A trio of shows by a handful of artists makes for a conceptually rich show of “overdetermined symbolism” and “soothing formalism.”
The Atlanta artist uses found quilts and mapping to create updated works that connect tradition and a sense of place.
In his show “Blue Alabama,” Connecticut artist Andrew Moore joins a long tradition of non-native photographers documenting the South with an exaggerated sense of decay and despair.
Géricault and Medusa meet Spandex and sequins in this playful metaphoric mashup of an exhibition.
Using gouache on paper made from discarded bags, Memphis artist Maysey Craddock depicts cycles of construction and decay at the University of Mississippi Museum in Oxford.
Our reviewer struggles to explain his attraction to works that vary only slightly, but just enough, from other more mundane abstractions by the artist.
Displayed across multiple galleries and project spaces, Pete Schulte’s “The Lamplighter” explores the contemplative potential of geometry, sound, and light at Whitespace.
In “The Evolution of Mimi,” artist Deborah Roberts considers black girlhood and colorism in striking collages and paintings on view at the Spelman Museum.
“Are We the Monsters” at the Zuckerman Museum of Art shows Sarah Emerson returning to her familiar cartoonish style while also displaying newly overt levels of political anxiety.
Using 19th-century stereography technology, the artist makes three-dimensional portraits in Viewer-Master-like devices. His show “Recognition” at APG gallery creates a living room environment for visitors.
Athens artist Mark Steinmetz spent a year photographing in and around Atlanta’s Hartsfield-Jackson International Airport, as part of the High Museum’s “Picturing the South” series.
Tempered by a certain empathy toward artworks and architecture, the Iranian-born artist’s approach to institutional critique offers an alternative to the movement’s sometimes cold aesthetics.
The Hammonds House’s current exhibition features some of Weems’s most monumental visual storytelling.
The Atlanta artist uses line to varied and great effect in works that speak to the passage of time and the resonance of sound.
Curated by Hope Cohn, “Beyond Words” includes works that take text and language as a point of departure, exploring the space of interplay between written language and visual meaning.
The new polished marble sculptures of German duo Venske & Spänle take on more intimate (and sellable) scale in works related to their public artwork “Autoeater.”
Parsing the boundaries between astronomical illustration and contemporary art, our critic characterizes Schuff’s new encaustic works as “a half-remembered dream of science.”
Carrie Mae Weem’s well-known series resurfaces near the Sea Islands in Savannah, 26 years after the photos were taken.