Category Archives: Uncategorized

Review of Looming Chaos by Zipporah Camille Thompson at Zuckerman

Review: Zipporah Camille Thompson weighs thoughts on nature, eternity at Zuckerman

February 18, 2020
ArtsATL
By Rebecca Brantley

Zipporah Camille Thompson’s Looming Chaos associates the act of weaving with the notion of eternal return. The flux of nature inspires Thompson, who discusses interconnections between land, bodies and other natural phenomena in a short video accompanying her exhibition.

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Review of “paper kites / uncertain sky” by Seana Reilly and morgan alexander

Review: Extraordinary subtlety on view in “paper kites / uncertain sky” at Whitespace

February 14, 2020
ArtsATL
By Jerry Cullum

The title of Seana Reilly and Morgan Alexander’s paper kites / uncertain sky (at Whitespace through March 14) suggests fragile objects carried aloft in changeable environments. That is, in fact, the emotional tone communicated by these extraordinarily subtle works on paper.

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UnboundAtlas by Seana Reilly

Artist Updates | Winter 2020

Artist Updates | Winter 2020

Happy 2020! It’s a new year, a new decade, and new exhibitions, projects and work by whitespace artists!

1 Join us on Thursday, March 5 at 6 pm for a rare opportunity to visit with the artist, Amy Pleasant, as she introduces her first monograph, The Messenger’s Mouth Was Heavy. She will be in the gallery from 6 to 8 pm to sign copies of this beautiful publication. The book includes more than 200 pages of Pleasant’s paintings, drawings and ceramic works as well as contributed essays by Katie Geha and Daniel Fuller.

This book was a collaboration between Amy Pleasant and graphic designer, Michael Aberman. It was co-published by Institute 193 and FRANK.

image courtesy of the artist and Institute 193

2 We are extremely excited to announce Zipporah Camille Thompson’s  solo exhibition, Looming Chaos, at the Zuckerman Museum of Art. The exhibition was curated by Tina Dunkley fellow, TK Smith. Stay tuned for the beautiful catalog that will soon be available for purchase. Congrats to Zipporah and TK!

Read more about this exhibition in ArtsATL.

image courtesy of whitespace

3 Congratulations to Whitney Stansell, one of five “Women to Watch”, chosen by the National Museum of Women in the Arts (NMWA). The exhibition, Paper Routes – GA Women to Watch 2020, will be on view at the Museum of Contemporary Art Georgia (MOCA GA) from January 25 through March 21, 2020. The finalists include Jerushia Graham, Sanaz Haghani, Imi Hwangbo, Lucha Rodriguez, and Whitney Stansell. Whitney is also preparing for a solo exhibition at Whitespace, opening Friday, March 20, 2020.

Check out Whitney’s work and creative process here and read more about the exhibition in ArtsATL.

image courtesy of Whitney Stansell

4 Pete Schulte was back in Atlanta for a three-person exhibition at the Swan Coach House Gallery curated by Rebecca Dimling Cochran. Geoforms, also features Atlanta artists Randy Jones and Esteban Patino.  This exhibition will be on view until Thursday, April 2.

Pete was recently featured in Hyperallergic with a review of his exhibition at McKenzie Fine Art in New York. Read the full review, here.

image courtesy of the artist

5 Although Benjamin Jones‘ retrospective has concluded at MOCA GA, we have received many works from his personal collection as well as his catalog that will be available through Whitespace. Read more about Benjamin’s recent exhibitions in Atlanta on our news page.

image courtesy of the artist and MOCA GA

image courtesy of whitespace

6 Nancy Floyd received the inaugural  ICP / GOST First PhotoBook Award for her series “Weathering Time.” The inaugural award attracted nearly 300 entrants from 45 countries. Floyd will have her first photo book designed, edited, printed, and published by the ICP/GOST imprint. Nancy will have the opportunity to display her work at the new International Center of Photography space at Essex Crossing in New York City at a date to be announced early 2020. The book is scheduled for publication in spring 2020. Way to go Nancy!

Nancy Floyd, 35 years

image courtesy of the artist

7 Ashlynn Browning, North Carolina native and Whitespace artist, is curating a group exhibition for the North Carolina Museum of Art entitled Front Burner: Highlights in Contemporary North Carolina Painting. This exhibition will feature 25 emerging, mid-career, and established painters from NC, all working within a wide range of mediums and ideas. The exhibition runs from March 7 through July 26, 2020.

image courtesy of NCMA

8 Late congratulations to Charlie Watts who was awarded a grant from the Office of Cultural Affairs for her memorable performance during her exhibition Hortophilia at Whitespace. Charlie is a MINT studio artist and will have a space in the newly renovated MINT studios at The Met.

image courtesy of the artist

9 Sonya Yong James was featured on the Peachy Keen Podcast with Vivian Liddell discussing her recent installation Phantom Threads at the Temporary Art Center. Give it a listen!

image courtesy of the artist, by photographer Ashley Kauschinger

10 Vesna Pavlovic, Fulbright scholar, has returned to Nashville.  She has been traveling and preparing for her exhibition at Whitespace this spring. Her work was recently included alongside Marina Abramović as well as other Yugoslavian art. The review for the March 2020 issue of Art in America was written by Jasmina Tumbas. Check out the article here.

image courtesy of Art in America

11 Finally, make sure to see our current exhibition, paper kites / uncertain sky by Seana Reilly and morgan alexander reviewed by Jerry Cullum in ArtsATL. The exhibition ends Saturday, March 14 at 5 pm. Read the review here.

image courtesy of whitespace

image courtesy of whitespace

Through Her Eyes by Rhonda Mullen

Through her eyes

By Rhonda Mullen

Walking through the exhibit, Hortophilia, at Whitespace Gallery, is like meandering through the woods and stumbling on the unexpected. A woman floats in a shallow stream, eyes looking through you, the mark of a circular tattoo showing through her paper-thin sheath. A clump of roots drips from the ceiling, grasped by two crystallized hands. At the light-infused grotto floating with lavender water lilies, is it your imagination or does a fairy dance at the darkening edge? Further into the show, two women embrace in the shadow of a rocky outcropping, looking up to muse on why you, the viewer, are here.

These images tap into something primeval and wise, visceral and ethereal, fierce and tender. You exist outside the frame, a voyeur. But as you immerse yourself, you become an extension of the setting. You can smell the fecund earth under the velvety moss, under the sturdy trunk, under the swaying leaves of the giving tree.

Neurologist and author Oliver Sacks defined hortophilia as the desire to interact with, manage, and tend to nature. “The effects of nature’s qualities on health are not only spiritual and emotional but physical and neurological,” Sacks wrote in his essay collection, “Everything in its Place.”

Photographer Charlie Watts presents a visual interpretation of hortophilia through photography that taps into the spiritual, emotional, physical, and neurological. These photos combine a ripe beauty full of light and tinged with darkness. A quality of otherworldliness murmurs throughout this work, which the artist explicitly describes as “a stepping stone to the unknown realm just past the peripheral edge of consciousness.”

Like previous subjects Watts has taken on, Hortophilia continues her exploration of the interconnectedness in female relationships and a physical connection to the planet. In her previous show, The Throwaways, Watts presented visual allegories of the sex trafficking industry in photo-collage lightboxes, calling attention to the desecration of the trafficked women and the destructive environment in which they were forced to exist. In Just Beyond the Peripheral, Watts focused her lens on women in natural settings that one reviewer described as “lyrically realistic but vaguely disquieting.” Her series, Honey or Tar, honed in on the collapse of honeybee colonies through representations of women—bound in mossy ropes or wearing only a beekeeper’s hat and veil—as totems to protect the bees. In Hortophilia, Watts extends her newest invitation to meditate on the earth and our connection to it.

As an editor, I am the person Charlie Watts sometimes reaches out to when she’s searching for the right words to articulate her vision. As an art collector, I am lucky to have many of her photographs, paintings, and sculptures throughout my home. And as Charlie’s mother, I have witnessed her visual intuition from her earliest years. Minutes after she was born, her face just inches from mine, I said, “Hey, baby,” and her big, deep pools of eyes popped open. I swam into them, and these thirty years later, I am swimming still. Charlie Watts continues to help me “see” the bigger picture.

Just days before this installation of Hortophilia at Whitespace, I watched my artist daughter assemble the prints in frames. One would need to be reprinted, she decided. The color was slightly off. She wondered aloud about where to place the images in the gallery to invoke the most powerful effect. She hoped the tree roots carefully excised from a North Carolina mountainside would add to and not distract from the works on paper. At the opening, I watched a group that clustered around one of her photographs, mesmerized by the young woman who lay face up with eyes closed in a dry creek bed. Above, other women scampered up a leafy hillside, their backs to the camera. The viewers were silent as they studied the photograph, having no need for words as they momentarily saw through the eyes of Charlie Watts. They had just followed the artist into an unknown realm just past the peripheral of consciousness.

 

We Are What We Cultivate | An Essay about Charlie Watts’ Hortophilia by Alberto Roman

installation view of Horotphilia by Charlie Watts | image credit Charlie Watts

We are what we cultivate.

At first, I thought about introducing the practice of “wilding” to explore together with you Charlie Watts’ Hortophilia. 

One of the definitions of the practices of wilding is reintroducing endangered species back to habitats so as to reforest and repopulate what once were ruined or decimated ecological zones.

I was going to suggest that what we see in her amazing photographs are a reintroduction of human species back into an unavoidable reconnect with the Earth. That the lush greens we see in her sensitive visual palette are, as we are, unequivocally part of larger Wild filled with interdependence, fecundity, and mystery.

We need such a vision in order to sustain all that lives with us in this 21st century.

While I do maintain that a feature of her work serves to re-enchant us into the rich materiality of our bodies and of the earth itself away from the fascination of our technologies that while shiny and replete with algorithmic velocities that are like cyber fairies in their own right, the technologies themselves depend on minerals and multiple Logics embedded in the depths of the Planet as well.

Her work offers more than that.

I could have opened up with the obvious celebration of the female figure in art but these women can evoke the post glow of the Bacchantes after an evening’s feast. They are part of a canon of images, Rubenesque, perhaps, but as we see them under the immediacy of a beautiful that, say, an initiatory experience with forest concoctions can bring about (for them? for us?), the framing of the images turn rich with revelations that complicate what the feminine can mean for our time: Regality, tenderness, intelligence, danger, eroticisms, vulnerability, diversity, uniqueness, deep sentience.

A couple of more things come to mind as I meditate on Watts’ art. The scale of the photographs remind me of tableaux vivants. We are being delivered to a contemporary mythology of the Feminine. Yes, there are Romantic sensibilities but I see them more as an homage and less a return to a specific aesthetic world view. I know this will be contestable. For me, there is nothing Romantic about the Anthropocene or the Capitalocene and the lens by which Watt’s discloses feminine figures point to a celebration of our belonging to this Earth which entails grief as well. 

How the feminine figure continues to be a vehicle for self-understanding and practice!

Put Watts’ visuals in your imaginal altar.

“What does life want? Life wants more life.” Charlie Watts’ photographs disclose a prism of Contemporary Nature mysticism and Feminist critique.

I feel enriched by it.

– Alberto Roman

installation view of Horotphilia by Charlie Watts | image credit Charlie Watts

Artist Updates | Fall 2019

Artist Updates | Fall 2019

Even though the weather has made us feel like summer will never end, the fall art season is in full swing! See what the whitespace artists have been up to…

1 Amy Pleasant is showcasing her first solo exhibition, “Touch/Pause/Repeat, Pause/Touch/Repeat”, at Geary Contemporary in New York City. Her exhibition features drawing, painting, and ceramic sculptures focusing on the body and language. Her work is rhythmic and focuses on documenting the human experience surrounding universal behaviors. “Touch/Pause/Repeat, Pause/Touch/Repeat” opened on September 12 and continues through November 1, 2019.

Courtesy of Geary Contemporary

2 Seana Reilly was invited to produce a piece for the exhibition Soft Boundary2 [4×4]: A Critical Look at Architectural Research, an exhibition held at the Association of Collegiate Schools of Architecture (ACSA) LESS TALK | MORE ACTION: Conscious Shifts in Architectural Education 2019 Fall Conference. Her piece, entitled “BoundTides No.4” was featured in the exhibition. The conference was hosted by Stanford Architecture and Yale School of Architecture,  held at Stanford University.

Courtesy of Seana Reiley

3 The Mary S. Byrd Gallery of Art is the proud recipient of the 2018 Ellsworth Kelly Award presented by the Foundation for Contemporary Arts for the solo exhibition of work by Whitespace artist Bojana Ginn. This installation by Bojana proposes the role of the 21st Century artist is to reimagine the future and to open possibilities for keeping humanity soft, open, and connected in an ever-changing world powered by technology. Ginn’s installation surrounds visitors with materials that although powered by technology, reference the natural world. The exhibition ends December 13, 2019.

Courtesy of Bojana Ginn

4 Bojana Ginn has also been selected as a finalist for the 2019 Burke Prize, awarded by the Museum of Arts and Design. Her work will be featured in the museum on October 3, 2019, through April 12, 2020. Bojana Ginn and the other finalists are selected by a jury of individuals in the art, craft, and design field for their highly accomplished work and progressive use of materials such as glass, fiber, clay, metal, and/or wood. The winner will be announced on November 4th at the MAD Ball, an annual benefit gala and dinner hosted by the Museum, and will be awarded a $50,000 prize. 

5 The Museum of Contemporary Art of Georgia presents MOCA GA LIVE, a one-night-only, fun-filled, live and silent auction fundraiser benefiting MOCA GA in collaboration with Atlanta galleries and local artists. The evening will feature art carried by local galleries, and honor and spotlight them and the artists they represent.  MOCA GA Live is one of many celebration events leading up to MOCA GA’s 20th Anniversary. We are just one of many Atlanta galleries participating in the event. The work from the following whitespace artist will be included in the auction: Sarah Emerson, Matt Haffner, Sonya Yong James, Benjamin Jones, Elizabeth Lide, Teresa Bramlette Reeves, and Seana Reilly. You can get your tickets here.

courtesy of whitespace

6 Ann Stewart was recently part of a group exhibition at Piedmont College. Monologue: Five Contemporary Printmakers brings together print-based artists active in the Northeast and Atlanta Georgia region. Curated by Brian Hitselberger, Associate Professor of Art, and Rebecca Brantley, Director of the MSMA, the exhibition focuses on artists who make singular works utilizing printmaking processes.

Filled Pause by Ann Stewart, Etching and Aquatint on Paper, 9 x 12 inches, 2017

7 Suellen Parker opens a solo exhibition, Finding Balance, at Brevard College on October 4, 2019. The exhibition curates a selection of pieces created over 15 years from three bodies of work. Each body of work uses similar materials and techniques, including sculpture, photography and digital arts. Read more about the exhibition here.

courtesy of Suellen Parker

8 Sonya Yong James’ exhibition LOUD MAGIC has received multiple reviews. It was recently featured in the Atlanta Journal Constitution. Writer, Felicia Feaster, delves into Sonya Yong James’ understanding and appreciation of nature and her ability to act as “an alchemist of nature”.   E.C. Flamming for ART PAPERS describes the exhibition saying. “The collection acts like a spell—works in it aren’t necessarily static. They’re constructed to activate change, and the material decisions act as catalysts to push the potential to the kinetic.” The exhibition ends on October 19.

courtesy of Ashley Kauschinger

9 Charlie Watts’ solo exhibition, Hortophilia, will be presented at Whitespace from October 25 – December 7, 2019, as part of Atlanta Celebrates Photography. Her collection of photographs “explores the ancient and mystical connections between human beings and the natural world”. The exhibit draws on the relationship between kinship and nature.

courtesy of Charlie Watts

10 Finally, we want to share some love for an organization that helps artists find the space and time to focus on their practice. Hambidge will host art auction and masquerade bash on Saturday, October 26 at The Works – Upper Westside ATL. For more details and tickets visit the Hambidge website.

courtesy of Hambidge

Artist Updates – Summer 2019

Artist Updates | Summer 2019

Just because it’s summer doesn’t mean everyone is taking a vacation. Check out what our artists have been up to…

1 Didi Dunphy, in partnership with the Georgia Museum of Art, has curated a traveling exhibition entitled Highlighting Contemporary Art in Georgia; Cut & Paste, Works of Paper.  This show, three years in design, features eleven artists who are working magic with the medium of paper.  There are three artists represented by whitespace in the exhibition.

image courtesy of Didi Dunphy

Didi will also launch the Spotlight 2019 exhibition at the Gallery at Indigo in Athens.  Opening June 13th, works by Athens artists Maddie David, Jeanne Ann Davidson and Columbus artist, Libby McFalls.  Other than a quick visit to see the Venice Biennale, Didi will be working on her 2020 show with whitespace!

2 Let Light Perpetual is a new project by Micah and Whitney Stansell. The installation will take the form of a large-scale projection on the facade of the newly constructed “725 Ponce” building. The facade faces the Atlanta Beltline’s highly trafficked Eastside trail with an estimated 2 million annual visitors. The project will utilize a pair of state-of-the-art laser projectors to create a stunning, 4k resolution, 60-foot high image. The film that makes up the heart of the installation is a loosely structured narrative, set in the decades before Atlanta’s growth and building boom, following a brother and sister through the course of their day as their lives intersect and shaped by those around them.  The opening is tentatively set for August 17.

image courtesy of Whitney Stansell

The Stansell’s are also working on transforming the Hapeville pedestrian bridge, the largest structure in downtown Hapeville, into a public art experience through the use of kinetic sculpture and LED lights.  The opening for the project is set for late summer, early fall.

image courtesy of Whitney Stansell

Image courtesy of Dashboard

Whitney will also be creating new work for the National Museum for Women in the Arts – Georgia Chapter,  Women to Watch,  2020 exhibition that will open at MOCA GA January 2020.

3 Elizabeth Lide is one of three whitespace artists included in the exhibition “Cut and Paste, Works of Paper”  at The Lyndon House in Athens GA running from June 1 – July 27. It then travels to the Robert C. Williams Museum of Papermaking, Georgia Institute of Technology, Atlanta, August 17 – November 14; the Museum of Arts and Sciences, Macon, Georgia, December 5, 2019 – February 14, 2020; the Albany Museum of Art, Albany, Georgia, February – June 2020; and Telfair Museum of Art’s Jepson Center for the Arts, Savannah, Georgia, July 2020 – early 2021. Curated by Didi Dunphy.

At the end of September, Elizabeth plans a trip to Paris, Giverny, and on to Moulin à Nef in Auvillar for a residency in SW France.

Cookie Press by Elizabeth Lide, 28.5 x 36 inches (framed), gesso, graphite, paint, collage on handmade paper, Vietnam

4 Matt Haffner recently returned from a 10-day trip through Germany and France where he learned about global sustainability, doing research in some regional museums and art galleries, photographing for some new projects, and educating himself about Alsatian cuisine and German Beers. Matt is also teaching summer darkroom digital workshops to high school students and writing an “Art as a Profession” course for Kennesaw.

5 Vesna Pavlovic is wrapping up her Fulbright year and is excited to take sometime off this summer. Vesna is included in the exhibition, Xanadu, which celebrates 25 years of Zeitgeist gallery in Nashville. The show includes 19 Zeitgeist artists and runs through August 31st.

Vesna recently completed the “Fabrics of Socialism” installation at the 5th edition of the D-0 ARK Underground Contemporary Art Biennial, the site of former Yugoslav president Tito’s atomic war command (bunker), 200 ft in the ground. For more information, visit www.bijenale.ba/.

Finally, following the Southern Prize fellowship from 2018, she is presenting her work from the Art History Archive project at the Tennessee Arts Commission Gallery in Nashville in August.

Vesna Pavlovic, Sites of Memory, Archival photograph is derived from a digital scan of the hand embroidered archival photograph from the Museum of Yugoslavia, Belgrade. In this new series, I use the often forgotten and unrecognized female techniques such as embroidery, and pleating, to discuss the use of female labor in the production of the socialist spectacle.

6 This summer Constance Thalken will live out a childhood dream and travel to Africa for a stay in Zambia and safari in Botswana.  This links to her long-standing interest in the natural world and the interrelationship between human and animal.  The below images were made during Conne’s 2019 spring residency at the Hambidge Center for the Creative Arts and Sciences.

All the Rain We Cannot Feel by Constance Thalken, 2019

All the Light We Cannot See by Constance Thalken, 2019

Spawn by Constance Thalken, 2019

7 Zipporah Camille Thompson has just completed a residency at Mass MoCA. She also exhibited at Zeitgeist Gallery in Nashville with Richard Feaster in a show titled, TEXTUREXTRA.

Zipporah was recently interviewed by Aileen Farshi for Number Magazine. You can read the interview here. Her summer includes teaching at Mudfire and making new work for Looming Chaos, a solo exhibition at the Zuckerman Museum opening January 2020.

Acid Rain by Zipporah Camille Thompson, 2019, wire, paper, plastic, mylar, tape, handwoven cloth, thread, photograph, paper, faux flowers, foil, bleached denim, stoneware, plaster, ink, paint. Image courtesy of Zeitgeist Gallery.

8 Along with preparing for her first solo exhibition at whitespace, opening September 2019, Sonya Yong James’ work will be included in a group show at Laney Contemporary in Savannah. ENTANGLEMENTS runs through August 15 – October 26.

Entanglement II by Sonya Yong James, 2019

9 As the recipient of the 2019 Chinati Artists in Residence Program, Pete Schulte is spending the majority of his summer in Marfa. He plans to stop in Houston (Jack Whitten show, Menil Drawing Institute, Cubs/Astros games, etc.) and Austin (Ellsworth Kelly Chapel) while he is in Texas.

image courtesy of Pete Schulte

10 Nancy Floyd’s solo show at the Blue Sky Gallery, Portland, OR, Weathering Time, opened on July 3. The exhibition will remain on view until July 28. Additionally, her work is featured on Light Leaked: “Archiving Time: Again & Legacy.” Nancy is enjoying her new home out west and recently camped in Death Valley National Park with her camera, of course  (see image below).

image courtesy of Nancy Floyd

 11 Adrienne Outlaw will be making work with artists in Singapore, where she will live and work the entire summer. During her time there, she will also travel to Cambodia and Malaysia, where she is sure to be inspired by the history, landscape, cultural antiquities and art there.

12 Charlie Watts just announced her crowdfunding campaign for her very own photography book. She has been working on this project for many years and is excited to see it come to life. Charlie is also working on her solo exhibition at whitespace which opens on October 25, 2019.

image courtesy of Charlie Watts

13 Amy Pleasant had the pleasure of visiting Paris in June with her Mom and daughter Marcie who recently graduated from high school in Birmingham and is headed to Sewanee University  in the fall. Amy was featured in a three-person show at Tif Sigfrids, Athens, GA which ended Saturday,  July 13. She is working towards her solo show at Institute 193, opening in October. Amy plans to visit husband and fellow whitespace artist, Pete Schulte, in Marfa where he is in residence at the Chianti Foundation.

image courtesy of Amy Pleasant

14 Ann-Marie has moved to Palma de Mallorca, Spain on June 18th and is setting up a new studio there.  We’re updating our passports in case she gets lonely.

15 Bojana Ginn’s site-specific installation 4 Bio Mega Pixels is a part of The World Unseen, a SciArt exhibition curated by Louise Shaw and displayed at the Center for Disease Control Art Museum. Currently on view through the summer. 4 Bio Mega Pixels, an immersive abstract installation, meditates on the implications of humans meddling with natural systems and processes as practiced in bioengineering, DNA computing, and nanobiotechnlogy.

As a recipient of the 2018 Ellsworth Kelly Award in conjunction with The Mary S. Byrd Gallery of Art, Ginn is preparing a solo exhibition that will open on September 19th at the gallery. The exhibition is curated by Shannon Morris and will feature large, site-specific multimedia works.

Ginn Studio is happy to have sculptor Hannah Source on the team this summer! Hannah’s assistance was crucial in completing the WAP exhibition at MOCA GA last September.

Additionally, Ginn is excited to be mentoring a talented emerging artist Michelle Laxalt in collaboration with MINT Leap Year Mentorship Program. Many thanks to Jessica Helfrecht and MINT Gallery for making this possible.

Image courtesy of Bojana Ginn

16 Ashylnn Browning was recently  featured in a podcast about her current exhibition at Shockoe Art Space in Richmond, VA. You can listen here. The three-person exhibition also includes Natalie Schmitting and Sam Bantly Taylor and closes August 25. Ashlynn is also curating a painting exhibition that will open in the spring of 2020 at the North Carolina Museum of Art.

17 Refinery 29 has asked Sarah Emerson to participate in 29 Rooms, an interactive experience of cause, culture, and creativity. The Atlanta event is August 29 through September 8. For more information, visit 29 Rooms.

During her recent exhibition at whitespace, Sarah Emerson received a thoughtful review from Burnaway by Andrew Alexander.

image courtesy of whitespace

18 This summer Teresa Cole had a beautiful solo exhibition titled Imperfect at Callan Contemporary in New Orleans. The exhibition featured Cole’s etchings, woodcuts, and two installations.

image courtesy of Callan Contemporary

19 If you haven’t seen Shana Robbins’ exhibition, Interspecies Lovers, you still have time. Shana is scheduled to give an artist’s talk on Thursday, July 25 at 7 pm. The exhibition closes on Saturday, July 27th.

Interspecies Lover by Shana Robbins. Image courtesy of Shana Robbins and Jody Fausett

Have a great summer and come visit us soon!