Feb-March 2009:
A selection from the sketchbooks of
Kate T. Williamson's time abroad in
Japan
A selection from the sketchbooks of
Kate T. Williamson's time abroad in
Japan
© 2009 RubiStudios
The (Crustless)Whitebread Gallery began its life through two very conscious decisions
1. I wanted to cover up the logo of the refrigerator manufacturer, as the company hadn’t paid for the
rights to advertise in my kitchen.
2. We have spent so much time and money designing the kitchen, I didn’t want the front of the fridge
to be covered with appointment cards from the gyno, expired coupons for toilet paper, and bills
waiting to be paid. Such a prominent position in the house should not be the green room for my to-do
list.
With a freshly unbubblewrapped fridge and a large collection of postcards, I set to curate a
monthly gallery show. After a few misses I settled on the gallery name, (Crustless)
Whitebread, for a few reasons
1. The model of the fridge is called “Elite,” which was the first name of the gallery. This was wrong for
two reasons. a–I didn’t really want to glorify any of the branding concepts of the object and b– art
shouldn’t be just for the elite, but should be accessible to everyone.
2. White bread is available to almost everyone (I am sorry celiacs and anti-carb freaks). In some
cases it might be devoid of nutrition, whereas in other cases it could be hand made or artisanal.
3. White bread is also a play on White Cube, a well known gallery in London which is purported to
exemplify the white walled sterility of gallery art. By reclaiming and recycling the title, I am bringing art
to the girl on the street–-or the one in my kitchen.
4. I added (Crustless) because even though I want to make the gallery accessible, I want it to appear
a little bit fancier– even a PBJ with the crusts cut off feels a bit more indulgent. Plus, if you say the
name fast enough, “(Crustless) Whitebread” it sounds like some fancy double-barreled fresh-off-the-
Mayflower name, not the wonder bread with miracle whip and velveeta it could be (if I wanted it to).
The (C)WG operates under a few rules, which can be broken or manipulated at my
convenience.
1. Art is displayed in the form of postcards. Shows are curated according to the whim of the curator
(me), who has a history of capriciousness. They generally reflect art I have seen recently, found
inspiring or cards in my collection.
2. Exhibits change monthly, which can sometimes mean they stay up for 6-8 weeks if I am really busy.
I was pretty motivated to get Chuck Close down only because his beardy face was too much on my
way to coffee every morning.
3. (New Rule) After the exhibit, I cannot put the postcards back in my collection. They must be sent off.
4. Nothing else is allowed on the front of the fridge.
Previous shows:
click images for links
1. I wanted to cover up the logo of the refrigerator manufacturer, as the company hadn’t paid for the
rights to advertise in my kitchen.
2. We have spent so much time and money designing the kitchen, I didn’t want the front of the fridge
to be covered with appointment cards from the gyno, expired coupons for toilet paper, and bills
waiting to be paid. Such a prominent position in the house should not be the green room for my to-do
list.
With a freshly unbubblewrapped fridge and a large collection of postcards, I set to curate a
monthly gallery show. After a few misses I settled on the gallery name, (Crustless)
Whitebread, for a few reasons
1. The model of the fridge is called “Elite,” which was the first name of the gallery. This was wrong for
two reasons. a–I didn’t really want to glorify any of the branding concepts of the object and b– art
shouldn’t be just for the elite, but should be accessible to everyone.
2. White bread is available to almost everyone (I am sorry celiacs and anti-carb freaks). In some
cases it might be devoid of nutrition, whereas in other cases it could be hand made or artisanal.
3. White bread is also a play on White Cube, a well known gallery in London which is purported to
exemplify the white walled sterility of gallery art. By reclaiming and recycling the title, I am bringing art
to the girl on the street–-or the one in my kitchen.
4. I added (Crustless) because even though I want to make the gallery accessible, I want it to appear
a little bit fancier– even a PBJ with the crusts cut off feels a bit more indulgent. Plus, if you say the
name fast enough, “(Crustless) Whitebread” it sounds like some fancy double-barreled fresh-off-the-
Mayflower name, not the wonder bread with miracle whip and velveeta it could be (if I wanted it to).
The (C)WG operates under a few rules, which can be broken or manipulated at my
convenience.
1. Art is displayed in the form of postcards. Shows are curated according to the whim of the curator
(me), who has a history of capriciousness. They generally reflect art I have seen recently, found
inspiring or cards in my collection.
2. Exhibits change monthly, which can sometimes mean they stay up for 6-8 weeks if I am really busy.
I was pretty motivated to get Chuck Close down only because his beardy face was too much on my
way to coffee every morning.
3. (New Rule) After the exhibit, I cannot put the postcards back in my collection. They must be sent off.
4. Nothing else is allowed on the front of the fridge.
Previous shows:
click images for links
May-Aug 2009
Rex Ray. Yes, I know that is longer
than a month, but I was away the whole
time.
Rex Ray. Yes, I know that is longer
than a month, but I was away the whole
time.
Jan 2009:
Chuck Close and his bearded glory.
No offense, Chuck, I really like your
work, I just can't do facial hair.
Chuck Close and his bearded glory.
No offense, Chuck, I really like your
work, I just can't do facial hair.
Nov-Dec 2008
Nordic painters
Nordic painters
September 2009: William Eggleston