Equipped with ingenuity and resourcefulness, a new generation of designers demonstrate why the future of design is theirs.
Kirk Varnedoe was arguably one of the most influential curators of the 20th century. The Savannah native’s legacy is explored in three intersecting exhibitions in his hometown.
“Muse” focuses on Mickalene Thomas’s elaborately staged photographs, which, like her well-known bejeweled paintings, question the authority of existing stereotypes and expose the complex cogs of identity and perception.
Best known for his work in TV, video and film, the Chattanooga native professes a nostalgia for his Southern roots. But our reviewer takes issue with his work in this mini-retrospective because it “preserves a narrative of the Civil War as a battle for heritage and state’s rights and not the continuous enslavement of African-Americans for economic gain.”
As a former New Orleanian, our writer finds the tropes of Prospect.4 are tired for a local or regional audience, and tend to work best with out-of-towners who have superficial knowledge of the city.
By Jerry Cullum Kelly Kristin Jones’s exhibition “Cotton Is Still King (Although Robbed of Some of Its Dictatorship)” at Sandler Hudson Gallery is the artist’s response to the ubiquity in Metro Atlanta of historical signage that honors “mostly … a past war and dead white men.” She further remarks, in the explanatory brochure that accompanies…
In his photos and charcoal drawings, the Jamaican-born artist suggests that the mutability of identity is partially the product of historical forces, as well as an issue of self-perception and self-representation.
In 1982, Nancy Floyd resolved to make a photograph of herself each day, a project she has pursued with a profound sense of duty. This formula is not a contrivance, but also not apart from artifice. Each image is a study in the banality of the everyday.
The exhibit “EBOLA: People + Public Health + Political Will” presents a thorough visual account of the deadly 2014-16 Ebola epidemic through preserved artifacts and ephemera that attest to the heroic and herculean effort undertaken by international governments, organizations, scientific and medical personnel, and ordinary people.
Rosemary Mayer worked with fabric at a time when the medium was primarily associated with women’s work, but to her it gave her the freedom to be experimental. A recent exhibition at the Lamar Dodd School of Art at the University of Georgia recreated lost fabric works from the 1970s.
Favoring arrangements of simple shapes and bright colors in wonky geometric compositions, Martha Clippinger uses ad hoc materials and a diminutive scale to give her works a sense of playfulness and art historical underpinnings.
Paul Stephen Benjamin uses the color black and subtle gestures to explore racial issues.
Recently rediscovered sculptures by Marja Vallila have dazzled viewers in Atlanta and Memphis.
“Socially Engaged” offers a rich sampling of recent performance-inspired photo and video work focusing on issues surrounding identity and social issues, raising the question: can art make a difference?
The diverse artworks in “Weatherwise/Otherwise” are inspired by environmental concerns.
The exhibition includes Buchanans notebooks, photographs and other archival material along with paintings and her well-known shack sculptures.
“Medium” is about more than the paranormal; it’s about reconciling our past with our present, and the ways in which the truth can slip and slide as we construct narratives based on belief rather than fact.
The delightfully garish caricatures of women’s futile pursuit of perfection are more humorous and empathetic than condescending.