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Artist Updates | Winter 2021

Artist Updates | Winter 2021

The world has changed so much in a year but one thing remains the same: artists continue to make art…thank goodness!

1 Nancy Floyd has certainly made her mark in the press! Her continuing project Weathering Time was recently been featured in Buzzfeed’s 10 Photo Stories That Will Challenge Your View Of The World and The New Yorker among others.

The International Center of Photography chose Floyd last year as the winner for its first ever photobook award. 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, with the opportunity to display the work at the new International Center of Photography space at Essex Crossing in New York City.  A date will be announced soon. The award aims to promote and support the work of previously unpublished photographers and artists through the production of a first photo book by the ICP/GOST imprint.

Protest 1984/1988/2016/2018 by Nancy Floyd

2 Zipporah Camille Thompson is exhibiting in the 2021 Atlanta Biennial, Of Care and Destruction, curated by Jordan Amirkhani and TK Smith at Atlanta Contemporary. The exhibition is on view February 18 through May 30, 2021.

She is, also, participating in the exhibition, But Before Bare Bone is Skin, at the University of Central Florida curated by Jonell Logan, January 11 through February 5, 2021.

Zipporah Camille Thompson is one of two recipients of 2020 Artadia Award in Atlanta. Artadia is a nonprofit grantmaker and nationwide community of visual artists, curators, and patrons.

uv ray-n, 2018, mixed media, 65 x 34 inches

3 Sarah Emerson is currently participating in a group exhibition at the Albany Museum of Art entitled, Off The Wall, until February 20, 2021, curated by Didi Dunphy. Other featured artists include Amanda Jane Turk, Shanequa Gay, David Hale and Chris Johnson. “Emerson’s camouflage of beautiful colors explores themes that reflect on the fragility of life, the futility of earthly pleasures, and the disintegration of our natural landscape.” – Albany Museum of Art

Ruin in Reverse, acrylic on canvas with rhinestones , 36 x 36 inches

4 Sonya Yong James was chosen for in the exhibition, Entwined: Ritual Wrapping and Binding in Southern Art, which is on view at the Ogden Museum of Southern Art in New Orleans until February 28, 2021. “I follow my hands, and they often reveal the answers to the questions that I am asking myself while I explore the material I am working with.” – SYJ

Spirit is a bone, 2020, handspun bedsheets, wool, cotton, linen, cast resin snake, snake and coyote bones, dog ashes and mixed media, 6 feet in height by 24 feet in length by 12 inches in depth. Created for Ogden Museum of Southern Art

5 Vesna Pavlović’s second book, Stagecraft, is set to be released March 2021. Vesna Pavlović: Stagecraft features four extensive bodies of the photographer’s work, spanning from the early 2000s to today—photographs of the Yugoslav socialist modernist hotel spaces from her internationally recognized series “Hotels”; photographs of the ceremonial space of the Yugoslav Presidential Palace in Belgrade from the series “Collection/Kolekcija” and the recent “Fabrics of Socialism” and “Sites of Memory” series exploring the archives of the Museum of Yugoslav History. It is available for preorder via Vanderbilt University Press.

Image courtesy of Vesna Pavlović

6 Pete Schulte recently completed a wall drawing at The Lamar Dodd School of Art at The University of Georgia through their program Wall Works. Wall Works is a program at the Dodd Galleries that invites an individual artist to create a semester long, site-specific wall installation in the Plaza Gallery.

Pete Schulte’s, Untitled (Plaza), is an installation comprised of two wall drawings that exist as simultaneity – as twins and opposites. The installation is on view through May 2021. Visit Schulte’s instagram for more images.


Each wall drawing is 10 x 10 feet and created with latex paint

Images courtesy of The Dodd Galleries


7 Elizabeth Lide’s exhibition DRAWN ends Saturday, January 23 at 5 pm. To view more images from the exhibition please visit Lide’s newly updated website as well as our online viewing rooms.

Image courtesy of Elizabeth Lide,  Image taken by Mike Jensen

Review of Looming Chaos by Zipporah Camille Thompson at Zuckerman

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

February 18, 2020
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
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