“As a southern youth in the 1980ʼs, total enjoyment came from making, constructing, and cultivating resourceful ways of visualizing my thoughts.
After graduating high school, I had the opportunity to attend the Atlanta College of Art, and I moved to Atlanta from Charleston, SC in 1994. Seven months after graduating from ACA, I had my first solo exhibition at Gallery Domo in the spring of 1999, I received a reception from the public and critics alike.”
Atlanta multimedia artist Bojana Ginn and the Mary S. Byrd Gallery at Augusta University in Augusta, Georgia, were recently awarded the 2018 Ellsworth Kelly Award. Each year, the Foundation for Contemporary Art gives the $40,000 grant to support a museum exhibition for a contemporary artist, and this year, the grant will allow the gallery to stage a new exhibition by Ginn in the fall of 2019.
In fall 2019, the Mary S. Byrd Gallery of Art at Augusta University will present a solo exhibition of new multi-media works by sculptor Bojana Ginn, curated by Gallery Director Shannon Morris.
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.
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.
“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.”
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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