19 Apr 2008 to 24 May 2008
Gallery Hours : Tu-F 11-6 : Sa 1-4, Su, M Closed
Hallwalls Contemporary Arts Center
341 Delaware Ave
NY 14202
Buffalo, NY
New York
North America
p: 716-854-194
m:
f: 716-854-1696
w: www.hallwalls.org/index.html
BARBARA WEISSBERGER Are we just going to stand and watch this?
Are we just going to stand and watch this? will present new watercolors and a large-scale collage of fragments applied directly to the wall, culled from photographic pieces from Weissberger’s library of images. These works are part of an ongoing series that investigates the continuum between the natural world and the artifacts of cultural production. Working with her own photographs and material found in muscle magazines, Weissberger begins each piece with a collage. She draws from a growing lexicon of images including body-builders, hamburgers, beef, 1970’s crocheted blankets, tires, cars, butterflies, birds, flowers and mushrooms. The collage is a generative step in the process; the watercolor, the final iteration. These works are located between abstraction and representation—the aggregate shapes emerge largely through response to formal qualities found in the bits of representational material.
Weissberger is a recent recipient of a Guggenheim Fellowship for 2007. Her works on paper and wall installations are exhibited nationally and internationally. Numerous residencies include the MacDowell Colony, Yaddo, the Virginia Center for the Creative Arts and the Montana Artists Refuge.
Chambliss Giobbi Time and Again
Chambliss Giobbi’s figurative collages work as objects of obsessive psychological and physical mutation and as testaments to a long courtship between artist and model. After a marathon photo session with his subject, Giobbi prints thousands of photographs. He then tears the prints and glues them, piece by piece, layer upon layer, to create the image. What follows is a series of collages on aluminum panels. Some are flat, while his newer work utilizes sculpted forms to create three-dimensional surfaces: Each series embodies a reinvention of technique that conforms to how Giobbi sees the individual portrayed.
Giobbi’s work is deeply psychological: portraits at once linear and composed, then abrupt and splintered. One is left with the notion of witnessing an intense, virtually operatic compression of moments, catharsis and myth: an intimate viewing of entropy.
A recipient of Guggenheim, NEA and NYFA fellowships, Giobbi was a prolific composer of classical music for fifteen years before turning to visual art. The notion of time and simultaneity in the development of musical ideas has become a central theme in his fractured, stop-frame images.
