For our unmonumentATL series, we asked 13 artists to share their personal un-monuments with our readers. From January 13 to 29, we will present one artist’s submission per day. And don’t miss Nick Kahler‘s incisive two-part essay on the subject. UnmonumentATL was conceived by former BURNAWAY editor Rachel Reese.
McClendon Avenue & Clifton
Atlanta, Georgia
Unanticipated encounters can arise from one’s interactions with the physical environment. Unplanned, they can be unique and inspirational. Every morning I pass a typical utility pole at the corner of McLendon Avenue and Clifton Road. Next to the pole is a NO PARKING sign, with the words, “any time.” At first glance it appears as any other utility pole might. However, a closer look reveals thousands of staples ingrained in the pole itself. This staple-covered pole suggests the flyers that have been affixed to it. Every sign was placed for a purpose conveying significant information: a graduation party, a religious gathering, political protest, garage sale, or lost cat. While observing the utility pole, it becomes clear that it has evolved into something more than just a pole; it is a landmark that embodies a cultural history of Atlanta, literally representing the countless experiences of people throughout the Atlanta community. Everyday objects have the power to represent the human experience.
Each staple stands as a monument to the past. Present events are revealed by the flyer currently being displayed. Rooted in this very pole at the corner of McLendon and Clifton is a history of a people and what is important to them.
unmonumentATL: Edith Braggiotti
Related Stories
Features
Reviews
Studio Visit
Memory Reliquaries: Daniel Essig’s Bricolage Of Meaning-Making
Sophia Wright profiles the work of Daniel Essig, an Asheville-based artist whose sculptural books bridge together the ancient and spiritual with contemporary craft.
From Gulf to Gulf: Myriam Amri and Xitlalli Alvarez Almendariz’s Archival Hauntings in An Act to Prohibit Camels and Dromedaries from Running at Large, Friends Gallery, Houston
May Howard reviews the role of artists-archivists Myriam Amri and Xitlalli Alvarez Almendariz in An Act to Prohibit Camels and Dromedaries from Running at Large at Friends Gallery, Houston.
In the Studio with Matthew Rosenbeck
Kristina Kay Robinson visits the studio of Matthew Rosenbeck, a multidisplinary artist working in New Orleans who repurposes salvaged, found materials.