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Sep 4 - Dec 19, 2009
Glimmer Alison Norlen

"Drawing is thinking." Alison Norlen  

Immersed in evanescent blue hues, the sheer grandeur and immense scale of Alison Norlen's virtuosic drawings in Glimmer beckon to the viewer from a distance, and inexorably draw one in through glimpses of alluring detail in both drawings and filigreed wire-form sculptures. The structures depicted in the drawings and embodied in the sculptures are liminal, open like fretwork or the structure of a model; creating a way in and out for the exploratory thoughts of the viewer. The adventure has begun. 

Feats of scale are signature to Norlen's work: exhibitions like Float engrossed viewers in massive drawings, (24 feet wide is not unknown for Norlen), that are anchored in tumultuous celebrations of carnivals, parades and amusement theme parks. These drawings and accompanying installations (Parade I, II and III, all 2001) are a veritable feast, a cacophony of sights, sounds, smells and tastes, a riot of the senses. The works demonstrate a controlled horror vacuii in which Norlen energetically juxtaposes large and small, jamming in a dancing girl figurine next to a jet plane, wheat sheaves towering over Ferris wheels and carnival lights strewn with abandon throughout. The drawings and installations are alive with a passionate and purposeful confounding of perspectival logic, and a fantastic, topsy-turvy register of sizes.

 Joanne Marion  




Mar 5 - Aug 14, 2009
exhibition curator, Kent Archer co-presented with Doris McCarthy Gallery

The unreality of the real and the verity of the reproduction have been key points of entry to Liz Magor's work. In her sculptures, the tension between the real and the reproduced initiates a quest for knowledge, while simultaneously challenging our ability to discern the differences between the two. The impact of Magor's sculptural objects is present regardless of their source: a tiny mouse, a tweed jacket, and an ordinary ashtray are cast in gypsum and presented alongside wrapped candies, half-smoked cigarettes, and pocket-sized bottles of liquor. Together, they generate a complication of allure and aversion that is not easily resolved. - Bill Jeffries.


Feb 6 - May 6, 2009
Curated By Steven Matijcio

The Church and Capitalism Share a long, volatile history that has moved between antagonism, acceptance and interchange. Mitch Robertson playfully ponders Christianity's corporate makeover in a series of multiples, rubbings, paintings, hand-tinited photographs, and a modular construction. Long interested in the faith-based constitution of industries surrounding celebrity, tourism, and myth, robertson finds links between advertising and iconography, and questions the contemporary production of good & evil.