In art, and in life in general, the old saying “there is more than meets the eye” really means the casual or inattentive eye, as well as the eye to which the real story remains hidden even after the eye’s possessor has taken the time to look. Both meanings are in play in four exhibitions…
The year has started with shows exploring the South’s many ethnic identities, its historical and environmental issues and the personal identities of the individuals who live in the region. There are also shows that allow close study of purely formalist aesthetic topics. The formalist explorations begin with a show that also illuminates personal identities, although…
The latest exhibition by legendary professor and printmaker Norman J. Wagner, Images Discovered . . . Anew: A Meditative Journey Through Time, Space, and Memory, has its closing reception and artist talk at Atlanta Printmakers Studio on January 20, from 4 p.m. to 6 p.m. The talk is designed to be the culmination of a…
The survey exhibitions that galleries stage at year’s end, which usually consist of small works by all of the artists they represent, are frequently confused with the art-themed holiday markets, aimed primarily at gift-giving. At their best, the gallery shows are much more than that. They reflect not only what the gallery has to offer…
At the Crossroads with Benny Andrews, Flannery O’Connor and Alice Walker, at the Schatten Gallery on Level 3 of Emory University’s Woodruff Library (through May 18, 2024) is a monumental enterprise and an extraordinary exhibit. It involved five curators (Gabrielle M. Dudley, Tina Dunkley, Amy Alznauer, Nagueyalti Warren and Rosemary M. Magee) and three archival…
This month, the Atlanta art world seems to be reflecting the truth of the cliché that nothing is ever as simple as it looks. We could start with T. W. Pilar’s Hyperobjects, an elegantly designed show open through December 2 at a relatively new little gallery, Memento. Pilar’s show is all over the place yet…
On exhibit at Mason Fine Art through November 4, If our skin has no value, then our bones must be gold, an installation by the Ethiopian American artist Abezash (Abezash Tamerat), combines beauty and sheer horror in what must surely be one of the most powerful and harrowing exhibitions about rape and child abuse ever…
Facing Y’All: Inclusion Through the Lens, at Spruill Gallery through October 29, is a sweet-tempered arrangement of photographs that documents Southern contradictions and tensions while hoping to induce a spirit of renewed harmony implicit in its folksy title. This title unintentionally embodies the problem of language in the South, a region where there is an…
Several startlingly different Atlanta art shows illustrate a point I have often tried to make — that some artworks require additional information to understand completely. To be successful, however, the works must also have an immediate impact. In these cases, all of them do. The Haunts of Black Kirby: An exhibition of works from the…
Material Influence, at Maune Contemporary through September 22, and Navin Norling’s Dirty Legacy, at Johnson Lowe Gallery through September 9, communicate messages about class and status far beyond the ones they claim to be communicating. A companion show at Johnson Lowe, Ilídio Candja Candja’s O Silêncio Negro em Forma de Chocolate [Black Silence in the Form of Chocolate] comes…
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