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  string(4663) "Televised sporting events are among the most viewed broadcasts in the nation, complete with crowds of impassioned fans. With so many eyes on the players, it’s common for successful athletes to become household names, many being idolized by the general public. A select few athletes have recognized their level of influence and visibility, using their stature as a platform to create real societal change both on and off the field. The National Center for Civil and Human Rights traveling exhibit Breaking Barriers: Sports for Change, currently in Atlanta, seeks to pay tribute to such individuals and their contributions to social justice.

The National Center for Civil and Human Rights has partnered with ESPN in the creation of the exhibit, with the goal of examining the multiple intersections of human rights and sports throughout time. Breaking Barriers: Sports for Change debuted in Atlanta, but has made its way across the country, finding temporary homes in places like Tampa, Los Angeles, and the ESPN Headquarters in Bristol, Connecticut. The installation was expanded and tweaked at each stop along its journey, purposely finding its way back to Atlanta before the Super Bowl, certainly the biggest sporting event of the year.

“Our goal is to inspire folks who visit to find their voice and to see how sports can play a unique role in creating equity and acceptance,” says Ryan Roemerman, director of the National Center for Civil and Human Rights’ LGBTQ Institute and senior strategist. “People will be able to visit the center and learn more about the civil and human rights movements in general, but also see how sports can play a role in creating change.”

Breaking Barriers: Sports for Change’s return to Atlanta is more than just an attempt to increase its visibility with the those in town for the Super Bowl. The exhibit is as much a celebration of the city and its history of civil rights and social progress as it is of the athletes featured in the exhibit. The fight for justice mirrors Atlanta’s own significance and contribution to the Civil Rights Movement.

“The city of Atlanta is a place where the modern civil rights movement was born and that is something that we pride ourselves on,” Roemerman says. “The city understands that the fight for civil rights started here but it’s not over. It’s far from over. A lot of folks think of the Civil and Human rights movements through marches and things like that, and that is true, but I think the exhibit helps people understand that YOU can fight for civil and human rights and equity for all through a variety of platforms. We see that now more than ever.”

Legendary athletes Muhammad Ali, Jackie Robinson, and Billie Jean King, are some of those honored in the exhibit for their roles in advancing desegregation and minimizing gender disparity, but some contemporary sports personalities are given a spotlight as well. Bronze medalist fencer Ibtihaj Muhammad, the first Muslim American woman to compete wearing a hijab as well as the first Muslim American to be awarded an olympic medal, is one of the currently active athletes to receive recognition for her contributions to religious equality. African American women’s tennis player and gold medalist Venus Williams is featured as well for her representing black women as top athletic contenders.

While Breaking Barriers: Sports for Change celebrates the progress we’ve made as a society and the individuals that have done their part in fighting for justice, there’s still a long way to go. The recent harassment of Native American veteran Nathan Phillips during the 2019 Indigenous People’s March is off the court evidence of this. The National Center for Civil and Human Rights hopes that people find inspiration from the exhibit, and that they can continue the legacy started by these competitors.

“There’s always room for growth in terms of equity, even among current players,” Roemerman says. “At our launch the other night, we had Patricio Manuel, who is an American professional boxer and also the first transgender boxer in history to participate in a professional fight. Today you can see people challenging the concept of what someone who wants to play sports should be and has to be. People are really going to respond to that. As more folks use their platform as a way to educate, I can only hope sports becomes a more equitable place for all.”

The exhibit runs through March 29. Admission to the National Center for Civil and Human Rights is free through the end of February in celebration of Black History Month, courtesy of the Coca-Cola Foundation."
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  string(4687) "Televised sporting events are among the most viewed broadcasts in the nation, complete with crowds of impassioned fans. With so many eyes on the players, it’s common for successful athletes to become household names, many being idolized by the general public. A select few athletes have recognized their level of influence and visibility, using their stature as a platform to create real societal change both on and off the field. The National Center for Civil and Human Rights traveling exhibit ''Breaking Barriers: Sports for Change'', currently in Atlanta, seeks to pay tribute to such individuals and their contributions to social justice.

The National Center for Civil and Human Rights has partnered with ESPN in the creation of the exhibit, with the goal of examining the multiple intersections of human rights and sports throughout time. ''Breaking Barriers: Sports for Change'' debuted in Atlanta, but has made its way across the country, finding temporary homes in places like Tampa, Los Angeles, and the ESPN Headquarters in Bristol, Connecticut. The installation was expanded and tweaked at each stop along its journey, purposely finding its way back to Atlanta before the Super Bowl, certainly the biggest sporting event of the year.

“Our goal is to inspire folks who visit to find their voice and to see how sports can play a unique role in creating equity and acceptance,” says Ryan Roemerman, director of the National Center for Civil and Human Rights’ LGBTQ Institute and senior strategist. “People will be able to visit the center and learn more about the civil and human rights movements in general, but also see how sports can play a role in creating change.”

''Breaking Barriers: Sports for Change''’s return to Atlanta is more than just an attempt to increase its visibility with the those in town for the Super Bowl. The exhibit is as much a celebration of the city and its history of civil rights and social progress as it is of the athletes featured in the exhibit. The fight for justice mirrors Atlanta’s own significance and contribution to the Civil Rights Movement.

“The city of Atlanta is a place where the modern civil rights movement was born and that is something that we pride ourselves on,” Roemerman says. “The city understands that the fight for civil rights started here but it’s not over. It’s far from over. A lot of folks think of the Civil and Human rights movements through marches and things like that, and that is true, but I think the exhibit helps people understand that __YOU__ can fight for civil and human rights and equity for all through a variety of platforms. We see that now more than ever.”

Legendary athletes Muhammad Ali, Jackie Robinson, and Billie Jean King, are some of those honored in the exhibit for their roles in advancing desegregation and minimizing gender disparity, but some contemporary sports personalities are given a spotlight as well. Bronze medalist fencer Ibtihaj Muhammad, the first Muslim American woman to compete wearing a hijab as well as the first Muslim American to be awarded an olympic medal, is one of the currently active athletes to receive recognition for her contributions to religious equality. African American women’s tennis player and gold medalist Venus Williams is featured as well for her representing black women as top athletic contenders.

While ''Breaking Barriers: Sports for Change'' celebrates the progress we’ve made as a society and the individuals that have done their part in fighting for justice, there’s still a long way to go. The recent harassment of Native American veteran Nathan Phillips during the 2019 Indigenous People’s March is off the court evidence of this. The National Center for Civil and Human Rights hopes that people find inspiration from the exhibit, and that they can continue the legacy started by these competitors.

“There’s always room for growth in terms of equity, even among current players,” Roemerman says. “At our launch the other night, we had Patricio Manuel, who is an American professional boxer and also the first transgender boxer in history to participate in a professional fight. Today you can see people challenging the concept of what someone who wants to play sports should be and has to be. People are really going to respond to that. As more folks use their platform as a way to educate, I can only hope sports becomes a more equitable place for all.”

''The exhibit runs through March 29. Admission to the National Center for Civil and Human Rights is free through the end of February in celebration of Black History Month, courtesy of the Coca-Cola Foundation.''"
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  string(5345) " Boxer  2019-02-14T22:20:43+00:00 boxer.jpg    you might want to reconsider the claim about justin smollett.  National Center for Civil and Human Rights team up with ESPN to show how sports can play a role in creating peace and acceptance Boxer   2019-02-14T22:16:35+00:00  ‘Breaking Barriers: Sports for Change’ seeks equity for all will.cardwell Will Cardwell Will Cardwell  2019-02-14T22:16:35+00:00 Televised sporting events are among the most viewed broadcasts in the nation, complete with crowds of impassioned fans. With so many eyes on the players, it’s common for successful athletes to become household names, many being idolized by the general public. A select few athletes have recognized their level of influence and visibility, using their stature as a platform to create real societal change both on and off the field. The National Center for Civil and Human Rights traveling exhibit Breaking Barriers: Sports for Change, currently in Atlanta, seeks to pay tribute to such individuals and their contributions to social justice.

The National Center for Civil and Human Rights has partnered with ESPN in the creation of the exhibit, with the goal of examining the multiple intersections of human rights and sports throughout time. Breaking Barriers: Sports for Change debuted in Atlanta, but has made its way across the country, finding temporary homes in places like Tampa, Los Angeles, and the ESPN Headquarters in Bristol, Connecticut. The installation was expanded and tweaked at each stop along its journey, purposely finding its way back to Atlanta before the Super Bowl, certainly the biggest sporting event of the year.

“Our goal is to inspire folks who visit to find their voice and to see how sports can play a unique role in creating equity and acceptance,” says Ryan Roemerman, director of the National Center for Civil and Human Rights’ LGBTQ Institute and senior strategist. “People will be able to visit the center and learn more about the civil and human rights movements in general, but also see how sports can play a role in creating change.”

Breaking Barriers: Sports for Change’s return to Atlanta is more than just an attempt to increase its visibility with the those in town for the Super Bowl. The exhibit is as much a celebration of the city and its history of civil rights and social progress as it is of the athletes featured in the exhibit. The fight for justice mirrors Atlanta’s own significance and contribution to the Civil Rights Movement.

“The city of Atlanta is a place where the modern civil rights movement was born and that is something that we pride ourselves on,” Roemerman says. “The city understands that the fight for civil rights started here but it’s not over. It’s far from over. A lot of folks think of the Civil and Human rights movements through marches and things like that, and that is true, but I think the exhibit helps people understand that YOU can fight for civil and human rights and equity for all through a variety of platforms. We see that now more than ever.”

Legendary athletes Muhammad Ali, Jackie Robinson, and Billie Jean King, are some of those honored in the exhibit for their roles in advancing desegregation and minimizing gender disparity, but some contemporary sports personalities are given a spotlight as well. Bronze medalist fencer Ibtihaj Muhammad, the first Muslim American woman to compete wearing a hijab as well as the first Muslim American to be awarded an olympic medal, is one of the currently active athletes to receive recognition for her contributions to religious equality. African American women’s tennis player and gold medalist Venus Williams is featured as well for her representing black women as top athletic contenders.

While Breaking Barriers: Sports for Change celebrates the progress we’ve made as a society and the individuals that have done their part in fighting for justice, there’s still a long way to go. The recent harassment of Native American veteran Nathan Phillips during the 2019 Indigenous People’s March is off the court evidence of this. The National Center for Civil and Human Rights hopes that people find inspiration from the exhibit, and that they can continue the legacy started by these competitors.

“There’s always room for growth in terms of equity, even among current players,” Roemerman says. “At our launch the other night, we had Patricio Manuel, who is an American professional boxer and also the first transgender boxer in history to participate in a professional fight. Today you can see people challenging the concept of what someone who wants to play sports should be and has to be. People are really going to respond to that. As more folks use their platform as a way to educate, I can only hope sports becomes a more equitable place for all.”

The exhibit runs through March 29. Admission to the National Center for Civil and Human Rights is free through the end of February in celebration of Black History Month, courtesy of the Coca-Cola Foundation.    Courtesy of National Center for Civil and Human Rights PUT ‘EM UP: Transgender boxer Patricio Manuel is one of many athletes who continues to redefine what athletes should be.                              ‘Breaking Barriers: Sports for Change’ seeks equity for all "
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  string(6464) "Activism and the arts. Are the two ever really separate? Whether reflecting what is, what could be, or what should be, isn’t art, at its best, a means of communication? A way to arouse emotions and to galvanize viewers to action? Yes, art is a means of escape, but also a contemplation of our current reality.

This Sunday, January 13, We Are March On Georgia, Art + Activism – Women’s Caucus For Art of Georgia, and The Bakery Atlanta will be hosting “The Art of Protest Workshop” at the arts and entertainment venue, 825 Warner Street, to not only discuss art and its role in activism, but for participants to create their own advocacy artwork to be used in the March On to 2020! women’s march in Atlanta on the BeltLine, January 19, and in the 2019 Martin Luther King Jr. Day parade, taking place this year on January 21.

On The Bakery Atlanta’s Facebook page, the workshop, which runs from 2 p.m. to 4 p.m., is described as including “a breakdown of what Protest Art means and how to conceptualize it.” At a time in these United States, when protests — and protest art — are needed now perhaps more than at any other time in our nation’s history, the afternoon session promises to be an enlightening and invigorating discussion. Emily M. Getsay, the first queer person and the youngest to be elected as president of the Georgia chapter of the Women’s Caucus for Art, will partner with Gloria Moore, March On to 2020 and March on the Polls coordinator; Anne Rowles, co-founder of the Women’s Caucus for Art of Georgia (which is affiliated with the National Women’s Caucus for Art); WCAGA Vice President Chelsea Hoag; and Le’Dor Milteer, who will be singing at the March On to 2020; along with other members and constituents of the March and Atlanta resistance movements.

Creative Loafing: How long have you been involved with the Women’s Caucus for Art of Georgia?

Emily M. Getsay: I joined the Women’s Caucus for Art of Georgia in 2016. My first show as a member was “Artists Against Modern Day Slavery” at Mammal Gallery. It became an annual exhibition curated by our Art + Activism Committee. This year’s event will take place at the Shambhala Center in Decatur on Saturday, January 19 at 7 p.m. In 2017, I became the chair of our Art + Activism Committee and became the president of WCAGA in January 2018.

Does your interest in working with WCAGA stem from being an artist, or are you more focused on resistance movements?

As a conceptual artist, my work often portrays different elements of resistance and advocacy. My purpose as an artist is not only to mobilize other artists and marginalized voices through my art but also to create work that inspires other artists to do the same. The Caucus brought all of those elements together. As the president, I feel that I’m making the impact I’ve always wanted.

Do you see art as a means of drawing people into resistance and protest movements who might otherwise not give such movements a second thought?

Art serves as a connector. As humans, we are all connected in one way or another. Art serves as a way for people to remember that about ourselves.

Will the workshop focus on art in broader terms? Or is this more about the art of the protest sign in a march or demonstration situation and how to best get your message across?

The workshop will explore examples of my earlier work as an artist and the progression of my work in order to ignite a movement. It will also express the different elements for which attendees can fight as artists while protesting outside of physically participating in rallies and marches.

For example, my piece “Why Aren’t you Fighting?” [the workshop background image] explores my own space within protesting. We all have a part in the movements because we are all human. If one group is suffering, we are all suffering. Until we all have rights, none of us can stop fighting. This piece explores that space between finding your identity and fighting for others even if you as a person don’t specifically reflect those spaces that need fighting.

An “Art of Protest Exhibition,” in which the work of many of the participants of The Art of Protest workshop will be eligible, is also scheduled to take place, following the March to 2020 Rally on January 19 and the MLK Day parade on January 21. When and where will this exhibit be held?

The Exhibit will follow the March On to 2020 and take place on February 4 for one night only at The Bakery in southwest Atlanta. Those who participate in the “Art of Protest Workshop” will be granted a spot in the show. All artists are able to submit work as long as it is within the limitations. The show will be salon style and free to the public.

A portion of the proceeds from the exhibition will go to supporting the muralists covering up the Squishiepuss work throughout Atlanta. We will also be taking donations for these artists at the door.

Smoking allowed dept. ... The Earl continues to celebrate its twentieth anniversary this weekend. Rightly so. It’s no easy feat for a club booking rock ’n’ roll bands to stay open for any length of time, much less for two decades. When the restaurant/lounge/performance venue first opened its doors at 488 Flat Shoals Avenue, it, along with the Echo Lounge, were pioneers of East Atlanta Village, then just becoming another viable Atlanta nightlife district, especially for those believing Little Five Points was becoming too commercial for their alternative tastes. First booking local and regional bands, owner John Searson started including national touring acts, with the demise of the Echo Lounge. The mix of such bands, along with the restaurant’s sizable and tasty menu, along with Sunday theme brunches, cemented the Earl’s popularity and draw. Of the hundreds of acts to perform on the backroom stage, it’s hard to name a favorite show, but the Batusis with Sylvain Sylvain and Cheetah Chrome will always remain a favorite. The party continues through the weekend, though I wouldn’t say the celebration is capped off until Wednesday, January 16, when Jon Spencer and the Hitmakers and Subsonics take the stage.

Not only for book readers dept. ... The line-up for the Amplify Decatur Music Festival 2019 has been announced. Taking the Decatur Square stage April 13 will be Mavis Staples, Jeff Tweedy (Wilco), Kevn Kinney (Drivin N Cryin), and the Bitteroots."
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This Sunday, January 13, [https://www.facebook.com/wearemarchongeorgia/?tn-str=k*F|We Are March On Georgia], [https://www.facebook.com/art.activism.wcaga/|Art + Activism – Women’s Caucus For Art of Georgia], and [https://thebakeryatlanta.com|The Bakery Atlanta] will be hosting “[https://www.facebook.com/events/357060961774765/|The Art of Protest Workshop]” at the arts and entertainment venue, 825 Warner Street, to not only discuss art and its role in activism, but for participants to create their own advocacy artwork to be used in the March On to 2020! women’s march in Atlanta on the BeltLine, January 19, and in the 2019 Martin Luther King Jr. Day parade, taking place this year on January 21.

On The Bakery Atlanta’s Facebook page, the workshop, which runs from 2 p.m. to 4 p.m., is described as including “a breakdown of what Protest Art means and how to conceptualize it.” At a time in these United States, when protests — and protest art — are needed now perhaps more than at any other time in our nation’s history, the afternoon session promises to be an enlightening and invigorating discussion. Emily M. Getsay, the first queer person and the youngest to be elected as president of the Georgia chapter of the Women’s Caucus for Art, will partner with Gloria Moore, March On to 2020 and March on the Polls coordinator; Anne Rowles, co-founder of the Women’s Caucus for Art of Georgia (which is affiliated with the [https://nationalwca.org/|National Women’s Caucus for Art]); WCAGA Vice President Chelsea Hoag; and Le’Dor Milteer, who will be singing at the March On to 2020; along with other members and constituents of the March and Atlanta resistance movements.

__''Creative Loafing'': How long have you been involved with the Women’s Caucus for Art of Georgia?__

Emily M. Getsay: I joined the Women’s Caucus for Art of Georgia in 2016. My first show as a member was “__[http://cp.wabe.org/post/womens-caucus-art-curates-exhibit-human-trafficking|Artists Against Modern Day Slavery]__” at Mammal Gallery. It became an annual exhibition curated by our Art + Activism Committee. This year’s [https://www.facebook.com/events/391257248287185/|event] will take place at the Shambhala Center in Decatur on Saturday, January 19 at 7 p.m. In 2017, I became the chair of our Art + Activism Committee and became the president of WCAGA in January 2018.

__Does your interest in working with WCAGA stem from being an artist, or are you more focused on resistance movements?__

As a conceptual artist, my work often portrays different elements of resistance and advocacy. My purpose as an artist is not only to mobilize other artists and marginalized voices through my art but also to create work that inspires other artists to do the same. The Caucus brought all of those elements together. As the president, I feel that I’m making the impact I’ve always wanted.

__Do you see art as a means of drawing people into resistance and protest movements who might otherwise not give such movements a second thought?__

Art serves as a connector. As humans, we are all connected in one way or another. Art serves as a way for people to remember that about ourselves.

__Will the workshop focus on art in broader terms? Or is this more about the art of the protest sign in a march or demonstration situation and how to best get your message across?__

The workshop will explore examples of my earlier work as an artist and the progression of my work in order to ignite a movement. It will also express the different elements for which attendees can fight as artists while protesting outside of physically participating in rallies and marches.

For example, my piece “Why Aren’t you Fighting?” [[the workshop background image] explores my own space within protesting. We all have a part in the movements because we are all human. If one group is suffering, we are all suffering. Until we all have rights, none of us can stop fighting. This piece explores that space between finding your identity and fighting for others even if you as a person don’t specifically reflect those spaces that need fighting.

__An “Art of Protest Exhibition,” in which the work of many of the participants of The Art of Protest workshop will be eligible, is also scheduled to take place, following the March to 2020 Rally on January 19 and the MLK Day parade on January 21. When and where will this exhibit be held?__

[https://www.facebook.com/events/2228238687445928/|The Exhibit] will follow the March On to 2020 and take place on February 4 for one night only at The Bakery in southwest Atlanta. Those who participate in the “Art of Protest Workshop” will be granted a spot in the show. All artists are able to submit work as long as it is within the limitations. The show will be salon style and free to the public.

A portion of the proceeds from the exhibition will go to supporting the muralists covering up the Squishiepuss work throughout Atlanta. We will also be taking donations for these artists at the door.

__Smoking allowed dept. ...__ __[http://www.badearl.com|The Earl]__ continues to celebrate its __twentieth __anniversary this weekend. Rightly so. It’s no easy feat for a club booking rock ’n’ roll bands to stay open for any length of time, much less for two decades. When the restaurant/lounge/performance venue first opened its doors at 488 Flat Shoals Avenue, it, along with the Echo Lounge, were pioneers of __East Atlanta Village__, then just becoming another viable Atlanta nightlife district, especially for those believing Little Five Points was becoming too commercial for their alternative tastes. First booking local and regional bands, owner __John Searson__ started including national touring acts, with the demise of the Echo Lounge. The mix of such bands, along with the restaurant’s sizable and tasty menu, along with Sunday theme brunches, cemented the Earl’s popularity and draw. Of the hundreds of acts to perform on the backroom stage, it’s hard to name a favorite show, but the __Batusis__ with __Sylvain Sylvain__ and __Cheetah Chrome__ will always remain a favorite. The party continues through the weekend, though I wouldn’t say the celebration is capped off until Wednesday, January 16, when __Jon Spencer and the Hitmakers__ and __Subsonics__ take the stage.

__Not only for book readers dept. ...__ The line-up for the __[https://www.amplifydecatur.org|Amplify Decatur]__ Music Festival 2019 has been announced. Taking the Decatur Square stage April 13 will be __Mavis Staples__, __Jeff Tweedy__ (Wilco), __Kevn Kinney__ (Drivin N Cryin), and the __Bitteroots__."
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  string(6948) " EmGetsay  2019-01-12T22:31:02+00:00 EmGetsay.png      Artist Emily M. Getsay, others, to discuss resistance art EmGetsay   2019-01-17T22:58:00+00:00  HIGH FREQUENCIES: Activism and the arts at the Bakery tony.paris Tony Paris TONY PARIS tony.paris (Tony Paris) 2019-01-17T22:58:00+00:00 Activism and the arts. Are the two ever really separate? Whether reflecting what is, what could be, or what should be, isn’t art, at its best, a means of communication? A way to arouse emotions and to galvanize viewers to action? Yes, art is a means of escape, but also a contemplation of our current reality.

This Sunday, January 13, We Are March On Georgia, Art + Activism – Women’s Caucus For Art of Georgia, and The Bakery Atlanta will be hosting “The Art of Protest Workshop” at the arts and entertainment venue, 825 Warner Street, to not only discuss art and its role in activism, but for participants to create their own advocacy artwork to be used in the March On to 2020! women’s march in Atlanta on the BeltLine, January 19, and in the 2019 Martin Luther King Jr. Day parade, taking place this year on January 21.

On The Bakery Atlanta’s Facebook page, the workshop, which runs from 2 p.m. to 4 p.m., is described as including “a breakdown of what Protest Art means and how to conceptualize it.” At a time in these United States, when protests — and protest art — are needed now perhaps more than at any other time in our nation’s history, the afternoon session promises to be an enlightening and invigorating discussion. Emily M. Getsay, the first queer person and the youngest to be elected as president of the Georgia chapter of the Women’s Caucus for Art, will partner with Gloria Moore, March On to 2020 and March on the Polls coordinator; Anne Rowles, co-founder of the Women’s Caucus for Art of Georgia (which is affiliated with the National Women’s Caucus for Art); WCAGA Vice President Chelsea Hoag; and Le’Dor Milteer, who will be singing at the March On to 2020; along with other members and constituents of the March and Atlanta resistance movements.

Creative Loafing: How long have you been involved with the Women’s Caucus for Art of Georgia?

Emily M. Getsay: I joined the Women’s Caucus for Art of Georgia in 2016. My first show as a member was “Artists Against Modern Day Slavery” at Mammal Gallery. It became an annual exhibition curated by our Art + Activism Committee. This year’s event will take place at the Shambhala Center in Decatur on Saturday, January 19 at 7 p.m. In 2017, I became the chair of our Art + Activism Committee and became the president of WCAGA in January 2018.

Does your interest in working with WCAGA stem from being an artist, or are you more focused on resistance movements?

As a conceptual artist, my work often portrays different elements of resistance and advocacy. My purpose as an artist is not only to mobilize other artists and marginalized voices through my art but also to create work that inspires other artists to do the same. The Caucus brought all of those elements together. As the president, I feel that I’m making the impact I’ve always wanted.

Do you see art as a means of drawing people into resistance and protest movements who might otherwise not give such movements a second thought?

Art serves as a connector. As humans, we are all connected in one way or another. Art serves as a way for people to remember that about ourselves.

Will the workshop focus on art in broader terms? Or is this more about the art of the protest sign in a march or demonstration situation and how to best get your message across?

The workshop will explore examples of my earlier work as an artist and the progression of my work in order to ignite a movement. It will also express the different elements for which attendees can fight as artists while protesting outside of physically participating in rallies and marches.

For example, my piece “Why Aren’t you Fighting?” [the workshop background image] explores my own space within protesting. We all have a part in the movements because we are all human. If one group is suffering, we are all suffering. Until we all have rights, none of us can stop fighting. This piece explores that space between finding your identity and fighting for others even if you as a person don’t specifically reflect those spaces that need fighting.

An “Art of Protest Exhibition,” in which the work of many of the participants of The Art of Protest workshop will be eligible, is also scheduled to take place, following the March to 2020 Rally on January 19 and the MLK Day parade on January 21. When and where will this exhibit be held?

The Exhibit will follow the March On to 2020 and take place on February 4 for one night only at The Bakery in southwest Atlanta. Those who participate in the “Art of Protest Workshop” will be granted a spot in the show. All artists are able to submit work as long as it is within the limitations. The show will be salon style and free to the public.

A portion of the proceeds from the exhibition will go to supporting the muralists covering up the Squishiepuss work throughout Atlanta. We will also be taking donations for these artists at the door.

Smoking allowed dept. ... The Earl continues to celebrate its twentieth anniversary this weekend. Rightly so. It’s no easy feat for a club booking rock ’n’ roll bands to stay open for any length of time, much less for two decades. When the restaurant/lounge/performance venue first opened its doors at 488 Flat Shoals Avenue, it, along with the Echo Lounge, were pioneers of East Atlanta Village, then just becoming another viable Atlanta nightlife district, especially for those believing Little Five Points was becoming too commercial for their alternative tastes. First booking local and regional bands, owner John Searson started including national touring acts, with the demise of the Echo Lounge. The mix of such bands, along with the restaurant’s sizable and tasty menu, along with Sunday theme brunches, cemented the Earl’s popularity and draw. Of the hundreds of acts to perform on the backroom stage, it’s hard to name a favorite show, but the Batusis with Sylvain Sylvain and Cheetah Chrome will always remain a favorite. The party continues through the weekend, though I wouldn’t say the celebration is capped off until Wednesday, January 16, when Jon Spencer and the Hitmakers and Subsonics take the stage.

Not only for book readers dept. ... The line-up for the Amplify Decatur Music Festival 2019 has been announced. Taking the Decatur Square stage April 13 will be Mavis Staples, Jeff Tweedy (Wilco), Kevn Kinney (Drivin N Cryin), and the Bitteroots.    COURTESY OF THE ARTIST WHY AREN’T YOU FIGHTING?: Lustre print by Emily M. Getsay, 2017, 4 ft. X 3 ft.                             HIGH FREQUENCIES: Activism and the arts at the Bakery "
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This Friday, January 11, saxophonist Marquinn Mason's post bop trio provides the jams. Mason has a nice thick tone reminiscent of Sonny Rolllins, while drummer and lap steel player Kenneth Murray, and bassist Daniel Bailey (Faun and a Pan Flute) function as an active, engaging rhythm section in the vein of Ed Blackwell and Charlie Haden. Mason and Murray have played together in larger groups such as Kebbi Williams' Wolfpack ATL, but this is a nice chance to see these musicians pared down to a trio, performing a completely improvised set.

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''[http://elliottstreet.com/events/|Free. Fri., Jan. 11. 9 p.m. Elliott Street Pub, 51 Elliott Street SW, Atlanta. (404) 523-2174.]''"
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Free. Fri., Jan. 11. 9 p.m. Elliott Street Pub, 51 Elliott Street SW, Atlanta. (404) 523-2174.    Omar Khalid POWER TRIO: Marquinn Mason (from left), Daniel Bailey, and Kenneth Murray                             Quinn Masonry Trio plays Elliott Street Jan. 11 "
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  string(148) "Days before the opening of Squishieland, a would-be art gallery and event space by Atlanta-based artist Ray Geier, texts and tweets of abuse surface"
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  string(148) "Days before the opening of Squishieland, a would-be art gallery and event space by Atlanta-based artist Ray Geier, texts and tweets of abuse surface"
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  string(6864) "You’ve probably seen the pink, octopus-like French bulldog creature painted on buildings all over town. You may even be a fan. But what if the creator of that cute squishy face turned out to be concealing an unexpectedly dark persona? That’s what folks are currently asking about Ray Geier, the artist also known as Squishiepuss, after extremely alarming sexual harassment allegations against him have surfaced.

Geier popped up in the Atlanta art scene around 2012 and quickly made a name for himself with his stylized cartoons of a French bulldog with an octopus body, a signature character that eventually gathered an enthusiastic following. On his website, Geier sold everything from enameled pins to skateboards to handpainted portraits — most featuring the bulldog’s memorable pink coat and pop eyes. Most recently, Geier planned to open a free art gallery and event space  to be called Squishieland, set to open January 12.

Late Thursday evening, January 3, on Facebook, a flood of allegations poured in, many echoing this one from an Atlanta Facebook user: "After hearing from dozens of women that this Ray Fella thinks it's funny to joke about rape and aids [sic], be super abusive to women. Sleep on this artist, his gallery, his events. There are more talented artists in our city. I'm not one to jump on the call-out culture but you just don't have literally dozens of women come forward over the course of a few hours over misunderstandings. Ray, your behavior isn't acceptable.”



The allegations, which go as far as alleged pedophilia, include screenshots of Geier’s revenge porn, targeting those who rejected him sexually. These disturbing screenshots were made public by Atlanta artist and alleged victim Aliya Smith, who, when asked why she felt it important to go public, forwarded Creative Loafing this statement.

“This has been whispered around Atlanta, especially though the art scene, and especially among women, for years,” says Smith, who claims she tried to warn people about her experiences with Geier over a year ago. “I’d had a couple of uncomfortable interactions with him by that point and he made sexual comments about photos of mine that made me deeply uncomfortable."

As it turned out, Smith's experience was tame in comparison with that of others who began to speak out.

“On NYE 2018, [Kayleen] Scott posted some screenshots from Geier’s old Twitter account, “rayspitsongirls,” to her Instagram story and texted them to me out of anger after finding them,” Smith’s statement continues. “We both decided it was time to stop whispering and start speaking, yelling. A few days later, I posted them to my IG story. I posted anonymous accounts I had received along with my own because I wanted [Geier] to stop harassing people. I didn’t know how deep it went. In just 24 hours I received hundreds of messages, about 40 or so of which were claims of [alleged] harassment, assault, revenge porn, as well as talk of underage girls. Then Kayleen and I thought about the gallery he was going to open and we got so scared about the vulnerable young women it could bring in. When Kayleen started warning people about this, it was purely out of protection. When we [posted the screenshots] this week, it was out of the same motive. The city shouldn’t support anything [given] the claims we’ve received. And it seems like the city agrees.

“We’ve of course received backlash from people who think this is a conspiracy or a trend of some sort," added Smith, "but the overwhelming support for victims has been amazing.”

Atlanta artist and Facet Gallery owner, Peter Ferrari, also posted concerns involving Geier, just days before Geier was set to open a new retail, event, and art gallery in Grant Park’s latest development, The Beacon Atlanta. When CL reached out to Ferrari regarding the timing of his posts, he confirmed Smith’s statement and added his own take on Geier’s place in Atlanta’s art community, particularly regarding Kayleen Scott, who is also Ferrari’s girlfriend.

“I’ve avoided and actively ignored Ray for several years now. He said really inappropriate things to my girlfriend (artist Kayleen Scott), so I knew he was a creep and possibly worse. It was something shared privately, but often ignored. A friend sent me his video regarding Squishieland. I was immediately skeptical, as it seemed tailor-made to give him access to impressionable artists looking to break into the scene. I made a post on my story about artists being skeptical of those claiming to “support the arts” while simultaneously creeping on young women. I did not name Ray in the post. Afterwards I was contacted by a woman who immediately knew who I was referring to. She told me about his old twitter handle, @rayspitsongirls [since deleted] and I Googled it. We saw all the tweets. My girlfriend was furious. It brought back years of anger and trauma that she had pushed down. She posted the tweets to her private Instagram and shared her experiences with Ray. Another woman asked if she could share on her public page and see if others had the same experience. Once she did, she was inundated with dozens of accounts from women alleging inappropriate behavior from Ray. From there, it took off, resulting in his outing as an [alleged] serial mistreater of women and girls in the arts community. The timing was not a coincidence. His opening/gallery brought back trauma and grief to the victims that could not be suppressed. There was a risk to our community that couldn’t be ignored any longer,” Ferrari concluded.

Regardless of who leaked the first tweet, the furor has leveled Geier’s standing and created a significant threat to his career. When contacted by Creative Loafing for a comment on Friday, January 4, Geier responded, "I'm still trying to figure out between ignoring it or making a video / podcast addressing it. so that nothing gets misconstrued. ... That's why I haven't commented, yet. I'm listening." While not getting back to CL directly, Geier finally took to social media Saturday morning [January 5], posting a video saying, “I’m ashamed and embarrassed.” More than 500 commenters reacted negatively, agreeing that the video was hardly a remorseful apology.

Within hours, the video and the artist’s social media presence was scrubbed from the internet. Businesses across Atlanta, such as Home Grown GA and Hodgepodge Coffeehouse, were quick to remove all traces of Squishiepuss art.

The Beacon Atlanta issued a statement saying they’ve ended their lease agreement with Geier and he will no longer be a tenant. Click here to read the full statement by The Beacon Atlanta.

Editor's note: This article has been edited since its original publication to more accurately report the story. "
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Geier popped up in the Atlanta art scene around 2012 and quickly made a name for himself with his stylized cartoons of a French bulldog with an octopus body, a signature character that eventually gathered an enthusiastic following. On his website, Geier sold everything from enameled pins to skateboards to handpainted portraits — most featuring the bulldog’s memorable pink coat and pop eyes. Most recently, Geier planned to open a free art gallery and event space  to be called Squishieland, set to open January 12.

Late Thursday evening, January 3, on Facebook, a flood of allegations poured in, many echoing this one from an Atlanta Facebook user: "After hearing from dozens of women that this Ray Fella thinks it's funny to joke about rape and aids [[sic], be super abusive to women. Sleep on this artist, his gallery, his events. There are more talented artists in our city. I'm not one to jump on the call-out culture but you just don't have literally dozens of women come forward over the course of a few hours over misunderstandings. Ray, your behavior isn't acceptable.”

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The allegations, which go as far as alleged pedophilia, include screenshots of Geier’s revenge porn, targeting those who rejected him sexually. [https://www.icloud.com/photos/?fbclid=IwAR3aMLEymix96Gp5-mSw3wCUEJoLT4sREO8B0oEKXEpmazo1UszicqfQfnc#05N5V4QomBsGMrNelrXcK5thQ?fbclid=IwAR3b_UHIDYUlnk9qn1seFsqPCoyU4F9RIpxcqiyquyuhN8vN1V9oLaETDgs|These disturbing screenshots ]were made public by Atlanta artist and alleged victim Aliya Smith, who, when asked why she felt it important to go public, forwarded ''Creative Loafing'' this statement.

“This has been whispered around Atlanta, especially though the art scene, and especially among women, for years,” says Smith, who claims she tried to warn people about her experiences with Geier over a year ago. “I’d had a couple of uncomfortable interactions with him by that point and he made sexual comments about photos of mine that made me deeply uncomfortable."

As it turned out, Smith's experience was tame in comparison with that of others who began to speak out.

“On NYE 2018, [[Kayleen] Scott posted some screenshots from Geier’s old Twitter account, “rayspitsongirls,” to her Instagram story and texted them to me out of anger after finding them,” Smith’s statement continues. “We both decided it was time to stop whispering and start speaking, yelling. A few days later, I posted them to my IG story. I posted anonymous accounts I had received along with my own because I wanted [[Geier] to stop harassing people. I didn’t know how deep it went. In just 24 hours I received hundreds of messages, about 40 or so of which were claims of [[alleged] harassment, assault, revenge porn, as well as talk of underage girls. Then Kayleen and I thought about the gallery he was going to open and we got so scared about the vulnerable young women it could bring in. When Kayleen started warning people about this, it was purely out of protection. When we [[posted the screenshots] this week, it was out of the same motive. The city shouldn’t support anything [[given] the claims we’ve received. And it seems like the city agrees.

“We’ve of course received backlash from people who think this is a conspiracy or a trend of some sort," added Smith, "but the overwhelming support for victims has been amazing.”

Atlanta artist and Facet Gallery owner, Peter Ferrari, also posted concerns involving Geier, just days before Geier was set to open a new retail, event, and art gallery in Grant Park’s latest development, The Beacon Atlanta. When ''CL'' reached out to Ferrari regarding the timing of his posts, he confirmed Smith’s statement and added his own take on Geier’s place in Atlanta’s art community, particularly regarding Kayleen Scott, who is also Ferrari’s girlfriend.

“I’ve avoided and actively ignored Ray for several years now. He said really inappropriate things to my girlfriend (artist Kayleen Scott), so I knew he was a creep and possibly worse. It was something shared privately, but often ignored. A friend sent me his video regarding Squishieland. I was immediately skeptical, as it seemed tailor-made to give him access to impressionable artists looking to break into the scene. I made a post on my story about artists being skeptical of those claiming to “support the arts” while simultaneously creeping on young women. I did not name Ray in the post. Afterwards I was contacted by a woman who immediately knew who I was referring to. She told me about his old twitter handle, @rayspitsongirls [[since deleted] and I Googled it. We saw all the tweets. My girlfriend was furious. It brought back years of anger and trauma that she had pushed down. She posted the tweets to her private Instagram and shared her experiences with Ray. Another woman asked if she could share on her public page and see if others had the same experience. Once she did, she was inundated with dozens of accounts from women alleging inappropriate behavior from Ray. From there, it took off, resulting in his outing as an [[alleged] serial mistreater of women and girls in the arts community. The timing was not a coincidence. His opening/gallery brought back trauma and grief to the victims that could not be suppressed. There was a risk to our community that couldn’t be ignored any longer,” Ferrari concluded.

Regardless of who leaked the first tweet, the furor has leveled Geier’s standing and created a significant threat to his career. When contacted by ''Creative Loafing'' for a comment on Friday, January 4, Geier responded, "I'm still trying to figure out between ignoring it or making a video / podcast addressing it. so that nothing gets misconstrued. ... That's why I haven't commented, yet. I'm listening." While not getting back to ''CL'' directly, Geier finally took to social media Saturday morning [[January 5], posting a video saying, “I’m ashamed and embarrassed.” More than 500 commenters reacted negatively, agreeing that the video was hardly a remorseful apology.

Within hours, the video and the artist’s social media presence was scrubbed from the internet. Businesses across Atlanta, such as Home Grown GA and Hodgepodge Coffeehouse, were quick to remove all traces of Squishiepuss art.

The Beacon Atlanta issued a statement saying they’ve ended their lease agreement with Geier and he will no longer be a tenant. Click [https://www.facebook.com/402836490189549/posts/553286755144521/|here] to read the full statement by The Beacon Atlanta.

''Editor's note: This article has been edited since its original publication to more accurately report the story.'' "
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  string(20320) " Squishiepuss2  2019-01-06T02:20:15+00:00 Squishiepuss2.png    Art crap, take-down speed would impress a PoMo’s post warhol. Hope they all heal. Interesting story, but the last paragraph of the article just trails off and feels disjointed. This is more of a comment on the writing than the story. Could be better. Thanks for talking about Ferrari’s role in this. He started this, led the charge, got this guys life destroyed judge jury executioner style, and then talked about stealing the idea on Facebook with friends. From what I see, this guy deserved a fair trial because a lot of this is fishy, but unfortunately he’s completely gone. I’ve also since heard some other guy competitors have talked about Peter [[allegedly — ''ed.''] doing something similar to them. I don't understand a word of this article as it's written in slang. There are so many gaps, so many unexplained statements that assume the reader already has vast knowledge of the Atlanta "Art" Scene (if you can call what appears to be one graffiti character 'art'). I guess you have to be young and 'hip' to get it. Now that the ball is rolling. 
Who’s going to speak out about the harassment, abuse, & bullying of free art Atlanta artists? Sadly being done by other free art artists. Woman telling other women that they don’t make enough art. Don’t live ITP. Don’t make enough drops. Turning art into burns dissing the original artist. For no reason than to be mean. It’s sad. That it’s continued for 5+ years and no one wants to talk about it. Ray is a complete douche and unoriginal artist, and I’m glad it all eventually came crashing down on him, but damn this is a really poorly written article. Do they still emphasize writing classes for journalists? For one, the end of the article just trails off Yea. I've been following Peter Ferari for a little while now and he comes off as the self righteous, self proclaimed atlanta art police. 

In the made up story in my head Peter decided to take Ray out after seeing him about to open up his own space. Peter, knowing he could use ray's inappropriate behavior to crush him. He would have used his girlfriend's experience, but that would have lead directly back to him, so they "used" that Aliya artist to get the campaign out. 

Just my guess as to how it went down. Ray's shown himself to be a horrible person who deserves to be run out of town, and potentially prosecuted. I feel terrible for all his victims and wish them the best in their healing processes.

That said: holy hell this "article" is a PoS. Typos, random bad links, an overall tone of a gossipy blog…what happened to the Loaf?! This is a serious topic that deserves serious journalism, not this crap. As of 4 am Saturday, there were over 500 comments, almost all about what a pathetic excuse of an apology it was. It didn't apologize for anything and he tried to use mental illness as an excuse. 

As an aside, where's the end of the article? It reads like a BuzzFeed article. "Here's our headline but this is basically all stuff somebody else wrote with us summing up things - inaccurately." 

Woohoo. My first-ever comment. I hope it is "overall" dope. Did you read the story? You're facts are not correct. To begin with,  I didnt leak anything and I certainly didn't "start this". This was started decades ago when Ray decided to mistreat and harass women. Your post is ridiculous. The people of Atlanta saw what was shared by his VICTIMS and took action. I amplified their message as many others have. I would also ask that you email me screenshots of this supposed conversation on FB where i "talked about stealing the idea" (what idea?) because that never happened. Please back up your anonymous claims about me and my behavior. My email is plfpaint@gmail.com and I will be sure to check back in on this thread to let folks know if you've sent them. Guy is a total creep. He hit me up in my dms a year ago and said "I'm hot because I look like a little boy". May he rot. Don't trust Peter Ferrari. This article is very poorly written. The evidence presented is anonymous and obviously doctored. There are two stories being smashed together on the third screenshot. I'm not trying to say the man is innocent or guilty, I'm just trying to say that this is a terrible example of journalism. Wow CL. God forbid you could just believe women and advocate for victims! Congratulations on distracting and distorting on the actual issue (a serial abuser) with remedial bullshit. Right?! Did they hire a middle schooler to writer this piece? The writing is so juvenile, including a handful of egregious grammatical errors. You're better than this Creative Loafing! This guy sounds like a total creep. Not advocating for him in any way. But the last paragraph in this article is ridiculous: "His popularity was always a bit in question by the art community, as it never varied, literally. He painted the same Squishiepuss character over and over."

Many of history's greatest artists' art "never varied, literally". They painted the same "character" or motif over and over and over and over again. To denigrate an artist because of this is nuts. Now, all the other creepy, abusive stuff is another story... Well, at least your comment has a beginning, middle, and ending! All these accusations, and no actual screens of [alleged] messages he is said to of sent to multiple victims. It’s only innocent when proven guilty when it’s suits you I guess. This shit reeks double standards. This article is garbage. How dare you question the motives of a man (Ferrari) who is being the type of ally women need and want? There are so many allegations against Geier, that even if Ferrari had ulterior motives in amplifying the victims' voices, IT WOULDNT MATTER. 

As a woman, this writer should re-examine her own motives in lending any type of credence to "gossip like conspiracy theories" in an article that should've remained focused on this piece of filth that degraded, harassed, and assaulted so many women.

I didn't realize CL was such a filthy rag. This writer owes Geier's victims a huge apology. And maybe should focus on facts and the context of her stories instead of shouting out her "overall dope" friends in a "news" article. It's only January 5 and Ema Carr is already a front runner for the Worst Writing of the Year award. I know CL went through crazy layoffs, but didn't you keep at least one true editor on staff?! Saying it reads like a Buzzfeed article is insulting to Buzzfeed. At least they don't pretend to be good writers. Peter Ferrari did what any civic minded, compassionate individual would’ve done. Don’t marginalize his endeavors because of his position in the arts community. Quit supporting abusive men and shaming victims. I’ve been aware of Ray’s [[alleged — ''ed.''] perversity for years, but because of victim shamers the message fell on deaf ears. You wanna continue to buy crap recycled talentless art from a [[alleged — ''ed.''] rapist? Go ahead, his website is still active. Also, take your shit to another city skin with you favorite [[alleged — ''ed.''] pedophilic joke “artist” and quit harassing decent people who are standing up for the downtrodden and mistreated women of Atlanta. Fuck ray and anyone who supports him. Fuck rape culture. You naysayers keep asking for proof but I say the tweets are enough. If you can’t accept that perhaps victims don’t want to fully embrace the media whirlwind at their own expense, keep sucking pink tentacle. You make me sick and should be ashamed of yourself, though we all know that won’t happen, since without “ray” you can’t spell RAYPIST How does digging up tweets from 8+ years ago make that half naked girl on Instagram a victim of anything? I have yet to see any proof of actual [[or alleged — ''ed.''] assault/rape/etc from “Ray”. While I appreciate this story getting coverage, I think its disjointedness deters away from the actual stories and trauma these women experienced.  The conspiracy that this was a witch hunt orchestrated by Peter is absurd (who is a lovely human, btw). To suggest this story is about two "competing" galleries diminishes the real pain and abuse women experienced over the span of a decade (and probably more). Thank you Aliya and Kayleen for getting this conversation started, and thank you to all the brave women who came forward with their stories. I hope CL will publish a more thoughtful re-write of this soon. So wait you're saying this is correct, you knew about it years ago, and JUST NOW decided to bring it all to the surface, right before he opened his gallery that would have directly competed with yours? I don't think any of the things he said were right, I just think your part in this is just as wrong because it doesn't come from the right place. Not that it matters anymore. You took part by not saying something right away but waiting until it was convenient for you to dig up those tweets from a decade ago. He said horrible things, but from reading this it seems to me you did something horrible. This is the level of "news" we get now! Pulling stuff off of social media and re-cycling hearsay that is three or four levels deep? Did the author reach out to the person being accused to at least get their point of view? This article is as irresponsible as those posting the hate and vitriol on social media. I would argue it is even more irresponsible, since the media [[barely] carries with it more of semblance of fact. 

I'm not arguing for either side of this issue but I do think this reeks of the bully mentality prevalent today. The court of public opinion has tried and convicted someone and ruined their life totally. Being a creepy asshole isn't a crime. If crimes have been committed, then report to the authorities and handle it like adults instead of spoiled children. Yes, Ray Geier was contacted by the author for a statement. His response was, "I'm still trying to figure out between ignoring it or making a video / podcast addressing it. so that nothing gets misconstrued. ... That's why I haven't commented, yet. I'm listening." Geier's response was the video referenced in the story. The legally actionable comments hosted here and the questionable dissemination by Creative Loafing for slander and defamation sure are troubling.  People and news organizations should exercise caution before broadcasting such accusations without evidence to support such claims represented here. Emma Carr does poor reporting. I see this article has changed drastically since I first read it two weeks ago. There was an excerpt that said all his art were “the same, literally.” Nice bias opinion there. He’s a horrible person but shame on the writer for not being objective. The art isn’t literally the same. If you google it, you’ll clearly see multiple variances. Again, not saying the artist is a good person, but when you are a journalist, you have to write about facts and leave your opinions out. Glad the writer edited that part out. Also, a great journalist does not need days to write a good article. If it’s breaking, they need to be able to produce high quality news on the spot. CL please hire better writers. Thank you for your comments and concerns. You are correct. Oh boy.  Let's go through this.  If the author wants to reach out to me, I can verify all of my information with screenshots of conversations from Instagram.
As someone who used to talk to Kayleen about her art before Peter Ferrari, and before Ray came sniffing around.  She is very young compared to BOTH of these "artists" by the way.
Kayleen Scott was a standard southern suburban girl, who had artistic aspirations, so she died her hair, got some tats, and escaped to the big city.  Fair enough.  She was mediocre when I first saw her stuff, but showed potential.  I was encouraging.  We exchanged words about art over a period of time.  She sent me a watercolor of crystals. She was a nice person.  
I was sick with the flu in March of 2013, when I found out Kayleen was going to learn paste from Ray.  I had met Ray through mutual friends, and spent enough time with him in mixed company to deduce, that he shouldn't be anywhere near a young, impressionable girl from the burbs.  So as a responsible person, I explicitly warned her, that he was not a good dude.  She thanked me, but said she was a big girl, and all would be fine.
Not too long after, another Older man, used his art clout to land him a young impressionable attractive aspiring artist(Kayleen).
Who's the creeper?  Ray and Peter.  Who went about it in a softer and smarter way? Peter.
If Ray forced himself on anyone, then he should face the music.  But lets be honest about older men, grooming younger artists.  It can be violent, but it can also be subtle. squishie squishiepuss squishypuss puss squi squish skwishy squishipuss Days before the opening of Squishieland, a would-be art gallery and event space by Atlanta-based artist Ray Geier, texts and tweets of abuse surface Squishiepuss2   2019-01-05T21:04:25+00:00  The Sun Sets on Squishiepuss tony.paris Tony Paris Ema Carr ema.carr (Ema Carr) 2019-01-05T21:04:25+00:00 You’ve probably seen the pink, octopus-like French bulldog creature painted on buildings all over town. You may even be a fan. But what if the creator of that cute squishy face turned out to be concealing an unexpectedly dark persona? That’s what folks are currently asking about Ray Geier, the artist also known as Squishiepuss, after extremely alarming sexual harassment allegations against him have surfaced.

Geier popped up in the Atlanta art scene around 2012 and quickly made a name for himself with his stylized cartoons of a French bulldog with an octopus body, a signature character that eventually gathered an enthusiastic following. On his website, Geier sold everything from enameled pins to skateboards to handpainted portraits — most featuring the bulldog’s memorable pink coat and pop eyes. Most recently, Geier planned to open a free art gallery and event space  to be called Squishieland, set to open January 12.

Late Thursday evening, January 3, on Facebook, a flood of allegations poured in, many echoing this one from an Atlanta Facebook user: "After hearing from dozens of women that this Ray Fella thinks it's funny to joke about rape and aids [sic], be super abusive to women. Sleep on this artist, his gallery, his events. There are more talented artists in our city. I'm not one to jump on the call-out culture but you just don't have literally dozens of women come forward over the course of a few hours over misunderstandings. Ray, your behavior isn't acceptable.”



The allegations, which go as far as alleged pedophilia, include screenshots of Geier’s revenge porn, targeting those who rejected him sexually. These disturbing screenshots were made public by Atlanta artist and alleged victim Aliya Smith, who, when asked why she felt it important to go public, forwarded Creative Loafing this statement.

“This has been whispered around Atlanta, especially though the art scene, and especially among women, for years,” says Smith, who claims she tried to warn people about her experiences with Geier over a year ago. “I’d had a couple of uncomfortable interactions with him by that point and he made sexual comments about photos of mine that made me deeply uncomfortable."

As it turned out, Smith's experience was tame in comparison with that of others who began to speak out.

“On NYE 2018, [Kayleen] Scott posted some screenshots from Geier’s old Twitter account, “rayspitsongirls,” to her Instagram story and texted them to me out of anger after finding them,” Smith’s statement continues. “We both decided it was time to stop whispering and start speaking, yelling. A few days later, I posted them to my IG story. I posted anonymous accounts I had received along with my own because I wanted [Geier] to stop harassing people. I didn’t know how deep it went. In just 24 hours I received hundreds of messages, about 40 or so of which were claims of [alleged] harassment, assault, revenge porn, as well as talk of underage girls. Then Kayleen and I thought about the gallery he was going to open and we got so scared about the vulnerable young women it could bring in. When Kayleen started warning people about this, it was purely out of protection. When we [posted the screenshots] this week, it was out of the same motive. The city shouldn’t support anything [given] the claims we’ve received. And it seems like the city agrees.

“We’ve of course received backlash from people who think this is a conspiracy or a trend of some sort," added Smith, "but the overwhelming support for victims has been amazing.”

Atlanta artist and Facet Gallery owner, Peter Ferrari, also posted concerns involving Geier, just days before Geier was set to open a new retail, event, and art gallery in Grant Park’s latest development, The Beacon Atlanta. When CL reached out to Ferrari regarding the timing of his posts, he confirmed Smith’s statement and added his own take on Geier’s place in Atlanta’s art community, particularly regarding Kayleen Scott, who is also Ferrari’s girlfriend.

“I’ve avoided and actively ignored Ray for several years now. He said really inappropriate things to my girlfriend (artist Kayleen Scott), so I knew he was a creep and possibly worse. It was something shared privately, but often ignored. A friend sent me his video regarding Squishieland. I was immediately skeptical, as it seemed tailor-made to give him access to impressionable artists looking to break into the scene. I made a post on my story about artists being skeptical of those claiming to “support the arts” while simultaneously creeping on young women. I did not name Ray in the post. Afterwards I was contacted by a woman who immediately knew who I was referring to. She told me about his old twitter handle, @rayspitsongirls [since deleted] and I Googled it. We saw all the tweets. My girlfriend was furious. It brought back years of anger and trauma that she had pushed down. She posted the tweets to her private Instagram and shared her experiences with Ray. Another woman asked if she could share on her public page and see if others had the same experience. Once she did, she was inundated with dozens of accounts from women alleging inappropriate behavior from Ray. From there, it took off, resulting in his outing as an [alleged] serial mistreater of women and girls in the arts community. The timing was not a coincidence. His opening/gallery brought back trauma and grief to the victims that could not be suppressed. There was a risk to our community that couldn’t be ignored any longer,” Ferrari concluded.

Regardless of who leaked the first tweet, the furor has leveled Geier’s standing and created a significant threat to his career. When contacted by Creative Loafing for a comment on Friday, January 4, Geier responded, "I'm still trying to figure out between ignoring it or making a video / podcast addressing it. so that nothing gets misconstrued. ... That's why I haven't commented, yet. I'm listening." While not getting back to CL directly, Geier finally took to social media Saturday morning [January 5], posting a video saying, “I’m ashamed and embarrassed.” More than 500 commenters reacted negatively, agreeing that the video was hardly a remorseful apology.

Within hours, the video and the artist’s social media presence was scrubbed from the internet. Businesses across Atlanta, such as Home Grown GA and Hodgepodge Coffeehouse, were quick to remove all traces of Squishiepuss art.

The Beacon Atlanta issued a statement saying they’ve ended their lease agreement with Geier and he will no longer be a tenant. Click here to read the full statement by The Beacon Atlanta.

Editor's note: This article has been edited since its original publication to more accurately report the story.     Photo Courtesy of Sam Maloney  KING OF POPS HQ: Painting over.  0,0,10 peter.ferrari (itemId:470616 trackerid:9)   squishie squishiepuss squishypuss puss squi squish skwishy squishipuss                       The Sun Sets on Squishiepuss "
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  string(63) "Dr. Tommie Smith  —  Stand! In the end, you’ll still be you"
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  string(11745) "It is a moment those who witnessed firsthand, whether live at the 1968 Mexico City Olympic Games, or on television, will never forget. Tommie Smith and John Carlos, winners of the gold and bronze medals respectively in the 200-meter sprint, bowed their heads and raised their fists to God during the awards ceremony. Fifty thousand people at Estadio Olímpico Universitario went silent as the two U.S. athletes stood on the podium, protesting the disparity between whites and African Americans in this country. 
The silence gave way to shouts of outrage and prayers of reverence, the actions of the two athletes sparking a dialog that continues today. Fifty years later, the United States is still one nation, seeking liberty and justice for all, and while a lot has changed, much has not. NFL football players, borrowing a gesture from Dr. Martin Luther King Jr., still find the need to take a knee when “The Star-Spangled Banner” is performed before American football games, provoking outrage from some while gaining the respect of others.
Smith and Carlos were not the first athletes to speak out about civil rights, about human rights. Jackie Robinson and Muhammad Ali immediately come to mind. But Smith and Carlos were the first to do so with the whole world watching. At the Olympics. Without saying a word.
A powerful image, alright. Iconic. I remember the hair standing up on the back of my neck as I watched the two men raise their black-gloved fists, the event being broadcast into my family’s living room from over 1,300 miles away.
Today, nowhere do sports and justice come together more than here in the birthplace of the late Rev. Dr. Martin Luther King Jr. and the home of the civil rights moment. With Atlanta’s hosting of Super Bowl LIII at the Mercedes-Benz Stadium only weeks away, the themes weave themselves into the fabric of our city, from the High Museum of Art to the National Center for Civil and Human Rights and into the streets with the WonderRoot murals project.
The High Museum of Art exhibit, “With Drawn Arms: Glenn Kaino & Tommie Smith,” presents a years-long collaboration between the Los Angeles-based conceptual artist and the U.S. gold medal Olympic winner who captured our attention with his silent gesture in 1968.
Smith, a California transplant now living in Stone Mountain, Georgia, is an affable and erudite man who sometimes refers to himself in the third person. Indeed, with the passage of time, it’s easy to understand how the 74-year-old retired college professor might look back and see a different person in the 24-year-old who first broke the 200-meter sprint record in 19.83 seconds, but once Smith starts talking, it’s evident they are one and the same.
When asked if he thinks there are similarities in his actions of 1968 and those of football players today, Smith offers a unique observation, answering in a roundabout way that those who know him expect, but may catch someone just meeting him off guard.
“Growth, personal growth, is the magical idea of moving forward,” Smith says. “In terms of our youth of today, yes, 50 years is a long time, but given our history, it’s short, really. Taking a knee, taking a stand of any kind is a beginning. It’s not an end. I took a stand, and I’m proud of the young athletes now.
“But you know, Tony, when we take a stand, when we take a knee, it must start in the mind, the mind and body growing in the same direction. ‘Why am I doing this? Am I for real doing this? Let me take a check on my feelings.’ There’s more than just taking a stand. There’s why I should take a stand. That’s where I see the growth has really bloomed since 50 years ago.”
What Smith is saying is something the ancient Greeks also believed to be important, that the greatest athletes were of sound body and mind.
He continues, “Too much of anything, I believe, is not good, and too little of the same, I also believe, is just as bad. We’re living in a sphere, a rolling ball. You roll too far, you’re going to go roll off into the water, you don’t roll enough you’re going to be in the desert. So where would you rather be? I would rather be someplace on that sphere where I can survive, but that survival should be of my own intentions. Of doing something good.


“I believe that moving forward takes so much effort and sacrifice, so much effort and thought, that a lot of us don’t want to deal with things that are good. Good takes time. It is a construction phase, such as the exhibit down at the High. That’s my inner feeling. No one has ever asked me about my feeling on the inside, only why I did what I did. And I don’t come up with the right answer, most of the time, why Tommie did what he did on the victory podium. It was a feeling of sacrifice. A feeling of need. And I think that’s the very thing that we sometimes forget. 
“For every action, there is a reaction, and if you’re not prepared for that reaction, then there is a problem. The attack phase is very, very weak. I think 1968 was a start, a start of athletes taking a stand. The athletes doing something good. Of course we are going to be questioned [[[his  emphasis]. If we were not questioned, then I would think society to be just as weak as we are strong. As I say, too much of anything is not good, too little of the same is bad. We must be strong enough to deal with the reality of right and wrong. I’m happy that we started in ’68 — the recorded start in ‘68 — because everyone one remembers that stand. But there were a lot of athletes before me who took a stand, but had no way to expound upon it. They had no platform to do so.”
It’s obvious that it took a lot of courage for Smith to raise his fist and bow his head in 1968. But to take off his running shoes and take his place on the podium in black socks, wearing beads around his neck (shoeless to acknowledge the poverty of African Americans at the time; the beads symbolic of the lynchings of America’s Jim Crow past, he explained shortly after the ceremony), also took a lot of introspection. What was going through his mind at the time?
“It’s my time to speak,” Smith explains. “I did very little talking, and no speaking, really, during my college days, especially on the field. I let my feelings be known through my actions on the field. I still believe that the picture is much stronger than the words that can be used to explain it.
“It is the responsibility of those who are in power (to speak out). And I was in power at that time, that power was on the field of play, and my soul needed some type of ending, some type of connection to that power I had on that field of play. And that was with people. I’m a people person — and I had to think about people when I had a platform. And I’m still doing it. I became a school teacher because I wanted to teach. And that’s what I taught in my classrooms from fifth grade to Oberlin College, to Santa Monica College. Off the field, for me now, is at the High Museum. That exhibit is Tommie’s insides.”
Of course, he’s referring to the High Museum of Art exhibit that has been open since September and will continue through February 3. It’s an impressive collaboration of sculpture and documentary, including items from Smith’s personal archives. Highlighted by Kaino’s “Bridge” (2014), a 100-foot-long floating sculpture comprised of gold-painted casts of Smith’s arm and extended fist, the exhibit offers a rare glimpse into Smith and the moment in time which still resonates with us today.
I wondered if Smith believes athletes today enter professional sports to excel, to prove themselves to be the best, or if perhaps the lure of celebrity and financial gain, thanks to corporate sponsorships, has taken their eyes off the prize. 
“Again, we are talking about collaboration,” Smith says. “It’s both, money and position. Of course, a lot of it’s fanfare, but you have to sift through things to find out if it has a soul. Or if it has a heart. This movement of man certainly has a heart, but is that heart pure? Is that heart sound enough for the youth to follow? It takes us all to work through this thing, to make a sacrificial effort of G-O-O-D. Good. And which would you rather do? I don’t want to run with the bad. I’m fighting against that. Bad has a lot of different tentacles. I fight as hard as I can to make that difference.”
And what does Smith think of Atlanta being chosen as the site of Super Bowl LIII, especially after a tumultuous year that has pitted players against owners, the person occupying the White House against the football league, and fans against each other?
“The place of play of Super Bowls, wherever it’s played, is always on  people’s minds — why there? I think the Super Bowl being here is really important, Atlanta being the home of Dr. Martin Luther King Jr., the historical background as a place of the civil rights movement. It gives a credence to the Super Bowl, not that it was picked for that reason, but it is important because an historical portion of American power comes from Atlanta. One is not dependent on the other, but there is a lot here to see. A lot to learn from.” -CL-

!!Outside Mercedes-Benz Stadium – What to do
!!!With Drawn Arms: Glenn Kaino and Tommie Smith.
 High Museum of Art, Opening times: 10 a.m., Monday through Friday, 12 p.m., Sunday.Mon.-Fri., 12 p.m. January 10 through February 3. 

!!!Breaking Barriers: Sports for Change, the National Center for Civil and Human Rights.
National Center for Civil and Human Rights, a traveling exhibition that pays homage to athletes who have inspired civil and human rights reform and brought change in the world of sports and beyond. Muhammad Ali, Jackie Robinson, Billie Jean King, Venus Williams, and Jesse Owens are among the legendary athletes featured, but contemporary athletes facing obstacles such as racism, disabilities, gender discrimination, and sexual orientation will also be recognized. Januray 23 through March 29.

!!!Off the Wall: Atlanta’s Civil Rights and Social Justice Journey. 
Local arts and culture organization WonderRoot has partnered with the Atlanta Super Bowl Host Committee to create Off the Wall, a citywide art initiative that aims to generate and elevate conversations about the history and continuing journey of the progression of civil rights in Atlanta. By using murals and community conversation, Off the Wall draws focus to Atlanta’s storied history of progress and social justice, illuminating the crucial role Atlanta plays in the past, present, and future regarding the advancement of civil and human rights. The murals have been slated for installation in the neighborhoods of Vine City, English Avenue, Ashview Heights, and Castleberry Hill that surround Mercedes-Benz Stadium, the Sweet Auburn corridor, and the downtown district, between June 2018 and February 2019. Concepts and basis for the murals were formed at “community conversations,” where Off the Wall discussed and conferred with over 1,000 Atlantans in order to guarantee proper tribute to the city and its people. These ideas were refined at several feedback sessions to ensure maximum community satisfaction. January 10 – ongoing.

Eleven artists have been hand selected to carry out the artwork: Brandan “Bmike” Odums- New Orleans, Yehimi A. Cambrón-  Morelia, Mexico/Atlanta, Sheila Pree Bright- Atlanta, Gilbert Young- Atlanta, Ernest Shaw- Baltimore, Charmaine Minniefield- Atlanta, Muhammad Yungai- Atlanta, Gaia- Baltimore, Reginald “L.E.O.” O’Neal- Miami, Shanequa Gay- Atlanta, The Loss Prevention Arts Collective- Atlanta.


 


 "
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  string(14109) "It is a moment those who witnessed firsthand, whether live at the 1968 Mexico City Olympic Games, or on television, will never forget. Tommie Smith and John Carlos, winners of the gold and bronze medals respectively in the 200-meter sprint, bowed their heads and raised their fists to God during the awards ceremony. Fifty thousand people at Estadio Olímpico Universitario went silent as the two U.S. athletes stood on the podium, protesting the disparity between whites and African Americans in this country. 
The silence gave way to shouts of outrage and prayers of reverence, the actions of the two athletes sparking a dialog that continues today. Fifty years later, the United States is still one nation, seeking liberty and justice for all, and while a lot has changed, much has not. NFL football players, borrowing a gesture from Dr. Martin Luther King Jr., still find the need to take a knee when “The Star-Spangled Banner” is performed before American football games, provoking outrage from some while gaining the respect of others.
Smith and Carlos were not the first athletes to speak out about civil rights, about human rights. Jackie Robinson and Muhammad Ali immediately come to mind. But Smith and Carlos were the first to do so with the whole world watching. At the Olympics. Without saying a word.
A powerful image, alright. Iconic. I remember the hair standing up on the back of my neck as I watched the two men raise their black-gloved fists, the event being broadcast into my family’s living room from over 1,300 miles away.
Today, nowhere do sports and justice come together more than here in the birthplace of the late Rev. Dr. Martin Luther King Jr. and the home of the civil rights moment. With Atlanta’s hosting of Super Bowl LIII at the Mercedes-Benz Stadium only weeks away, the themes weave themselves into the fabric of our city, from the High Museum of Art to the National Center for Civil and Human Rights and into the streets with the WonderRoot murals project.
The High Museum of Art exhibit, “With Drawn Arms: Glenn Kaino & Tommie Smith,” presents a years-long collaboration between the Los Angeles-based conceptual artist and the U.S. gold medal Olympic winner who captured our attention with his silent gesture in 1968.
Smith, a California transplant now living in Stone Mountain, Georgia, is an affable and erudite man who sometimes refers to himself in the third person. Indeed, with the passage of time, it’s easy to understand how the 74-year-old retired college professor might look back and see a different person in the 24-year-old who first broke the 200-meter sprint record in 19.83 seconds, but once Smith starts talking, it’s evident they are one and the same.
When asked if he thinks there are similarities in his actions of 1968 and those of football players today, Smith offers a unique observation, answering in a roundabout way that those who know him expect, but may catch someone just meeting him off guard.
“Growth, personal growth, is the magical idea of moving forward,” Smith says. “In terms of our youth of today, yes, 50 years is a long time, but given our history, it’s short, really. Taking a knee, taking a stand of any kind is a beginning. It’s not an end. I took a stand, and I’m proud of the young athletes now.
“But you know, Tony, when we take a stand, when we take a knee, it must start in the mind, the mind and body growing in the same direction. ‘Why am I doing this? Am I for real doing this? Let me take a check on my feelings.’ There’s more than just taking a stand. There’s why I should take a stand. That’s where I see the growth has really bloomed since 50 years ago.”
What Smith is saying is something the ancient Greeks also believed to be important, that the greatest athletes were of sound body and mind.
He continues, “Too much of anything, I believe, is not good, and too little of the same, I also believe, is just as bad. We’re living in a sphere, a rolling ball. You roll too far, you’re going to go roll off into the water, you don’t roll enough you’re going to be in the desert. So where would you rather be? I would rather be someplace on that sphere where I can survive, but that survival should be of my own intentions. Of doing something good.

{img fileId="12435" stylebox="float: right; margin-left: 25px;" desc="LOOK TO YOUR SOUL: Reflections in a man standing tall. Glenn Kaino’s “Invisible Man” is not that at all. Photo courtesy of the High Museum." width="400"}
“I believe that moving forward takes so much effort and sacrifice, so much effort and thought, that a lot of us don’t want to deal with things that are good. Good takes time. It is a construction phase, such as the exhibit down at the High. That’s my inner feeling. No one has ever asked me about my feeling on the inside, only why I did what I did. And I don’t come up with the right answer, most of the time, why Tommie did what he did on the victory podium. It was a feeling of sacrifice. A feeling of need. And I think that’s the very thing that we sometimes forget. 
“For every action, there is a reaction, and if you’re not prepared for that reaction, then there is a problem. The attack phase is very, very weak. I think 1968 was a start, a start of athletes taking a stand. The athletes doing something good. Of course we are going to be questioned [[[[his  emphasis]. If we were not questioned, then I would think society to be just as weak as we are strong. As I say, too much of anything is not good, too little of the same is bad. We must be strong enough to deal with the reality of right and wrong. I’m happy that we started in ’68 — the recorded start in ‘68 — because everyone one remembers that stand. But there were a lot of athletes before me who took a stand, but had no way to expound upon it. They had no platform to do so.”
It’s obvious that it took a lot of courage for Smith to raise his fist and bow his head in 1968. But to take off his running shoes and take his place on the podium in black socks, wearing beads around his neck (shoeless to acknowledge the poverty of African Americans at the time; the beads symbolic of the lynchings of America’s Jim Crow past, he explained shortly after the ceremony), also took a lot of introspection. What was going through his mind at the time?
“It’s my time to speak,” Smith explains. “I did very little talking, and no speaking, really, during my college days, especially on the field. I let my feelings be known through my actions on the field. I still believe that the picture is much stronger than the words that can be used to explain it.
“It is the responsibility of those who are in power (to speak out). And I was in power at that time, that power was on the field of play, and my soul needed some type of ending, some type of connection to that power I had on that field of play. And that was with people. I’m a people person — and I had to think about people when I had a platform. And I’m still doing it. I became a school teacher because I wanted to teach. And that’s what I taught in my classrooms from fifth grade to Oberlin College, to Santa Monica College. Off the field, for me now, is at the High Museum. That exhibit is Tommie’s insides.”
Of course, he’s referring to the High Museum of Art exhibit that has been open since September and will continue through February 3. It’s an impressive collaboration of sculpture and documentary, including items from Smith’s personal archives. Highlighted by Kaino’s “Bridge” (2014), a 100-foot-long floating sculpture comprised of gold-painted casts of Smith’s arm and extended fist, the exhibit offers a rare glimpse into Smith and the moment in time which still resonates with us today.
I wondered if Smith believes athletes today enter professional sports to excel, to prove themselves to be the best, or if perhaps the lure of celebrity and financial gain, thanks to corporate sponsorships, has taken their eyes off the prize. 
“Again, we are talking about collaboration,” Smith says. “It’s both, money and position. Of course, a lot of it’s fanfare, but you have to sift through things to find out if it has a soul. Or if it has a heart. This movement of man certainly has a heart, but is that heart pure? Is that heart sound enough for the youth to follow? It takes us all to work through this thing, to make a sacrificial effort of G-O-O-D. Good. And which would you rather do? I don’t want to run with the bad. I’m fighting against that. Bad has a lot of different tentacles. I fight as hard as I can to make that difference.”
And what does Smith think of Atlanta being chosen as the site of Super Bowl LIII, especially after a tumultuous year that has pitted players against owners, the person occupying the White House against the football league, and fans against each other?
“The place of play of Super Bowls, wherever it’s played, is always on  people’s minds — why there? I think the Super Bowl being here is really important, Atlanta being the home of Dr. Martin Luther King Jr., the historical background as a place of the civil rights movement. It gives a credence to the Super Bowl, not that it was picked for that reason, but it is important because an historical portion of American power comes from Atlanta. One is not dependent on the other, but there is a lot here to see. A lot to learn from.” __-CL-__

!!__Outside Mercedes-Benz Stadium – What to do__
!!!__With Drawn Arms: Glenn Kaino and Tommie Smith.__
 High Museum of Art, Opening times: 10 a.m., Monday through Friday, 12 p.m., Sunday.Mon.-Fri., 12 p.m. January 10 through February 3. 

!!!__Breaking Barriers: Sports for Change, the National Center for Civil and Human Rights.__
National Center for Civil and Human Rights, a traveling exhibition that pays homage to athletes who have inspired civil and human rights reform and brought change in the world of sports and beyond. Muhammad Ali, Jackie Robinson, Billie Jean King, Venus Williams, and Jesse Owens are among the legendary athletes featured, but contemporary athletes facing obstacles such as racism, disabilities, gender discrimination, and sexual orientation will also be recognized. Januray 23 through March 29.

!!!__Off the Wall: Atlanta’s Civil Rights and Social Justice Journey. __
Local arts and culture organization WonderRoot has partnered with the Atlanta Super Bowl Host Committee to create ''Off the Wall'', a citywide art initiative that aims to generate and elevate conversations about the history and continuing journey of the progression of civil rights in Atlanta. By using murals and community conversation, ''Off the Wall'' draws focus to Atlanta’s storied history of progress and social justice, illuminating the crucial role Atlanta plays in the past, present, and future regarding the advancement of civil and human rights. The murals have been slated for installation in the neighborhoods of Vine City, English Avenue, Ashview Heights, and Castleberry Hill that surround Mercedes-Benz Stadium, the Sweet Auburn corridor, and the downtown district, between June 2018 and February 2019. Concepts and basis for the murals were formed at “community conversations,” where ''Off the Wall'' discussed and conferred with over 1,000 Atlantans in order to guarantee proper tribute to the city and its people. These ideas were refined at several feedback sessions to ensure maximum community satisfaction. January 10 – ongoing.

Eleven artists have been hand selected to carry out the artwork: Brandan “Bmike” Odums- New Orleans, Yehimi A. Cambrón-  Morelia, Mexico/Atlanta, Sheila Pree Bright- Atlanta, Gilbert Young- Atlanta, Ernest Shaw- Baltimore, Charmaine Minniefield- Atlanta, Muhammad Yungai- Atlanta, Gaia- Baltimore, Reginald “L.E.O.” O’Neal- Miami, Shanequa Gay- Atlanta, The Loss Prevention Arts Collective- Atlanta.

{img fileId="12439|12440" desc="desc" stylebox="float: left; margin-right:25px" height="500px"}
 

{BOX( bg="#e5e5ff" width="75%" align="left")} __Friday, February 1:__
Super Bowl Experience, $40-$55, Georgia World Congress Center, 10 a.m. 
Off The Field Players’ Wives Association FASHION SHOW 2019, TBA, Shops of Buckhead, Atlanta, 12 p.m.
Super Bowl Live Presented by Verizon, Free, Centennial Hall, 2 p.m.  
First and Goal Comedy Bowl, Free, College Football Hall of Fame, 8 p.m. 
Bud Light Super Bowl Music Fest: Aerosmith with Post Malone, $100-$950, State Farm Arena, 9 p.m. 
Shaq’s Fun House with interactive circus. Tickets start at $299.99, Battery, Atlanta, 9 p.m.
Game Love and Hennessy, Free to $109.00, Atrium Event Center, 9 p.m. 
__Saturday, February 2:__ 
Super Bowl Breakfast, $200-$2500, Atlanta Marriott Marquis. 8 a.m.
Super Bowl Experience, $40-$55, Georgia World Congress Center, 10 a.m.  
World’s Largest Tailgate: A Tailgate with a Mission, Free with registration, Georgia International Convention Center, 10 a.m.
Super Bowl Live Presented by Verizon, Free, Centennial Hall, 11 a.m. 
Atlanta Big Game Day Party, $10-$160, 5 Seasons Brewing Company, Westside Atlanta, 4 p.m.
Taste of the NFL, $700.00, Cobb Galleria Centre, 7 p.m. 
2019 Maxim Super Bowl Party, TBD, The Fairmont, 9 p.m.
The Big Game Weekend, the ATL’s all-inclusive party, $150-$1200, Ambient + Studio, 9 p.m.
Super Saturday featuring Foo Fighters and Run The Jewels, sold-out, Atlantic Station, 9 p.m.
Bud Light Super Bowl Music Fest: Bruno Mars and Cardi B., $150-$1,550, State Farm Arena, 9 p.m.
ESP 101 [[Learn to Believe], Big Game Party, $50 - $100, IRIS (aka Rush Lounge), 9 p.m.
__Sunday, February 3:__
The Big Game Party, $5-$20, Genesis, The Chamber, 11 a.m.-11 p.m..
Cheer and Beers: The Big Game, $89, Dantanna’s, Buckhead, 12 p.m. 
Super Bowl Experience , $40-$55, Georgia World Congress Center, 2 p.m. 
Salvatore Ferragamo Big Day Party, $400, Antica Posta Restaurant, 5 p.m. 
The Big Game Watch Party, No Cover, Sweet Auburn Barbecue, Highland Ave, 6:30 p.m.
{BOX}
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  string(12832) " News05 SuperBowl1 1 18  2019-01-10T15:05:28+00:00 news05_SuperBowl1-1_18.jpg     tommie smith super bowl atlanta 1968 olympics mexico city 1968 john carlos high museum of art superbowl liii sports and justice Dr. Tommie Smith discusses his place at the 1968 Mexico City Olympics, sports and justice in Atlanta, and, of course, the Super Bowl News05 SuperBowl1 1 18   2019-01-02T15:00:00+00:00 Fifty years later, Tommie Smith's fist is still raised high
Raising a fits for justice
 Dr. Tommie Smith  —  Stand! In the end, you’ll still be you jim.harris Jim Harris Tony Paris tony.paris (Tony Paris) 2019-01-02T15:00:00+00:00 It is a moment those who witnessed firsthand, whether live at the 1968 Mexico City Olympic Games, or on television, will never forget. Tommie Smith and John Carlos, winners of the gold and bronze medals respectively in the 200-meter sprint, bowed their heads and raised their fists to God during the awards ceremony. Fifty thousand people at Estadio Olímpico Universitario went silent as the two U.S. athletes stood on the podium, protesting the disparity between whites and African Americans in this country. 
The silence gave way to shouts of outrage and prayers of reverence, the actions of the two athletes sparking a dialog that continues today. Fifty years later, the United States is still one nation, seeking liberty and justice for all, and while a lot has changed, much has not. NFL football players, borrowing a gesture from Dr. Martin Luther King Jr., still find the need to take a knee when “The Star-Spangled Banner” is performed before American football games, provoking outrage from some while gaining the respect of others.
Smith and Carlos were not the first athletes to speak out about civil rights, about human rights. Jackie Robinson and Muhammad Ali immediately come to mind. But Smith and Carlos were the first to do so with the whole world watching. At the Olympics. Without saying a word.
A powerful image, alright. Iconic. I remember the hair standing up on the back of my neck as I watched the two men raise their black-gloved fists, the event being broadcast into my family’s living room from over 1,300 miles away.
Today, nowhere do sports and justice come together more than here in the birthplace of the late Rev. Dr. Martin Luther King Jr. and the home of the civil rights moment. With Atlanta’s hosting of Super Bowl LIII at the Mercedes-Benz Stadium only weeks away, the themes weave themselves into the fabric of our city, from the High Museum of Art to the National Center for Civil and Human Rights and into the streets with the WonderRoot murals project.
The High Museum of Art exhibit, “With Drawn Arms: Glenn Kaino & Tommie Smith,” presents a years-long collaboration between the Los Angeles-based conceptual artist and the U.S. gold medal Olympic winner who captured our attention with his silent gesture in 1968.
Smith, a California transplant now living in Stone Mountain, Georgia, is an affable and erudite man who sometimes refers to himself in the third person. Indeed, with the passage of time, it’s easy to understand how the 74-year-old retired college professor might look back and see a different person in the 24-year-old who first broke the 200-meter sprint record in 19.83 seconds, but once Smith starts talking, it’s evident they are one and the same.
When asked if he thinks there are similarities in his actions of 1968 and those of football players today, Smith offers a unique observation, answering in a roundabout way that those who know him expect, but may catch someone just meeting him off guard.
“Growth, personal growth, is the magical idea of moving forward,” Smith says. “In terms of our youth of today, yes, 50 years is a long time, but given our history, it’s short, really. Taking a knee, taking a stand of any kind is a beginning. It’s not an end. I took a stand, and I’m proud of the young athletes now.
“But you know, Tony, when we take a stand, when we take a knee, it must start in the mind, the mind and body growing in the same direction. ‘Why am I doing this? Am I for real doing this? Let me take a check on my feelings.’ There’s more than just taking a stand. There’s why I should take a stand. That’s where I see the growth has really bloomed since 50 years ago.”
What Smith is saying is something the ancient Greeks also believed to be important, that the greatest athletes were of sound body and mind.
He continues, “Too much of anything, I believe, is not good, and too little of the same, I also believe, is just as bad. We’re living in a sphere, a rolling ball. You roll too far, you’re going to go roll off into the water, you don’t roll enough you’re going to be in the desert. So where would you rather be? I would rather be someplace on that sphere where I can survive, but that survival should be of my own intentions. Of doing something good.


“I believe that moving forward takes so much effort and sacrifice, so much effort and thought, that a lot of us don’t want to deal with things that are good. Good takes time. It is a construction phase, such as the exhibit down at the High. That’s my inner feeling. No one has ever asked me about my feeling on the inside, only why I did what I did. And I don’t come up with the right answer, most of the time, why Tommie did what he did on the victory podium. It was a feeling of sacrifice. A feeling of need. And I think that’s the very thing that we sometimes forget. 
“For every action, there is a reaction, and if you’re not prepared for that reaction, then there is a problem. The attack phase is very, very weak. I think 1968 was a start, a start of athletes taking a stand. The athletes doing something good. Of course we are going to be questioned [[[his  emphasis]. If we were not questioned, then I would think society to be just as weak as we are strong. As I say, too much of anything is not good, too little of the same is bad. We must be strong enough to deal with the reality of right and wrong. I’m happy that we started in ’68 — the recorded start in ‘68 — because everyone one remembers that stand. But there were a lot of athletes before me who took a stand, but had no way to expound upon it. They had no platform to do so.”
It’s obvious that it took a lot of courage for Smith to raise his fist and bow his head in 1968. But to take off his running shoes and take his place on the podium in black socks, wearing beads around his neck (shoeless to acknowledge the poverty of African Americans at the time; the beads symbolic of the lynchings of America’s Jim Crow past, he explained shortly after the ceremony), also took a lot of introspection. What was going through his mind at the time?
“It’s my time to speak,” Smith explains. “I did very little talking, and no speaking, really, during my college days, especially on the field. I let my feelings be known through my actions on the field. I still believe that the picture is much stronger than the words that can be used to explain it.
“It is the responsibility of those who are in power (to speak out). And I was in power at that time, that power was on the field of play, and my soul needed some type of ending, some type of connection to that power I had on that field of play. And that was with people. I’m a people person — and I had to think about people when I had a platform. And I’m still doing it. I became a school teacher because I wanted to teach. And that’s what I taught in my classrooms from fifth grade to Oberlin College, to Santa Monica College. Off the field, for me now, is at the High Museum. That exhibit is Tommie’s insides.”
Of course, he’s referring to the High Museum of Art exhibit that has been open since September and will continue through February 3. It’s an impressive collaboration of sculpture and documentary, including items from Smith’s personal archives. Highlighted by Kaino’s “Bridge” (2014), a 100-foot-long floating sculpture comprised of gold-painted casts of Smith’s arm and extended fist, the exhibit offers a rare glimpse into Smith and the moment in time which still resonates with us today.
I wondered if Smith believes athletes today enter professional sports to excel, to prove themselves to be the best, or if perhaps the lure of celebrity and financial gain, thanks to corporate sponsorships, has taken their eyes off the prize. 
“Again, we are talking about collaboration,” Smith says. “It’s both, money and position. Of course, a lot of it’s fanfare, but you have to sift through things to find out if it has a soul. Or if it has a heart. This movement of man certainly has a heart, but is that heart pure? Is that heart sound enough for the youth to follow? It takes us all to work through this thing, to make a sacrificial effort of G-O-O-D. Good. And which would you rather do? I don’t want to run with the bad. I’m fighting against that. Bad has a lot of different tentacles. I fight as hard as I can to make that difference.”
And what does Smith think of Atlanta being chosen as the site of Super Bowl LIII, especially after a tumultuous year that has pitted players against owners, the person occupying the White House against the football league, and fans against each other?
“The place of play of Super Bowls, wherever it’s played, is always on  people’s minds — why there? I think the Super Bowl being here is really important, Atlanta being the home of Dr. Martin Luther King Jr., the historical background as a place of the civil rights movement. It gives a credence to the Super Bowl, not that it was picked for that reason, but it is important because an historical portion of American power comes from Atlanta. One is not dependent on the other, but there is a lot here to see. A lot to learn from.” -CL-

!!Outside Mercedes-Benz Stadium – What to do
!!!With Drawn Arms: Glenn Kaino and Tommie Smith.
 High Museum of Art, Opening times: 10 a.m., Monday through Friday, 12 p.m., Sunday.Mon.-Fri., 12 p.m. January 10 through February 3. 

!!!Breaking Barriers: Sports for Change, the National Center for Civil and Human Rights.
National Center for Civil and Human Rights, a traveling exhibition that pays homage to athletes who have inspired civil and human rights reform and brought change in the world of sports and beyond. Muhammad Ali, Jackie Robinson, Billie Jean King, Venus Williams, and Jesse Owens are among the legendary athletes featured, but contemporary athletes facing obstacles such as racism, disabilities, gender discrimination, and sexual orientation will also be recognized. Januray 23 through March 29.

!!!Off the Wall: Atlanta’s Civil Rights and Social Justice Journey. 
Local arts and culture organization WonderRoot has partnered with the Atlanta Super Bowl Host Committee to create Off the Wall, a citywide art initiative that aims to generate and elevate conversations about the history and continuing journey of the progression of civil rights in Atlanta. By using murals and community conversation, Off the Wall draws focus to Atlanta’s storied history of progress and social justice, illuminating the crucial role Atlanta plays in the past, present, and future regarding the advancement of civil and human rights. The murals have been slated for installation in the neighborhoods of Vine City, English Avenue, Ashview Heights, and Castleberry Hill that surround Mercedes-Benz Stadium, the Sweet Auburn corridor, and the downtown district, between June 2018 and February 2019. Concepts and basis for the murals were formed at “community conversations,” where Off the Wall discussed and conferred with over 1,000 Atlantans in order to guarantee proper tribute to the city and its people. These ideas were refined at several feedback sessions to ensure maximum community satisfaction. January 10 – ongoing.

Eleven artists have been hand selected to carry out the artwork: Brandan “Bmike” Odums- New Orleans, Yehimi A. Cambrón-  Morelia, Mexico/Atlanta, Sheila Pree Bright- Atlanta, Gilbert Young- Atlanta, Ernest Shaw- Baltimore, Charmaine Minniefield- Atlanta, Muhammad Yungai- Atlanta, Gaia- Baltimore, Reginald “L.E.O.” O’Neal- Miami, Shanequa Gay- Atlanta, The Loss Prevention Arts Collective- Atlanta.


 


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Since 2006, MINT has provided a (sometimes roving) space where Atlanta’s young artists and creative communities can show their work. Over the years, MINT, now located at 92 Peachtree Street S.W., has exhibited contemporary and experimental works by more than 1,000 artists. In November, the organization announced that it has become W.A.G.E. certified — that’s an anagram for Working Artists and the Greater Economy.

W.A.G.E. is a New York-based organization focused on regulating payments and maintaining sustainable relationships between artists and the institutions who contract their work, regardless of sales. To see this through, MINT partnered with the City of Atlanta and an anonymous donor to raise $10,000 to fun W.A.G.E. efforts. MINT's certification is retroactively effective as of July 1, 2018.

Being included on the W.A.G.E roster places MINT on a short list of high-profile galleries, museums, and arts organizations such as The Art Institute of Chicago, The Guggenheim, The Metropolitan Museum of Art, and MOMA. MINT is also the first W.A.G.E.-certified organization in the state of Georgia, which, according to the National Assembly of Arts Agencies, ranks 49th lowest per capita arts funding in the U.S.

To talk more about what becoming W.A.G.E. certified means, MINT’s Executive Director Cory Klose paid a visit to CL’s Short Notice studio.

On Sat., Dec. 8, MINT hosts an opening reception for Small Enough To Hold, an exhibition featuring works by Leap Year artist Crystal Desai (on view through Jan. 12). Free. from 7-10 p.m. 92 Peachtree Street S.W.



Music for this podcast is provided by Delorean Gray.

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~~#000000:Since 2006,~~ [https://www.mintatl.org/|MINT] ~~#000000:has provided a (sometimes roving) space where Atlanta’s young artists and creative communities can show their work. Over the years, MINT, now located at 92 Peachtree Street S.W., has exhibited contemporary and experimental works by more than 1,000 artists. In November, the organization announced that it has become ~~[https://wageforwork.com/certification|W.A.G.E.] ~~#000000:certified — that’s an anagram for Working Artists and the Greater Economy.~~

~~#000000:W.A.G.E. is a New York-based organization focused on regulating payments and maintaining sustainable relationships between artists and the institutions who contract their work, regardless of sales. To see this through, MINT partnered with the City of Atlanta and an anonymous donor to raise $10,000 to fun W.A.G.E. efforts. MINT's certification is retroactively effective as of July 1, 2018.~~

~~#000000:Being included on the W.A.G.E roster places MINT on a short list of high-profile galleries, museums, and arts organizations such as The Art Institute of Chicago, The Guggenheim, The Metropolitan Museum of Art, and MOMA. MINT is also the first W.A.G.E.-certified organization in the state of Georgia, which, according to the [https://nasaa-arts.org/|National Assembly of Arts Agencies], ranks 49th lowest per capita arts funding in the U.S.~~

~~#000000:To talk more about what becoming W.A.G.E. certified means, MINT’s Executive Director Cory Klose paid a visit to CL’s Short Notice studio.~~

''~~#000000:On Sat., Dec. 8, MINT hosts an opening reception for~~ [https://www.mintatl.org/calendar/|Small Enough To Hold, an exhibition featuring works by Leap Year artist Crystal Desai (on view through Jan. 12)]~~#000000:. Free. from 7-10 p.m. 92 Peachtree Street S.W.~~''

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~~#000000:Music for this podcast is provided by~~ [https://graydelorean.bandcamp.com/|Delorean Gray].

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Since 2006, MINT has provided a (sometimes roving) space where Atlanta’s young artists and creative communities can show their work. Over the years, MINT, now located at 92 Peachtree Street S.W., has exhibited contemporary and experimental works by more than 1,000 artists. In November, the organization announced that it has become W.A.G.E. certified — that’s an anagram for Working Artists and the Greater Economy.

W.A.G.E. is a New York-based organization focused on regulating payments and maintaining sustainable relationships between artists and the institutions who contract their work, regardless of sales. To see this through, MINT partnered with the City of Atlanta and an anonymous donor to raise $10,000 to fun W.A.G.E. efforts. MINT's certification is retroactively effective as of July 1, 2018.

Being included on the W.A.G.E roster places MINT on a short list of high-profile galleries, museums, and arts organizations such as The Art Institute of Chicago, The Guggenheim, The Metropolitan Museum of Art, and MOMA. MINT is also the first W.A.G.E.-certified organization in the state of Georgia, which, according to the National Assembly of Arts Agencies, ranks 49th lowest per capita arts funding in the U.S.

To talk more about what becoming W.A.G.E. certified means, MINT’s Executive Director Cory Klose paid a visit to CL’s Short Notice studio.

On Sat., Dec. 8, MINT hosts an opening reception for Small Enough To Hold, an exhibition featuring works by Leap Year artist Crystal Desai (on view through Jan. 12). Free. from 7-10 p.m. 92 Peachtree Street S.W.



Music for this podcast is provided by Delorean Gray.

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Free (donations at the door). 6 p.m. Sun., Nov. 4. Pratt-Pullman Yard, 225 Rogers St. N.E. www.facebook.com/events/649809412080971.    Courtesy Sarah Keys TOES                             A one-night exhibition honors the life and work of TOES "
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  string(4114) "Two lifelong artists and activists, Rozina Shiraz Gilani and Matheus Blasczak, are on a mission to promote a new way for Atlanta to experience and support art. Their new group, Atlanta’s Radical Art Community, will host its debut showcase, titled “Resist: A Simulation of Struggle,” on September 21-22.

The interactive multimedia show will take place at the Collective Ink & Art Society’s studio and promises to be like nothing you’ve experienced before. “Resist: A Simulation of Struggle,” featuring more than 16 political artists, will explore social and political topics through a spectrum of mediums, from tattoo to dance. Attendees will not just witness the showcase, but participate in it through visual and performance projects.

Rich and varied life experiences have led Gilani, the mind behind the show, and Blasczak, her assistant, to undertake such a project. Gilani studies, choreographs, and teaches Indian classical dance. As a child, she used dance to perform traditional Hindu epics, but felt little connection to the stories. Her dance became intertwined with her work as a social justice and community organizer when she first visited Palestine more than a decade ago. There, where she taught and choreographed Indian classical dance, working alongside local organizers and exposure to political artists inspired her to use her art form as a medium for liberation. When she left, she carried her new philosophy with her.

“As I started to invest more in community and social justice issues,” Gilani says. “I realized my [art] had the capacity to serve as a sort of movement testimony. I focused more on the stories that I felt were relevant and could touch people, move people towards action.”

Blasczak, a Brazil-born transplant to Atlanta, found himself troubled by the slew of violent injustices occurring in the United States. He volunteered for the 2016 Bernie Sanders campaign, which became his first foray into activism. But the intersection of art and activism for Blasczak took a more profound form following his experience with the No Dakota Access Pipeline (NODAPL) campaign.

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In North Dakota, Blasczak met an indigenous woman named Great White Buffalo, who immediately felt a connection to his banners and asked him to paint the design on her tent. She told Blasczak that the symbol of the buffalo would protect her from the Black Snake energy of the pipeline.

“That Buffalo — just that whole journey, was a very epic moment in terms of relating art and activism,” says Blasczak, who has since obtained a tattoo of the same buffalo design.

The common and central thread for Gilani and Blasczak was learning how art could — and should — be more than just beautiful. Both see art as a sacred exchange, and like any successful exchange, participants have a responsibility to communicate with one another. After their upcoming show, Gilani and Blasczak hope to create more spaces for radical artists to showcase and connect with one another and to ultimately build a self-reliant community, independent of institutional support, where issues of racism, sexism, fascism, colonialism, transphobia, homophobia, islamophobia, ableism and xenophobia can be challenged head on.

Of the upcoming exhibit, Blasczak says,“It’s an open door for different experiences for different folks. Be ready when you walk in the door to either be challenged or celebrated.” 

Experience Atlanta’s Radical Art Community’s debut. $15 suggested. 7:30-11:30 p.m. Sept. 21-22. Collective Ink & Arts Studio, Ste. 5097, 675 Metropolitan Parkway S.W. 404-993-2811. https://www.tickettailor.com/events/atlantasradicalartcommunity. "
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The interactive multimedia show will take place at the Collective Ink & Art Society’s studio and promises to be like nothing you’ve experienced before. “Resist: A Simulation of Struggle,” featuring more than 16 political artists, will explore social and political topics through a spectrum of mediums, from tattoo to dance. Attendees will not just witness the showcase, but participate in it through visual and performance projects.

Rich and varied life experiences have led Gilani, the mind behind the show, and Blasczak, her assistant, to undertake such a project. Gilani studies, choreographs, and teaches Indian classical dance. As a child, she used dance to perform traditional Hindu epics, but felt little connection to the stories. Her dance became intertwined with her work as a social justice and community organizer when she first visited Palestine more than a decade ago. There, where she taught and choreographed Indian classical dance, working alongside local organizers and exposure to political artists inspired her to use her art form as a medium for liberation. When she left, she carried her new philosophy with her.

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While brainstorming art to take to North Dakota, Blasczak sought the advice of members of the indigenous community’s on how to appropriately use Native American themes and images. The owner of Little Five Points’ Coyote Trading Company advised him to recreate Native American art only when his mind was clear and positive, then drew a buffalo design for him that Blasczak replicated on banners he created for NODAPL.

In North Dakota, Blasczak met an indigenous woman named Great White Buffalo, who immediately felt a connection to his banners and asked him to paint the design on her tent. She told Blasczak that the symbol of the buffalo would protect her from the Black Snake energy of the pipeline.

“That Buffalo — just that whole journey, was a very epic moment in terms of relating art and activism,” says Blasczak, who has since obtained a tattoo of the same buffalo design.

The common and central thread for Gilani and Blasczak was learning how art could — and should — be more than just beautiful. Both see art as a sacred exchange, and like any successful exchange, participants have a responsibility to communicate with one another. After their upcoming show, Gilani and Blasczak hope to create more spaces for radical artists to showcase and connect with one another and to ultimately build a self-reliant community, independent of institutional support, where issues of racism, sexism, fascism, colonialism, transphobia, homophobia, islamophobia, ableism and xenophobia can be challenged head on.

Of the upcoming exhibit, Blasczak says,“It’s an open door for different experiences for different folks. Be ready when you walk in the door to either be challenged or celebrated.” 

Experience Atlanta’s Radical Art Community’s debut. $15 suggested. 7:30-11:30 p.m. Sept. 21-22. Collective Ink & Arts Studio, Ste. 5097, 675 Metropolitan Parkway S.W. 404-993-2811. https://www.tickettailor.com/events/atlantasradicalartcommunity.     John Arthur  MEETING RESISTANCE: Curator Gilani (from right) and assistant curator Blasczak.                             Two Atlanta artists interrogate liberation in their work "
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  string(39) "The Bakery fosters homegrown creativity"
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  string(7566) "Alien puppets, spaceship props, and a bioluminescent rainforest transformed the vibrantly painted warehouse into a distant planet, where extraterrestrial performers executed the fluid musical stagecraft of Joshua Loner’s intergalactic space-opera Celesthesia 1.5: Light Speed! The decorative installations were crafted with love by local artists and volunteers, each part recycled from materials left behind at a wedding the week before.

The hybrid musical-theatre performance illustrates the self-reliant and fiercely creative energy cultivated by the Bakery, a progressive, multi-use arts and music venue on Atlanta’s Southwest side.

On the cusp of Oakland City and the rapidly gentrifying Adair Park, the Bakery sits between the Westside BeltLine Trail and the Aluma Farm. Slathered in hand-painted pastel murals and artful graffiti, the warehouse was once a functioning bakery in the ‘50s, ‘60s, and ‘70s, before housing secretive rave party hotspots CoLab and Kaleidoscape circa 2006-2016. Since founder and creative director Willow Goldstein and her mother, Olive Hagemeier, took over the space in October of 2017, she and a team of volunteers have shifted away from the building’s former rave affiliations and have developed the Bakery as a community center for DIY arts, music, and education.

Over the last year, like-minded independent gallery and venue spaces such as Mammal Gallery and Eyedrum have been forced out of their buildings, casualties of a wave of gentrification sweeping over South Downtown.

The Bakery is fighting to preserve legitimacy for community-based arts. “I have said it’s inherently DIY because my mom has taught me to just do everything ourselves my whole life,” Goldstein says. “I have been trying to recall when DIY, as an ethos, first entered my vocabulary, and it definitely is more recently. I'm certainly trying to run a business — not turn a profit necessarily — that balances DIY with more traditional operations because I want people to be paid and valued and sustained. I'm absolutely not working toward 501(3)(c) status because while we operate largely as a team with regular team/staff meetings, I still retain decision-making power,” she adds. “This is based on my past experience and frustrations with nonprofits.”
As an Eyedrum Art & Music Gallery board member, Goldstein's administrative and curatorial experiences have allowed her to continue building professional and friendly relationships with many of the artists and volunteers who now contribute to the Bakery. When she and her mother began focusing their energies on building up the Bakery and assembling a team of volunteers through social media and Craigslist ads, they were met by a flood of artists eager for a place to showcase their work.

Their efforts highlighted a dilemma: While there is an abundance of compelling art being created by Atlanta-based artists, there’s a lack of spaces in which it can be presented. “The caliber of artwork brought to a warehouse in this random location was surprising,” Goldstein says.

Goldstein handles art curation and community building. In the meantime, musical programming is overseen by fellow Eyedrum board member Daniel DeSimone, who also plays bass for local grindcore band Malevich. While DeSimone’s promotion company, Face of Knives Productions, focuses on heavy metal, post-rock, and abstract noise acts, he also books artists of all genres, ensuring that guests of the Bakery experience something new every time they return. “I’d rather throw a thousand genuine artists against our walls just to see what sticks rather than try to craft the most appealing lineup to the masses or some capitalist entity,” he says. “That way, even if a show is weird, at least I’ll know it’s going to be sick. It’s about curating valuable art from a revolving door of different people and building a genuine and positive environment around that.”

For Goldstein, keeping that door revolving means expanding programming to accommodate community gatherings and educational opportunities. This includes technology workshops with Streetcat.media’s Maggie Kane and art classes such as photography and life drawing.

The Bakery houses a handful of performance spaces, affording time and square-footage to host yoga classes, afternoon art and technology workshops, evening film screenings, and a full bill of musical performances to finish off the night. The venue even offers a small daytime coffee shop with snacks and drinks, where the staff of PLASMA Magazine operates editorial meetings in exchange for people power and promotion for the Bakery’s events. A large team of multi-talented artists and media producers came to the Bakery in search of residency and workshop space, and many have found themselves organically folded into the team as their talents were needed for programming, curation, and the extra elbow grease required to maintain a DIY space.

Goldstein and DeSimone want everyone who comes to the Bakery to feel comfortable being who they are, as long as they are respectful. The building features a gender-neutral bathroom facility, and programming regularly promotes gender equality. The venue hosted the Southern Fried Queer Pride festival in June of this year. “If I am a gender nonconforming person, am I going to have to fight the battle that I have to fight every day of my life just to go see a show?” DeSimone says. “There should be a space where no one feels that they are going to be heckled by drunk people just for being different.”

Programming is overseen by Goldstein, whose methodical but affectionate pragmatism can be felt within every crevice of the Bakery. Goldstein is supported by a sizeable team of artists, musicians, teachers, curators, and contributors who make the venue’s round-the-clock activity possible. Goldstein says that her mother, who studied at the Atlanta College of Art and is playfully referred to as “the Muscle” of the operation,  continues to help supervise its daily operations. Most of the venue staff work as volunteers, for work exchange or barter, or simply because they enjoy what the Bakery has to offer.
“DIY doesn’t have to mean shitty, and it isn’t always just about doing everything yourself,” DeSimone says. “That comes with a lot of its own hang-ups, and the burnout fuel of thinking that you have a burden to shoulder by yourself. It’s about taking what you are and making it successful rather than trying to conform to someone else’s idea of success. I know this is badass, and I’m going to do everything I can to foster it until I either get crushed under the machine or win.”

Highlights for the Bakery's upcoming programming include Diane Cluck, Loudermilk and Moon, and Casey Hood on Sept. 3, Lupita’s Revenge: Shadow Puppet play with live music on Sept. 9, and the Turn Up/Turn Out Rock the Vote show featuring Little Tybee, Linqua Franqa, Loner, and more on Nov. 3.

Looking to the future, the Bakery will continue to expand the capacity of its performance spaces, while Goldstein, DeSimone, and the rest of the team work to incorporate new projects and experiments into the venue. “It’s a platform for events, a platform for the people, even a platform for me to learn how to run a business,” Goldstein says. “Everything that’s happened at the Bakery so far has been so positive that I’m just trusting in it to be whatever it is."

The Bakery is located at 825 Warner Street S.W. www.thebakeryatlanta.com."
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  string(7729) "Alien puppets, spaceship props, and a bioluminescent rainforest transformed the vibrantly painted warehouse into a distant planet, where extraterrestrial performers executed the fluid musical stagecraft of Joshua Loner’s intergalactic space-opera ''Celesthesia 1.5: Light Speed!'' The decorative installations were crafted with love by local artists and volunteers, each part recycled from materials left behind at a wedding the week before.

The hybrid musical-theatre performance illustrates the self-reliant and fiercely creative energy cultivated by the Bakery, a progressive, multi-use arts and music venue on Atlanta’s Southwest side.

On the cusp of Oakland City and the rapidly gentrifying Adair Park, [https://thebakeryatlanta.com/|the Bakery] sits between the Westside BeltLine Trail and the Aluma Farm. Slathered in hand-painted pastel murals and artful graffiti, the warehouse was once a functioning bakery in the ‘50s, ‘60s, and ‘70s, before housing secretive rave party hotspots CoLab and Kaleidoscape circa 2006-2016. Since founder and creative director Willow Goldstein and her mother, Olive Hagemeier, took over the space in October of 2017, she and a team of volunteers have shifted away from the building’s former rave affiliations and have developed the Bakery as a community center for DIY arts, music, and education.

Over the last year, like-minded independent gallery and venue spaces such as Mammal Gallery and Eyedrum have been forced out of their buildings, casualties of a wave of gentrification sweeping over South Downtown.

The Bakery is fighting to preserve legitimacy for community-based arts. “I have said it’s inherently DIY because my mom has taught me to just do everything ourselves my whole life,” Goldstein says. “I have been trying to recall when DIY, as an ethos, first entered my vocabulary, and it definitely is more recently. I'm certainly trying to run a business — not turn a profit necessarily — that balances DIY with more traditional operations because I want people to be paid and valued and sustained. I'm absolutely not working toward 501(3)(c) status because while we operate largely as a team with regular team/staff meetings, I still retain decision-making power,” she adds. “This is based on my past experience and frustrations with nonprofits.”
As an Eyedrum Art & Music Gallery board member, Goldstein's administrative and curatorial experiences have allowed her to continue building professional and friendly relationships with many of the artists and volunteers who now contribute to the Bakery. When she and her mother began focusing their energies on building up the Bakery and assembling a team of volunteers through social media and Craigslist ads, they were met by a flood of artists eager for a place to showcase their work.

Their efforts highlighted a dilemma: While there is an abundance of compelling art being created by Atlanta-based artists, there’s a lack of spaces in which it can be presented. “The caliber of artwork brought to a warehouse in this random location was surprising,” Goldstein says.

Goldstein handles art curation and community building. In the meantime, musical programming is overseen by fellow Eyedrum board member Daniel DeSimone, who also plays bass for local grindcore band Malevich. While DeSimone’s promotion company, [https://www.facebook.com/faceofknives/?ref=br_rs|Face of Knives Productions], focuses on heavy metal, post-rock, and abstract noise acts, he also books artists of all genres, ensuring that guests of the Bakery experience something new every time they return. “I’d rather throw a thousand genuine artists against our walls just to see what sticks rather than try to craft the most appealing lineup to the masses or some capitalist entity,” he says. “That way, even if a show is weird, at least I’ll know it’s going to be sick. It’s about curating valuable art from a revolving door of different people and building a genuine and positive environment around that.”

For Goldstein, keeping that door revolving means expanding programming to accommodate community gatherings and educational opportunities. This includes technology workshops with Streetcat.media’s Maggie Kane and art classes such as photography and life drawing.

The Bakery houses a handful of performance spaces, affording time and square-footage to host yoga classes, afternoon art and technology workshops, evening film screenings, and a full bill of musical performances to finish off the night. The venue even offers a small daytime coffee shop with snacks and drinks, where the staff of ''[http://plasmamag.com/|PLASMA Magazine]'' operates editorial meetings in exchange for people power and promotion for the Bakery’s events. A large team of multi-talented artists and media producers came to the Bakery in search of residency and workshop space, and many have found themselves organically folded into the team as their talents were needed for programming, curation, and the extra elbow grease required to maintain a DIY space.

Goldstein and DeSimone want everyone who comes to the Bakery to feel comfortable being who they are, as long as they are respectful. The building features a gender-neutral bathroom facility, and programming regularly promotes gender equality. The venue hosted the Southern Fried Queer Pride festival in June of this year. “If I am a gender nonconforming person, am I going to have to fight the battle that I have to fight every day of my life just to go see a show?” DeSimone says. “There should be a space where no one feels that they are going to be heckled by drunk people just for being different.”

Programming is overseen by Goldstein, whose methodical but affectionate pragmatism can be felt within every crevice of the Bakery. Goldstein is supported by a sizeable team of artists, musicians, teachers, curators, and contributors who make the venue’s round-the-clock activity possible. Goldstein says that her mother, who studied at the Atlanta College of Art and is playfully referred to as “the Muscle” of the operation,  continues to help supervise its daily operations. Most of the venue staff work as volunteers, for work exchange or barter, or simply because they enjoy what the Bakery has to offer.
“DIY doesn’t have to mean shitty, and it isn’t always just about doing everything yourself,” DeSimone says. “That comes with a lot of its own hang-ups, and the burnout fuel of thinking that you have a burden to shoulder by yourself. It’s about taking what you are and making it successful rather than trying to conform to someone else’s idea of success. I know this is badass, and I’m going to do everything I can to foster it until I either get crushed under the machine or win.”

Highlights for the Bakery's upcoming programming include Diane Cluck, Loudermilk and Moon, and Casey Hood on __Sept. 3__, Lupita’s Revenge: Shadow Puppet play with live music on __Sept. 9__, and the Turn Up/Turn Out Rock the Vote show featuring Little Tybee, Linqua Franqa, Loner, and more on __Nov. 3__.

Looking to the future, the Bakery will continue to expand the capacity of its performance spaces, while Goldstein, DeSimone, and the rest of the team work to incorporate new projects and experiments into the venue. “It’s a platform for events, a platform for the people, even a platform for me to learn how to run a business,” Goldstein says. “Everything that’s happened at the Bakery so far has been so positive that I’m just trusting in it to be whatever it is."

''[https://thebakeryatlanta.com/|The Bakery is located at 825 Warner Street S.W. www.thebakeryatlanta.com.]''"
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  string(8219) " The Bakery DSC 0873  2018-06-28T16:34:34+00:00 The_Bakery_DSC_0873.JPG      How the grass-roots gallery and venue cultivates community The Bakery DSC 0873   2018-08-27T19:00:00+00:00  The Bakery fosters homegrown creativity chad.radford Chad Radford Alex Patton dalexpatton (Alex Patton) 2018-08-27T19:00:00+00:00 Alien puppets, spaceship props, and a bioluminescent rainforest transformed the vibrantly painted warehouse into a distant planet, where extraterrestrial performers executed the fluid musical stagecraft of Joshua Loner’s intergalactic space-opera Celesthesia 1.5: Light Speed! The decorative installations were crafted with love by local artists and volunteers, each part recycled from materials left behind at a wedding the week before.

The hybrid musical-theatre performance illustrates the self-reliant and fiercely creative energy cultivated by the Bakery, a progressive, multi-use arts and music venue on Atlanta’s Southwest side.

On the cusp of Oakland City and the rapidly gentrifying Adair Park, the Bakery sits between the Westside BeltLine Trail and the Aluma Farm. Slathered in hand-painted pastel murals and artful graffiti, the warehouse was once a functioning bakery in the ‘50s, ‘60s, and ‘70s, before housing secretive rave party hotspots CoLab and Kaleidoscape circa 2006-2016. Since founder and creative director Willow Goldstein and her mother, Olive Hagemeier, took over the space in October of 2017, she and a team of volunteers have shifted away from the building’s former rave affiliations and have developed the Bakery as a community center for DIY arts, music, and education.

Over the last year, like-minded independent gallery and venue spaces such as Mammal Gallery and Eyedrum have been forced out of their buildings, casualties of a wave of gentrification sweeping over South Downtown.

The Bakery is fighting to preserve legitimacy for community-based arts. “I have said it’s inherently DIY because my mom has taught me to just do everything ourselves my whole life,” Goldstein says. “I have been trying to recall when DIY, as an ethos, first entered my vocabulary, and it definitely is more recently. I'm certainly trying to run a business — not turn a profit necessarily — that balances DIY with more traditional operations because I want people to be paid and valued and sustained. I'm absolutely not working toward 501(3)(c) status because while we operate largely as a team with regular team/staff meetings, I still retain decision-making power,” she adds. “This is based on my past experience and frustrations with nonprofits.”
As an Eyedrum Art & Music Gallery board member, Goldstein's administrative and curatorial experiences have allowed her to continue building professional and friendly relationships with many of the artists and volunteers who now contribute to the Bakery. When she and her mother began focusing their energies on building up the Bakery and assembling a team of volunteers through social media and Craigslist ads, they were met by a flood of artists eager for a place to showcase their work.

Their efforts highlighted a dilemma: While there is an abundance of compelling art being created by Atlanta-based artists, there’s a lack of spaces in which it can be presented. “The caliber of artwork brought to a warehouse in this random location was surprising,” Goldstein says.

Goldstein handles art curation and community building. In the meantime, musical programming is overseen by fellow Eyedrum board member Daniel DeSimone, who also plays bass for local grindcore band Malevich. While DeSimone’s promotion company, Face of Knives Productions, focuses on heavy metal, post-rock, and abstract noise acts, he also books artists of all genres, ensuring that guests of the Bakery experience something new every time they return. “I’d rather throw a thousand genuine artists against our walls just to see what sticks rather than try to craft the most appealing lineup to the masses or some capitalist entity,” he says. “That way, even if a show is weird, at least I’ll know it’s going to be sick. It’s about curating valuable art from a revolving door of different people and building a genuine and positive environment around that.”

For Goldstein, keeping that door revolving means expanding programming to accommodate community gatherings and educational opportunities. This includes technology workshops with Streetcat.media’s Maggie Kane and art classes such as photography and life drawing.

The Bakery houses a handful of performance spaces, affording time and square-footage to host yoga classes, afternoon art and technology workshops, evening film screenings, and a full bill of musical performances to finish off the night. The venue even offers a small daytime coffee shop with snacks and drinks, where the staff of PLASMA Magazine operates editorial meetings in exchange for people power and promotion for the Bakery’s events. A large team of multi-talented artists and media producers came to the Bakery in search of residency and workshop space, and many have found themselves organically folded into the team as their talents were needed for programming, curation, and the extra elbow grease required to maintain a DIY space.

Goldstein and DeSimone want everyone who comes to the Bakery to feel comfortable being who they are, as long as they are respectful. The building features a gender-neutral bathroom facility, and programming regularly promotes gender equality. The venue hosted the Southern Fried Queer Pride festival in June of this year. “If I am a gender nonconforming person, am I going to have to fight the battle that I have to fight every day of my life just to go see a show?” DeSimone says. “There should be a space where no one feels that they are going to be heckled by drunk people just for being different.”

Programming is overseen by Goldstein, whose methodical but affectionate pragmatism can be felt within every crevice of the Bakery. Goldstein is supported by a sizeable team of artists, musicians, teachers, curators, and contributors who make the venue’s round-the-clock activity possible. Goldstein says that her mother, who studied at the Atlanta College of Art and is playfully referred to as “the Muscle” of the operation,  continues to help supervise its daily operations. Most of the venue staff work as volunteers, for work exchange or barter, or simply because they enjoy what the Bakery has to offer.
“DIY doesn’t have to mean shitty, and it isn’t always just about doing everything yourself,” DeSimone says. “That comes with a lot of its own hang-ups, and the burnout fuel of thinking that you have a burden to shoulder by yourself. It’s about taking what you are and making it successful rather than trying to conform to someone else’s idea of success. I know this is badass, and I’m going to do everything I can to foster it until I either get crushed under the machine or win.”

Highlights for the Bakery's upcoming programming include Diane Cluck, Loudermilk and Moon, and Casey Hood on Sept. 3, Lupita’s Revenge: Shadow Puppet play with live music on Sept. 9, and the Turn Up/Turn Out Rock the Vote show featuring Little Tybee, Linqua Franqa, Loner, and more on Nov. 3.

Looking to the future, the Bakery will continue to expand the capacity of its performance spaces, while Goldstein, DeSimone, and the rest of the team work to incorporate new projects and experiments into the venue. “It’s a platform for events, a platform for the people, even a platform for me to learn how to run a business,” Goldstein says. “Everything that’s happened at the Bakery so far has been so positive that I’m just trusting in it to be whatever it is."

The Bakery is located at 825 Warner Street S.W. www.thebakeryatlanta.com.    Bakie THE CREW: Willow Goldstein (from left), Pearl Bryant, Maggie Kane, Lev Omelchenko, Xenia Simos, Severiana Iocovozzi, Meredith Kooi, Olive Hagemeier, Mark "Q" Gilbert, Daniel DeSimone, and Jordan Neal are among the staff and volunteers who run the Bakery.                             The Bakery fosters homegrown creativity "
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  string(10565) "As we are deep into the hottest months of summer, it’s time to embrace the power of the good ole A/C. And hell, while escaping the heat we may as well go somewhere that’s cool in more ways than the temperature. We’ve seen art fight for freedom of expression in multiple ways. Last year, city officials attempted to exert control over murals being painted on private property. Artists of all mediums across ATL banded together, taking the issue to court — and they won. Figuratively, political discourse influences every brush stroke and pen mark. The shmucks in the White House may have failed at everything else, but at least they’ve generated a nationwide interest (and need) for art to address difficult topics or provide an ethereal escape from reality. Local venues are helping us fight one more battle: Summer. So beat the heat and take refuge indoors with art, and feel no shame about doing so.  — Lauren Leathers



High Museum 

With its bright colors and endless mirrors reflecting images to infinity and beyond, Yayoi Kusama’s Infinity Mirrors has taken over social media by storm. Guests can get lost in six decades worth of the 89-year-old artist’s kaleidoscope environments, a room for each decade containing sculptures, paintings, film excerpts, archival ephemera, large-scale installations, and various other mediums of expression. This comprehensive exhibit, which takes over the High Museum November 18, has sold out every venue across North America, so snag these hot potatoes while they’re available. Tickets go on sale September 17. Free-$14.50. 10 a.m.-5 p.m. Tues.-Thurs. and Sat.; 10 a.m.-9 p.m. Fri.; noon-5 p.m. Sun. High Museum of Art, 1280 Peachtree St. N.E. 404-733-4400. www.high.org. — LL

Atlanta Symphony Hall

Atlanta Symphony Hall is the home of the city’s famed Atlanta Symphony Orchestra (ASO), located within Midtown’s Woodruff Arts Center. Not restricted to highbrow orchestral overtures, the venue books an eclectic catalogue of family-friendly programming from concertos to live film scores. Arrested Development’s David Cross brings his politically charged comedy special Oh Come On to the Hall August 11, and TOTO’s full performance of 40 Trips Around the Sun blesses the rains down in Atlanta the following week, August 18. For a classic symphony experience, the ASO performs composer John Williams’ magical score for Harry Potter and the Chamber of Secrets to accompany the full-length film playing on a 40-foot screen, October 5-7. Various prices. Various times. Atlanta Symphony at the Woodruff Arts Center, Hall, 1280 Peachtree St., N.E. 404-733-5000. www.atlantasymphony.org. — Alex Patton



Alliance Theatre

Midtown’s Alliance Theatre celebrates its 50th Anniversary now through 2019 with a packed schedule and five theatrical world premieres. Ever After will premier January 19 and run through February 17,  as the first production to christen the newly constructed and very glamorous Coca-Cola Stage. Everyone’s favorite Shakespearean comedy, A Midsummer Night’s Dream, will be performed against the enchanting backdrop of the Atlanta Botanical Gardens; this adaptation will run September 5-October 21. Jazz lovers might want to catch Nick’s Flamingo Grill, a mid-century musical of Atlanta’s first integrated nightclub, on the Hertz Stage, running September 29-October 28. Families can enjoy four youth-oriented productions now through April 2019 including Winnie-the-Pooh, Paige in Full, A Christmas Carol, and The Wizard of Oz. Kick back and relax with entertainment in its most magical form at the Alliance Theatre. Various prices (packages available). Various times. Alliance Theatre, 1280 Peachtree St. N.E. 404-733-4650. www.alliancetheatre.org. — Juliette Cheatham

Horizon Theater

Horizon Theater has remained a mainstay of the Atlanta theater scene since its debut in 1983, garnering multiple awards from theater lovers and accolades from Atlanta publications. Rather than go posh-highbrow like their rivals, this venue tells thoughtful stories in a casual atmosphere geared more toward the general public. As opposed to relying on the classic plays or musicals, Horizon Theater focuses on contemporary stories that resonate with the audience, allowing viewers to relive the struggles they face each day and to identify with the painful emotions in their wake. The Alliance’s current original performance, How Black Mothers Say I Love You, illustrates this ability perfectly. The play explores complicated mother-daughter relationships, and discusses the fallout between mothers who leave their daughters, and the feelings of the children left behind.  $25. 8 p.m. Wed.-Sun. July 13-Aug. 26. Horizon Theatre, 1083 Austin Ave. N.E. 404-584-7450. http://www.horizontheatre.com/plays/black-mothers-say-i-love-you/. — Daniel Park 



Fernbank Museum

Founded over 80 years ago to protect Atlanta’s own Fernbank Forest, the Fernbank Museum of Natural History aims to bring science to life in its mission to celebrate the interconnectedness of everything on our beautiful planet. Stop by anytime to see their permanent exhibits celebrating Earth’s history, like  Dinosaur Plaza, Giants of the Mesozoic, and A Walk Through Time in Georgia. Before it departs on August 19, make sure to stop by their special exhibit,  Food: Our Global Kitchen,,  to experience human history through the best way we can think of: eating. Fernbank is a celebration of our world fit for every curious member of your family, whether they want giant dinosaurs, beautiful gardens, or big-screen movies. Bring the whole crew down for a fun-filled and educational trip — something you can’t get just anywhere. Free-$25. 10 a.m.-5 p.m. Mon.-Sun. Fernbank Museum of Natural History, 767 Clifton Road N.E. 404-929-6300. www.fernbankmuseum.org. — Tennant Ross



Museum of Contemporary Art 

Since 2000, the Museum of Contemporary Art of Georgia has provided a contemporary alternative to those bored by typical traditionalist offerings. For 18 years, MOCA has played an instrumental role in Atlanta’s art scene, through its focus on homegrown art, as well as through monetary grants, residency programs, and education opportunities for aspiring artists. This hallowed tradition continues in 2018 with Kirstin Mitchell’s Miecznikowski, a one-woman installation produced by grants from MOCA; and First-Person-Plural a multi-artist/multi-medium exhibition that focuses on the legacies of trauma, both of which will be running through September 8. Perhaps the most alluring of their artistic offerings is the two-part exhibit featuring the works of Atlanta native Larry Walker, honoring the artist’s half century of creativity. Larry Walker Retrospective: The Early Years will finish up its stay at MOCA on July 31, with the second half of The Later Years debuting on August 11 and running through October 27. Free-$8. Tues.-Sat., 11 a.m.-5 p.m. 75 Bennett St. N.W. 404-367-8700. http://mocaga.org/. — Mat Shankute 

 



Actor’s Express 

There are moments when theater sticks, when a performance lifts the audience from their seat into a story chosen from time, moments when the exchange of energy between the cast and audience lives beyond the curtain close. Actor’s Express provides these moments with some of Atlanta’s sharpest writers, performers, and backstage talent. Now, riding the wave of a season that gave us Angels in America and The Color Purple, they’ll be opening up the 2018-2019 season with Lucas Hnath’s A Doll’s House, Part 2 from September 1 through September 30. A sequel to the Ibsen classic, the play tackles themes of women’s empowerment, struggle, and love in the early 20th century. Various Prices. Various times. Actor’s Express, 887 W. Marietta St. 404-607-7469. https://www.actors-express.com/plays/a-dolls-house-part-2. — Jake Van Valkenburg



A Cappella Books

A Cappella Books — Atlanta’s only in-town, full-service independent bookstore — is a constant reminder that there are good things in this world. From their original location in Little Five Points to their cozy shop in Inman Park, the bookstore has brought life to the grand literary ideas of city dwellers, hermits, activists, and beyond. A Cappella’s vast selection of new and rare books on politics, fiction, music, and more grants any book lover the power to become the master of their own odyssey into the familiar and unknown. As part of their regular author talks, the store will host actress and author Amber Tamblyn on August 11 to talk about her unforgettable and provocative debut, Any Man. Discovery awaits here. Free. 2 p.m. Sat., Aug. 11. A Cappella Books, 208 Haralson Ave. N.E. 404-681-5128. https://www.acappellabooks.com/.— JVV

Dad’s Garage Theatre

While everyone loves standups and sitcoms, no comedy provokes quite the laughter that improv does. As opposed to scripted jokes calculated to make you cackle, improvisation allows for spur-of-the-moment jokes that come across naturally and get even funnier over the course of a show as the comedians build on the acts. Such is the spirit of Dad’s Garage Theatre, which focuses on providing young ATLien comedy aficionados with side-splitting, on-the-spot laughs. It helps to have a star-studded roster that boasts such masters of laughter as Colin Mochrie of Whose Line Is It Anyway? fame; he’s returning to the Garage on the weekend of August 18 for an evening of comedy straight from a hit improv show. $35.50-$50. 8-10:30 p.m. Fri.-Sat., Aug. 17-18. Dad’s Garage Theatre Company, 569 Ezzard St. S.E. www.dadsgarage.com. — DP



Museum of Design Atlanta

The Museum of Design Atlanta is host to a number of unique works and distinguishes itself as one of the very few museums in the South devoted to the art of design. Unlike its fine art or modern art focused rivals, the Museum of Design Atlanta is also interested and involved in the present-day cultural impact it can build. The museum hosts a variety of educational summer activities for children alongside its usual events and current flagship exhibit, Making Change: The Art and Craft of Activism. This exhibit covers craftivism, a movement that seems to embody the goal of the museum itself: to create and distribute work that will campaign for social reform and for the rights of the underprivileged. Various prices. Various times. Museum of Design Atlanta, 1315 Peachtree St. N.E. 404-979-6455. http://www.museumofdesign.org/making-change/. — DP"
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~~#000000:With its bright colors and endless mirrors reflecting images to infinity and beyond, Yayoi Kusama’s ''Infinity Mirrors'' has taken over social media by storm. Guests can get lost in six decades worth of the 89-year-old artist’s kaleidoscope environments, a room for each decade containing sculptures, paintings, film excerpts, archival ephemera, large-scale installations, and various other mediums of expression. This comprehensive exhibit, which takes over the High Museum November 18, has sold out every venue across North America, so snag these hot potatoes while they’re available. Tickets go on sale September 17. ''Free-$14.50. 10 a.m.-5 p.m. Tues.-Thurs. and Sat.; 10 a.m.-9 p.m. Fri.; noon-5 p.m. Sun. High Museum of Art, 1280 Peachtree St. N.E. 404-733-4400. www.high.org.'' — LL~~

~~#000000:===__Atlanta Symphony Hall__===~~

~~#000000:Atlanta Symphony Hall is the home of the city’s famed Atlanta Symphony Orchestra (ASO), located within Midtown’s Woodruff Arts Center. Not restricted to highbrow orchestral overtures, the venue books an eclectic catalogue of family-friendly programming from concertos to live film scores. Arrested Development’s David Cross brings his politically charged comedy special ''Oh Come On'' to the Hall August 11, and TOTO’s full performance of ''40 Trips Around the Sun'' blesses the rains down in Atlanta the following week, August 18. For a classic symphony experience, the ASO performs composer John Williams’ magical score for ''Harry Potter and the Chamber of Secrets'' to accompany the full-length film playing on a 40-foot screen, October 5-7. ''Various prices. Various times. Atlanta Symphony at the Woodruff Arts Center, Hall, 1280 Peachtree St., N.E. 404-733-5000. www.atlantasymphony.org.'' — Alex Patton~~

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~~#000000:===__Alliance Theatre__===~~

~~#000000:Midtown’s Alliance Theatre celebrates its 50th Anniversary now through 2019 with a packed schedule and five theatrical world premieres. ''Ever After'' will premier January 19 and run through February 17,  as the first production to christen the newly constructed and very glamorous Coca-Cola Stage. Everyone’s favorite Shakespearean comedy, ''A Midsummer Night’s Dream'', will be performed against the enchanting backdrop of the Atlanta Botanical Gardens; this adaptation will run September 5-October 21. Jazz lovers might want to catch ''Nick’s Flamingo Grill'', a mid-century musical of Atlanta’s first integrated nightclub, on the Hertz Stage, running September 29-October 28. Families can enjoy four youth-oriented productions now through April 2019 including ''Winnie-the-Pooh, Paige in Full, A Christmas Carol, and The Wizard of Oz''. Kick back and relax with entertainment in its most magical form at the Alliance Theatre. ~~''~~#000000:Various prices (packages available). Various times. Alliance Theatre, 1280 Peachtree St. N.E. 404-733-4650. ~~[http://www.alliancetheatre.org|~~#000000:www.alliancetheatre.org~~]~~#000000:. — Juliette Cheatham~~''

~~#000000:===__Horizon Theater__===~~

~~#000000:Horizon Theater has remained a mainstay of the Atlanta theater scene since its debut in 1983, garnering multiple awards from theater lovers and accolades from Atlanta publications. Rather than go posh-highbrow like their rivals, this venue tells thoughtful stories in a casual atmosphere geared more toward the general public. As opposed to relying on the classic plays or musicals, Horizon Theater focuses on contemporary stories that resonate with the audience, allowing viewers to relive the struggles they face each day and to identify with the painful emotions in their wake. The Alliance’s current original performance, ''How Black Mothers Say I Love You'', illustrates this ability perfectly. The play explores complicated mother-daughter relationships, and discusses the fallout between mothers who leave their daughters, and the feelings of the children left behind. ~~''~~#000000: $25. 8 p.m. Wed.-Sun. July 13-Aug. 26. Horizon Theatre, 1083 Austin Ave. N.E. 404-584-7450. ~~[http://www.horizontheatre.com/plays/black-mothers-say-i-love-you/|~~#000000:http://www.horizontheatre.com/plays/black-mothers-say-i-love-you/~~]~~#000000:. ~~''~~#000000:__— Daniel Park __~~

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~~#000000:__===Fernbank Museum===__~~

~~#000000:Founded over 80 years ago to protect Atlanta’s own Fernbank Forest, the Fernbank Museum of Natural History aims to bring science to life in its mission to celebrate the interconnectedness of everything on our beautiful planet. Stop by anytime to see their permanent exhibits celebrating Earth’s history, like '' Dinosaur Plaza, Giants of the Mesozoic,'' and ''A Walk Through Time in Georgia.'' Before it departs on August 19, make sure to stop by their special exhibit, '' Food: Our Global Kitchen,'',  to experience human history through the best way we can think of: eating. Fernbank is a celebration of our world fit for every curious member of your family, whether they want giant dinosaurs, beautiful gardens, or big-screen movies. Bring the whole crew down for a fun-filled ''and'' educational trip — something you can’t get just anywhere. ~~''~~#000000:Free-$25. 10 a.m.-5 p.m. Mon.-Sun. Fernbank Museum of Natural History, 767 Clifton Road N.E. 404-929-6300. ~~[http://www.fernbankmuseum.org|~~#000000:www.fernbankmuseum.org~~]~~#000000:.~~''~~#000000: — Tennant Ross~~

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~~#000000:===__Museum of Contemporary Art __===~~

~~#000000:Since 2000, the Museum of Contemporary Art of Georgia has provided a contemporary alternative to those bored by typical traditionalist offerings. For 18 years, MOCA has played an instrumental role in Atlanta’s art scene, through its focus on homegrown art, as well as through monetary grants, residency programs, and education opportunities for aspiring artists. This hallowed tradition continues in 2018 with Kirstin Mitchell’s ''Miecznikowski'', a one-woman installation produced by grants from MOCA; and ''First-Person-Plural a multi-artist/multi-medium exhibition that focuses on the legacies of trauma, both of which will be running through September 8. Perhaps the most alluring of their artistic offerings is the two-part exhibit featuring the works of Atlanta native Larry Walker, honoring the artist’s half century of creativity. ''Larry Walker Retrospective: The Early Years'' will finish up its stay at MOCA on July 31, with the second half of ''The Later Years'' debuting on August 11 and running through October 27. ''Free-$8. Tues.-Sat., 11 a.m.-5 p.m. 75 Bennett St. N.W. 404-367-8700. ~~[http://mocaga.org/|~~#000000:http://mocaga.org/~~]~~#000000:.'' — Mat Shankute ''~~

 

{img fileId="7886" align="center" desc="SEEING COLORS: Mitchell aims to create experimental environments that challenge common perceptions. PHOTO CREDIT: Kirstin Mitchell." width="600"}

~~#000000:===__Actor’s Express __===~~

~~#000000:There are moments when theater sticks, when a performance lifts the audience from their seat into a story chosen from time, moments when the exchange of energy between the cast and audience lives beyond the curtain close. Actor’s Express provides these moments with some of Atlanta’s sharpest writers, performers, and backstage talent. Now, riding the wave of a season that gave us ''Angels in America'' and ''The Color Purple'', they’ll be opening up the 2018-2019 season with Lucas Hnath’s ''A Doll’s House, Part 2'' from September 1 through September 30. A sequel to the Ibsen classic, the play tackles themes of women’s empowerment, struggle, and love in the early 20th century. ''Various Prices. Various times. Actor’s Express, 887 W. Marietta St. 404-607-7469. https://www.actors-express.com/plays/a-dolls-house-part-2. — Jake Van Valkenburg''~~

{img fileId="7887" align="center" desc="IN THE WINGS: Actor’s Express’ performance of ‘Angels in America’ stuns whoever is watching. PHOTO CREDIT: Ashley Earles-Bennett." width="600"}

~~#000000:===__A Cappella Books__===~~

~~#000000:A Cappella Books — Atlanta’s only in-town, full-service independent bookstore — is a constant reminder that there are good things in this world. From their original location in Little Five Points to their cozy shop in Inman Park, the bookstore has brought life to the grand literary ideas of city dwellers, hermits, activists, and beyond. A Cappella’s vast selection of new and rare books on politics, fiction, music, and more grants any book lover the power to become the master of their own odyssey into the familiar and unknown. As part of their regular author talks, the store will host actress and author Amber Tamblyn on August 11 to talk about her unforgettable and provocative debut, ''Any Man''. Discovery awaits here. Free. 2 p.m. Sat., Aug. 11. A Cappella Books, 208 Haralson Ave. N.E. 404-681-5128. ~~[https://www.acappellabooks.com/|~~#000000:https://www.acappellabooks.com/~~]~~#000000:.— JVV~~

~~#000000:===__Dad’s Garage Theatre__===~~

~~#000000:While everyone loves standups and sitcoms, no comedy provokes quite the laughter that improv does. As opposed to scripted jokes calculated to make you cackle, improvisation allows for spur-of-the-moment jokes that come across naturally and get even funnier over the course of a show as the comedians build on the acts. Such is the spirit of Dad’s Garage Theatre, which focuses on providing young ATLien comedy aficionados with side-splitting, on-the-spot laughs. It helps to have a star-studded roster that boasts such masters of laughter as Colin Mochrie of ''Whose Line Is It Anyway?'' fame; he’s returning to the Garage on the weekend of August 18 for an evening of comedy straight from a hit improv show. ''$35.50-$50. 8-10:30 p.m. Fri.-Sat., Aug. 17-18. Dad’s Garage Theatre Company, 569 Ezzard St. S.E. www.dadsgarage.com.'' — DP~~

{img fileId="7888" align="center" desc="UNDER THE LIMELIGHT: Colin Mochrie caught in the moment at Dad’s Garage Theatre. PHOTO CREDIT: Haylee Anne Kitties." width="600"}

~~#000000:===__Museum of Design Atlanta__===~~

~~#000000:The Museum of Design Atlanta is host to a number of unique works and distinguishes itself as one of the very few museums in the South devoted to the art of design. Unlike its fine art or modern art focused rivals, the Museum of Design Atlanta is also interested and involved in the present-day cultural impact it can build. The museum hosts a variety of educational summer activities for children alongside its usual events and current flagship exhibit, ''Making Change: The Art and Craft of Activism.'' This exhibit covers craftivism, a movement that seems to embody the goal of the museum itself: to create and distribute work that will campaign for social reform and for the rights of the underprivileged. ~~''~~#000000:Various prices. Various times. Museum of Design Atlanta, 1315 Peachtree St. N.E. 404-979-6455. ~~[http://www.museumofdesign.org/making-change/|~~#000000:http://www.museumofdesign.org/making-change/~~]~~#000000:. ~~''~~#000000:__— DP__~~"
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  string(11106) " Arts05 Artvenues 1  2018-08-02T17:11:23+00:00 arts05_artvenues 1.jpg      Escape summer heat by going somewhere that’s cool in more ways than just temperature  Arts05 Artvenues 1   2018-08-06T09:00:00+00:00  10 venues that will blow your damn mind laureneleathers Lauren Leathers CL Staff  2018-08-06T09:00:00+00:00 As we are deep into the hottest months of summer, it’s time to embrace the power of the good ole A/C. And hell, while escaping the heat we may as well go somewhere that’s cool in more ways than the temperature. We’ve seen art fight for freedom of expression in multiple ways. Last year, city officials attempted to exert control over murals being painted on private property. Artists of all mediums across ATL banded together, taking the issue to court — and they won. Figuratively, political discourse influences every brush stroke and pen mark. The shmucks in the White House may have failed at everything else, but at least they’ve generated a nationwide interest (and need) for art to address difficult topics or provide an ethereal escape from reality. Local venues are helping us fight one more battle: Summer. So beat the heat and take refuge indoors with art, and feel no shame about doing so.  — Lauren Leathers



High Museum 

With its bright colors and endless mirrors reflecting images to infinity and beyond, Yayoi Kusama’s Infinity Mirrors has taken over social media by storm. Guests can get lost in six decades worth of the 89-year-old artist’s kaleidoscope environments, a room for each decade containing sculptures, paintings, film excerpts, archival ephemera, large-scale installations, and various other mediums of expression. This comprehensive exhibit, which takes over the High Museum November 18, has sold out every venue across North America, so snag these hot potatoes while they’re available. Tickets go on sale September 17. Free-$14.50. 10 a.m.-5 p.m. Tues.-Thurs. and Sat.; 10 a.m.-9 p.m. Fri.; noon-5 p.m. Sun. High Museum of Art, 1280 Peachtree St. N.E. 404-733-4400. www.high.org. — LL

Atlanta Symphony Hall

Atlanta Symphony Hall is the home of the city’s famed Atlanta Symphony Orchestra (ASO), located within Midtown’s Woodruff Arts Center. Not restricted to highbrow orchestral overtures, the venue books an eclectic catalogue of family-friendly programming from concertos to live film scores. Arrested Development’s David Cross brings his politically charged comedy special Oh Come On to the Hall August 11, and TOTO’s full performance of 40 Trips Around the Sun blesses the rains down in Atlanta the following week, August 18. For a classic symphony experience, the ASO performs composer John Williams’ magical score for Harry Potter and the Chamber of Secrets to accompany the full-length film playing on a 40-foot screen, October 5-7. Various prices. Various times. Atlanta Symphony at the Woodruff Arts Center, Hall, 1280 Peachtree St., N.E. 404-733-5000. www.atlantasymphony.org. — Alex Patton



Alliance Theatre

Midtown’s Alliance Theatre celebrates its 50th Anniversary now through 2019 with a packed schedule and five theatrical world premieres. Ever After will premier January 19 and run through February 17,  as the first production to christen the newly constructed and very glamorous Coca-Cola Stage. Everyone’s favorite Shakespearean comedy, A Midsummer Night’s Dream, will be performed against the enchanting backdrop of the Atlanta Botanical Gardens; this adaptation will run September 5-October 21. Jazz lovers might want to catch Nick’s Flamingo Grill, a mid-century musical of Atlanta’s first integrated nightclub, on the Hertz Stage, running September 29-October 28. Families can enjoy four youth-oriented productions now through April 2019 including Winnie-the-Pooh, Paige in Full, A Christmas Carol, and The Wizard of Oz. Kick back and relax with entertainment in its most magical form at the Alliance Theatre. Various prices (packages available). Various times. Alliance Theatre, 1280 Peachtree St. N.E. 404-733-4650. www.alliancetheatre.org. — Juliette Cheatham

Horizon Theater

Horizon Theater has remained a mainstay of the Atlanta theater scene since its debut in 1983, garnering multiple awards from theater lovers and accolades from Atlanta publications. Rather than go posh-highbrow like their rivals, this venue tells thoughtful stories in a casual atmosphere geared more toward the general public. As opposed to relying on the classic plays or musicals, Horizon Theater focuses on contemporary stories that resonate with the audience, allowing viewers to relive the struggles they face each day and to identify with the painful emotions in their wake. The Alliance’s current original performance, How Black Mothers Say I Love You, illustrates this ability perfectly. The play explores complicated mother-daughter relationships, and discusses the fallout between mothers who leave their daughters, and the feelings of the children left behind.  $25. 8 p.m. Wed.-Sun. July 13-Aug. 26. Horizon Theatre, 1083 Austin Ave. N.E. 404-584-7450. http://www.horizontheatre.com/plays/black-mothers-say-i-love-you/. — Daniel Park 



Fernbank Museum

Founded over 80 years ago to protect Atlanta’s own Fernbank Forest, the Fernbank Museum of Natural History aims to bring science to life in its mission to celebrate the interconnectedness of everything on our beautiful planet. Stop by anytime to see their permanent exhibits celebrating Earth’s history, like  Dinosaur Plaza, Giants of the Mesozoic, and A Walk Through Time in Georgia. Before it departs on August 19, make sure to stop by their special exhibit,  Food: Our Global Kitchen,,  to experience human history through the best way we can think of: eating. Fernbank is a celebration of our world fit for every curious member of your family, whether they want giant dinosaurs, beautiful gardens, or big-screen movies. Bring the whole crew down for a fun-filled and educational trip — something you can’t get just anywhere. Free-$25. 10 a.m.-5 p.m. Mon.-Sun. Fernbank Museum of Natural History, 767 Clifton Road N.E. 404-929-6300. www.fernbankmuseum.org. — Tennant Ross



Museum of Contemporary Art 

Since 2000, the Museum of Contemporary Art of Georgia has provided a contemporary alternative to those bored by typical traditionalist offerings. For 18 years, MOCA has played an instrumental role in Atlanta’s art scene, through its focus on homegrown art, as well as through monetary grants, residency programs, and education opportunities for aspiring artists. This hallowed tradition continues in 2018 with Kirstin Mitchell’s Miecznikowski, a one-woman installation produced by grants from MOCA; and First-Person-Plural a multi-artist/multi-medium exhibition that focuses on the legacies of trauma, both of which will be running through September 8. Perhaps the most alluring of their artistic offerings is the two-part exhibit featuring the works of Atlanta native Larry Walker, honoring the artist’s half century of creativity. Larry Walker Retrospective: The Early Years will finish up its stay at MOCA on July 31, with the second half of The Later Years debuting on August 11 and running through October 27. Free-$8. Tues.-Sat., 11 a.m.-5 p.m. 75 Bennett St. N.W. 404-367-8700. http://mocaga.org/. — Mat Shankute 

 



Actor’s Express 

There are moments when theater sticks, when a performance lifts the audience from their seat into a story chosen from time, moments when the exchange of energy between the cast and audience lives beyond the curtain close. Actor’s Express provides these moments with some of Atlanta’s sharpest writers, performers, and backstage talent. Now, riding the wave of a season that gave us Angels in America and The Color Purple, they’ll be opening up the 2018-2019 season with Lucas Hnath’s A Doll’s House, Part 2 from September 1 through September 30. A sequel to the Ibsen classic, the play tackles themes of women’s empowerment, struggle, and love in the early 20th century. Various Prices. Various times. Actor’s Express, 887 W. Marietta St. 404-607-7469. https://www.actors-express.com/plays/a-dolls-house-part-2. — Jake Van Valkenburg



A Cappella Books

A Cappella Books — Atlanta’s only in-town, full-service independent bookstore — is a constant reminder that there are good things in this world. From their original location in Little Five Points to their cozy shop in Inman Park, the bookstore has brought life to the grand literary ideas of city dwellers, hermits, activists, and beyond. A Cappella’s vast selection of new and rare books on politics, fiction, music, and more grants any book lover the power to become the master of their own odyssey into the familiar and unknown. As part of their regular author talks, the store will host actress and author Amber Tamblyn on August 11 to talk about her unforgettable and provocative debut, Any Man. Discovery awaits here. Free. 2 p.m. Sat., Aug. 11. A Cappella Books, 208 Haralson Ave. N.E. 404-681-5128. https://www.acappellabooks.com/.— JVV

Dad’s Garage Theatre

While everyone loves standups and sitcoms, no comedy provokes quite the laughter that improv does. As opposed to scripted jokes calculated to make you cackle, improvisation allows for spur-of-the-moment jokes that come across naturally and get even funnier over the course of a show as the comedians build on the acts. Such is the spirit of Dad’s Garage Theatre, which focuses on providing young ATLien comedy aficionados with side-splitting, on-the-spot laughs. It helps to have a star-studded roster that boasts such masters of laughter as Colin Mochrie of Whose Line Is It Anyway? fame; he’s returning to the Garage on the weekend of August 18 for an evening of comedy straight from a hit improv show. $35.50-$50. 8-10:30 p.m. Fri.-Sat., Aug. 17-18. Dad’s Garage Theatre Company, 569 Ezzard St. S.E. www.dadsgarage.com. — DP



Museum of Design Atlanta

The Museum of Design Atlanta is host to a number of unique works and distinguishes itself as one of the very few museums in the South devoted to the art of design. Unlike its fine art or modern art focused rivals, the Museum of Design Atlanta is also interested and involved in the present-day cultural impact it can build. The museum hosts a variety of educational summer activities for children alongside its usual events and current flagship exhibit, Making Change: The Art and Craft of Activism. This exhibit covers craftivism, a movement that seems to embody the goal of the museum itself: to create and distribute work that will campaign for social reform and for the rights of the underprivileged. Various prices. Various times. Museum of Design Atlanta, 1315 Peachtree St. N.E. 404-979-6455. http://www.museumofdesign.org/making-change/. — DP    Mat Shankute BEAT THE HEAT: Painted columns in Underground Atlanta, although beautiful, it’s hot out here and there’s much to see indoors.   0,0,10                           10 venues that will blow your damn mind "
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  string(1339) "With grants from the National Endowment for the Arts, the Georgia Museum of Contemporary Art’s Working Artist Project (WAP) aims to provide support to artists living and working in Atlanta. Those selected receive a $15,000 stipend, a paid studio apprentice, $1,000 in art supplies, inclusion in the MOCA’s permanent collection, and a months-long solo exhibition of their new work. One such artist is Kirstin Mitchell, who was one of three artists selected in 2017 and is now presenting her solo exhibition Miecznikowski. 


Covering the gamut of subjects from voyeurism and feminine sexuality to our relationship with nature, Mitchell creates experimental environments that challenge our perceptions. Through painting, photography, installations, and performance art, Mitchell’s work disarms the senses and defies easy description, creating a sensory experience that must be experienced in person to be understood, if it can be at all. Her latest, ‘Miecznikowski,’ is a culmination of Mitchell’s year as a WAP Fellow and aims to “touch on identity and the interruption of atmosphere,” while also paying homage to Polish folklore and blue-collar Southern history. 


$8. 11 a.m.-5 p.m. Tues.-Sat., July 14-Sept. 8. Museum of Contemporary Art of Georgia, 75 Bennett St. N.W., Suite A2. 404-367-8700. http://mocaga.org. "
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In preparation of the exhibition opening, Creative Loafing spoke with Jentleson about self-taught artists and their lasting legacy. 

“Outliers and American Vanguard Art” opens Sunday, June 24 through September 30, 2018 at the High Museum of Art.

Creative Loafing: Why curate an exhibit like “Outliers”

Katie Jentleson: That's the term used in the show to describe  artists who have a distance from the mainstream in some way, in many cases  because they weren't trained, but also because they often had positions in society that were marginalized, whether it was because they were living in rural areas or because of cognitive diversity, meaning different kinds of experiences that are outside of what we would consider to be normal in terms of mental health. And then certainly in terms of class and race. These artists because of their skin color or social standing were traditionally underrepresented in the mainstream art world. 

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Outliers and American Vanguard Art. June 24 – September 30, 2018. Tickets available now at www.high.org.

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Outliers and American Vanguard Art. June 24 – September 30, 2018. Tickets available now at www.high.org.

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In preparation of the exhibition opening, Creative Loafing spoke with Jentleson about self-taught artists and their lasting legacy. 

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Creative Loafing: Why curate an exhibit like “Outliers”

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Do you enjoy comedy improv? What about carefully crafted, time-honored plays? Well come one, come all, because The Actor’s Worst Nightmare half-asses both! Watch two actors perform two different plays, and throw an improviser in the mix while they’re at it. The object: to make a story out of the mess. Whether you enjoy watching performers squirm under pressure, or are captivated by the power of quick thinking and creativity to turn nonsense into art, you are guaranteed to be entertained. Pay as little as $7 for a one-hour show, and you’ll have the option to stay for another free of charge! $7-10. 8-9 p.m. Fri., June 1.-Sat., June 2. Highwire Comedy Co., 451 Bishop St N.W. http://www.highwirecomedy.com.


If an artsy, indie vibe is more your speed, don’t miss out on the Summer Indie Craft Experience 2018. Swag bags, fun activities with the Atlanta Library, local food, and musical stylings by DJ Zano are just the sprinkles on top of the over 135 craft and vintage vendors who will be selling their wares. Kids get in free, and the Five Points MARTA station is in walking distance of the venue. If you are an etsy addict, aspiring artist, or just want to get to know more about Atlanta’s artists and crafters, this is so worth the $5. $5. 11-6 p.m. Sat., June 2.-Sun., June 3. Georgia Freight Depot, 65 M.L.K. Jr. Dr. S.E. http://www.ice-atlanta.com. 


Need to use all that useless Atlanta trivia that’s been cluttering your brain for years? Looking to make new friends, enjoy drinks, and prove your status as a true ATLien? Tired of rhetorical statements used to convince you doing something is a good idea? If you answered yes to at least two of the above questions, then the return of Are You An ATLien Trivia should pique your interest. Assemble your team and test your knowledge of obscure ATL history and culture to secure bragging rights and the illustrious mystery prize. Shots are $3, because if anything helps in recalling information it’s alcohol. $5. 5:30-9 p.m. Sun., June 3. WERD Studio, 54 Hilliard St. N.E. https://www.facebook.com/events/1979285272388033. 


Are you itching to do something completely new this weekend, but also really need to relax? Chances are Reel Paddling Film Festival will sate your need for chill adventurism. Come out to see serene wilderness and wild rivers without having to leave behind air conditioning! Or, get inspired for your next extreme paddling trip. All proceeds will be going to Paddle4Tomorrow, an organization dedicated to fostering appreciation and respect in youth for nature and others. What’s more? You’ll get a free, locally crafted beer! $22. 7:30-10:30 p.m. Sun., June 3. Westbrook Supply Co., 1240 Chattahoochee Ave. N.W. Suite J. https://www.paddle4tomorrow.org. 

For those with a more sophisticated palette, Atlanta Food and Wine Festival is back all weekend. For $100, connoisseurs will be able to participate in unlimited tastings of the south’s best wine, beer, and spirits, as well as bites from award-winning Atlanta chefs. If you have not yet registered for this opportunity to be swept into a world of flavor, be swift! Saturday is already sold out, and Friday and Sunday are going fast! $100. Fri., June 1, 7:30-10:30 p.m.; Sun., June 3., 1:30-4:30 p.m. Midtown, 1000 Marietta St., Suite 108. https://atlfoodandwinefestival.com.


Atlanta’s first alternative newspaper, The Great Speckled Bird, covered issues of racial justice, women’s rights, gay liberation, and anti-war sentiments when no other Georgia newspaper was doing it. Now, it’s 50 years later and we’re still fighting the same battles. In honor of the 50th anniversary of Atlanta’s second most important newspaper, The 50th Anniversary Celebration of The Great Speckled Bird will be kicking off Saturday at 4 p.m. Featuring Democracy Now lead anchor Amy Goodman, senior writer for Splinter News Hamilton Nolan, music from Sing Out Defiance, and a panel discussing media then and now led by Bird veterans. With local progressive grassroots organizations picking up steam since the election, swing by for a chance to gain some insight and knowledge about the radical, anti-establishment movements that happened right here in The Peach City. $10-$12. 4-9 p.m. Sat., June 2. Chosewood Ballroom, 420 McDonough Ave. www.library.gsu.edu/GSB50. 


Get your Fast & Furious kicks in a safe, non-illegal street race environment at the 2018 Georgia Street Rod Show Hosted by GSRA (Georgia Street Rod Association) this show celebrates cars and bikes of all varieties, including specalitty custom vehicles you won't be able to find anywhere else. Proceeds from the event will go to helping Honor Flight, a non-profit dedicated to helping veterans find closure by visiting monuments dedicated to their sacrifice. Prizes will be given out, food will be eaten, and music will be listened to so even if you’re too young to see above the steering wheel it shouldn’t be hard to find something to do. $20. 10 a.m.-3 p.m. Sat., June 2. Summit Racing Equipment, 20 King Mill Road, McDonough. https://gsra.wildapricot.org.

Joyner Lucas at The Loft Known for his controversial “I’m Not Racist” music video tackling issues of race in today’s polarized political climate, rapper Joyner Lucas makes a stop at The Loft for his I’m Kind Of A Big Deal tour. Born and raised in Worcester, Massachusetts, Lucas has always found passion in listening and creating music that speaks to his own experience and issues plaguing society today. $20. 8-11 p.m. Sun., June 3. Center Stage - The Loft - Vinyl 1374 W. Peachtree St. N.W. http://www.centerstage-atlanta.com/shows/the-loft. 


Have you ever dreamt about drinking while painting erotic masterpieces in the back of a tattoo parlor? Bring your wildest fantasies to life with Tipsy Topics & Texture’s Paint Your Pleasure. Perfect for a carefree girl’s night out or a sexy date, Black Ink Atlanta is graciously providing space for @SassyFierce to teach Atlanta’s most stimulating painting class. Light food and drink will be provided for purchase. Come on over for a good time. $35-$75. 8:00-11:00 p.m. Sat., June 2. Black Ink Atlanta, 2989 North Fulton Dr. https://www.tipsytopicstextures.com."
  ["tracker_field_contentWikiPage_raw"]=>
  string(7333) "You won’t think you’re in Atlanta anymore. Whether you’re a hardcore raw foodie or just curious, you can step into a new world of afrocentric radical health at __Wonderful Wizards of Raw - A Raw Food Extravaganza__. Sample and purchase raw foods from local chefs, listen to the wisdom of keynote speakers, and enjoy the musical stylings by hostess Sheriese Nicole and DJ Grey. If you want even more raw magic, return sunday for film screenings and a wrap-up dance party! Kids welcome. ''Free. Sat., June 2, 1-7 p.m.; Sun., June 3, 1-7 p.m. Tassili’s Raw Reality, 1059 Ralph David Abernathy Blvd. S.W. ''[http://www.tassilisrawreality.com/|''www.tassilisrawreality.com'']''.''


Do you enjoy comedy improv? What about carefully crafted, time-honored plays? Well come one, come all, because __The Actor’s Worst Nightmare____ __half-asses both! Watch two actors perform two different plays, and throw an improviser in the mix while they’re at it. The object: to make a story out of the mess. Whether you enjoy watching performers squirm under pressure, or are captivated by the power of quick thinking and creativity to turn nonsense into art, you are guaranteed to be entertained. Pay as little as $7 for a one-hour show, and you’ll have the option to stay for another free of charge! ''$7-10. 8-9 p.m. Fri., June 1.-Sat., June 2. Highwire Comedy Co., 451 Bishop St N.W. [http://www.highwirecomedy.com/|http://www.highwirecomedy.com].''


If an artsy, indie vibe is more your speed, don’t miss out on the __Summer Indie Craft Experience 2018.__ Swag bags, fun activities with the Atlanta Library, local food, and musical stylings by DJ Zano are just the sprinkles on top of the over 135 craft and vintage vendors who will be selling their wares. Kids get in free, and the Five Points MARTA station is in walking distance of the venue. If you are an etsy addict, aspiring artist, or just want to get to know more about Atlanta’s artists and crafters, this is so worth the $5. ''$5. 11-6 p.m. Sat., June 2.-Sun., June 3. Georgia Freight Depot, 65 M.L.K. Jr. Dr. S.E. [http://www.ice-atlanta.com/|http://www.ice-atlanta.com]. ''


Need to use all that useless Atlanta trivia that’s been cluttering your brain for years? Looking to make new friends, enjoy drinks, and prove your status as a true ATLien? Tired of rhetorical statements used to convince you doing something is a good idea? If you answered yes to at least two of the above questions, then the return of __Are You An ATLien Trivia __should pique your interest. Assemble your team and test your knowledge of obscure ATL history and culture to secure bragging rights and the illustrious mystery prize. Shots are $3, because if anything helps in recalling information it’s alcohol. ''$5. 5:30-9 p.m. Sun., June 3. WERD Studio, 54 Hilliard St. N.E. [https://www.facebook.com/events/1979285272388033]. ''


Are you itching to do something completely new this weekend, but also really'' ''need to relax? Chances are __Reel Paddling Film Festival____ __will sate your need for chill adventurism. Come out to see serene wilderness and wild rivers without having to leave behind air conditioning! Or, get inspired for your next extreme paddling trip. All proceeds will be going to Paddle4Tomorrow, an organization dedicated to fostering appreciation and respect in youth for nature and others. What’s more? You’ll get a free, locally crafted beer! ''$22. 7:30-10:30 p.m. Sun., June 3. Westbrook Supply Co., 1240 Chattahoochee Ave. N.W. Suite J. [https://www.paddle4tomorrow.org/|https://www.paddle4tomorrow.org]. ''

For those with a more sophisticated palette, __Atlanta Food and Wine Festival____ __is back all weekend. For $100, connoisseurs will be able to participate in unlimited tastings of the south’s best wine, beer, and spirits, as well as bites from award-winning Atlanta chefs. If you have not yet registered for this opportunity to be swept into a world of flavor, be swift! Saturday is already sold out, and Friday and Sunday are going fast! ''$100. Fri., June 1, 7:30-10:30 p.m.; Sun., June 3., 1:30-4:30 p.m. Midtown, 1000 Marietta St., Suite 108. [https://atlfoodandwinefestival.com/|https://atlfoodandwinefestival.com].''


Atlanta’s first alternative newspaper, ''The Great Speckled Bird'', covered issues of racial justice, women’s rights, gay liberation, and anti-war sentiments when no other Georgia newspaper was doing it. Now, it’s 50 years later and we’re still fighting the same battles. In honor of the 50th anniversary of Atlanta’s second most important newspaper, __The 50th Anniversary Celebration of The Great Speckled Bird____ __will be kicking off Saturday at 4 p.m. Featuring Democracy Now lead anchor Amy Goodman, senior writer for Splinter News Hamilton Nolan, music from Sing Out Defiance, and a panel discussing media then and now led by ''Bird'' veterans. With local progressive grassroots organizations picking up steam since the election, swing by for a chance to gain some insight and knowledge about the radical, anti-establishment movements that happened right here in The Peach City. ''$10-$12. 4-9 p.m. Sat., June 2. Chosewood Ballroom, 420 McDonough Ave. [http://www.library.gsu.edu/GSB50|www.library.gsu.edu/GSB50]. ''


Get your Fast & Furious kicks in a safe, non-illegal street race environment at the __2018 Georgia Street Rod Show__ Hosted by GSRA (Georgia Street Rod Association) this show celebrates cars and bikes of all varieties, including specalitty custom vehicles you won't be able to find anywhere else. Proceeds from the event will go to helping Honor Flight, a non-profit dedicated to helping veterans find closure by visiting monuments dedicated to their sacrifice. Prizes will be given out, food will be eaten, and music will be listened to so even if you’re too young to see above the steering wheel it shouldn’t be hard to find something to do. ''$20. 10 a.m.-3 p.m. Sat., June 2. Summit Racing Equipment, 20 King Mill Road, McDonough. [https://gsra.wildapricot.org/|https://gsra.wildapricot.org].''

__Joyner Lucas at The Loft____ __Known for his controversial “I’m Not Racist” music video tackling issues of race in today’s polarized political climate, rapper Joyner Lucas makes a stop at The Loft for his ''I’m Kind Of A Big Deal ''tour. Born and raised in Worcester, Massachusetts, Lucas has always found passion in listening and creating music that speaks to his own experience and issues plaguing society today. ''$20. 8-11 p.m. Sun., June 3. Center Stage - The Loft - Vinyl 1374 W. Peachtree St. N.W. [http://www.centerstage-atlanta.com/shows/the-loft/|http://www.centerstage-atlanta.com/shows/the-loft]. ''


Have you ever dreamt about drinking while painting erotic masterpieces in the back of a tattoo parlor? Bring your wildest fantasies to life with Tipsy Topics & Texture’s __Paint Your Pleasure.__ Perfect for a carefree girl’s night out or a sexy date, Black Ink Atlanta is graciously providing space for @SassyFierce to teach Atlanta’s most stimulating painting class. Light food and drink will be provided for purchase. Come on over for a good time. ''$35-$75. 8:00-11:00 p.m. Sat., June 2. Black Ink Atlanta, 2989 North Fulton Dr. [https://www.tipsytopicstextures.com/|https://www.tipsytopicstextures.com].''"
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  string(7485) " Indie Craft Experience 2  2018-06-02T00:09:44+00:00 Indie_Craft_Experience_2.jpg      PLUS: Tipsy Topics and Textures host an erotic painting party, rapper Joyner Lucas comes to town, and more Indie Craft Experience 2   2018-06-01T09:02:00+00:00  Welcome warmer weather at the Summer Indie Craft Experience market laureneleathers Lauren Leathers Jessica Struempf, Jake Van Valkenburg, and Mathew Shankute  2018-06-01T09:02:00+00:00 You won’t think you’re in Atlanta anymore. Whether you’re a hardcore raw foodie or just curious, you can step into a new world of afrocentric radical health at Wonderful Wizards of Raw - A Raw Food Extravaganza. Sample and purchase raw foods from local chefs, listen to the wisdom of keynote speakers, and enjoy the musical stylings by hostess Sheriese Nicole and DJ Grey. If you want even more raw magic, return sunday for film screenings and a wrap-up dance party! Kids welcome. Free. Sat., June 2, 1-7 p.m.; Sun., June 3, 1-7 p.m. Tassili’s Raw Reality, 1059 Ralph David Abernathy Blvd. S.W. www.tassilisrawreality.com.


Do you enjoy comedy improv? What about carefully crafted, time-honored plays? Well come one, come all, because The Actor’s Worst Nightmare half-asses both! Watch two actors perform two different plays, and throw an improviser in the mix while they’re at it. The object: to make a story out of the mess. Whether you enjoy watching performers squirm under pressure, or are captivated by the power of quick thinking and creativity to turn nonsense into art, you are guaranteed to be entertained. Pay as little as $7 for a one-hour show, and you’ll have the option to stay for another free of charge! $7-10. 8-9 p.m. Fri., June 1.-Sat., June 2. Highwire Comedy Co., 451 Bishop St N.W. http://www.highwirecomedy.com.


If an artsy, indie vibe is more your speed, don’t miss out on the Summer Indie Craft Experience 2018. Swag bags, fun activities with the Atlanta Library, local food, and musical stylings by DJ Zano are just the sprinkles on top of the over 135 craft and vintage vendors who will be selling their wares. Kids get in free, and the Five Points MARTA station is in walking distance of the venue. If you are an etsy addict, aspiring artist, or just want to get to know more about Atlanta’s artists and crafters, this is so worth the $5. $5. 11-6 p.m. Sat., June 2.-Sun., June 3. Georgia Freight Depot, 65 M.L.K. Jr. Dr. S.E. http://www.ice-atlanta.com. 


Need to use all that useless Atlanta trivia that’s been cluttering your brain for years? Looking to make new friends, enjoy drinks, and prove your status as a true ATLien? Tired of rhetorical statements used to convince you doing something is a good idea? If you answered yes to at least two of the above questions, then the return of Are You An ATLien Trivia should pique your interest. Assemble your team and test your knowledge of obscure ATL history and culture to secure bragging rights and the illustrious mystery prize. Shots are $3, because if anything helps in recalling information it’s alcohol. $5. 5:30-9 p.m. Sun., June 3. WERD Studio, 54 Hilliard St. N.E. https://www.facebook.com/events/1979285272388033. 


Are you itching to do something completely new this weekend, but also really need to relax? Chances are Reel Paddling Film Festival will sate your need for chill adventurism. Come out to see serene wilderness and wild rivers without having to leave behind air conditioning! Or, get inspired for your next extreme paddling trip. All proceeds will be going to Paddle4Tomorrow, an organization dedicated to fostering appreciation and respect in youth for nature and others. What’s more? You’ll get a free, locally crafted beer! $22. 7:30-10:30 p.m. Sun., June 3. Westbrook Supply Co., 1240 Chattahoochee Ave. N.W. Suite J. https://www.paddle4tomorrow.org. 

For those with a more sophisticated palette, Atlanta Food and Wine Festival is back all weekend. For $100, connoisseurs will be able to participate in unlimited tastings of the south’s best wine, beer, and spirits, as well as bites from award-winning Atlanta chefs. If you have not yet registered for this opportunity to be swept into a world of flavor, be swift! Saturday is already sold out, and Friday and Sunday are going fast! $100. Fri., June 1, 7:30-10:30 p.m.; Sun., June 3., 1:30-4:30 p.m. Midtown, 1000 Marietta St., Suite 108. https://atlfoodandwinefestival.com.


Atlanta’s first alternative newspaper, The Great Speckled Bird, covered issues of racial justice, women’s rights, gay liberation, and anti-war sentiments when no other Georgia newspaper was doing it. Now, it’s 50 years later and we’re still fighting the same battles. In honor of the 50th anniversary of Atlanta’s second most important newspaper, The 50th Anniversary Celebration of The Great Speckled Bird will be kicking off Saturday at 4 p.m. Featuring Democracy Now lead anchor Amy Goodman, senior writer for Splinter News Hamilton Nolan, music from Sing Out Defiance, and a panel discussing media then and now led by Bird veterans. With local progressive grassroots organizations picking up steam since the election, swing by for a chance to gain some insight and knowledge about the radical, anti-establishment movements that happened right here in The Peach City. $10-$12. 4-9 p.m. Sat., June 2. Chosewood Ballroom, 420 McDonough Ave. www.library.gsu.edu/GSB50. 


Get your Fast & Furious kicks in a safe, non-illegal street race environment at the 2018 Georgia Street Rod Show Hosted by GSRA (Georgia Street Rod Association) this show celebrates cars and bikes of all varieties, including specalitty custom vehicles you won't be able to find anywhere else. Proceeds from the event will go to helping Honor Flight, a non-profit dedicated to helping veterans find closure by visiting monuments dedicated to their sacrifice. Prizes will be given out, food will be eaten, and music will be listened to so even if you’re too young to see above the steering wheel it shouldn’t be hard to find something to do. $20. 10 a.m.-3 p.m. Sat., June 2. Summit Racing Equipment, 20 King Mill Road, McDonough. https://gsra.wildapricot.org.

Joyner Lucas at The Loft Known for his controversial “I’m Not Racist” music video tackling issues of race in today’s polarized political climate, rapper Joyner Lucas makes a stop at The Loft for his I’m Kind Of A Big Deal tour. Born and raised in Worcester, Massachusetts, Lucas has always found passion in listening and creating music that speaks to his own experience and issues plaguing society today. $20. 8-11 p.m. Sun., June 3. Center Stage - The Loft - Vinyl 1374 W. Peachtree St. N.W. http://www.centerstage-atlanta.com/shows/the-loft. 


Have you ever dreamt about drinking while painting erotic masterpieces in the back of a tattoo parlor? Bring your wildest fantasies to life with Tipsy Topics & Texture’s Paint Your Pleasure. Perfect for a carefree girl’s night out or a sexy date, Black Ink Atlanta is graciously providing space for @SassyFierce to teach Atlanta’s most stimulating painting class. Light food and drink will be provided for purchase. Come on over for a good time. $35-$75. 8:00-11:00 p.m. Sat., June 2. Black Ink Atlanta, 2989 North Fulton Dr. https://www.tipsytopicstextures.com.    Bonnie J. Heath Photography SUMMER SHOPPING: Shop local arts all weekend long                             Welcome warmer weather at the Summer Indie Craft Experience market "
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For some inexplicable reason, the presence of flowers creates an inviting and emotional environment. Flowers provide a sense of happiness, even if only temporary, and this idea is what prompted Project Bloom ATL.

Amanda Lankford is a local floral designer who has been beautifying local and iconic places in Atlanta with a method she refers to as ‘floral tagging.’ The ornamentations created by #projectbloomatl are not permanent, mirroring our constantly changing natural environment, and, depending on people’s use of the flowers, the display may last from a couple of days to several weeks. The next floral tagging will occur late this March.

Along with her team at Amanda Jewel Floral + Design, Lankford has already embellished multiple locations around metro Atlanta. The bronze couple in George Lundeen’s “Valentine” sculpture at Decatur Square, when adorned by colorful flowers, provided an even stronger sentiment of love. This statue holds personal significance for Lankford, as it was where she photographed her first bouquets, launching her floral business.

More floral tagging occurred in Krog Street Tunnel, specifically in the area surrounding Tiny Door #1 of Tiny Doors ATL. The alluring, giant bouquet served as a reminder of beauty to those that strolled by and encouraged people to admire other local art projects.
 

Additionally, Jackson Street Bridge was embellished with a Pride flag made up of carnations, accompanied by a message that read “We’re all the colors, all the sexes, all the genders. Infinite people. Infinite colors.” Many witnesses have commented on social media how these flowers had brightened their day, reaffirming Lankford’s reason for starting the project in the first place.
  

Join Lankford on her next flowering fun expedition by following @amandajewelfloraldesign on Instagram or using the hashtag #projectbloomatl. Details on upcoming floral tagging destinations are usually posted only a few hours before, so stay tuned!
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  string(1283) "    Photographic poetry comes to life at the Hood Alchemy Exhibition.     2018-02-20T10:00:00+00:00  SEE & DO: Hood Alchemy Exhibition laureneleathers Lauren Leathers Crysta Jones  2018-02-20T10:00:00+00:00 The exhibition revolves around the philosophical and metaphysical practice of alchemy as seen through the lens of “the hood” or Black experience.AD “Kaya” Clark<!]}%-->


Curators AD “Kaya” Clark and Ralph “rEN” Dillard present an original artistic perspective at South Fulton Arts Center’s latest showing, Hood Alchemy. The exhibition revolves around the philosophical and metaphysical practice of alchemy as seen through the lens of  “the hood” or Black experience. It illustrates African-American practices such as graffiti, jazz, and hip-hop through photographic poetry. The show will feature 15 to 20 different Atlanta photographers. The opening reception will occur on Feb. 24 at 7 p.m. at the South Fulton Arts Center. Revel in the sights of unique concepts by local photographers in a highly distinctive presentation.

Free. Sat., Feb. 24-Sat., Apr. 21. 1-6 p.m. South Fulton Arts Center, 4645 Butner Road College Park, Ga. 30349. 404-612-3087. www/fultonarts.org.




                                   SEE & DO: Hood Alchemy Exhibition "
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  string(46) "Exploring Okeeba Jubalo's 'Jim Crow Fantasies'"
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  string(95) "The artist's provocative new solo exhibition opens Feb. 17 at the Westside Cultural Arts Center"
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  string(5003) "%{data-embed-type=%22image%22 data-embed-id=%225898e39639ab46e42793f85b%22 data-embed-element=%22span%22 data-embed-size=%22640w%22 contenteditable=%22false%22}%Okeeba Jubalo wants to get people talking. His artwork is bold, confrontational and doesn’t shy away from having a point of view. On Feb. 17, his solo show, dubbed The Dirty Dozen: Jim Crow Fantasies, will open at the Westside Cultural Arts Center, featuring 12 pieces that highlight and reflect on racial tensions and the African-American experience in today’s cultural (and political) climate. 



Jubalo candidly talked with CL about his aim of sparking conversation and change through his pieces, courage through art, and why he’s not creating work for the faint of heart.



 



What sparked you to begin working on this series?

This series was driven by my need to tell our truth. When I use the word “our” I am referring to the African-American truth within our country. There are so many parts and pieces to our truth, and sadly we have been silenced by the establishment. You would think the arts would be a platform for me to speak my truth, but that is rarely the case. Even those who look like me have proven to be bigger blockers than those who look nothing like me. Being born as a black male in America is the one event that sparked my work. Over the years, I learned to rely on my art to create some sense of balance for myself ... like trying to find balance in a hurricane. If I had to narrow it down to say there was one event, America is that one event. 

 

You've said "This work will probably make people uncomfortable — that is not my goal. But the truth has a funny way of making people uneasy." Can you elaborate on that?

The truth is always an uncomfortable thing for most people. Once you hear or see the truth then it forces you to either think or move in another direction. Being a black artist who is moving within a certain circle of exposure comes with a set of challenges that a white artist does not have to think about. Organizations like the National Black Arts Festival do not truly support raw and honest black art, they seem to be in the wallpaper business. Then, if my work offends the white establishment’s view on what black art is, I am pushed out of that scene as well. 



The emotions within me are very raw and the rawness of my work is pure. The black experience in America is very raw, so my work reflects that. There is a great deal of beautiful work created by other black artists in America, but most of it doesn’t speak to me because it looks like these artists are trying to compete with white artists. It also looks like these artists are not trying to offend the powers that be — galleries and museums. That approach has trained the public, curators and collectors to see this level of black art as a cute, tranquilized, zoo lion with no teeth, dressed in a Tom Ford suit snoozing in one of the corners of the High Museum. My art is a full grown male Serengeti lion who hasn’t eaten in a week. When you step into the gallery you will either run for your life or get consumed whole. The truth is a very uncomfortable thing for an audience who has been playing with cute and tranquil zoo lions their entire lives.



 

What types of conversations do you hope are had in response to your work?

My goal is to always have conversations around my art that will lead to actions that will help us become better people. There are so many challenges we are facing in America, and it is bigger than black challenges. When we are not allowed to be honest with each other then we can never reach higher ground. America is a reflection of everyone not being able to reach higher ground. Like handing out sugar pills to those fighting lung cancer. We need the truth, not things that just taste good.



 

How did you decide what mediums to use for each piece?

My people are from Edwards, Mississippi, and Charleston, South Carolina, so my materials are based on my experiences as a child growing up in rural areas. I didn’t have all of the parts and pieces needed to build the perfect childhood. I learned to use what I have within my reach to build myself. Those skills transferred into my approach with my art. I love using building materials and found objects that you will not find in an art supply store. 



 

Was the creation of this series therapeutic for you? 

Yes, definitely. Creating the work is one part of the therapy, the second part is having the exhibition, the third part is selling the work and the fourth part his having a conversation with the collector after the work has been with them for a while. Those conversations with the collectors are very important for me. This allows for me to hear how the work has changed their view and flow within their lives.

The Dirty Dozen: Jim Crow Fantasies opening by Okeeba Jubalo. Free. 6-9 p.m. Fri., Feb. 17. Westside Cultural Arts Center, 760 10th St. N.W., 678-218-3740. westsideartscenter.com.

 "
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  string(5216) "%{[ data-embed-type="image" data-embed-id="5898e39639ab46e42793f85b" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%Okeeba Jubalo wants to get people talking. His artwork is bold, confrontational and doesn’t shy away from having a point of view. On Feb. 17, his solo show, dubbed The Dirty Dozen: Jim Crow Fantasies, will open at the Westside Cultural Arts Center, featuring 12 pieces that highlight and reflect on racial tensions and the African-American experience in today’s cultural (and political) climate. 

____

Jubalo candidly talked with ''CL'' about his aim of sparking conversation and change through his pieces, courage through art, and why he’s not creating work for the faint of heart.



 

____

__What sparked you to begin working on this series?__

This series was driven by my need to tell our truth. When I use the word “our” I am referring to the African-American truth within our country. There are so many parts and pieces to our truth, and sadly we have been silenced by the establishment. You would think the arts would be a platform for me to speak my truth, but that is rarely the case. Even those who look like me have proven to be bigger blockers than those who look nothing like me. Being born as a black male in America is the one event that sparked my work. Over the years, I learned to rely on my art to create some sense of balance for myself ... like trying to find balance in a hurricane. If I had to narrow it down to say there was one event, America is that one event. 

 

__You've said "This work will probably make people uncomfortable — that is not my goal. But the truth has a funny way of making people uneasy." Can you elaborate on that?__

The truth is always an uncomfortable thing for most people. Once you hear or see the truth then it forces you to either think or move in another direction. Being a black artist who is moving within a certain circle of exposure comes with a set of challenges that a white artist does not have to think about. Organizations like the National Black Arts Festival do not truly support raw and honest black art, they seem to be in the wallpaper business. Then, if my work offends the white establishment’s view on what black art is, I am pushed out of that scene as well. 

____

The emotions within me are very raw and the rawness of my work is pure. The black experience in America is very raw, so my work reflects that. There is a great deal of beautiful work created by other black artists in America, but most of it doesn’t speak to me because it looks like these artists are trying to compete with white artists. It also looks like these artists are not trying to offend the powers that be — galleries and museums. That approach has trained the public, curators and collectors to see this level of black art as a cute, tranquilized, zoo lion with no teeth, dressed in a Tom Ford suit snoozing in one of the corners of the High Museum. My art is a full grown male Serengeti lion who hasn’t eaten in a week. When you step into the gallery you will either run for your life or get consumed whole. The truth is a very uncomfortable thing for an audience who has been playing with cute and tranquil zoo lions their entire lives.



 

__What types of conversations do you hope are had in response to your work?__

My goal is to always have conversations around my art that will lead to actions that will help us become better people. There are so many challenges we are facing in America, and it is bigger than black challenges. When we are not allowed to be honest with each other then we can never reach higher ground. America is a reflection of everyone not being able to reach higher ground. Like handing out sugar pills to those fighting lung cancer. We need the truth, not things that just taste good.



 

__How did you decide what mediums to use for each piece?__

My people are from Edwards, Mississippi, and Charleston, South Carolina, so my materials are based on my experiences as a child growing up in rural areas. I didn’t have all of the parts and pieces needed to build the perfect childhood. I learned to use what I have within my reach to build myself. Those skills transferred into my approach with my art. I love using building materials and found objects that you will not find in an art supply store. 



 

__Was the creation of this series therapeutic for you? __

Yes, definitely. Creating the work is one part of the therapy, the second part is having the exhibition, the third part is selling the work and the fourth part his having a conversation with the collector after the work has been with them for a while. Those conversations with the collectors are very important for me. This allows for me to hear how the work has changed their view and flow within their lives.

[http://www.westsideartscenter.com/|The Dirty Dozen: Jim Crow Fantasies ]''[http://www.westsideartscenter.com/|opening by ]''''[http://www.westsideartscenter.com/|Okeeba ][http://www.westsideartscenter.com/|Jubalo][http://www.westsideartscenter.com/|. Free. 6-9 p.m. Fri., Feb. 17. Westside Cultural Arts Center, 760 10th St. N.W., 678-218-3740. westsideartscenter.com.]''

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  string(5464) "   painting african-american community wcac The artist's provocative new solo exhibition opens Feb. 17 at the Westside Cultural Arts Center    2017-02-14T23:41:00+00:00  Exploring Okeeba Jubalo's 'Jim Crow Fantasies'   Caroline Cox  2017-02-14T23:41:00+00:00 %{data-embed-type=%22image%22 data-embed-id=%225898e39639ab46e42793f85b%22 data-embed-element=%22span%22 data-embed-size=%22640w%22 contenteditable=%22false%22}%Okeeba Jubalo wants to get people talking. His artwork is bold, confrontational and doesn’t shy away from having a point of view. On Feb. 17, his solo show, dubbed The Dirty Dozen: Jim Crow Fantasies, will open at the Westside Cultural Arts Center, featuring 12 pieces that highlight and reflect on racial tensions and the African-American experience in today’s cultural (and political) climate. 



Jubalo candidly talked with CL about his aim of sparking conversation and change through his pieces, courage through art, and why he’s not creating work for the faint of heart.



 



What sparked you to begin working on this series?

This series was driven by my need to tell our truth. When I use the word “our” I am referring to the African-American truth within our country. There are so many parts and pieces to our truth, and sadly we have been silenced by the establishment. You would think the arts would be a platform for me to speak my truth, but that is rarely the case. Even those who look like me have proven to be bigger blockers than those who look nothing like me. Being born as a black male in America is the one event that sparked my work. Over the years, I learned to rely on my art to create some sense of balance for myself ... like trying to find balance in a hurricane. If I had to narrow it down to say there was one event, America is that one event. 

 

You've said "This work will probably make people uncomfortable — that is not my goal. But the truth has a funny way of making people uneasy." Can you elaborate on that?

The truth is always an uncomfortable thing for most people. Once you hear or see the truth then it forces you to either think or move in another direction. Being a black artist who is moving within a certain circle of exposure comes with a set of challenges that a white artist does not have to think about. Organizations like the National Black Arts Festival do not truly support raw and honest black art, they seem to be in the wallpaper business. Then, if my work offends the white establishment’s view on what black art is, I am pushed out of that scene as well. 



The emotions within me are very raw and the rawness of my work is pure. The black experience in America is very raw, so my work reflects that. There is a great deal of beautiful work created by other black artists in America, but most of it doesn’t speak to me because it looks like these artists are trying to compete with white artists. It also looks like these artists are not trying to offend the powers that be — galleries and museums. That approach has trained the public, curators and collectors to see this level of black art as a cute, tranquilized, zoo lion with no teeth, dressed in a Tom Ford suit snoozing in one of the corners of the High Museum. My art is a full grown male Serengeti lion who hasn’t eaten in a week. When you step into the gallery you will either run for your life or get consumed whole. The truth is a very uncomfortable thing for an audience who has been playing with cute and tranquil zoo lions their entire lives.



 

What types of conversations do you hope are had in response to your work?

My goal is to always have conversations around my art that will lead to actions that will help us become better people. There are so many challenges we are facing in America, and it is bigger than black challenges. When we are not allowed to be honest with each other then we can never reach higher ground. America is a reflection of everyone not being able to reach higher ground. Like handing out sugar pills to those fighting lung cancer. We need the truth, not things that just taste good.



 

How did you decide what mediums to use for each piece?

My people are from Edwards, Mississippi, and Charleston, South Carolina, so my materials are based on my experiences as a child growing up in rural areas. I didn’t have all of the parts and pieces needed to build the perfect childhood. I learned to use what I have within my reach to build myself. Those skills transferred into my approach with my art. I love using building materials and found objects that you will not find in an art supply store. 



 

Was the creation of this series therapeutic for you? 

Yes, definitely. Creating the work is one part of the therapy, the second part is having the exhibition, the third part is selling the work and the fourth part his having a conversation with the collector after the work has been with them for a while. Those conversations with the collectors are very important for me. This allows for me to hear how the work has changed their view and flow within their lives.

The Dirty Dozen: Jim Crow Fantasies opening by Okeeba Jubalo. Free. 6-9 p.m. Fri., Feb. 17. Westside Cultural Arts Center, 760 10th St. N.W., 678-218-3740. westsideartscenter.com.

            "African-American community" "WCAC" "painting"     20851329 http://dev.creativeloafing.com/image/2017/02/XII.5898e390e071f.png                  Exploring Okeeba Jubalo's 'Jim Crow Fantasies' "
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“I curated this same show before, in August of 2014, at our old gallery space inside Thunderbox,” says Susannah Caviness, who runs the Atlanta branch of Mindzai and was recently named director of the Castleberry Hill Art Stroll. Back then, Caviness says she was just learning tarot (a fortune-telling and intention-setting practice that uses a pack of 78 cards with five suits) and beginning to practice daily. “I thought it would be really interesting to see how, if given the opportunity, visual artists could interpret the cards in their own way. There are probably thousands of different-style tarot decks. I own at least 10 different kinds. It’s always been my favorite show to curate.”The show will feature works from 22 artists, each representing a card from the Major Arcana (a 22-card suit in the tarot deck), such as Death, the High Priestess, the Emperor and the Wheel of Fortune. The participating artists include locals like Jeremiah McCleary, Sanithna Phansavanh, Erin McManness and Lindsey Marr. “It was really important to me to have artists from all different types of backgrounds and styles represented,” Caviness says. Along with plenty of art pieces to peruse (and available for purchase), Kelley of the Modern Mystic Shop inside of Paris on Ponce will be offering $10 tarot readings.


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The Atlanta arts community has something to say. In fact, 33 banners will be rolled from the sides of various local rooftops today in an effort to ensure the message is clear: love and diversity is to be kept safe in our city. No ifs, ands or buts about it.



Signs of Solidarity, a public-art project created in Philadelphia working to preserve inclusivity, has inspired numerous Atlanta-based poets, writers and creatives — including Living Walls, Peter Ferrari, Fabian Williams, Mammal Gallery, Dashboard US, Nikita Gale, Arbitrary Living, Faatimah Stevens, Brian Egan, Quianah Upton, Wussy Mag and Mint Gallery, among others — to create that same kind of passion back down South. The banners painted for this event concentrate on a vital resistance to hate by presenting messages like: “You are Magic,” “We Are the Antidote,” “Paint the Big Picture Together,” and more simply “Love and Unity.”



Monica Campana, executive director of Living Walls, said: “It’s a role for artists to give these glimpses of hope. The world right now seems to be justifying hate more and more. The Atlanta art community does not stand for it.”



Signs of Solidarity ATL works will be hung atop the roofs of 7 Stages Theatre, Bon Ton, Vesta Movement, Elliot Street Pub, Mary's EAV, City of Ink, Notch8 Gallery, Joe's coffee EAV, Mindzai Creative, Sister Louisa's Church, Mother, Lotta Frutta, Murmur, The Soundtable, Joystick, The Local and several other venues in support of this citywide initiative to spread all things love and accept nothing less.





Free. Thurs.-Sat., Jan. 19-22. Multiple Locations. "
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The Atlanta arts community has something to say. In fact, 33 banners will be rolled from the sides of various local rooftops today in an effort to ensure the message is clear: love and diversity is to be kept safe in our city. No ifs, ands or buts about it.



Signs of Solidarity, a public-art project created in Philadelphia working to preserve inclusivity, has inspired numerous Atlanta-based poets, writers and creatives — including Living Walls, Peter Ferrari, Fabian Williams, Mammal Gallery, Dashboard US, Nikita Gale, Arbitrary Living, Faatimah Stevens, Brian Egan, Quianah Upton, Wussy Mag and Mint Gallery, among others — to create that same kind of passion back down South. The banners painted for this event concentrate on a vital resistance to hate by presenting messages like: “You are Magic,” “We Are the Antidote,” “Paint the Big Picture Together,” and more simply “Love and Unity.”



Monica Campana, executive director of Living Walls, said: “It’s [a] role for artists to give these glimpses of hope. The world right now seems to be justifying hate more and more. The Atlanta art community does not stand for it.”



[https://www.facebook.com/SignsofsolidarityATL/|Signs of Solidarity ATL] works will be hung atop the roofs of 7 Stages Theatre, Bon Ton, Vesta Movement, Elliot Street Pub, Mary's EAV, City of Ink, Notch8 Gallery, Joe's coffee EAV, Mindzai Creative, Sister Louisa's Church, Mother, Lotta Frutta, Murmur, The Soundtable, Joystick, The Local and several other venues in support of this citywide initiative to spread all things love and accept nothing less.





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  string(2334) "   monica campana public-art signs of solidarity signs of solidarity atl Local artists join forces to display messages of love    2017-01-19T20:56:00+00:00  Signs of Solidarity ATL   Savannah Elder  2017-01-19T20:56:00+00:00 %{data-embed-type=%22image%22 data-embed-id=%225880e1116cdeeaf02589726f%22 data-embed-element=%22span%22 data-embed-size=%22640w%22 contenteditable=%22false%22}%

The Atlanta arts community has something to say. In fact, 33 banners will be rolled from the sides of various local rooftops today in an effort to ensure the message is clear: love and diversity is to be kept safe in our city. No ifs, ands or buts about it.



Signs of Solidarity, a public-art project created in Philadelphia working to preserve inclusivity, has inspired numerous Atlanta-based poets, writers and creatives — including Living Walls, Peter Ferrari, Fabian Williams, Mammal Gallery, Dashboard US, Nikita Gale, Arbitrary Living, Faatimah Stevens, Brian Egan, Quianah Upton, Wussy Mag and Mint Gallery, among others — to create that same kind of passion back down South. The banners painted for this event concentrate on a vital resistance to hate by presenting messages like: “You are Magic,” “We Are the Antidote,” “Paint the Big Picture Together,” and more simply “Love and Unity.”



Monica Campana, executive director of Living Walls, said: “It’s a role for artists to give these glimpses of hope. The world right now seems to be justifying hate more and more. The Atlanta art community does not stand for it.”



Signs of Solidarity ATL works will be hung atop the roofs of 7 Stages Theatre, Bon Ton, Vesta Movement, Elliot Street Pub, Mary's EAV, City of Ink, Notch8 Gallery, Joe's coffee EAV, Mindzai Creative, Sister Louisa's Church, Mother, Lotta Frutta, Murmur, The Soundtable, Joystick, The Local and several other venues in support of this citywide initiative to spread all things love and accept nothing less.





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It started with a happenstance collab orchestrated by Allie Bashuk, a director at the Goat Farms Arts Center and CL contributor, who was curating the 2015’s WonderRoot and Community Farmers Markets annual fundraiser WonderFarm. She tapped artists Danielle Brutto and Sara Santamaria to create works for the event, and soon realized there was something special in the combination of their skills and aesthetics. “We don’t use the word special lightly,” Bashuk says, “it really feels rare and special.” 



That’s how Brutal Studio — an all-lady-run design and build studio with principal artists Danielle Brutto, Sara Santamaria, and Allie Bashuk — was born. Brutal Studio launched in June and specializes in experiential events and installations, with an ever-evolving collective of talented makers and experimental thinkers. 

“Individually, we had opportunities for cool projects, but didn’t have the bandwidth to do it alone,” Bashuk says. “Together, we collaborate on concepts, executions, and have fun sharing the load.” 

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“It was a fast turnaround, but we’ve done enough projects up until that point that we were confident to take it on,” Bashuk says. “It was a total blast, we'd do that again in a heartbeat.” 

Though Brutal Studios is still in its infancy, the wealth of projects they’re slated to tackle in the coming months shows that they’ve found a niche in the city’s creative scene. “I don’t know many other event-design studios in Atlanta who work the way we do,” Bashuk adds. “We approach everything from both an artistic mind and a logistical standpoint. We know Atlanta, it's community, and that we want to help its potential become kinetic.” 

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It started with a happenstance collab orchestrated by Allie Bashuk, a director at the Goat Farms Arts Center and ''CL ''contributor, who was curating the 2015’s WonderRoot and Community Farmers Markets annual fundraiser WonderFarm. She tapped artists Danielle Brutto and Sara Santamaria to create works for the event, and soon realized there was something special in the combination of their skills and aesthetics. “We don’t use the word special lightly,” Bashuk says, “it really feels rare and special.” 

____

That’s how [https://www.instagram.com/brutal.studio|Brutal Studio] — an all-lady-run design and build studio with principal artists Danielle Brutto, Sara Santamaria, and Allie Bashuk — was born. Brutal Studio launched in June and specializes in experiential events and installations, with an ever-evolving collective of talented makers and experimental thinkers. 

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Though Brutal Studios is still in its infancy, the wealth of projects they’re slated to tackle in the coming months shows that they’ve found a niche in the city’s creative scene. “I don’t know many other event-design studios in Atlanta who work the way we do,” Bashuk adds. “We approach everything from both an artistic mind and a logistical standpoint. We know Atlanta, it's community, and that we want to help its potential become kinetic.”[https://www.instagram.com/brutal.studio| ]

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“It was a fast turnaround, but we’ve done enough projects up until that point that we were confident to take it on,” Bashuk says. “It was a total blast, we'd do that again in a heartbeat.” 

Though Brutal Studios is still in its infancy, the wealth of projects they’re slated to tackle in the coming months shows that they’ve found a niche in the city’s creative scene. “I don’t know many other event-design studios in Atlanta who work the way we do,” Bashuk adds. “We approach everything from both an artistic mind and a logistical standpoint. We know Atlanta, it's community, and that we want to help its potential become kinetic.” 

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