= arm of an artfully posed "Older Married Woman" is transparent, revealing the bones in her arm and hand. The sight, which brings to mind horror movies and traditional depictions of the Grim Reaper, is shocking.=

= Death is also on Constance Thalken's mind. Although sh= e uses a skeleton (of a mouse) in one of the images of her triptych "Dark," her piece is more about grief than dying. The skeleton = and a small conical mound titled "Inca's Ashes" flank a self-portra= it whose hunched shoulders and careworn expression embody the pain of those = left behind.

= It seems appropriate that Suriani and Thalken work in = black and white. Yet, color can be effective as a foil to dark thoughts. Witnes= s Addison Will's "D= rive-By Series." In one photo, the figure in a sumptuous, fur-collared broca= de coat looks out the window of a red car. The sense of isolation and averted face make for an alluring mysteriousness. The other photos in the series = are not nearly as arresting.

= The show includes diverse explorations of identity. Atlantan<= /span> Benita Carr comments on motherhood in color tableaux of symbolically posed women and children. Atlantan Courtnay Papy takes a more allusive route in compelling images of a dematerialized woman in a glittery dress. In "Untitled: = are never truly there," the figure seems to have melted away like the wi= cked witch in "The Wizard of Oz. "

= Jeff Whetstone's "Deer Hunter" shows a man perched in a deer blind wearing more camouflage than a soldier, bow and arrow at the ready. =

= One of the North Carolina artist's images of outdoorsmen, it prompts questions about this predomina= ntly male activity. Is killing for sport a throwback to the days when man was primarily a hunter? A ritual of manliness?

= This exhibition offers much to ponder and much to enjoy.
Photo

= Aging and mortality are themes of Marilyn Suriani's= X-ray images, including "Older Married Woman."

= Photo

= The lone figure surrounded by darkness in a "Drive-By Series" photograph= by Addison Will conjures up a sense of mystery.

= Photo

= Jeff Whetstone's "Deer Hunter" elicits questions about the purpose of the sport.

Kathleen Campbell

Copyright 2005 The Atlanta Journal-Constitution