News & Exhibitions / Atlanta

  • Art & Dialogue: Atlanta Summary by Antwaun Sargent

    5/14/18

    My writing project is one that has centered creating dialogues with artists concerned with the politics of identity, power and the institutionalized art world. Over the course of the last several years, the articles I’ve published have grown out of studio visits I’ve had with an array of emerging and established artists. Many of the artists I’ve written about, I have done so over and over again, tracking their careers, success and failures, from one exhibition to the next. It’s a way for me to try to glimpse inside the artist studio and show an artist thinking about the things that shape us.

    It was especially exciting to receive an invitation from Artadia to visit several of their Atlanta based artist grantees:  Clark Ashton, Lauri Stallings, Ruth Dusseault, Fahamu Pecou, Tristan Al Haddad, Michi Meko, Don Cooper and Paul Stephen Benjamin. Shortly after arriving, I visited the home studio of the abstract painter, Don Cooper. We discussed how his colorful meditative paintings that often features the Bindu–a Sanskrit term for central dot–is a reflection of ritual, consciousness and spirituality. I was particularly struck by a series of black and white photographs Cooper shot when he served in Vietnam. They are intimate images of his fellow soldiers and the army dogs they cared for that provided a look into the ways in which the artist and his Army unit used art to deal with the fog of war. The next visit was with the conceptual artist, Paul Stephen Benjamin. Benjamin’s practice that explores blackness through video, sculpture, installation and painting, closely aligns with the kinds of question that I often explore in my writing. I was particularly struck by Benjamin’s effective  use of archival images and video of notable black figures such as Nina Simone, Marianne Anderson and Lebron James in works like “Black” (2014), to ask, “What does blackness look like? What does it sound like? What does it feel like?” The self-portraiture of Fahamu Pecou, I saw in his studio later in my visit, also raise similar questions surrounding identity, transcendence and spirituality seen both in Coopers and Benjamin’s art.  

    Each artist I visited were working through questions that explored the politics of right now. They were not so much interested in answers as they were in holding up the questions in their work. The performance, I saw while visiting the choreographer Lauri Stallings’ studio at the 117-year old factory space at The Goat Farm Arts Center, used the body to think through the limitations and expansiveness of public choreographies and place building across geographies of history. “You have history in heart, history in your mind and history in your feet,” Stallings told me during the studio visit. “I’m suggesting that that’s powerful and we can go from there.”

    The idea of constructing space was on full display during my visits with other artists too. Visiting with Clark Ashton, I got a sense of the spatial politics shaping the local histories in Atlanta. Aston, a welder, has turned his home into a monument, “Druid Hill,” that features an array of sculptural installations. “The Bateman 5000, “The Battle of Druid Hill,” and “Mechanical Riverfront Kingdom,”among others, brilliantly challenges ideas of what makes something a historical landmark. My delightful tour of Aston’s project was followed by a visit with the documentary photographer and filmmaker, Ruth Dusseault. The artist’s focus on permanent and fleeting utopian communities across the United States, provided a fascinating glimpse into the ways whiteness constructs space and how white Americans are seeking to deal with the ways technology has upset and entrenched privileges. The role of technology in society was also a touchstone during the conversation I had with the artist and designer Tristan Al-Haddad in his studio. Al-Haddad’s Formations Studio, a collective that fuses art, architecture and science to make large-scale interactive works, was in the midst of fabricating, “Nimbus,” a public sculptural installation commissioned by the city of Minneapolis, Minnesota. Al-Haddad’s practice uses technology to rethink the possibilities of how to serve many publics at once.  

    At Atlanta Contemporary, I decided that I wanted to use my public program to highlight the idea of dialogue. I invited two artists, Atlanta Contemporary artist in residence Masud Olufani and Artadia grantee Michi Meko, to take the space and do what they wanted with it and after engage me in a conversation about their studio practices. It was a simple gesture meant to highlight that often artists of color do not get to use institutionalized spaces like museums and galleries to explore their concerns. Both artists decided to give brief lectures about their practices and then I had conversations with them before allowing the audience to join the dialogue by asking questions and making comments.

    During my trip to Atlanta, I also spent time with the  emerging photo-conceptual artist Davion Alston and an afternoon at the High Museum of Art. The weekend provided me with an opportunity to meet with a diversity group of artists working locally in Atlanta. What struck me most was that their practices may differ but their concerns are rooted in questioning identity, history, place and the possibilities of art making as a tool of  investigation. Their art and the important questions it raises fit into a larger context of concerns that I have seen artists wrestle in studios across the globe.


     

    Antwaun Sargent is a writer and critic living and working in New York City. Recently he wrote “We Are More Than This,” an essay for the Tate Modern on the occasion of the museum’s exhibition, “Soul of a Nation: Art in the Age of Black Power” and is in conversation with filmmaker and artist Arthur Jafa in the Dallas Museum of Art’s “Truth: 24 frames per second” exhibition catalogue.His writing has appeared in the New Yorker and The New York Times. This summer he is co-curating the 2018 Aperture Summer Open.

  • Art & Dialogue: Atlanta Summary by Meg Onli

    4/16/18

    I want to begin by expressing my gratitude to Artadia for the invitation to visit Atlanta, Atlanta Contemporary for hosting my lecture, and to the artists who opened their studios to me. My curatorial practice engages primarily with notions of power and the legacies of black cultural production in America so, I was particularly interested in visiting Atlanta to see how their institutions are shaped by the city’s demographic (according to the 2010 US census, Atlanta’s black population was about 54% compared to Philadelphia’s 43.1%, where I currently reside.) I’ve structured this response as a way to highlight conversations that I had while conducting studio visits with a diverse group of artists: Robbie Land, Andy Ditzler, Cosmo Whyte, Jiha Moon, Jerry Siegel, Jason Benson, Larry Walker, Paul Stephen Benjamin, and Angela West.

    Shortly after arriving, I headed to the experimental filmmaker Robbie Land’s studio. I was not familiar with Robbie’s practice prior to the invitation but was interested in the ways that he was experimenting with film and nature after seeing he had done work with the Florida Lightning Research Facility. We looked at several new works in progress and ended up focusing on a new film where he was exposing fallen leafs found in his local park with film. We talked about process and sequencing and soon turned to a conversation on Guy Debord’s notion of the Dérive and how to best translate that into a film. It was then a quick jaunt over to Andy Ditzler’s home where we chatted over tea and cookies about John Q, an “idea collective,” which he is a founding member. Andy gave me an overview of their practice which complicates the distinctions between art production and research. I am usually interested in forgotten pasts, and many of their projects deal with LGBTQ histories that have been erased. I was particularly interested in their ability to link seemingly distant narratives around queerness, history, and power. I ended my evening with a studio visit with Cosmo Whyte, an artist whose work I was familiar with, but had not had a chance to see in person.  Cosmo has a practice that utilizes performance, photography, and drawing and we spent a considerable amount of time discussing the complications between objectivity and subjectivity. He was generous enough to introduce me to the community of makers in his studio’s buildings, and we have kept in touch since our initial meeting – Cosmo will be in Philly in the next month or two, and we plan on catching up then.The next morning, I met Jiha Moon at her home to see some new ceramic works she was creating for an upcoming exhibition. Jiha’s practice incorporates mediums and iconography often associated with traditional Korean practices while interrogating the slippages between eastern and western culture. We ended up having an interesting conversation about translation and the failures of language. I then met with the photographer, Jerry Siegel who documents southern culture. We chatted about our love of dogs (he has a beautiful portrait of his late-dog hung prominently) and some of the stories behind several bodies of works. These visits are incredibly fast, and after trying Jerry’s favorite gingerbread cookies, I had to dash over to Atlanta Contemporary. There I met with studio resident Jason Benson, who I’ve known since we studied together at the School of the Art Institute of Chicago about a decade ago. It was lovely catching up with him and hearing his thoughts on the Atlanta art scene in comparison to San Francisco and Chicago.

    After my studio visit with Jason I had some time to check out Lonnie Holley’s solo exhibition, I Snuck Off the Slave Ship. Holley is a legend, and it was a delight to see his assemblages and to chat with curator Daniel Fuller about the work and the process of forming the show. I then lectured about my practice and my then, in progress exhibition Speech/Acts, which was a group exhibition featuring Jibade-Khalil Huffman, Steffani Jemison, Tony Lewis, Tiona Nekkia McClodden, Kameelah Janan Rasheed, and Martine Syms. The exhibition explored experimental black poetry and how the social and cultural constructs of language have shaped black American experiences. This lecture marked my third talk around the formation of the exhibition and allowed me to articulate ideas I had mostly spoken with Cosmo about around abstraction and language as an alternative to figurative work and the complications that it holds particularly for black figures. The Q&A was primarily about the controversy of Dana Schutz’s Open Casket as I was in Atlanta the same week of Parker Bright’s and Hannah Black’s responses.

    My following morning visit with Larry Walker began with a tour of his family’s art collection – which takes up the majority of wall space in their home. Before meeting Larry, several of the artists I had conducted studio visits with told me how important he was to their practice. It was easy to see why; we spoke about the process of archiving one’s career and mostly about his pedagogical practice in teaching younger generations. It was a real honor to have a conversation with him. After Larry, I met with Paul Stephen Benjamin who showed me some monochromatic work that he was creating. I had seen some prior documentation online, but it was great to see the materiality of the work in person. The highlight of our visit was entering a small room inside a garage that housed under 100 televisions for Paul’s video installations. Stacked and lining the perimeter of the room I had a chance to preview God Bless America, a hypnotic remix of Aretha Franklin, before seeing it in the Studio Museum of Harlem’s recent exhibition Fictions. My final visit was with the photographer Angela West. We looked at a new body of work combining photography with painting – more accurately painting with a paintball gun. However, we ended up centering our conversation on a series of portraits of her father and his friends. The work explores the performance of white southern masculinity and felt like a project to return to during the current political climate.

    My final day in Atlanta was spent visiting museums and galleries and hosting a dinner with local artists of color (not all Artadia) with my ICA colleague Maori Holmes. These dinners are part of a series I have been doing to form community and to host informal conversations with black artists and arts administrators. What struck me most about this trip, was the diversity of artists in the Atlanta area, but the lack diversity on the administrative side of the institutions (I am speaking to mostly curatorial positions.) I am interested to see how the city changes over the coming years as many cities have recently made strides in critically thinking about who museums represent, both inside and out.


    Meg Onli is a curator and writer whose work attends to the intricacies of race and the production of space. Since joining the Institute of Contemporary Art as an Assistant Curator she has worked on the exhibition The Freedom Principle: Experiments in Art and Music, 1965 to Now and is currently organizing a group exhibition entitled Speech/Acts, which assembles a group of artists who are working with Black poetics. Prior to joining Institute of Contemporary Art she was the Program Coordinator at the Graham Foundation for Advanced Studies in the Fine Arts. While at the Graham Foundation she worked on the exhibitions Architecture of Independence: African Modernism and Barbara Kasten: Stages. In 2010 she created the website Black Visual Archive for which she was awarded a 2012 Creative Capital/Warhol Foundation Arts Writers Grant. In 2014 she was the recipient of a research grant from the Graham Foundation for the collaborative project Remaking the Black Metropolis: Contemporary Art, Urbanity, and Blackness in America with curator Jamilee Polson Lacy. Onli holds a Master’s degree in art history from the Courtauld Institute of Art. Her writing has appeared in Art21, Daily Serving, and Art Papers.

  • Announcing the 2017 Atlanta Artadia Awardees

    11/15/17

    Artadia is pleased to announce the Awardees for the 2017 Atlanta Artadia Awards: Clark Ashton and Michi Meko. The 2017 Atlanta Artadia Awardees will receive $10,000 in unrestricted funds as well as access to the ongoing benefits of the Artadia Awards program. This is Artadia’s fifth year providing unrestricted Awards to artists in Atlanta. Applications for the Awards were open to any visual artist living in the Greater Atlanta area, including the counties of Barrow, Bartow, Butts, Carroll, Cherokee, Clayton, Cobb, Coweta, DeKalb, Douglas, Fayette, Forsyth, Fulton, Gwinnett, Hall, Henry, Morgan, Newton, Paulding, Pickens, Rockdale, Spalding, and Walton, for over two years, working in all media, and at any stage of their career.

    In the first round of evaluations, Anthony Elms, Chief Curator, Institute of Contemporary Art, Philadelphia; Adam McEwen, artist; and Teresa Bramlette Reeves, Director of Curatorial Affairs, Zuckerman Museum of Art, Kennesaw State University selected five Finalists from nearly 150 applicants. The Finalists included Clark Ashton, Michi Meko, Masud Ashley Olufani, Charlina Rose- Renaye Smith, and Tori Tinsley. Shawnya Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, Georgia Museum of Art, joined Bramlette Reeves for the second round of evaluations. The jurors conducted studio visits with each of the five Finalists to determine the Awardees.

    “Both choices for this year’s Artadia awards in Atlanta support individuals who concern themselves with object-making, commentary, and the idiosyncrasies and cracks between the art world and the real world,” Reeves noted. “The studios of Michi Meko and Clark Ashton offered two complex visions of a world in flux, yet their works were visually compelling,” said Harris. “I was impressed with their inventive use of materials and their articulation of the symbolically rich meanings that were attached to their works”

    “Clark lives his work—what he believes and how he operates in the world is reflected in the environment he has created. Each object contributes to a larger, impassioned narrative. Part zealot, part humorist, Clark is working to extend and preserve his work and property. Michi is an equally unique man, whose pursuits and interests are wide and deep. I am pleased that this year’s Artadia Awards will make a contribution to two distinct, rich practices.” Reeves continued.

    Artadia is a national non-profit organization that supports visual artists with unrestricted, merit-based Awards followed by a lifetime of program opportunities. Artadia is unique in that it allows any artist to apply, engages nationally recognized curators to review work, and culminates in direct grants. Since 1999, Artadia has awarded over $3 million to more than 300 artists in Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco.

    The 2017 Atlanta Artadia Awards are generously supported by MailChimp, the Tim & Lauren Schrager Family Foundation, Artadia’s Board of Directors, and Atlanta Council members.

  • Announcing the 2017 Atlanta Artadia Awards Finalists

    10/30/17

    Artadia is pleased to announce the five Finalists for the 2017 Atlanta Awards: Clark Ashton, Michi Meko, Masud Ashley Olufani, Charlina Rose-Renaye Smith, and Tori Tinsley.

    The Finalists were selected by jurors Anthony Elms, Chief Curator, Insitutute of Contemporary Art, Philadelphia; Adam McEwen, artist; and Teresa Bramlette Reeves, Director of Curatorial Affairs, Zuckerman Museum of Art, Atlanta.

    Of the Atlanta applicants, Reeves noted: “I am really pleased and excited about the list of five finalists as it represents a strong sampling of the breadth of work being produced by artists in Atlanta.  It is a bit of an irreverent list too, satisfyingly open.

    McEwen expanded on the diversity of the applicants. “Judging by the work we looked at, Atlanta clearly enjoys an exceptionally healthy and vibrant art scene. The quality of the work and the diversity of methods explored was extremely impressive: many different ways of thinking and seeing and risk-taking. To encounter so many artists – of such a wide range in age and experience – pushing forward with such seriousness and determination was very exciting.”

    This is Artadia’s fifth time presenting curator-driven, unrestricted Awards to Atlanta artists. Artadia received 106 applications for the 2017 Atlanta Artadia Awards, which were open to all visual artists living in Greater Atlanta (the 23 eligible counties of Barrow, Bartow, Butts, Carroll, Cherokee, Clayton, Cobb, Coweta, DeKalb, Douglas, Fayette, Forsyth, Fulton, Gwinnett, Hall, Henry, Morgan, Newton, Paulding, Pickens, Rockdale, Spalding, and Walton) for over two years, working in any media, and at any stage of their career. Finalists and Artadia Award recipients are selected through Artadia’s rigorous, two-tier jury review process. In the first round of review, jurors evaluated the merit of all submissions and collaboratively determined the five Finalists. The Finalists will receive studio visits with the second round jurors, who will ultimately select two artists as Awardees to receive $10,000 in unrestricted funds. Awardees are invited to participate in Artadia’s ongoing Beneficiary program, connecting them to a network of curators and collectors across the country and advancing their careers.

    Artadia is a national non-profit organization that supports artists with unrestricted, merit-based Awards followed by a lifetime of program opportunities. Artadia is unique in that it allows any artist to apply, engages nationally recognized curators to review work, and culminates in direct grants. Since 1999, Artadia has awarded over $3 million to more than 300 artists in Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco.

    On the jurying experience, Elms noted, “Artists deserve a range of support far and wide across this country. It is always a pleasure to be exposed to new artists and new scenes beyond locations I regularly visit. It is inspiring. To have invested conversations around art and artists is something I will always make time for.”

    The 2017 Atlanta Artadia Awards are generously supported by MailChimp, the Tim & Lauren Schrager Family Foundation, Artadia’s Board of Directors, Atlanta Council members, and many generous individual donors in Atlanta.

  • Application Now Open for the 2017 Atlanta Artadia Awards

    9/15/17

    The Atlanta Artadia Awards are open to all visual artists living and working throughout the greater Atlanta area. The 23 eligible counties are: Barrow, Bartow, Butts, Carroll, Cherokee, Clayton, Cobb, Coweta, DeKalb, Douglas, Fayette, Forsyth, Fulton, Gwinnett, Hall, Henry, Morgan, Newton, Paulding, Pickens, Rockdale, Spalding, and Walton. Individual artists and collaboratives working in all media, and at any stage in their career are strongly encouraged to apply. Artadia Awardees are selected through a two-tier jury process that combines local expertise with outside perspective from leading curators and one artist. A preliminary panel will evaluate all online submissions and select five Finalists in October. A second panel will conduct studio visits with each Finalist, gaining a broader context for the artists’ work. Two Awardees will be selected from the Finalist pool to receive unrestricted Artadia Awards of $10,000.

    The Atlanta Artadia Awards are:
    – Open to anyone living in Atlanta
    – Free of application fees and project outline requirements
    – Merit-based
    – Unrestricted

    Apply if you:
    – Have lived in Atlanta for at least two years
    – Are not currently enrolled in an art-related degree program
    – Would like to have your work seen by a panel of prominent curators

    Application due
    October 15, 2017
    11:59 pm EDT

    Apply Now!

  • Art & Dialogue: Atlanta Public Program with Meg Onli

    4/14/17

    Meg Onli, Assistant Curator, Institute of Contemporary Art Philadelphia, presented a public program at Atlanta Contemporary as part of Art & Dialogue: Atlanta on Thursday, March 30, 2017.

    Meg Onli is a curator and writer whose work attends to the intricacies of race and the production of space. Since joining the Institute of Contemporary Art as an Assistant Curator she has worked on the exhibition The Freedom Principle: Experiments in Art and Music, 1965 to Now and is currently organizing a group exhibition entitled Speech/Acts, which assembles a group of artists who are working with Black poetics. Prior to joining Institute of Contemporary Art she was the Program Coordinator at the Graham Foundation for Advanced Studies in the Fine Arts. While at the Graham Foundation she worked on the exhibitions Architecture of Independence: African Modernism and Barbara Kasten: Stages. In 2010 she created the website Black Visual Archive for which she was awarded a 2012 Creative Capital/Warhol Foundation Arts Writers Grant. In 2014 she was the recipient of a research grant from the Graham Foundation for the collaborative project Remaking the Black Metropolis: Contemporary Art, Urbanity, and Blackness in America with curator Jamilee Polson Lacy. Onli holds a Master’s degree in art history from the Courtauld Institute of Art. Her writing has appeared in Art21, Daily Serving, and Art Papers.

    Founded in 1973 as Nexus, a grassroots artists’ cooperative, Atlanta Contemporary has since become one of the southeast’s leading contemporary art centers. They play a vital role in Atlanta’s cultural landscape by presenting six–10 exhibitions within four seasonal cycles each year, featuring consequential artists from the local, national, and international art scenes. They are one of the few local institutions that commissions new works by artists, paying particular attention to artists of note who have not had a significant exhibition in the Southeast. They organize 50+ diverse educational offerings annually, unrivaled by other local organizations of our size. They are the only local organization to provide on-site subsidized studio space to working artists through their Studio Artist Program, removing cost as a barrier to the creative process. Admission to Atlanta Contemporary is always free.

  • Announcing the 2016 Atlanta Artadia Awardees

    11/7/16

    Artadia is pleased to announce the Awardees for the 2016 Atlanta Artadia Awards: Jiha Moon and Cosmo Whyte. The 2016 Atlanta Artadia Awardees will receive $10,000 in unrestricted funds as well as access to the ongoing benefits of the Artadia Awards program. This is Artadia’s fourth year providing unrestricted Awards to artists in Atlanta. Applications for the Awards were open to any visual artist living in the Greater Atlanta area, including the counties of Barrow, Bartow, Butts, Carroll, Cherokee, Clayton, Cobb, Coweta, DeKalb, Douglas, Fayette, Forsyth, Fulton, Gwinnett, Hall, Henry, Morgan, Newton, Paulding, Pickens, Rockdale, Spalding, and Walton, for over two years, working in all media and at any stage of their career.

    In the first round of evaluations, Sofía Hernández Chong Cuy, Curator of Contemporary Art, Colección Patricia Phelps de Cisneros, Jamillah James, Curator, Institute of Contemporary Art, Los Angeles, and Katherine Jentleson, Merrie and Dan Boone Curator of Folk and Self-Taught Art, High Museum of Art, selected five Finalists from 188 submissions. The Finalists included Kelly Kristin Jones, T. Lang, Jiha Moon, Zipporah Thompson, and Cosmo Whyte. Daniel Fuller, Curator, Atlanta Contemporary Art Center, joined Jentleson for the second round of evaluations. The jurors conducted studio visits with each of the five Finalists to determine the Awardees.

    The 2016 Awardees represent the diverse arts community that is flourishing in Atlanta. Jentleson and Fuller cited the mix of international and domestic influences on Moon’s ceramics and paintings. Jentleson noted: “Jiha Moon does maximalism in the best way, saturating her painting and ceramics with signs and symbols that go in many exciting directions. The source she draws on, from Southern face jugs to Korean norigae are so diverse, allowing for work that is both humorously and seriously engaged in confrontations with the absurdity of our globalized, hyper-technologized society and the many cultural misunderstandings it nurtures.” Fuller explained how Moon uses these influences playfully and to provoke: “Jiha Moon is in a perpetual state of “other” as she mines numerous histories and cultures, distilling them into rascally works of art. There is no filter, just a quirky mix matching flurry of references. Mischievousness, rebelliousness, Jiha is the Bart Simpson of our scene and she perfectly exemplifies the new Atlanta.”

    Fuller spoke to the ways in which immigration informs the themes and imagery in Whyte’s work: “Cosmo Whyte carries memories of home with him wherever he goes. In our studio visit we spoke of how a place is depicted so faraway in proximity, however so near to your heart. His work unpacks the complexities of growing up within colonialism and maintaining identity. It is both highly personal and specific to each of us.” Jentleson addressed the artist’s multifaceted approach to his practice: “Cosmo Whyte’s work is powerfully resonant with the legacy of colonialism and the present urgency of forced migration. His work engages these issues through both the direct confrontation of his interdisciplinary practice and the subtle parsing of his drawings.”

    The 2016 Atlanta Artadia Awards are made possible thanks to The LUBO Fund, MailChimp, Tim & Lauren Schrager Family Foundation, Artadia’s Board of Directors, Council members, and many generous individual donors in Atlanta and throughout the United States.

    Image, left to right: Jiha Moon, Anang, 2015, earthenware, underglaze, glaze, wire, synthetic hair, plastic barrette, 14.5 x 12 x 4.5 inches; Cosmo Whyte, Stranger than the Village, 2015, 35 x 26 inches.

  • Announcing the 2016 Atlanta Artadia Awards Finalists

    10/25/16

    Artadia is pleased to announce the five Finalists for the 2016 Atlanta Awards: Kelly Kristin Jones, T. Lang, Jiha Moon, Zipporah Thompson, and Cosmo Whyte.

    The Finalists were selected by jurors Sofía Hernández Chong Cuy, Curator of Contemporary Art, Colección Patricia Phelps de Cisneros, Jamillah James, Curator, Institute of Contemporary Art, Los Angeles, and Katherine Jentleson, Merrie and Dan Boone Curator of Folk and Self-Taught Art, High Museum of Art.

    Artadia’s jurying process provided nationally recognized curators a unique opportunity to discover nearly 200 artists living and working in Atlanta, giving each applicant crucial exposure to leading voices in the field. Of the Atlanta applicants, Jentleson noted: “It has been a privilege and an inspiration to get to know the work of Atlanta’s amazing artists. I feel incredibly lucky to be surrounded by such talent and look forward to many more encounters.” Hernández Chong Cuy also spoke to the quality of the submissions: “The selection process was difficult–simply because there were a great number of artists with strong work to consider, an indication, too, of a lively arts community in Atlanta.”

    James highlighted the ways in which the process forges professional connections between curators and artists: “It’s always exciting to learn about the work being made in other parts of the country. I was quite impressed by the breadth and rigor of the work I reviewed for the Atlanta jury, and plan to keep an eye on these artists, and see how their work continues to develop.

    This is Artadia’s fourth time presenting curator-driven, unrestricted Awards to Atlanta artists. Artadia received 188 applications for the 2016 Atlanta Artadia Awards, which were open to all visual artists living in Greater Atlanta (the 23 eligible counties of Barrow, Bartow, Butts, Carroll, Cherokee, Clayton, Cobb, Coweta, DeKalb, Douglas, Fayette, Forsyth, Fulton, Gwinnett, Hall, Henry, Morgan, Newton, Paulding, Pickens, Rockdale, Spalding, and Walton) for over two years, working in any media and at any stage of their career. Finalists and Artadia Award recipients are selected through Artadia’s rigorous, two-tier jury review process. In the first round of review, jurors evaluated the merit of all submissions and collaboratively determined the five Finalists.

    The 2016 Atlanta Artadia Awards are made possible thanks to MailChimp, Artadia’s Board of Directors, Council members, and many generous individual donors in Atlanta and throughout the United States.

    Image, clockwise from top left: Kelly Kristin Jones, Zipporah Thompson, Cosmo Whyte, Jiha Moon, and T. Lang

  • 2016 Atlanta Artadia Awards

    8/15/16

    2016ATL_Card

    Atlanta Artadia Awards are open to all visual artists living and working throughout Greater Atlanta. The 23 eligible counties are: Barrow, Bartow, Butts, Carroll, Cherokee, Clayton, Cobb, Coweta, DeKalb, Douglas, Fayette, Forsyth, Fulton, Gwinnett, Hall, Henry, Morgan, Newton, Paulding, Pickens, Rockdale, Spalding, and Walton. Individual artists and collaboratives working in all media, and at any stage in their career are strongly encouraged to apply. Artadia Awardees are selected through a two-tiered jury process that combines local expertise with outside perspective from leading curators and artists. A preliminary panel will evaluate all online submissions and select five Finalists in October. A second panel will conduct studio visits with each Finalist, gaining a broader context for the artists’ work. Awardees will be selected from the Finalist pool to receive unrestricted Artadia Awards of $10,000. The 2016 Atlanta Awardees will be announced in November and are eligible for the inaugural national Artadia Award.

    The Atlanta Artadia Awards are:

    – Open to anyone living in the Greater Atlanta area

    – Free of application fees and project outline requirements

    – Merit-based

    – Unrestricted

    Apply If You:

    – Have lived in Atlanta for a minimum of two years

    – Are not currently enrolled in an art-related degree program 

    – Would like to have your work seen by a panel of prominent curators

    For the online application, please visit:

    artadia.submittable.com

    Application Deadline:

    October 1, 2016 

  • Art & Dialogue: Atlanta Summary from Aram Moshayedi

    6/8/15

    In early April of 2015 Aram Moshayedi visited Atlanta as an Art & Dialogue curator in residence. During his stay, Moshayedi delivered a public program at Atlanta Contemporary Art Center co-presented by Burnaway, and visited the studios of 10 Artadia Awardees. The following is his account of Atlanta’s vibrant art community.

    The artists that I met with in Atlanta over three days in April were diverse and varied in their artistic approaches. Not directly united by any brand of regional identity, discovering differences among the Awardees was what interested me the most during my visits.   ruthD_back view chicagoland sm

    Ruth Dusseault, “Backview of Bedlam, Illinois,” digital color print, 2013

    The individual conversations reflected a range of issues that included Jason Kofke’s research into minor histories and iconographies of the 1980s to Ruth Dusseault’s videographic exploration of homemade recreational battlefields and digital ecotopias. Sarah Hobbs’ shift between installation and photography, architectural space and its representation through pictures engages an entirely different set of ideas than those explored by Tristan Al-Haddad and Formations Studio, which is situated between art and design and focused on large-scale public works.   journeyProjects_'Cyanotype Workshop 2013-09-28 13.48

    Journey Projects, Wolf Creek Library installation documentation

    Lynn Marshall-Linnemeier pursues a project that is deeply personal and historiographical; The Journey Projects looks at ancestry and forms of storytelling to develop collaborative, community-based projects rooted in the development of identity.   #25MMFA_Passing M, 9 & other Wall Spirits

    Larry Walker, “Passing M, 9 and Other Wall Spirits,” 2009, mixed materials and collage process, 29 x 36.5 inches, Courtesy of Mason Fine Arts and Events, Atlanta, GA

    Larry Walker’s telephone poles and approximations of building facades are nothing like the choreographies of glo (Lauri Stallings); though they both might have an interest in the function of public space, their approaches could not be more dissimilar.   PhotosynthesisWaterTowerLeaf1

    Robbie Land, “Grant Park,” 2015, 16mm film, 8 minutes

    The playful filmic experiments of Robbie Land—made from cellulose to celluloid and back again—are intimate, domestic and the result of a kind of home science experiment. Meanwhile, Micah Stansell’s silent projected videos expand the medium to the scale of architecture.


    Nina Simone “Black is the Color” from Paul Stephen Benjamin on Vimeo.

    Paul Stephen Benjamin’s haunting video-sculpture based on the refrain “Black is the color of my true love’s hair” by Nina Simone continues to stay with me—the repetition and obsessive dwelling on these words evoked by a sea of outdated monitors seem to loop and phase for all of time in my mind. These conversations and meetings made apparent a common set of principles and ethics of making, and a commitment to practice and experimental thinking among the Artadia Awardees. The openness of the ten artists was also meaningful; their willingness to allow me into their studios and homes to discuss their most intimate and monumental works to date has stuck with me. Each personality offered insightful research and the outgrowth of that research into artworks that take a position within and against the world, and I appreciate the time and opportunity to have these unique conversations.   – Aram Moshayedi

  • Art & Dialogue: Atlanta Public Program Aram Moshayedi in conversation with Carter Mull at Atlanta Contemporary Art Center

    Aram Moshayedi and Carter Mull in conversation at the Atlanta Contemporary Art Center, April 9th, 2015

    Aram Moshayedi and Carter Mull discussed their respective projects and history of working together on P&Co., a community newspaper that the two co-edited with artist Jesse Willenbring. Moshayedi spoke directly to his experience curating mostly solo projects and new commissions at the Roy and Edna Disney CalArts Theater, as well as the Hammer Museum, where he has been a curator since 2013. Mull discussed recent projects that have pressed on the limits of his work to occupy galleries and museums, through a selection of recent solo exhibitions, as well as projects that occupy other streams of communication and media. In many respects, the curator and artist engaged in a conversation that addressed the key issues that are part of making exhibitions and publications, while also touching upon a range of topics and preoccupations that inform their respective practices in the field.

  • A&D Program: Aram Moshayedi in conversation with Carter Mull

    6/4/15

  • A&D Summary: Aram Moshayedi in Atlanta

    5/28/15

  • Aram Moshayedi visits Atlanta

    3/17/15

    Artadia presents Art & Dialogue: Atlanta

    A public program in partnership with the Atlanta Contemporary Art Center and BURNAWAY

    “Aram Moshayedi in Conversation with Carter Mull”

    Thursday, April 9, 2015
    7pm
    Atlanta Contemporary Art Center
    535 Means St NW
    Atlanta, GA 30318

    Artadia is excited to partner with Atlanta Contemporary Art Center and BURNAWAY to welcome Art & Dialogue curator, Aram Moshayedi to Atlanta. As part of his Art & Dialogue visit, Hammer Museum curator, Aram Moshayedi’s public program will center around a conversation between Moshayedi and artist, Carter Mull.

    About Aram Moshayedi:
    Aram Moshayedi is currently a curator at the Hammer Museum in Los Angeles and has organized recent projects with artists Maria Hassabi and Mario Garcia Torres. He was formerly associate curator at REDCAT, the Roy and Edna Disney/CalArts Theater (2010-13), where he organized exhibitions and oversaw the production of new works by such artists as The Otolith Group, Slavs and Tatars, Jordan Wolfson, Tony Cokes, Jay Chung & Q Takeki Maeda, Ming Wong, and Geoffrey Farmer. Moshayedi has also written extensively on art with contributions appearing in numerous exhibition catalogs, as well as Artforum, Art in America, Frieze, Metropolis M, X-TRA Contemporary Art Quarterly and Bidoun, for which he is a contributing editor.

    About Carter Mull:
    Mull was born in Atlanta in 1977. He received his BFA from the Rhode Island School of Design and his MFA from CalArts in 2006. His work is in numerous American museum collections including the Museum of Contemporary Art, LACMA, and Hammer Museums in Los Angeles and the Whitney and MoMA collections in New York. In 2014, Mull made solo exhibitions for the Kunst Halle Sankt Gallen in Switzerland and CAPC Bordeaux in France, his first in Europe. Mull spent key formative years in New York. Although he travels often, he has been based in Los Angeles since 2004.

    About Art & Dialogue:
    Developed through in-depth research of artists’ needs, Art & Dialogue will bridge connections between artists, curators, and audiences in Atlanta, Boston, Chicago, Houston, Los Angeles and San Francisco. Art & Dialogue is a unique program in that it serves three distinct audiences: curators, artists and the city’s general public. Art & Dialouge will bring curators directly to the studios of Awardees working around the country, and will offer participants the opportunity to engage in meaningful, open conversation about their practice.

    For the inaugural season of Art and Dialogue, Artadia will send six curators from institutions across the United States to visit each of its Award cities. Each Art & Dialogue program will consist of three parts: curators will conduct studio visits with Awardees, present a public program with a local cultural partner, and provide a summary of their experience upon returning to their home institution. All Art & Dialogue programs will be documented, anthologized on Artadia’s website, and publicized internationally.

  • Atlanta artists Gyun Hur and Micah Stansell receive Artadia open studios in NYC

    5/31/13

    Written By Rachel Reese on May 27, 2013

    Burnaway has exciting news to share on two local artists and former 2011 Artadia recipients, Micah Stansell and Gyun Hur! Artadia’s newSummer Open Studios residency program will host Micah Stansell throughout the month of June and Gyun Hur in July at Artadia’s Brooklyn location.

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  • Exhibition Exchange: Atlanta Contemporary

    7/15/11

    Material Deposits at Atlanta Contemporary Art Center on Friday, July 15 – September 18, 2011

    Opening reception Friday, July 15, 2011 at 8 pm.

    Featured Artists: Moses Nornberg, Brion Nuda Rosch, Leslie Shows, and Weston Teruya

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