CURATIONS BY K.TAUCHES
. . .AFTER THE SUBURBS
January, 2011, Kiang Gallery, ATL
The American suburbs of the 20th century are notoriously branded: bright, safe and brand-new. The homes and the tightly symmetrical shrubbery idealize ordered gardens, comfort and spaciousness. This environment is mythologized as the ultimate, affordable eden, where the wilderness of both the country and the city centers are managed at a controllable distance.
However, the new century brings an alternative perspective on the suburbs, as they grow more complex and shift back out of human control. Unsustainable and overbuilt, we witness the suburbs as they become havens for immigrants, agriculture, small business, bohemians and underground activity. Will the spirit of its original utopia still remain (albeit transmogrified), as that pastoral, yet urban American space?
January, 2011, Kiang Gallery, ATL
The American suburbs of the 20th century are notoriously branded: bright, safe and brand-new. The homes and the tightly symmetrical shrubbery idealize ordered gardens, comfort and spaciousness. This environment is mythologized as the ultimate, affordable eden, where the wilderness of both the country and the city centers are managed at a controllable distance.
However, the new century brings an alternative perspective on the suburbs, as they grow more complex and shift back out of human control. Unsustainable and overbuilt, we witness the suburbs as they become havens for immigrants, agriculture, small business, bohemians and underground activity. Will the spirit of its original utopia still remain (albeit transmogrified), as that pastoral, yet urban American space?
UNBUILT ATLANTA
September, 2007, Eyedrum, ATL
Inspired by the book, “Unbuilt America,” Unbuilt Atlanta was a show of models and drawings for Atlanta-specific sites. Presented were three actual proposals from the local past that were never accomplished. But, to call the rest of the proposals in this show “unbuilt” was a self-fulfilling prophesy. It reflected a certain cynical humor as well as hopefulness of an observant yet un-empowered community. Artists and architects, in an opportunity to be political with their vision, presented what they judged could not be built here in 2007. The goal in presentation style was to make a populace art show of accesible illustrative imagery for an audience who all navigate a common map. I particularly wanted to encourage non-professionals in my community to have an opinion about the architecture changing so rapidly around them.
documentation
WRAS Interview (29:08)
September, 2007, Eyedrum, ATL
Inspired by the book, “Unbuilt America,” Unbuilt Atlanta was a show of models and drawings for Atlanta-specific sites. Presented were three actual proposals from the local past that were never accomplished. But, to call the rest of the proposals in this show “unbuilt” was a self-fulfilling prophesy. It reflected a certain cynical humor as well as hopefulness of an observant yet un-empowered community. Artists and architects, in an opportunity to be political with their vision, presented what they judged could not be built here in 2007. The goal in presentation style was to make a populace art show of accesible illustrative imagery for an audience who all navigate a common map. I particularly wanted to encourage non-professionals in my community to have an opinion about the architecture changing so rapidly around them.
documentation
WRAS Interview (29:08)
LOST! PHOTOGRAPHS
Every Sunday in March, 4-6pm, 2007
A (touchable) show of found collections:
disemboweled family albums, home movies, lost journals, letters & images otherwise
out of context.
Usually, art of this genre is called "found" which puts emphasis on individual ownership, but this show focused on the fact that there are A LOT of printed images floating about lost, orphaned and out of context. Piles of things were stacked in libraryesque cases. Visitors came for afternoon tea and were permitted to ask the librarian to unlock a case and pull a stack of lost photographs out for intimate perusal. The work shown represents the collections of five serious Found photography enthusiasts, who range in identity from traditionalist to local punk. Thousands of photographs were displayed in wild juxtapostion.
documentation
ASSEMBLATION
October, 2006, Eyedrum, ATL
Curated in collaboration with Angie Asadourian. Creating a portmanteau word-- we mashed-up two classic art terms: "assemblage" and "installation." The show is a formal investigation into the line between two approaches to the use of objects in art. We wanted to invite viewers to compare and contrast the two 20th century traditions. The front gallery was installation work, and the back was assemblage. Though their spirit and intention is very different, the similarities are that both forms attempt to bring art off the gallery walls, and express a love of physicality.
documentation
October, 2006, Eyedrum, ATL
Curated in collaboration with Angie Asadourian. Creating a portmanteau word-- we mashed-up two classic art terms: "assemblage" and "installation." The show is a formal investigation into the line between two approaches to the use of objects in art. We wanted to invite viewers to compare and contrast the two 20th century traditions. The front gallery was installation work, and the back was assemblage. Though their spirit and intention is very different, the similarities are that both forms attempt to bring art off the gallery walls, and express a love of physicality.
documentation
SHELTER
January, 2005, Eyedrum, ATL
With organizational help from Robert Cheatham.
This show is the result of a decision to squat in the unused 3,000 square foot space adjacent to Eyedrum's gallery. Nearby, several long-time communities living in housing projects were being removed; their low-income homes razed; it was unclear where the residents would go.
For three weeks leading up to the show, we invited artists to negotiate the existing real estate and set up shelters in the raw space over the course of two months. The result was a temporary, transitory commmunity—a shantytown, a camp, a city of refuge. It became an underground neighborhood: we had evergreen covered huts, stolen street lamps, tents, cardboard constructions, a bunk built into the wall. At the opening we served soup! But during the course of the show, regular visitors became attached to the privacy of certain homey interiors, and were indeed sad when the community space had to move on.
documentation
January, 2005, Eyedrum, ATL
With organizational help from Robert Cheatham.
This show is the result of a decision to squat in the unused 3,000 square foot space adjacent to Eyedrum's gallery. Nearby, several long-time communities living in housing projects were being removed; their low-income homes razed; it was unclear where the residents would go.
For three weeks leading up to the show, we invited artists to negotiate the existing real estate and set up shelters in the raw space over the course of two months. The result was a temporary, transitory commmunity—a shantytown, a camp, a city of refuge. It became an underground neighborhood: we had evergreen covered huts, stolen street lamps, tents, cardboard constructions, a bunk built into the wall. At the opening we served soup! But during the course of the show, regular visitors became attached to the privacy of certain homey interiors, and were indeed sad when the community space had to move on.
documentation
SUBMERGED
June, 2005, Eyedrum, ATL
Riffing off the sometimes overused term "emerging" artist, this show attempted to out those local artists hiding from our view. Variously they lived and/or worked in spaces, crammed with tools, art supplies and unseen artworks.
Artists are more commonly known for ridiculous stunts of self promotion and attention grabing schemes. In stark contrast, these submerged artists all have their reasons for being shy. . . a brief interview and portrait of each artist were posted in the small gallery.
documentation
June, 2005, Eyedrum, ATL
Riffing off the sometimes overused term "emerging" artist, this show attempted to out those local artists hiding from our view. Variously they lived and/or worked in spaces, crammed with tools, art supplies and unseen artworks.
Artists are more commonly known for ridiculous stunts of self promotion and attention grabing schemes. In stark contrast, these submerged artists all have their reasons for being shy. . . a brief interview and portrait of each artist were posted in the small gallery.
documentation