Author Archives: gallerymanager

CC Calloway | Long Lasting Chew

Review: CC Calloway’s “Long Lasting Chew” at Whitespace

June 12,2018
burnaway.org
By Logan Lockner
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In Rachel Kushner’s electrifying 2013 novel The Flamethrowers, about a young woman who falls in with a fictionalized crew of post-conceptualists in 1970s New York, an artist tells the unnamed protagonist, “You don’t have to immediately become an artist… You have the luxury of time. You’re young. Young people are doing something even when they’re doing nothing. A young woman is a conduit. All she has to do is exist.”

With her exhibition “Long Lasting Chew,” on view at Whitespace’s project space whitespec through this Saturday, June 16, Atlanta-based artist CC Calloway manages to both reject and embrace this proposition.

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CC Calloway, s.o.s. (after ABBA), 2018; mulch, rocks, broken floor tiles, spray paint, Thai kozo, India ink, wire, dimensions variable.

Matt Haffner | Harmonic Dysfunction

Barns, back roads, barbecue, billboards and Buford Highway

June 5,2018
ArtsAtl.com
By Jerry Cullum
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Matt Haffner’s photographs in his Harmonic Dysfunction exhibition (at Whitespace through June 16) confront a different, less distinguishable part of the South, the spaces on the margins of cities where the architecture is determined by the function of the services provided by auto body shops, liquor stores and other unromantic enterprises that are often visually identical in cities across America.

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Matt Haffner, Fast and Friendly (Image courtesy the artist/Whitespace)

Ashlynn Browning Interview with VoyageATL

Art & Life with Ashlynn Browning

May 29,2018
VoyageATL
View more Ashlynn Browning

“Ever since childhood I knew I wanted to be an artist, but my earliest plans were to be a children’s book illustrator. That changed in college when I discovered oil painting and the work of Willem de Kooning and Philip Guston, among many others. That’s when I knew I would be an abstract painter, and I never looked back. Over the years, through graduate school and beyond, my mediums have changed from printmaking (etching and monoprints), to drawing, collage and works on paper, and from using acrylic to finally, a circular journey back to oil paint. My forms have fluctuated as well, going from organic and gestural to more geometric over the years. I expect that more spontaneous mark marking likely will find its way back in at some point.”

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Check out Eric Mack's Art

AJC reviews Sarah Emerson’s solo exhibition, Are We the Monsters

Art Review: It’s apocalypse now in Sarah Emerson’s quietly nightmarish art

April 30 ,2018
myajc.com
By Felicia Feaster
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Maybe the apocalypse won’t come quickly with a mushroom cloud and an earth-shaking boom. Instead maybe it will happen slowly and incrementally, killing the weakest inhabitants of the world first, like the deer, dying in the forest, puddles of their blood pooling all around them in Atlanta artist Sarah Emerson’s drawing “Fallen Deer.”

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Sarah Emerson installation image of Are We the Monsters

Pete Schulte | The Lamplighter

Art Review: (Un)Sacred Geometries: Pete Schulte’s “The Lamplighter” at Whitespace

April 26,2018
burnaway.org
By Jerry Cullum
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Pete Schulte’s “The Lamplighter” is a shockingly diverse exhibition that, at a casual glance, appears to be anything but. Even though it fills the three separate venues of the whitespace/whitespec/shedspace complex and includes a sound art installation, the dominant medium is graphite on paper, and the dominant style is geometric.

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Pete Schulte, American Cosmic Music II, 2017; graphite and gouache on paper, 15 by 15 in.

Amy Pleasant receives coveted Guggenheim Fellowship

Birmingham artist receives coveted Guggenheim Fellowship

April 19 ,2018
al.com
By Erin Edgemon
View more Amy Pleasant

Birmingham-based artist Amy Pleasant was recently awarded a highly prestigious fellowship from the John Simon Guggenheim Memorial Foundation. “This is such an unbelievable honor,” she said. “I am blown away.” Pleasant said this fellowship, which was awarded to a group of 173 scholars, artists and scientists from the United States and Canada, will give her the freedom to create her artwork.

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Amy Pleasant, Collection (Busts), 2017; ink and gouache on paper, 22 by 30 in. Private Collection