ON VIEW

Our Current Exhibition

  • Side by Side

    Side by Side: Selections from the Permanent Collection on view September 19, 2019 – January 12, 2020 curated by Veronica Kessenich. Side by Side: Selections from the Permanent Collection examines the nature of acquiring a collection, learning about art and exploring how artists’ taste and content evolve over time. Curated by Veronica Kessenich, executive director of Atlanta Contemporary and visiting instructor in art history in the Agnes Scott College Department of Art and Art History, the exhibition centers around never-before-seen pieces requiring framing, restoration and current cataloguing. Side by Side aspires to illustrate the unity of the collection, which has at times seemed fractured, thereby deepening the mission and values…

  • The Possibility of Framing Infinity

    The Possibility of Framing Infinity on view spring 2008 curated by Lisa Alembik. “Painting as a noun takes on limitless form and attitude. It can arouse visual pleasure, support a manifesto, tell a story and speak of ideas. It is carved out of history. As a verb, painting is a suggestive practice that unfolds and is often self-reflexive. It is about color and shape and the senses extraordinaire. A rich process of exploration can take place through the goop of the medium, the blending of pigments and energetic eye movement. In action, the painter’s scope of vision will enclose the picture plane like a web—or like the hot pinball machine…

  • looking/longing

    looking/longing on view Fall 2007 “looking/longing is simple in its premise,  offering a phenomenal experience of looking and a visual meditation on the potent power of the medium of photography. We absorb our surroundings by reading clues of light bouncing off objects, our subconscious quietly processing the scope of our vision. When a person, landscape or object is immortalized through a photographic process, we may be enticed to look. We could be attracted just to know why the subject is significant to the photographer. If we are stirred, our attention held, a certain sensuousness of the medium and subject could continue to embrace our gaze to entice a deeper study.…

  • Velocity of a Single Gesture, or How to Build an Empire

    Velocity of a Single Gesture, or How to Build an Empire on view spring of 2007. “In an interview by journalist Ron Suskind, a senior White House adviser is quoted as saying “We’re an empire now, and when we act, we create our own reality.” In the exhibition “The Velocity of Gesture, or How to Build an Empire,” artists are recognized as rulers of their picture planes, creating their “own reality” through personal sensibility and gesture. Conducting with a baton, making the sign of the cross, waving a magic wand or saluting a crowd—all are acts in which the drama and tempo of a hand movement have significance. Power lies…

  • Blackbird on My Shoulder

    Blackbird on My Shoulder on view fall 2006 organized with support from The Margaret Virginia Philip Art Endowment Fund. Blackbird on my Shoulder featured visual artists, writers and performers who were unshakably attached to the southeastern United States and were inspired by auto(biography) and storytelling. Stories, song and poetry were installed among photographs, drawings and sculptural installation. From the marrow of the South tales grow like beanstalks, reaching towards the patient sky. Blackbird on my Shoulder was organized with support from The Margaret Virginia Philip Art Endowment Fund.

  • Pink Days Azure Nights

    Pink Days Azure Nights on view Spring 2006 curated by Lisa Alembik. “This exhibition does not revolve around a theme. Pink Days, Azure Nights was borne from a call that brought forth artists unknown to the organizer in addition to new ideas from familiar ones. This exhibition does not revolve around a theme, but connections are made. Is it something in the air, or burning questions that have evolved over centuries time of artists and culture makers? That which is occurring in the world around us is dredging up unavoidable complexities linked to raw emotion and new action. The volcanic eruptions and digging down of Julie Puttgen and Celeste Roberge…

  • limbs heart tongue & teeth

    limbs heart tongue & teeth on view fall 2005 curated by Lisa Alembik. “These fleshy vessels, our bodies, vehicles for our being, push into our surroundings. Form merges and turns as we respond to our environment. Moving, measuring time, we keep beat with our hearts. Gravity tethers us while the earth turns, propelled through space. We gather knowledge through our senses. Semi permeable membranes brush up against molecules that we inhale, absorb, sometimes reject. How do we begin to understand our bodies? As babies we recognize ourselves as extensions of our parents’ hands, breasts, arms, feet. (Funny how as we age that knowing returns as sentiment when we see similarities…

  • Tender Landscapes

    Tender Landscapes on view Spring 2004 curated by Lisa Alembik. “Artists will tread the broad, awkward, often absurd boundary between humans and nature, negotiating various roles – mediator, interloper, documenter, amateur scientist. Some directly engage the land, feeling an undeniable bond because they, of course, are of nature. A sense of responsibility calls for them to be caretakers as best they can. They dig, peel, gather, nurture. The landscape, encompassing both flora and fauna, provides solace. The natural world enters their art through a deep understanding of the landscapes subtle and monumental power, and respect for human collaboration with the earth. The artists in Tender Landscape responded to their natural…

  • No Agenda But Their Own

    No Agenda But Their Own on view Fall 2002 curated by Jerry Cullum. “I tried very hard not to curate this show. It illustrates the point I’m trying to make that in the end, a few of the artists wouldn’t let me avoid it; more than one of them told me to quit trying to interest a woman curator in the topic of shifting sensibilities among women artists, and just do it. These are not your father’s feminists.* But neither are they that misleading or meaningless rubric, “post-feminist”. They’re something else altogether. They’re simply autonomous, not paying much attention to anyone else’s attempts to restrict their artmaking and their reflections…

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