White is a Marshmallow
September 23rd, 2011White is marshmallow
And vanilla ice cream
And the part you can’t remember
In a dream.– From Hailstones and Halibut Bones by Mary O’Neill (1961)
From left: Artist Ginny Parsons and Rhythmix Founder and Artistic Director Janet Koike, at the opening reception on September 9. Photo: Michael Singman-Aste
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Mark P. Fisher, 'Pataphysics Triptych (detail), 2011. Oil and chalk.
N.B.: A large section of the article was edited out for space. The end of the article, as originally intended, read as follows:
Dockter approaches this idea from the opposite direction in “White Is/Black Is.” A parquet of “black” and “white” squares, closer inspection reveals barely perceptible differences in each. They are black satin, lead gray, and majestic violet. They are alpine white, china white, and “cloud nine.” Perhaps this too is a comment on how subtle variations are labeled and used to divide. Or, possibly, it points out that not everything is as black-and-white as it initially appears.
The exhibit also features work by Andrew Fitzpatrick, Amy Jenkins, Darv and Ellie Teare, d’Arci Bruno, Pons Maar, TonyaMarie, David Peniston, Jan Erion, Bill Jeng, Marjorie Lynne Wagner, Lynn Gustafson, Jan Watten, Ginny Parsons, and Christine Rossi.
Michael Singman-Aste
Postdiluvian Photo
Tags: Alameda, Alameda Journal, Alice Dockter, Amy Jenkins, Andrew Fitzpatrick, Bay Area News Group, Bill Jeng, Christine Rossi, d'Arci Bruno, Darv Teare, David Peniston, Ellie Teare, Ginny Parsons, Jan Erion, Jan Watten, Janet Koike, Kate Kosmos, Lynn Gustafson, Marjorie Lynne Wagner, Mark P. Fisher, Pons Maar, Rhythmix Cultural Works, TonyaMarie
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