Metro Pulse/Artbeat/A1 Lab Arts Spring Exhibition

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What:
A1 Lab Arts Spring Exhibition

Where:
Daylight Building, 501 Union Avenue

When:
Tomorrow through May 31; Tuesdays-Saturdays: 11 a.m.-3 p.m.; Thursdays and Fridays: 6-9 p.m. (with five performances throughout 4 weeks-call 525-6101, x. 256 for info., or visit the website at A1LabArts.org). Opening reception with music by Red Haired Mary tomorrow evening, Friday, May 3, from 6 to 9 p.m.

A1LabArts' spring show pushes into the Daylight

by Heather Joyner

My review of last spring's A1LabArts show in Homberg Place emphasized the alliance's desire for a permanent "home." Nevertheless, A1's executive director Shirley Brown acknowledged that despite the established following such a settled gallery space encourages, moving from one venue to another is in keeping with A1's spirit. After all, the "Lab" part of the organization's name reflects a flexible, experimental approach to exhibiting local artists.

Now seven years old, the non-profit alliance asserts in its mission statement that its intention is to encourage educational events and activities "and to develop the creative artists' and the community's appreciation for interdisciplinary and new genre art forms." This time, the spring exhibit—opening tomorrow—is in yet another location: the Daylight Building on Union Avenue near Market Square. And the organization has seemingly earned enough recognition to be successful wherever it appears.

Of course, mounting a few exhibits each year, many with related dance or music performances, is hard work—especially in different places. Says UT media arts professor and A1 board president Norman Magden, "The practicality of finding places we can afford [and putting together shows that] sometimes frighten landlords is exhausting." (At this point, I'll suggest those landlords are less afraid about the "acceptability" of the art itself than they are about financial liability if someone gets impaled on a spiky sculpture, but in any case, A1 must address a range of concerns). The Knox Area Chamber Partnership will host exhibits at no charge, but their limited hours and need for security can be a problem when it comes to crowded performance events best suited for weekends.

Besides, the new show's Daylight Building space has a terrific vibe. Built in the late 1920s as a companion structure to the "New Sprankle Building" across the street—now the Pembroke, adjacent to the "Old Sprankle Building" whose fate currently hangs in the balance—the Daylight Building was once hopping with doctors' patients and folks seeking other services. Its chunky, graham cracker-colored brick and metal awning suspended by chains lend it a humble but intriguing feel that fits A1's character. Members had to move aside loads of things stored at 501 Union Avenue within the past few weeks, including numerous cases of World's Fair Beer, but it seems that effort has paid off. And being open on Thursday evenings in May should appeal to people already downtown for Sundown In the City concerts.

Speaking of art that may or may not appeal to landlords (let alone your grandparents), the work and performances A1 features—if not always radical—at least represent a variety of individuals. Beyond paying annual membership dues of $25, members need only wish to participate. Although an event planned for this fall will be a juried competition, members can count on taking part in at least one show per year. Such open-mindedness on A1's part could mean being saddled with a bunch of crap, but the alliance manages fairly consistent quality in their offerings.

As for A1's experimental aspirations in visual art, pieces do not seem as wild as they did in earlier years. Just as a nightclub calling itself "Raves 'R' Us" would go against the spontaneous and secretive nature of raves themselves, declaring work avant-garde within a well-defined organization can be tricky. If what we get as viewers is particularly "cutting edge," consider it icing on the cake. Events during various nights throughout the month—like performance art by two "Chakra Door Teams" and "sound art"—as well as more traditional poetry readings and music, are icing enough for me.

Although three standout artists from last Spring's A1 show are not presenting work this time around, there's plenty to see. Emily Taylor's charcoal drawing on paper titled "Self Portrait By Touch" is immediately striking, whereas Diane Hall's abstract acrylic painting on a small canvas board is exquisitely quiet. "Alpes-de-Haute-Provence," a photograph by Dick Penner, has a classical/antique quality compared with Denise Stewart-Sanabria's "The Origins of Censorship," a twist on Dürer's "Adam and Eve" featuring little doors with twig handles covering both male and female private parts. Behind one door is a Garcia Lorca quote reading, "To see you naked is to recall the Earth"; behind another is the phrase "not obscene."

Alan Seneker's "Madd Inlet: Dunes At Sunset," with its wall-hung pastel image and accompanying floor-flung mini dune, complete with shells and footprint, is a tad cute—but I can't say I expected anything like it. Alongside her "Plumptious" figure reminiscent of Matisse, Annamaria Gundlach's ceramic piece called "Egg-sistence" is memorable. Toes, fingers, and an eye visible as the object "hatches" make it both creepy and amusing. However unconvincing the placement of "interior" parts, and no matter how much "Egg-sistence" lacks a vital wetness, it demands our attention. Mike Dotson's earthy color photograph of the Dalai Lamas' Potala Palace gives the exhibit international flair, and collaborating artists Catherine Freeman and Birney Hand have produced three-dimensional fare that looks almost interplanetary.

In addition to the above, Norman Magden will be presenting videotaped documentation of his "Affectionate Apparition" projects to round things out. All in all, it's a show and line-up of interesting evenings that should not be missed.