Atlanta Art Exhibition
Atlanta Contemporary
535 Means Street NW Atlanta, GA 30318
https://atlantacontemporary.org/exhibitions

02/11/22-01/08/23

Trish Andersen
As an interdisciplinary artist born and raised in Dalton, Georgia “The Carpet Capital of the World”, Trish Andersen’s initial attraction to the process of tufting was a means to reconnect with and explore her roots. Years after attending the Savannah College of Art and Design and moving on to live and work in Brooklyn, New York, she began using the medium as an examination of the notion that a thing or a way of being can run in our blood; that perhaps by observing the characteristics of personal origin and establishing commonality and community around those that reverberate in the present, one may be able to begin unearthing the elusive authentic self.

Enter the drips. Combining fibers gathered from field, sheep and those developed on a factory floor, Andersen proves that there is always room for both the vibrant and the muted, the sleek and the wild, cut and looped, soft and cumulus, the dense and the coarse; the unexpected and varied tactile quality of her pieces allow the eyes to open to an emotional one. Her work speaks to the truth that whether they are temporal, cultural, geographical, or interpersonal, boundaries inevitably bleed, and the results are often quite stunning.

Trish lives in Savannah, Georgia and takes projects worldwide.

Art Exhibition |
Spalding Nix Fine Art
425 PEACHTREE HILLS AVENUE, NE SUITE 30-A ATLANTA, GEORGIA 30305

https://spaldingnixfineart.com/exhibitions

03/25/22-05/13/22

Between Thought & Expression opens on Friday, March 25, 6 – 8 p.m. & Saturday, March 26, 12 – 4 p.m.!

Our Spring Show, Between Thought & Expression, features new works by Marina Dunbar, Claire Whitehurst, Kate Hooray Osmond & Vera Pawelzik.

Each of these artists’ works are meditations on specific ideas made tangible & visible through their paintings. Between ideation & their chosen medium develops a distinct language used to create deliberate, often kaleidoscopic, abstract artwork.

Marina’s paintings are examinations of movement, time & transformation, with her process rooted in the physical construction of form as it is propelled by her medium’s inherent fluidity.

Claire describes her works as “materialist” works, in that they insist on the relevance or significance of emotion and its inseparability from our existence. Her work plays with the boundaries of emotional reaction through color, line, shape and texture, as well as through the exploration of relationships between image and object.

Kate’s series of paintings deal with sensation and ultra-color as she considers the concepts of over-consciousness, Horror vacui and the overlap between joy and terror.

Minimalism is Vera’s way of finding peace amidst our routine confusion. She strives to create works that evoke a sense of overall balance and harmony through the use of only geometric shapes, line and color.

“Between the idea

And the reality

Between the motion

And the act

Falls the Shadow”

― T.S. Eliot, The Hollow Men

Marina Savashynskaya Dunbar

Fluent Form

“I often think about painting in three dimensions, rather than two,” says Marina. “When engaging with the surface, I am considering how the arrangement and folds of the canvas will influence the composition.” Her process is as rooted in the physical construction of form as it is propelled by the medium’s inherent fluidity.

The title of her exhibition – Fluent Form – refers to the practice of exploring opposing concepts, such as density and fragility, continuity and impermanence, within the same material. As one progression leads to the next, Marina studies the medium without premeditation, remaining sensitive to nuances within her process.

Marina has introduced natural elements such as dry pigments and sand into these paintings. Sand is a physical object, yet its existence is a representation of the passage of time. It is the result of rock erosion, and it is a material that continually assembles into new patterns. In the Buddhist tradition, sand is used to convey beauty and ephemerality through the construction and subsequent destruction of mandalas. Using these themes as anchors of inspiration, the works evoke impressions of dunes, flora, and natural phenomena while departing from a faithful rendering of reality.

Born in 1992 in Minsk, Belarus, Marina obtained her BFA from Columbus State University, Georgia in 2016. She currently resides in Charleston, South Carolina.

Claire Whitehurst

Claire’s work is at once startlingly lush and shyly particular, like iridescent fishing wire tangled in long grass along the riverbed or water bugs running along the surface of a marsh. Candy colored cellular forms become pond ripples or tree rings – memory recorded or imagined as the coincidence of the natural world and raw emotion. The forms that populate Claire’s paintings vibrate between growth and decay, are shot through with a distinctly queer sensibility that combines the biological and the sensual. Even in work with more muted tones or staid line forms, these paintings are irradiated with a kind of constant becoming, and open up space for a new kind of sense-making. They’re materialist works, in that they insist on the materiality of emotion and its inseparability from the world; here is a body tangled in candy floss or Christmas lights; here are two fingerprints, or two lovers, being pulled both together and apart.

Born in 1991 in Baton Rouge, Louisiana, Claire Whitehurst is a painter, printmaker and ceramicist based in Jackson, Mississippi. Claire received her BFA from the University of Mississippi in 2015, her Post Baccalaureate from Pennsylvania Academy of the Fine Arts, and her MFA in Painting and Printmaking from the University of Iowa in 2020. In 2018, she was the recipient of the Stanley Fellowship for International Research where she studied polychromatic cave paintings and engravings in southern France. She draws heavily from the landscape and atmosphere of the South, exploring queer narrative, memory, time, and identity through color, form, surface and space. Her work plays with the boundaries of emotional reaction through formal qualities as well as through the examination of relationships between image and object.

Kate Hooray Osmond

Gold

“My series of paintings deal with sensation and ultra-color,” Kate explains. “I am considering the concepts of over-consciousness, Horror Vacui and the overlap between joy and terror. In visual art, “horror vacui” (from Latin “fear of empty space”), also kenophobia (from Greek “fear of the empty”), is the filling of the entire surface of a space or an artwork with detail.

For this series titled “Gold,” each piece is influenced by a topic of consideration: technology, super-nature, genetics, pharmaceuticals, perception. As Kate studies and meditates on these subjects, her path of investigation grows more and more intense until she teeters between becoming overwhelmed by fear for our future and a euphoria filled with hope and intention. “I feel so much life that I am paralyzed by it, and I am confounded by how sensation and numbness can blend together,” says Kate. “All that glitters is Gold.”

Born in 1983, Kate Hooray Osmond earned her MFA in Studio Art from Maryland Institute College of Art in 2019, and her BA from Saint Mary’s College of Maryland in 2005.

Vera Pawelzik

Born in 1983, Vera Pawelzik is a German artist temporarily living in Atlanta, Georgia. She creates pure geometric abstract works on paper, panel and canvas. The pictorial language of geometric abstraction is based on the use of simple geometric forms placed in non-illusionistic space and combined into nonobjective compositions.

Her practice focuses on the continual reduction of forms and the arrangement of new dynamic compositions. Inspired by Constructivism, Concrete Art and Minimalist architecture, Vera strives to create works that evoke a sense of overall balance and harmony through the use of only geometric shapes, line and color. Having traveled back and forth between Germany and the US for the past 12 years, she has learned the importance of minimalism both in her lifestyle and in her artwork. “Minimalism is my way of finding peace amidst our routine confusion,” says Vera.

Art Exhibition |
NOTCH8 Gallery
4600 Cascade Road, Atlanta, GA 30331
https://www.notch8art.com/exhibitions

03/26/22-05/07/22

Wendi Schneider, A Stained Glass World, 2020
VIEW WORKS
SHARE
Arnika Dawkins Gallery is pleased to present States of Grace, a solo exhibition featuring a series of stunning photographic gilded pigment prints by Denver-based photographer Wendi Schneider. Drawn to the serenity she finds in elegant organic forms, Schneider creates unique objects of reverence to preserve vanishing beauty in our vulnerable environment.

In States of Grace, I illuminate beauty amidst the chaos. I’m calmed by the simplicity of a graceful line and the stillness of the suspended moment and am compelled to share an impression of the serenity I find there. I capture the ephemeral movement of light on organic forms to preserve that mystical moment that stills time for me. Photographing intuitively – what I feel, as much as what I see – and informed by a background in painting and art history, I portray a personal interpretation by layering the images digitally with color and texture to find balance between the real and the imagined.

Schneider is a photographic artist who seeks beauty in a world that challenges our sense of inner peace. Her intuitive photographs center around “illuminated images inspired by the grace of organic forms: flora, fauna, and figura.” Seeking balance between the real and imagined, Schneider layers images digitally with color and texture. White gold, 24k gold, or silver leaf is then applied to the back of the print, creating a silken luminosity on the print’s surface.

Each image is unique, differing in color or texture, and, as the effect of gilding inherently varies, resulting in photographic objects that shimmer with luminosity and elegance. Schneider helps us find our way back to beauty one image at a time.

Born in Memphis, TN in 1955, Schneider holds an AA in Art History from Stephens College and a BA in Painting from Newcomb College at Tulane. Schneider’s photographs have been exhibited and collected internationally and are held in permanent collections at New Orleans Museum of Art, Memphis Brooks Museum, Auburn University Library Collection, Try-Me, and numerous private collections.

Arnika Dawkins Gallery is devoted to presenting fine art from both emerging and established photographers, specializing in images created by artists from African Diaspora as well as images of people of African descent. Launched in 2012, the gallery’s objective is to provide an educational platform that supports this burgeoning community of artists.

Art Exhibition |
Maune Contemporary
747-A Miami Cir NE, Atlanta, GA 30324
https://www.maune.com/exhibitions

04/01/22-06/10/22

Art Exhibition |
Sandler Hudson Gallery
999 Brady Ave NW #7, Atlanta, GA 30318
http://www.sandlerhudson.com/

04/01/22-05/06/22

Kai Lin Art is pleased to announce IDENTITY: A Larry Jens Anderson Commemorative Exhibition from April 1st through May 6th, 2022 in our Grey Gallery.

We are pleased to present this commemorative exhibition featuring 25 artworks from Larry Jens Anderson, teacher, mentor, and friend.

From his series of All Dick no Jane, featuring elegantly rendered drawings of the classic icon Dick of Dick & Jane, which Larry recontexualizes into a representation of a gay boy in a contemporary setting, to art exploring the meaning of home and the history, shared life journeys and the love and loss that is found under one roof; from delicately deft ink and watercolor line work in Larry’s representation of himself in his piece Learning to Fall, to the whimsy, painterly and seemingly abstract colorfield strokes of thick, gestural pigments that can only be appreciated once the viewer zooms out to realize the moments of veiled painted plumes representing one of Larry’s favorite animals he would visit throughout his career, the pensively grazing cow; from the painted bouquet of wild and seemingly unkept flowers that Larry collected from his garden completed on June 12th, 2016 (the day 50 young gay people were killed at the Pulse nightclub in Orlando, FL) which he used red paint to convey the loss and extreme grief that had befallen our nation and the LGBTQI community, to a collaged piece entitled The Twins, a diptych created through charcoal, thread, graphite and gold leaf meant to symbolize Larry and his twin brother Terry who had passed in the 1990s from complications with HIV.

This broad and extensive exhibition reflects the life and legacy and lessons of Larry and his ability to capture moments from all that he saw, all that he experienced: the laughter, the loss, the love, the lessons that were imparted through his hands onto the surface of the canvas.

We are so very grateful to have Hank Thomas, Larry’s husband and partner for over 38 years be with us for the opening of this exhibition:

“Welcome to everyone. I was very fortunate to have had 38 years with Larry. He was a very unique person and I loved him very much. He took his career as a teacher and artist very seriously and felt everyone could benefit from some education of art and art history as it pertains to everyone and affects their life whether they knew it or not. He and I had numerous discussions on what was art and what was not but we always enjoyed our discussions and I always walked away changing my mind. Most of the time. He was a dedicated teacher and loved teaching and finding new talent and the energy of the students. He was always a student and was always learning too.

I hope everyone enjoys the show and I am sure his spirit will be among us. Thank you for coming.

PS We all miss you Larry.”
Hank Thomas

Our FANTASTICAL exhibition will be featured in our main gallery in tandem with IDENTITY. We hope you’ll join us for this commemorative show.

EXHIBITING THROUGH FRIDAY, MAY 6, 2022
FOR MORE INFO CONTACT 404 408 4248 OR INFO@KAILINART.COM
WONDER

Atlanta Art Exhibition

High Museum of Art
1280 Peachtree St NE, Atlanta, GA 30309
https://high.org/exhibitions/

04/15/22-08/07/22

Born in Australia and raised in Northern Ireland, Oliver Jeffers is an award-winning artist and author working in painting, bookmaking, illustration, collage, performance, and sculpture. From his 2004 debut How to Catch a Star to his more recent titles such as 2017’s Here We Are, his work has been translated into more than fifty languages and sold more than fourteen million copies worldwide.

This retrospective exhibition showcases nearly one hundred artworks, some never seen, including original line drawings, sketches, and finished illustrations, from sixteen of Jeffers’s picture books, including the wildly popular The Day the Crayons Quit and its sequel, The Day the Crayons Came Home; Here We Are; The Incredible Book Eating Boy; and Once Upon an Alphabet.

The exhibition is organized into six sections, focused on Jeffers’s artistic process, character development, and storytelling. They will also highlight some of Jeffers’s most popular book series, including those that explore the secret lives of crayons and the relationship dynamics of the Huey family, who are inspired by Jeffers’s childhood.

In addition to engaging graphics and design elements, the galleries will feature a few reading areas where families can dig deeper into the stories.

Art Exhibition |

High Museum of Art
1280 Peachtree St NE, Atlanta, GA 30309
https://high.org/exhibitions/

04/15/22-05/29/22

In 1925, photographer André Kertész (American, born Hungary, 1894–1985) arrived in Paris with little more than a camera and meager savings. Over the next three years, the young artist carved out a photographic practice that allowed him to move among the realms of amateur and professional, photojournalist and avant-garde artist, diarist and documentarian. By the end of 1928, he had achieved widespread recognition, emerging as a major figure in modern art photography alongside such figures as Man Ray and Berenice Abbott. During this three-year period, he chose to print most of his photographs on carte postale, or postcard paper. Although this choice may have initially been born of economy and convenience, he turned the popular format toward artistic ends, rigorously composing new images in the darkroom and making a new kind of photographic object.

Postcards from Paris is the first exhibition to bring together Kertész’s rare carte postale prints. These now-iconic works offer new insight into his early, experimental years and reveal the importance of Paris as a vibrant meeting ground for international artists, who drew inspiration from each other to create new, modern ways of seeing and representing the world.

Is love intrinsic, or is it a habit? What is the difference between love and friendship? What is the relationship of love to truth, freedom, and justice? These are just some of the questions to be explored in What Is Left Unspoken, Love, a thirty-year survey of contemporary art featuring artworks that address the different ways the most important thing in life—love—is expressed.

Organized during a time of social and political discord, when cynicism often seems to triumph over hope, this exhibition will examine love as a profound subject of critical commentary from time immemorial yet with a persistently elusive definition. As poet and painter Etel Adnan wrote, love is “not to be described, it is to be lived.”

What Is left Unspoken will feature nearly seventy works, including paintings, sculpture, photography, video and media art, by more than thirty-five international artists based in North America, Europe, and Asia. Artists include Ghada Amer, Rina Banerjee, Thomas Barger, Patty Chang, Susanna Coffey, James Drake, Keith Edmier and Farrah Fawcett, Alanna Fields, Dara Friedman, Andrea Galvani, General Idea, Jeffrey Gibson, Felix Gonzalez-Torres, Kahlil Robert Irving, Tomashi Jackson, María de los Angeles Rodríguez Jiménez, Rashid Johnson, Gerald Lovell, Rafael Lozano-Hemmer, Kerry James Marshall, Felicita Felli Maynard, Wangechi Mutu, Ebony G. Patterson, Paul Pfeiffer, Magnus Plessen, Gabriel Rico, Dario Robleto, RongRong&inri, Michelle Stuart, Vivian Suter, Jana Vander-Lee, Carrie Mae Weems, Akram Zaatari

Why Love?
Since love is better led than drawn, better inspired than obtained, maybe art is the best means with which to explore the subject. Artworks in the exhibition suggest ways in which love is experienced everyday yet also connected to the grand scale of human destiny. The exhibition is organized into six thematic sections that may complement, overlap, contradict or disaffirm one another, providing categories inspired by some of the most firmly rooted concepts of love, from the union of two people in The Two, to the place where love is learned in The School of Love and the discipline required of love in The Practice of Love, to its centrality in a Loving Community, to love’s endurance and ability to transcend in Poetics of Love and Love Supreme.

Warning: the final gallery of this exhibition features flashing lights.

Atlanta Art Exhibition
Bill Lowe Gallery
764 Miami Circle | Suite 210 Atlanta, GA 30324
https://lowegallery.com/exhibitions-events

05/06/22-06/11/22

Image: Last Night I Slept In Your Head – Steven Seinberg, Oil, acrylic and graphite on canvas, | 72×140 inches – 2022

“The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased.” – Leonardo Da Vinci

Bill Lowe Gallery announces the opening reception of a new exhibit celebrating internationally acclaimed artist, Steven Seinberg on May 6th, 2022. The reception takes place from 6:00pm until 9:00pm and is open to the public.

In his newest body of work, The Third Book on Light and Shade, American painter Steven Seinberg advances an almost three-decade long exploration of the forces of nature and their cellular connection to our psychic equilibrium. What was once tranquil and undisturbed in earlier iterations, has now become marred with an investigation into the essential qualities and forms – the birth – of light and shade. Seinberg produces starkly split canvases – both a periphery where darkness emerges from light and vice versa – articulating what Leonardo Da Vinci theorized to be primary and derived shadow. “Shadow is diminution of light. Darkness is absence of light.” Da Vinci writes in his Third Book on Light and Shade, from which the exhibition takes its title.

Steven Seinberg regularly uses collage to build his multi-layered works on paper which incorporate oil, graphite, Damar varnish, solvent transfers and sketches which emulate echoes of haiku. As described by critic Peter Frank, “Even more than the paintings, the collages build on negative space – a negative space riven with drips, spots, and other incidents, as ‘empty’ as outer and inner space itself.” This staggering exhibition, which will feature a selection of twenty paintings will also include thirty works on paper in an expansive adjourning gallery.

To accompany the exhibition, the Bill Lowe Gallery has published a 247– page catalog in full color. The book chronicles twelve years of Seinberg’s creative expression up to the current time with a selection of works from The Third Book on Light and Shade. An introductory essay, Second Nature, opens the catalog by the esteemed critical voice of Peter Frank. Peter Solomon Frank is an American art critic, curator, and poet who lives and works in Los Angeles. Frank is known for curating shows at the Solomon R. Guggenheim Museum in New York City. He is a frequent contributor to The Huffington Post, Art in America, ARTnews, and Whitehot Magazine. A curated group of complementary writings by critics Karina Noel Hearn and Robert Morgan from years past highlight the evolution of Seinberg’s practice and conceptual foundations.

Atlanta Art Exhibition
Pryor Fine Art
764 Miami Circle, Suite 132 Atlanta, Georgia 30324
https://www.pryorfineart.com/exhibitions

05/06/22-06/15/22

Atlanta Art Exhibition
Jackson Fine Art
3115 East Shadowlawn Avenue. Atlanta, GA 30305
https://www.jacksonfineart.com/exhibitions/

05/13/22-07/30/22

Jackson Fine Art is excited to present a solo exhibition of Julie Blackmon’s distinctive domestic compositions, alongside newly uncovered works by 20th-century master Elliott Erwitt. Both artists have made their impact on the medium through finding narrative beauty in their everyday surroundings, wordlessly expressing both the comical and the poignant. Contemporary American photographer Julie Blackmon draws inspiration from the raucous tavern scenes of 17th-century Dutch and Flemish painters, creating photographs based around the people and places in her small community. Blackmon has compared her surroundings to a giant Hollywood prop closet, where a Starbucks employee out on a smoke break may appear in her next photograph, or the beauty shop she passes every day becomes the setting for a new piece. “It’s a fun perspective to have … to see the world around you as a potential story or idea. It changes how you see things. Nora Ephron said, ‘everything is copy,’ and that has really stayed with me. I live and work in a generic town, with a generic name, in the middle of America, in the middle of nowhere… but the stories unfolding around me are endless.” Blackmon’s work serves as a mash-up of pop phenomena, consumer culture, and social satire. Taking its name from the 2022 photograph “Metaverse,” which depicts a hectic household scene unfolding around a toddler clad in a virtual reality headset, Jackson Fine Art’s exhibition follows Blackmon’s trajectory of incorporating the cultural signifiers of the present moment into touching domestic tableaus. In the viewing room will be a selection of works from the new Elliott Erwitt monograph Found Not Lost (Gost, 2021). Drawing from seven decades of previously unprinted and unexhibited work, the ninety-four year-old photographer views once dismissed negatives — one uncovered box contained a scrawled warning in the artist’s hand “don’t bother – pix useless” — with fresh eyes, resulting in a collection of 171 new classics. Known for his sardonic humor and winking playfulness, at times this exhibition reveals a more contemplative, quiet Erwitt. As the artist explains, “there is a time for pictures that say hello, and there’s a time to listen.” On Friday, May 13th from 6 to 8pm, we’ll hold an opening reception at the gallery with Julie Blackmon in attendance. On Saturday May 14th at 11am, join JFA and Julie Blackmon for an artist talk and gallery walk. About Julie Blackmon Julie Blackmon was born in 1966 in Springfield, Missouri, where she currently lives and works. She studied art at Missouri State University, where she became interested in photographers Sally Mann and Diane Arbus. Blackmon left college before finishing her degree, but turned again to photography years later as a mother of three, using her domestic experience as a focus for her early work. Mind Games was Blackmon’s first major body of work, which featured black and white images exploring childhood play. In 2004, this series won her an honorable mention in Project Competition, hosted by the Santa Fe Center for Photography, and a merit award from the Society of Contemporary Photography in Kansas City, Missouri. After Mind Games, Blackmon turned to color film to create her next body of work,

This round of Working Artist Projects was curated by Jordan Carter, Associate Curator of Modern and Contemporary Art at the Art Institute of Chicago

About the Exhibition

Because the Sky Will Be Filled With Sulfur is an immersive exhibition of speculative documentary works that archive our current climate crisis while simultaneously speculating on the optics and aesthetics of a possible geo-engineered future. Composed of photo based images, hybrid objects, videos and sculptures, Bolen’s new works often incorporate materials and methods that have been proposed to cool the planet, envisioning a world featuring sulfur filled skies, tinted shields for coral reefs and iridescent crops.

Bolen focuses on a climate engineering proposal dubbed “Solar Radiation Management”, in which sulfur particles injected into the stratosphere would combat rising temperatures by reflecting sunlight away from the Earth’s surface. This method mirrors the cooling effects of ash clouds caused by volcanic eruptions. Although it’s a possible means of mitigating the effects of climate change as we work toward long-term solutions, the procedure could have many unfavorable consequences including whitening the day sky, obscuring our views of the stars, and affecting crop production.

The exhibit also contains exclusive archives of the Anthropocene–the proposed current geological epoch in which human impact became as significant as the geologic forces of the past. Bolen was invited to document a sediment core that researchers at the Anthropocene Working Group (AWG) believe may offer concrete evidence of when the Anthropocene Epoch can be said to have officially begun. Scientists have long been trying to find this “global boundary stratotype section” (GSSP), more colloquially referred to as “the golden spike”, and may have found the answer in this core sample from an unusually undisturbed lake in Stanford, California.

Additionally Bolen incorporates casts of the passenger pigeon, a once abundant but now extinct species, that is currently the subject of de-extinction efforts. Casts of leaf blowers and coral also occupy the gallery, providing a glimpse of these items as the relics or fossils they may soon become. Employing an array of materials that index human impact on the planet and the technology being proposed to salvage it, Because the Sky Will Be Filled With Sulfur offers a scenario where we can discuss how collective human patterns impact what is, and what will remain, perceivable, knowable and habitable.

–Jeremy Bolen

Above Image: (detail from) Coral #1. 2022. cast coral, window tinting, found automobile rim, air conditioning vent, Jeremy Bolen

About Jeremy Bolen

Jeremy Bolen is an artist researcher, organizer and educator interested in site-specific, experimental modes of documentation and presentation. Much of Bolen’s work involves rethinking systems of recording in an attempt to observe invisible presences that remain from various scientific experiments and human interactions with the earth’s surface. Bolen received his MFA from the University of Illinois at Chicago in 2012 and was a recipient of the Banff Research in Culture Residency in Alberta, Canada; PACT Zollverein Residency in Essen, Germany; Oxbow Faculty Artist Residency in Saugatuck, MI; Anthropocene Campus Residency in Berlin; Center for Land Use Interpretation Residency in Wendover, Utah; Catwalk Institute Residency in Catskill, NY; Crosshatch Center for Art and Ecology Residency in Mancelona, MI; Signal Fire Residency in Portland, OR and Joshua Tree Highlands Residency in Joshua Tree, CA.

His work has been exhibited widely at numerous locations including the Museum of Contemporary Photography, Chicago; La Box, Bourges; POOL, Johannesburg; PACT Zollverein, Essen; EXGIRLFRIEND, Berlin; University at Buffalo, Buffalo; IDEA Space, Colorado Springs; The Mission, Houston; Galerie Zürcher, Paris; Andrew Rafacz, Chicago; Soccer Club Club, Chicago; Salon Zürcher, New York; The Drake, Toronto; Untitled Art Fair, Miami; Gallery 400, Chicago; Newspace Center for Photography, Portland; Depaul University Art Museum, Chicago and Hyde Park Art Center, Chicago. Bolen serves as Assistant Professor of Photography at Georgia State University, is a co-founder and co-organizer of the Deep Time Chicago collective, and is represented by Andrew Rafacz Gallery, Chicago.

Atlanta Art Exhibition
Moca Ga
75 Bennett St NW, Atlanta, GA 30309
https://mocaga.org/exhibitions-events/current-upcoming-exhibitions/

06/11/22-08/06/22

Jeremy Bolen: Because the Sky Will Be Filled With Sulfur
Jun 11, 2022 – Aug 6, 2022
12pm – 4pm
2021/2022 Working Artist Project

“When I turned eighteen years old, my grandfather told me about a tree on his property where African American men had been lynched by their neckties on their way to vote.  The experience left a profound impression. I am personally tethered to this inescapable memory.”

-Kevin Cole

Where do we go from here? features new artwork, continuing the artist’s exploration into themes of Gerrymandering and voting rights.

About Kevin Cole

Kevin Cole received his B.S. from the University of Arkansas at Pine Bluff, an M.A. in Art Education from the University of Illinois at Urbana, and an M.F.A. from Northern Illinois University where he was a Rhoden Smith Scholar. Within the last 32 years, he has received 27 grants and fellowships, 66 awards in art, 51 teaching awards and his artwork has been featured in more than 490 exhibitions throughout the United States and abroad. Some of his more recent awards include the 2020 Governor’s Award for the Arts and Humanities in the State of Georgia and the Art Aspiration Award by the National Society Incorporation for his dedication to students’ achievements. Additionally, Cole’s artwork is included in more than 4000 public, private, and corporate collections both nationally and internationally.

Public collections in which Kevin Cole’s work can be found include: The National Museum of African American History and Culture at the Smithsonian Museum in Washington DC; The Georgia Museum, Athens, GA;  High Museum of Art, Atlanta, GA; William Jefferson Clinton Library, Little Rock, AR; Arkansas Art Center, Little Rock AR; Yale University Art Gallery, New Haven, CN; The Ogden Museum of Southern Art, New Orleans, LA; The David C. Driskell Center University of Maryland at College Park; Dayton Institute of Art, Dayton, OH; Pennsylvania Academy of Fine Art, Philadelphia, PA; The Georgia Museum of Contemporary Art, Atlanta, GA; Corcoran Museum, Washington, D.C.; Tampa Museum, Tampa, FL; and The Phillips Collection, Washington, D.C.  Some corporate and private collections include Bank of America, Charlotte, NC; IBM, New York, NY; King and Spaulding Law Firm, Atlanta, GA;  and the collections of Michael Jordan and John and Monica Pearson of Atlanta.

Kevin Cole has also created more than 45 public artworks, including the Coca-Cola Centennial Olympic Mural for the 1996 Olympic Games. His artwork has been featured in more than 125 publications, including The Guardian Magazine in Paris, France; Scholastic Art (with Dale Chihuly); The Washington Post; Sculpture Magazine; The Union Tribune in San Diego, CA; The Atlanta Journal Constitution, Atlanta; and most recently Forbes Magazine.

Atlanta Art Exhibition
Moca Ga
75 Bennett St NW, Atlanta, GA 30309
https://mocaga.org/exhibitions-events/current-upcoming-exhibitions/