Atlanta
Bump and Grind / Search and Destroy
Let It Flow—Hannah Palmer’s Reimagined Atlanta
Three Case Studies in Ecological Protest
Kelly Taylor Mitchell: Masking Practice
Making Time: Mildred Thompson’s Magnetic Fields
The Eyes Were Always on Us
Cornell Labs Panama Fruit Feeder Cam at Canopy Lodge
The Fruit Feeder can be viewed as a kind of durational performance art. Its participants may be unaware of their roles, but they perform their daily dramas nevertheless. Fights between peckish birds over the best bit of mango or the prime perch on a branch often rattle the otherwise tranquil setting. The overwhelming growth and decay of the surrounding forest and the exhausting, relentless tussle between life and death infuse the scene with a kind of madness
Krista Clark — After Barkley
Even Clark’s techniques appear to be sly allusions that further enmesh her suite of references. In many of her works on paper, such as Play 1, Verse 1, the artist has created a subtle layering of paper through cutting and ripping—terms also used to label maneuvers in basketball.
Fuego Nuevo —Sergio Suárez
Through a combination of printmaking, ceramics, and installation, Sergio Suárez uses distinct traditional techniques to assemble a visual language, one that examines the fusion, impermanence, and consistency of objects, images, and structures. The exhibition is framed by the Meso-American, post-classical-period ceremony Fuego Nuevo (New Fire)—a ritual enacted every 52 years to ensure that the sun would return, thus staving off the end of the world.