Atlanta
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.
Charmaine Minniefield:
Indigo Prayers: A Creation Story
What’s Love Got to Do with It? What Is Left Unspoken, Love
Because the Sky Will Be Filled With Sulfur—Jeremy Bolen
Pearl Cleage: Fragile Bodies on a Fragile Planet
The thing that strikes me more and more as I get older is how we spend so much time and energy and bluster building cities, having wars, dominating and insulting each other, when all the time, we are living inside these fragile bodies that have to exist on a fragile planet in the company of other fragile beings and unknown viruses.
Curtis Patterson: A Monument Maker Gets His Due
Melissa Messina, the show’s curator, speaks with Patterson about teaching, monuments to civil rights leaders, and his current studio practice, on the occasion of the artist’s first commercial gallery exhibition.
a rope, pulled
Katherine Jentleson: Whose History of American Art?
Katherine Jentleson and Logan Lockner reflect on the creation of two concurrent exhibitions at the High Museum of Art—”Really Free: The Radical Art of Nellie Mae Rowe and “Gatecrashers: The Rise of the Self-Taught Artist in America.”