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.
The Georgia-born, New York-based artist shreds, tears and stains wool flokatis to make works suggest violence but also have an element of whimsy.
Amelia Carley re-creates the experience of a tropical island sunset in an installation involving three tons of sand and a series of hot-hued paintings.
The hand-built terra-cotta works by the Kenyan-born British artist, on view through October 15 at the High Museum of Art, display a consistency in finish and contour over three decades of production.
Clark and Peterson have created a packed installation that’s as chaotic as it is controlled.
The overtly eco art of Pam Longobardi and the subtly eco paintings of New York artist Frank Webster are paired at Hathaway Contemporary.
The basement gallery Good Enough is the perfect setting for Kira Scerbin’s mysterious figures, crafted from ephemeral and seemingly impromptu materials.
The Nashville artist uses textiles to create wall sculptures that offer a new take on the painterly values that have informed her work.