Visual Arts

array(87) {
  ["title"]=>
  string(12) "Foot traffic"
  ["modification_date"]=>
  string(25) "2019-01-13T16:53:39+00:00"
  ["creation_date"]=>
  string(25) "2017-12-29T14:22:33+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(9) "ben.eason"
  }
  ["date"]=>
  string(25) "2001-03-14T05:04:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["parent_object_id"]=>
  string(2) "11"
  ["parent_object_type"]=>
  string(7) "tracker"
  ["field_permissions"]=>
  string(2) "[]"
  ["tracker_field_contentTitle"]=>
  string(12) "Foot traffic"
  ["tracker_field_contentByline"]=>
  string(12) "Chad Radford"
  ["tracker_field_contentByline_exact"]=>
  string(12) "Chad Radford"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "410291"
  ["tracker_field_contentBylinePerson_text"]=>
  string(32) "chad.radford (Chad Radford)"
  ["tracker_field_contentDate"]=>
  string(25) "2001-03-14T05:04:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(22) "Content:_:Foot traffic"
  ["tracker_field_contentWikiPage_text"]=>
  string(1728) "As Atlanta's public transportation system grows increasingly inaccessible, it should come as no surprise that self-propulsion is the subject of two shows at Eyedrum this month titled Heavy Metal: The Bikes of Matt Colman and I Am My Transportation. From the banal to the bizarre, a handful of local artists have created a series of works dealing with everything from bicycle and shoe fetishes, to birds enhanced by man-made propulsion units.
For the street-level gallery, Colman has assembled a collection of 25 bicycles that illustrate the often under appreciated designs that give each bicycle its own personality. Downstairs, I Am My Transportation features Kris Benotti showcasing her favorite shoes while Mark Giorgione and Wade Thompson have created a series of drawings that examine everything from footwear to methods of propulsion lifted straight from the annals of science fiction.
Giorgione's drawings portray shoes at various stages of development, including schematics of basic sneakers and one piece that weighs the aerodynamics of a stealth bomber against the sleek designs of hi-end athletic footwear. Thompson's drawings depict a bird's ability to fly wherever and whenever it wants. Don't expect any Audubon rip-offs however; these birds have been retrofitted with rocket boosters, propellers, steering wheels and bucket seats.
From bicycles to birds, these artists offer some inventive notions of traveling at one's accord.
Heavy Metal: The Bikes of Matt Colman and I Am My Transportation continue through March, 31 at Eyedrum Art & Music Gallery, 253 Trinity Ave. Tues. & Thurs. 2-7 p.m., Wed. noon-5 p.m., Fri. 7-9 p.m., Sat. noon-5 p.m., by appointment and during music/sound performances. 404-522-0655.


"
  ["tracker_field_contentWikiPage_raw"]=>
  string(1748) "As Atlanta's public transportation system grows increasingly inaccessible, it should come as no surprise that self-propulsion is the subject of two shows at Eyedrum this month titled ''Heavy Metal: The Bikes of Matt Colman'' and ''I Am My Transportation.'' From the banal to the bizarre, a handful of local artists have created a series of works dealing with everything from bicycle and shoe fetishes, to birds enhanced by man-made propulsion units.
For the street-level gallery, Colman has assembled a collection of 25 bicycles that illustrate the often under appreciated designs that give each bicycle its own personality. Downstairs, ''I Am My Transportation'' features Kris Benotti showcasing her favorite shoes while Mark Giorgione and Wade Thompson have created a series of drawings that examine everything from footwear to methods of propulsion lifted straight from the annals of science fiction.
Giorgione's drawings portray shoes at various stages of development, including schematics of basic sneakers and one piece that weighs the aerodynamics of a stealth bomber against the sleek designs of hi-end athletic footwear. Thompson's drawings depict a bird's ability to fly wherever and whenever it wants. Don't expect any Audubon rip-offs however; these birds have been retrofitted with rocket boosters, propellers, steering wheels and bucket seats.
From bicycles to birds, these artists offer some inventive notions of traveling at one's accord.
Heavy Metal: The Bikes of Matt Colman ''and'' I Am My Transportation'' continue through March, 31 at Eyedrum Art & Music Gallery, 253 Trinity Ave. Tues. & Thurs. 2-7 p.m., Wed. noon-5 p.m., Fri. 7-9 p.m., Sat. noon-5 p.m., by appointment and during music/sound performances. 404-522-0655.''


"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_freshness_days"]=>
  int(1581)
  ["tracker_field_photos_names"]=>
  array(0) {
  }
  ["tracker_field_photos_filenames"]=>
  array(0) {
  }
  ["tracker_field_photos_filetypes"]=>
  array(0) {
  }
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "631"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "631"
  ["tracker_field_contentControlCategory"]=>
  array(0) {
  }
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentMiscCategories"]=>
  array(0) {
  }
  ["tracker_field_contentLegacyContentID"]=>
  string(7) "1229920"
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13003522"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(2) {
    [0]=>
    int(581)
    [1]=>
    int(518)
  }
  ["deep_categories"]=>
  array(7) {
    [0]=>
    int(242)
    [1]=>
    int(244)
    [2]=>
    int(1356)
    [3]=>
    int(581)
    [4]=>
    int(28)
    [5]=>
    int(988)
    [6]=>
    int(518)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(2) {
    [0]=>
    int(988)
    [1]=>
    int(518)
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(3) {
    [0]=>
    int(244)
    [1]=>
    int(1356)
    [2]=>
    int(581)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["user_groups"]=>
  array(8) {
    [0]=>
    string(27) "Organization Representative"
    [1]=>
    string(20) "Event Representative"
    [2]=>
    string(22) "Product Representative"
    [3]=>
    string(17) "CL Correspondents"
    [4]=>
    string(18) "Account Executives"
    [5]=>
    string(6) "Admins"
    [6]=>
    string(7) "Artists"
    [7]=>
    string(12) "Wiki Editors"
  }
  ["user_followers"]=>
  array(2) {
    [0]=>
    string(5) "jonny"
    [1]=>
    string(14) "thevinylwarhol"
  }
  ["like_list"]=>
  array(0) {
  }
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(0) {
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(0) {
  }
  ["relation_count"]=>
  array(0) {
  }
  ["title_initial"]=>
  string(1) "F"
  ["title_firstword"]=>
  string(4) "Foot"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item179638"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "179638"
  ["contents"]=>
  string(1912) "        2001-03-14T05:04:00+00:00  Foot traffic   Chad Radford chad.radford (Chad Radford) 2001-03-14T05:04:00+00:00 As Atlanta's public transportation system grows increasingly inaccessible, it should come as no surprise that self-propulsion is the subject of two shows at Eyedrum this month titled Heavy Metal: The Bikes of Matt Colman and I Am My Transportation. From the banal to the bizarre, a handful of local artists have created a series of works dealing with everything from bicycle and shoe fetishes, to birds enhanced by man-made propulsion units.
For the street-level gallery, Colman has assembled a collection of 25 bicycles that illustrate the often under appreciated designs that give each bicycle its own personality. Downstairs, I Am My Transportation features Kris Benotti showcasing her favorite shoes while Mark Giorgione and Wade Thompson have created a series of drawings that examine everything from footwear to methods of propulsion lifted straight from the annals of science fiction.
Giorgione's drawings portray shoes at various stages of development, including schematics of basic sneakers and one piece that weighs the aerodynamics of a stealth bomber against the sleek designs of hi-end athletic footwear. Thompson's drawings depict a bird's ability to fly wherever and whenever it wants. Don't expect any Audubon rip-offs however; these birds have been retrofitted with rocket boosters, propellers, steering wheels and bucket seats.
From bicycles to birds, these artists offer some inventive notions of traveling at one's accord.
Heavy Metal: The Bikes of Matt Colman and I Am My Transportation continue through March, 31 at Eyedrum Art & Music Gallery, 253 Trinity Ave. Tues. & Thurs. 2-7 p.m., Wed. noon-5 p.m., Fri. 7-9 p.m., Sat. noon-5 p.m., by appointment and during music/sound performances. 404-522-0655.


              1229920 13003522                   Foot traffic "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(35) "atlantawiki_tiki_main_62872e622a9ae"
  ["objectlink"]=>
  string(36) "No value for 'contentTitle'"
  ["photos"]=>
  string(125) "

"
  ["desc"]=>
  string(32) "No description provided"
  ["chit_category"]=>
  string(11) "88"
}

array(86) {
  ["title"]=>
  string(3) "4X4"
  ["modification_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["creation_date"]=>
  string(25) "2017-12-29T14:22:33+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(9) "ben.eason"
  }
  ["date"]=>
  string(25) "2001-03-14T05:04:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["parent_object_id"]=>
  string(2) "11"
  ["parent_object_type"]=>
  string(7) "tracker"
  ["field_permissions"]=>
  string(2) "[]"
  ["tracker_field_contentTitle"]=>
  string(3) "4X4"
  ["tracker_field_contentByline"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentByline_exact"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "144574"
  ["tracker_field_contentDate"]=>
  string(25) "2001-03-14T05:04:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(13) "Content:_:4X4"
  ["tracker_field_contentWikiPage_text"]=>
  string(1513) "Imagine taking a 10-week art class where your assignment is to mount an actual exhibition. That's just what happened to four students in the Gallery Management program at the Atlanta College of Art community education division. Instructor Mustafah Dhada decided that his four students already had the know-how to organize a show. So they did. 4walls debuts and ends on the same night, March 16, at the Hastings Seed Factory on Marietta Street.
The notion for the show, says student Joey Orr, is that, though they don't have a permanent exhibition space, all they need is four walls. All four organizers have prior curatorial experience. In 4walls, each will promote the work of one artist.
Last fall, Orr coordinated ShedSpace, a series of shows in alternative settings around Atlanta. He's introducing Atlantan Tom Wegrzynowski's Devil Series. Georgia Schley Ritchie, whose interest is in British and Asian artists, recently organized "Young Masters Atlanta" at the former seed factory. Ritchie shows the oil paintings of British artist Paul Bassingthwaighte. Artist and art consultant Jimmie Wright just formed her own company, The Wright Art. She's promoting the painted cardboard collages of Vincent Farley, an Atlanta artist. Patricia Saenz-Abello, who represents Latin American and Caribbean art makers, selected Cuban-born Ana Alonso-Moller, who paints on glass.
4walls will be held March 16 from 8:30-11 p.m. at the Hastings Seed Factory, 434 Marietta Street. 404-236-0253 or 4wallscurators@abello.org.


"
  ["tracker_field_contentWikiPage_raw"]=>
  string(1567) "Imagine taking a 10-week art class where your assignment is to mount an actual exhibition. That's just what happened to four students in the Gallery Management program at the Atlanta College of Art community education division. Instructor Mustafah Dhada decided that his four students already had the know-how to organize a show. So they did. ''4walls'' debuts and ends on the same night, March 16, at the Hastings Seed Factory on Marietta Street.
The notion for the show, says student Joey Orr, is that, though they don't have a permanent exhibition space, all they need is four walls. All four organizers have prior curatorial experience. In ''4walls'', each will promote the work of one artist.
Last fall, Orr coordinated ''ShedSpace'', a series of shows in alternative settings around Atlanta. He's introducing Atlantan Tom Wegrzynowski's ''Devil Series''. Georgia Schley Ritchie, whose interest is in British and Asian artists, recently organized "Young Masters Atlanta" at the former seed factory. Ritchie shows the oil paintings of British artist Paul Bassingthwaighte. Artist and art consultant Jimmie Wright just formed her own company, The Wright Art. She's promoting the painted cardboard collages of Vincent Farley, an Atlanta artist. Patricia Saenz-Abello, who represents Latin American and Caribbean art makers, selected Cuban-born Ana Alonso-Moller, who paints on glass.
4walls ''will be held March 16 from 8:30-11 p.m. at the Hastings Seed Factory, 434 Marietta Street. 404-236-0253 or 4[mailto:wallscurators@abello.org|wallscurators@abello.org].''


"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_freshness_days"]=>
  int(1581)
  ["tracker_field_photos_names"]=>
  array(0) {
  }
  ["tracker_field_photos_filenames"]=>
  array(0) {
  }
  ["tracker_field_photos_filetypes"]=>
  array(0) {
  }
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "631"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "631"
  ["tracker_field_contentControlCategory"]=>
  array(0) {
  }
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentMiscCategories"]=>
  array(0) {
  }
  ["tracker_field_contentLegacyContentID"]=>
  string(7) "1229922"
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13003523"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(2) {
    [0]=>
    int(581)
    [1]=>
    int(518)
  }
  ["deep_categories"]=>
  array(7) {
    [0]=>
    int(242)
    [1]=>
    int(244)
    [2]=>
    int(1356)
    [3]=>
    int(581)
    [4]=>
    int(28)
    [5]=>
    int(988)
    [6]=>
    int(518)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(2) {
    [0]=>
    int(988)
    [1]=>
    int(518)
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(3) {
    [0]=>
    int(244)
    [1]=>
    int(1356)
    [2]=>
    int(581)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["user_groups"]=>
  array(8) {
    [0]=>
    string(27) "Organization Representative"
    [1]=>
    string(20) "Event Representative"
    [2]=>
    string(22) "Product Representative"
    [3]=>
    string(17) "CL Correspondents"
    [4]=>
    string(18) "Account Executives"
    [5]=>
    string(6) "Admins"
    [6]=>
    string(7) "Artists"
    [7]=>
    string(12) "Wiki Editors"
  }
  ["user_followers"]=>
  array(2) {
    [0]=>
    string(5) "jonny"
    [1]=>
    string(14) "thevinylwarhol"
  }
  ["like_list"]=>
  array(0) {
  }
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(0) {
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(0) {
  }
  ["relation_count"]=>
  array(0) {
  }
  ["title_initial"]=>
  string(1) "4"
  ["title_firstword"]=>
  string(3) "4X4"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item179639"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "179639"
  ["contents"]=>
  string(1645) "        2001-03-14T05:04:00+00:00  4X4   Cathy Byrd  2001-03-14T05:04:00+00:00 Imagine taking a 10-week art class where your assignment is to mount an actual exhibition. That's just what happened to four students in the Gallery Management program at the Atlanta College of Art community education division. Instructor Mustafah Dhada decided that his four students already had the know-how to organize a show. So they did. 4walls debuts and ends on the same night, March 16, at the Hastings Seed Factory on Marietta Street.
The notion for the show, says student Joey Orr, is that, though they don't have a permanent exhibition space, all they need is four walls. All four organizers have prior curatorial experience. In 4walls, each will promote the work of one artist.
Last fall, Orr coordinated ShedSpace, a series of shows in alternative settings around Atlanta. He's introducing Atlantan Tom Wegrzynowski's Devil Series. Georgia Schley Ritchie, whose interest is in British and Asian artists, recently organized "Young Masters Atlanta" at the former seed factory. Ritchie shows the oil paintings of British artist Paul Bassingthwaighte. Artist and art consultant Jimmie Wright just formed her own company, The Wright Art. She's promoting the painted cardboard collages of Vincent Farley, an Atlanta artist. Patricia Saenz-Abello, who represents Latin American and Caribbean art makers, selected Cuban-born Ana Alonso-Moller, who paints on glass.
4walls will be held March 16 from 8:30-11 p.m. at the Hastings Seed Factory, 434 Marietta Street. 404-236-0253 or 4wallscurators@abello.org.


              1229922 13003523                   4X4 "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(35) "atlantawiki_tiki_main_62872e622a9ae"
  ["objectlink"]=>
  string(36) "No value for 'contentTitle'"
  ["photos"]=>
  string(125) "

"
  ["desc"]=>
  string(32) "No description provided"
  ["chit_category"]=>
  string(11) "88"
}

array(88) {
  ["title"]=>
  string(49) "Gold rush - The Lenore and Burton Gold Collection"
  ["modification_date"]=>
  string(25) "2018-06-16T00:40:47+00:00"
  ["creation_date"]=>
  string(25) "2017-12-30T17:04:30+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(9) "ben.eason"
  }
  ["date"]=>
  string(25) "2001-03-14T05:04:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["parent_object_id"]=>
  string(2) "11"
  ["parent_object_type"]=>
  string(7) "tracker"
  ["field_permissions"]=>
  string(2) "[]"
  ["tracker_field_contentTitle"]=>
  string(49) "Gold rush - The Lenore and Burton Gold Collection"
  ["tracker_field_contentByline"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentByline_exact"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "144574"
  ["tracker_field_description"]=>
  string(53) "Modern art exhibition bears mark of astute collectors"
  ["tracker_field_description_raw"]=>
  string(53) "Modern art exhibition bears mark of astute collectors"
  ["tracker_field_contentDate"]=>
  string(25) "2001-03-14T05:04:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(59) "Content:_:Gold rush - The Lenore and Burton Gold Collection"
  ["tracker_field_contentWikiPage_text"]=>
  string(4832) "While Degas & America: The Early Collectors may be the headliner at the High Museum of Art this spring, a significant contemporary art exhibition is also on view. The Lenore and Burton Gold Collection of 20th Century Art represents 40 years of thoughtful, sometimes daring, acquisitions by an Atlanta couple deeply committed to art.
The Golds have long maintained a vital relationship with the High. Over the years, the late Lenore Gold continuously sought counsel from the museum's 20th century curators, Peter Morrin, Susan Crane and Carrie Przybilla, the current curator of modern and contemporary art. The Golds relished their role in the arts early on, joining the High's 20th Century Art Society and encouraging the museum to exhibit and collect contemporary art. Lenore, in particular, was fully engaged in developing the Atlanta art scene. Actively pursuing art for her own collection, they stimulated other local collectors.
The couple's donations to the institution's permanent holdings began in the 1970s. Of the 45 artworks in this show, 27 are promised gifts to the museum. "Taken cumulatively, the Golds' recent donations to the High's modern and contemporary art collection are certainly the most substantial from a single donor in such a short period of time and among the more generous donations ever made to that collection," says High spokeswoman Melissa Thurmond.
Przybilla designed the exhibition to accentuate the importance of each artist, starting at the entrance with Nancy Graves' "Rope Pull," from 1986. Accented in green, blue and orange, the lyric sculpture fuses abstract with figurative elements in a delightful airy composition of patinaed and enameled iron, steel and bronze.
The nearby "Price Tag #149" (1988) by Donald Lipski resembles the tusk of a great elephant or a trumpet. In fact, his wall-mounted work is a tight furl of layered white price tags, its curve encircled by one silver C-clamp. A vintage hypodermic syringe caps the pointed end. A florescent light sculpture by Dan Flavin (1973) glows yellow from the corner of one room. Viewers will come unexpectedly upon George Segal's signature, two white cast plaster figures. One seems about to enter the space through a blue door, while the other sits waiting in a chair.
A small room is dedicated to Alexander Calder. The couple was drawn to the late American artist's work early in their collecting. His whimsical gouache paintings and delicate cascading mobile appear to take notes from the massive Calder sculpture on the High's front lawn.
The Golds also collected the dimensional art of Louise Nevelson ("Shadows," 1959) and Christian Boltanski ("Monument/Odessa," 1990). Boltanski's installation, one of the more conceptual pieces in the show, is an assemblage of photographs, biscuit boxes, light bulbs, glass and electrical cords. Sculptural works in the collection include artists' books. Anne Hamilton's "Untitled (Stone Book)" from 1992 remains in the collection of Burt Gold, while Anselm Keifer's lead-paged "Brunhilde Sleeps" (1987) was given to the High in 1996.
Deborah Butterfield's "Untitled" horse sculpted from burnt, crushed steel and barbed wire documents a fascination with raw and found materials among contemporary artists. The Golds have collected John Chamberlain (crushed car parts), Mel Kendrick (pieced, pierced and grooved poplar) and Jin Soo Kim (chenille bedspread, paper and chair), as well. They found equally appealing Donald Judd's minimal modernism. In his untitled wall-mounted work from 1988, six aluminum and orange Plexiglas rectangles present a discretely nuanced vertical pattern.
Diverse paintings by Peter Halley, Donald Sultan, Jules Olitski, Mimmo Paladino and Julian Schnabel have made their way into the collection. Also a contemporary filmmaker, Schnabel (whose Before Night Falls is currently playing in Atlanta) is represented by a large velvet painting. His "He Mistook Kindness for Weakness" shares an expressionistic aesthetic with Paladino's "Room in a Tempest."
The limited number of works on paper include a handful of photographs. Imogene Cunningham's floral "Datura" was the Gold's first gift to the High in 1975. The 1930 floral print contrasts starkly with the social statements of Garry Winogrand's "Coney Island, New York," Lorna Simpson's "H.S." and Thomas Struth's "Museum of Modern Art I, New York," a 1994 print that is a playful look at people and how they experience art. This exhibition makes a dimensional statement on the same subject. The Golds have cycled high; as they moved from looking to contemplating to collecting to sharing, they've expanded Atlanta's exposure to exceptional contemporary art.
The Lenore and Burton Gold Collection of 20th Century Art continues through May 27 at the High Museum of Art, 1280 Peachtree St. www.high.org. 404-733-5000.


"
  ["tracker_field_contentWikiPage_raw"]=>
  string(4871) "While Degas & America: ''The Early Collectors ''may be the headliner at the High Museum of Art this spring, a significant contemporary art exhibition is also on view. ''The Lenore and Burton Gold Collection of 20th Century Art'' represents 40 years of thoughtful, sometimes daring, acquisitions by an Atlanta couple deeply committed to art.
The Golds have long maintained a vital relationship with the High. Over the years, the late Lenore Gold continuously sought counsel from the museum's 20th century curators, Peter Morrin, Susan Crane and Carrie Przybilla, the current curator of modern and contemporary art. The Golds relished their role in the arts early on, joining the High's 20th Century Art Society and encouraging the museum to exhibit and collect contemporary art. Lenore, in particular, was fully engaged in developing the Atlanta art scene. Actively pursuing art for her own collection, they stimulated other local collectors.
The couple's donations to the institution's permanent holdings began in the 1970s. Of the 45 artworks in this show, 27 are promised gifts to the museum. "Taken cumulatively, the Golds' recent donations to the High's modern and contemporary art collection are certainly the most substantial from a single donor in such a short period of time and among the more generous donations ever made to that collection," says High spokeswoman Melissa Thurmond.
Przybilla designed the exhibition to accentuate the importance of each artist, starting at the entrance with Nancy Graves' "Rope Pull," from 1986. Accented in green, blue and orange, the lyric sculpture fuses abstract with figurative elements in a delightful airy composition of patinaed and enameled iron, steel and bronze.
The nearby "Price Tag #149" (1988) by Donald Lipski resembles the tusk of a great elephant or a trumpet. In fact, his wall-mounted work is a tight furl of layered white price tags, its curve encircled by one silver C-clamp. A vintage hypodermic syringe caps the pointed end. A florescent light sculpture by Dan Flavin (1973) glows yellow from the corner of one room. Viewers will come unexpectedly upon George Segal's signature, two white cast plaster figures. One seems about to enter the space through a blue door, while the other sits waiting in a chair.
A small room is dedicated to Alexander Calder. The couple was drawn to the late American artist's work early in their collecting. His whimsical gouache paintings and delicate cascading mobile appear to take notes from the massive Calder sculpture on the High's front lawn.
The Golds also collected the dimensional art of Louise Nevelson ("Shadows," 1959) and Christian Boltanski ("Monument/Odessa," 1990). Boltanski's installation, one of the more conceptual pieces in the show, is an assemblage of photographs, biscuit boxes, light bulbs, glass and electrical cords. Sculptural works in the collection include artists' books. Anne Hamilton's "Untitled (Stone Book)" from 1992 remains in the collection of Burt Gold, while Anselm Keifer's lead-paged "Brunhilde Sleeps" (1987) was given to the High in 1996.
Deborah Butterfield's "Untitled" horse sculpted from burnt, crushed steel and barbed wire documents a fascination with raw and found materials among contemporary artists. The Golds have collected John Chamberlain (crushed car parts), Mel Kendrick (pieced, pierced and grooved poplar) and Jin Soo Kim (chenille bedspread, paper and chair), as well. They found equally appealing Donald Judd's minimal modernism. In his untitled wall-mounted work from 1988, six aluminum and orange Plexiglas rectangles present a discretely nuanced vertical pattern.
Diverse paintings by Peter Halley, Donald Sultan, Jules Olitski, Mimmo Paladino and Julian Schnabel have made their way into the collection. Also a contemporary filmmaker, Schnabel (whose ''Before Night Falls'' is currently playing in Atlanta) is represented by a large velvet painting. His "He Mistook Kindness for Weakness" shares an expressionistic aesthetic with Paladino's "Room in a Tempest."
The limited number of works on paper include a handful of photographs. Imogene Cunningham's floral "Datura" was the Gold's first gift to the High in 1975. The 1930 floral print contrasts starkly with the social statements of Garry Winogrand's "Coney Island, New York," Lorna Simpson's "H.S." and Thomas Struth's "Museum of Modern Art I, New York," a 1994 print that is a playful look at people and how they experience art. This exhibition makes a dimensional statement on the same subject. The Golds have cycled high; as they moved from looking to contemplating to collecting to sharing, they've expanded Atlanta's exposure to exceptional contemporary art.
The Lenore and Burton Gold Collection of 20th Century Art ''continues through May 27 at the High Museum of Art, 1280 Peachtree St. [http://www.high.org/|www.high.org]. 404-733-5000.''


"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_freshness_days"]=>
  int(1581)
  ["tracker_field_photos_names"]=>
  array(0) {
  }
  ["tracker_field_photos_filenames"]=>
  array(0) {
  }
  ["tracker_field_photos_filetypes"]=>
  array(0) {
  }
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "631"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "631"
  ["tracker_field_contentControlCategory"]=>
  array(0) {
  }
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentMiscCategories"]=>
  array(0) {
  }
  ["tracker_field_contentLegacyContentID"]=>
  string(7) "1229918"
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13003521"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(2) {
    [0]=>
    int(581)
    [1]=>
    int(518)
  }
  ["deep_categories"]=>
  array(7) {
    [0]=>
    int(242)
    [1]=>
    int(244)
    [2]=>
    int(1356)
    [3]=>
    int(581)
    [4]=>
    int(28)
    [5]=>
    int(988)
    [6]=>
    int(518)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(2) {
    [0]=>
    int(988)
    [1]=>
    int(518)
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(3) {
    [0]=>
    int(244)
    [1]=>
    int(1356)
    [2]=>
    int(581)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["user_groups"]=>
  array(8) {
    [0]=>
    string(27) "Organization Representative"
    [1]=>
    string(20) "Event Representative"
    [2]=>
    string(22) "Product Representative"
    [3]=>
    string(17) "CL Correspondents"
    [4]=>
    string(18) "Account Executives"
    [5]=>
    string(6) "Admins"
    [6]=>
    string(7) "Artists"
    [7]=>
    string(12) "Wiki Editors"
  }
  ["user_followers"]=>
  array(2) {
    [0]=>
    string(5) "jonny"
    [1]=>
    string(14) "thevinylwarhol"
  }
  ["like_list"]=>
  array(0) {
  }
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(0) {
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(0) {
  }
  ["relation_count"]=>
  array(0) {
  }
  ["title_initial"]=>
  string(1) "G"
  ["title_firstword"]=>
  string(4) "Gold"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item181858"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "181858"
  ["contents"]=>
  string(5109) "    Modern art exhibition bears mark of astute collectors    2001-03-14T05:04:00+00:00  Gold rush - The Lenore and Burton Gold Collection   Cathy Byrd  2001-03-14T05:04:00+00:00 While Degas & America: The Early Collectors may be the headliner at the High Museum of Art this spring, a significant contemporary art exhibition is also on view. The Lenore and Burton Gold Collection of 20th Century Art represents 40 years of thoughtful, sometimes daring, acquisitions by an Atlanta couple deeply committed to art.
The Golds have long maintained a vital relationship with the High. Over the years, the late Lenore Gold continuously sought counsel from the museum's 20th century curators, Peter Morrin, Susan Crane and Carrie Przybilla, the current curator of modern and contemporary art. The Golds relished their role in the arts early on, joining the High's 20th Century Art Society and encouraging the museum to exhibit and collect contemporary art. Lenore, in particular, was fully engaged in developing the Atlanta art scene. Actively pursuing art for her own collection, they stimulated other local collectors.
The couple's donations to the institution's permanent holdings began in the 1970s. Of the 45 artworks in this show, 27 are promised gifts to the museum. "Taken cumulatively, the Golds' recent donations to the High's modern and contemporary art collection are certainly the most substantial from a single donor in such a short period of time and among the more generous donations ever made to that collection," says High spokeswoman Melissa Thurmond.
Przybilla designed the exhibition to accentuate the importance of each artist, starting at the entrance with Nancy Graves' "Rope Pull," from 1986. Accented in green, blue and orange, the lyric sculpture fuses abstract with figurative elements in a delightful airy composition of patinaed and enameled iron, steel and bronze.
The nearby "Price Tag #149" (1988) by Donald Lipski resembles the tusk of a great elephant or a trumpet. In fact, his wall-mounted work is a tight furl of layered white price tags, its curve encircled by one silver C-clamp. A vintage hypodermic syringe caps the pointed end. A florescent light sculpture by Dan Flavin (1973) glows yellow from the corner of one room. Viewers will come unexpectedly upon George Segal's signature, two white cast plaster figures. One seems about to enter the space through a blue door, while the other sits waiting in a chair.
A small room is dedicated to Alexander Calder. The couple was drawn to the late American artist's work early in their collecting. His whimsical gouache paintings and delicate cascading mobile appear to take notes from the massive Calder sculpture on the High's front lawn.
The Golds also collected the dimensional art of Louise Nevelson ("Shadows," 1959) and Christian Boltanski ("Monument/Odessa," 1990). Boltanski's installation, one of the more conceptual pieces in the show, is an assemblage of photographs, biscuit boxes, light bulbs, glass and electrical cords. Sculptural works in the collection include artists' books. Anne Hamilton's "Untitled (Stone Book)" from 1992 remains in the collection of Burt Gold, while Anselm Keifer's lead-paged "Brunhilde Sleeps" (1987) was given to the High in 1996.
Deborah Butterfield's "Untitled" horse sculpted from burnt, crushed steel and barbed wire documents a fascination with raw and found materials among contemporary artists. The Golds have collected John Chamberlain (crushed car parts), Mel Kendrick (pieced, pierced and grooved poplar) and Jin Soo Kim (chenille bedspread, paper and chair), as well. They found equally appealing Donald Judd's minimal modernism. In his untitled wall-mounted work from 1988, six aluminum and orange Plexiglas rectangles present a discretely nuanced vertical pattern.
Diverse paintings by Peter Halley, Donald Sultan, Jules Olitski, Mimmo Paladino and Julian Schnabel have made their way into the collection. Also a contemporary filmmaker, Schnabel (whose Before Night Falls is currently playing in Atlanta) is represented by a large velvet painting. His "He Mistook Kindness for Weakness" shares an expressionistic aesthetic with Paladino's "Room in a Tempest."
The limited number of works on paper include a handful of photographs. Imogene Cunningham's floral "Datura" was the Gold's first gift to the High in 1975. The 1930 floral print contrasts starkly with the social statements of Garry Winogrand's "Coney Island, New York," Lorna Simpson's "H.S." and Thomas Struth's "Museum of Modern Art I, New York," a 1994 print that is a playful look at people and how they experience art. This exhibition makes a dimensional statement on the same subject. The Golds have cycled high; as they moved from looking to contemplating to collecting to sharing, they've expanded Atlanta's exposure to exceptional contemporary art.
The Lenore and Burton Gold Collection of 20th Century Art continues through May 27 at the High Museum of Art, 1280 Peachtree St. www.high.org. 404-733-5000.


              1229918 13003521                   Gold rush - The Lenore and Burton Gold Collection "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(35) "atlantawiki_tiki_main_62872e622a9ae"
  ["objectlink"]=>
  string(36) "No value for 'contentTitle'"
  ["photos"]=>
  string(125) "

"
  ["desc"]=>
  string(62) "Modern art exhibition bears mark of astute collectors"
  ["chit_category"]=>
  string(11) "88"
}

array(88) {
  ["title"]=>
  string(16) "Carving charisma"
  ["modification_date"]=>
  string(25) "2018-06-16T00:26:35+00:00"
  ["creation_date"]=>
  string(25) "2017-12-29T14:22:33+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(9) "ben.eason"
  }
  ["date"]=>
  string(25) "2001-03-07T05:04:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["parent_object_id"]=>
  string(2) "11"
  ["parent_object_type"]=>
  string(7) "tracker"
  ["field_permissions"]=>
  string(2) "[]"
  ["tracker_field_contentTitle"]=>
  string(16) "Carving charisma"
  ["tracker_field_contentByline"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentByline_exact"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "144574"
  ["tracker_field_description"]=>
  string(74) "First African-American to solo at MOMA featured at High's downtown gallery"
  ["tracker_field_description_raw"]=>
  string(74) "First African-American to solo at MOMA featured at High's downtown gallery"
  ["tracker_field_contentDate"]=>
  string(25) "2001-03-07T05:04:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(26) "Content:_:Carving charisma"
  ["tracker_field_contentWikiPage_text"]=>
  string(3565) "For most of us, leaving home is a rite of passage, a necessary transition to adulthood and the only way we can gain the education and exposure we need to "make it." The late self-taught artist William Edmondson proved quite the opposite. His story, told in The Art of William Edmondson at the High Museum of Art Folk Art & Photography Galleries, illustrates how, in this fast-moving, far-flung world, there's meaning and fulfillment to be found quite close by.
Edmondson's life began in 1874 on a former plantation in southwestern Davidson County in Tennessee, and ended in 1951, less than three miles away, in Nashville. When a spiritual vision in 1933 led him to begin sculpting tombstones, he gathered discarded stones from the streets and fields and used old railroad spikes and a hammer to chisel a series of simple rectangles. He figured out how to add decorative relief along with lettering to the stones and began to sculpt birdbaths, birds and animals. Eventually, his yard became a world inhabited by a myriad of limestone forms that he constantly rearranged.
In 1935, Edmondson's magical environment was discovered by a Harper's Bazaar fashion photographer, Louise Dahl-Wolfe. Magazine owner William Randolph Hearst wouldn't allow a black artist's work to appear in the publication at the time, so Dahl-Wolfe took photographs of the artist and his sculptures to Alfred Barr, then director of the Museum of Modern Art in New York. Barr arranged for Edmondson's one-man museum show in 1937, the first for an African-American artist.
Dahl-Wolfe's photographs, along with those of renowned artist Edward Weston and Consuelo Kanaga, accompany the sculptures in this exhibition. The photographers that captured the spirit of the carver and his creative process often were drawn to his pensive visage and sensitive, slim-fingered hands.
Edmondson's subjects depict his influences — a deep spirituality, his community, African-American folklore and popular culture. The artist often spoke of allowing forms to emerge from the stones by setting free their spirits. His philosophy parallels that of stone sculptors ranging from Michelangelo to first generation Zimbabwean Shona sculptors.
Certain aspects of his sculptures connect Edmondson with the late Nellie Mae Rowe, whose work was featured in the High Museum's downtown space last year. His sphinx-like "Talking Owl" fuses animal and human form. There are two galleries of creatures — turtles, rabbits, eagles, rams, horses and a bear/possum that the artist called "Critter."
Though he never married, the artist was surrounded and influenced by women. He carved many female figures, including "Girl With Cape," "Bride," a schoolteacher, a nurse. His small statue of Eleanor Roosevelt features the late first lady with a high-collared coat and hair that cascades down her back all the way to her feet. There's an "Eve," whose form evokes the work of Fernand Leger. The most practical of his biblical references to woman is the delightful "Angel With a Pocketbook."
One Weston portrait portrays Edmondson's realm as poignant theater. A white curtain pulled up and back reveals the artist seated beside a few rectangles of stone, crumbled stone at his feet. His noble demeanor belies his tattered clothes and shoes worn completely through at the toes. Those metaphoric shoes speak volumes about a man who went a long way, without straying far from home.
The Art of William Edmondson continues through May 19. High Museum Folk Art and Photography Galleries, 30 John Wesley Dobbs Ave. 404-577-6940.


"
  ["tracker_field_contentWikiPage_raw"]=>
  string(3567) "For most of us, leaving home is a rite of passage, a necessary transition to adulthood and the only way we can gain the education and exposure we need to "make it." The late self-taught artist William Edmondson proved quite the opposite. His story, told in ''The Art of William Edmondson'' at the High Museum of Art Folk Art & Photography Galleries, illustrates how, in this fast-moving, far-flung world, there's meaning and fulfillment to be found quite close by.
Edmondson's life began in 1874 on a former plantation in southwestern Davidson County in Tennessee, and ended in 1951, less than three miles away, in Nashville. When a spiritual vision in 1933 led him to begin sculpting tombstones, he gathered discarded stones from the streets and fields and used old railroad spikes and a hammer to chisel a series of simple rectangles. He figured out how to add decorative relief along with lettering to the stones and began to sculpt birdbaths, birds and animals. Eventually, his yard became a world inhabited by a myriad of limestone forms that he constantly rearranged.
In 1935, Edmondson's magical environment was discovered by a ''Harper's Bazaar'' fashion photographer, Louise Dahl-Wolfe. Magazine owner William Randolph Hearst wouldn't allow a black artist's work to appear in the publication at the time, so Dahl-Wolfe took photographs of the artist and his sculptures to Alfred Barr, then director of the Museum of Modern Art in New York. Barr arranged for Edmondson's one-man museum show in 1937, the first for an African-American artist.
Dahl-Wolfe's photographs, along with those of renowned artist Edward Weston and Consuelo Kanaga, accompany the sculptures in this exhibition. The photographers that captured the spirit of the carver and his creative process often were drawn to his pensive visage and sensitive, slim-fingered hands.
Edmondson's subjects depict his influences -- a deep spirituality, his community, African-American folklore and popular culture. The artist often spoke of allowing forms to emerge from the stones by setting free their spirits. His philosophy parallels that of stone sculptors ranging from Michelangelo to first generation Zimbabwean Shona sculptors.
Certain aspects of his sculptures connect Edmondson with the late Nellie Mae Rowe, whose work was featured in the High Museum's downtown space last year. His sphinx-like "Talking Owl" fuses animal and human form. There are two galleries of creatures -- turtles, rabbits, eagles, rams, horses and a bear/possum that the artist called "Critter."
Though he never married, the artist was surrounded and influenced by women. He carved many female figures, including "Girl With Cape," "Bride," a schoolteacher, a nurse. His small statue of Eleanor Roosevelt features the late first lady with a high-collared coat and hair that cascades down her back all the way to her feet. There's an "Eve," whose form evokes the work of Fernand Leger. The most practical of his biblical references to woman is the delightful "Angel With a Pocketbook."
One Weston portrait portrays Edmondson's realm as poignant theater. A white curtain pulled up and back reveals the artist seated beside a few rectangles of stone, crumbled stone at his feet. His noble demeanor belies his tattered clothes and shoes worn completely through at the toes. Those metaphoric shoes speak volumes about a man who went a long way, without straying far from home.
The Art of William Edmondson ''continues through May 19. High Museum Folk Art and Photography Galleries, 30 John Wesley Dobbs Ave. 404-577-6940.''


"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_freshness_days"]=>
  int(1581)
  ["tracker_field_photos_names"]=>
  array(0) {
  }
  ["tracker_field_photos_filenames"]=>
  array(0) {
  }
  ["tracker_field_photos_filetypes"]=>
  array(0) {
  }
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "631"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "631"
  ["tracker_field_contentControlCategory"]=>
  array(0) {
  }
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentMiscCategories"]=>
  array(0) {
  }
  ["tracker_field_contentLegacyContentID"]=>
  string(7) "1229779"
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13003436"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(2) {
    [0]=>
    int(581)
    [1]=>
    int(518)
  }
  ["deep_categories"]=>
  array(7) {
    [0]=>
    int(242)
    [1]=>
    int(244)
    [2]=>
    int(1356)
    [3]=>
    int(581)
    [4]=>
    int(28)
    [5]=>
    int(988)
    [6]=>
    int(518)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(2) {
    [0]=>
    int(988)
    [1]=>
    int(518)
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(3) {
    [0]=>
    int(244)
    [1]=>
    int(1356)
    [2]=>
    int(581)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["user_groups"]=>
  array(8) {
    [0]=>
    string(27) "Organization Representative"
    [1]=>
    string(20) "Event Representative"
    [2]=>
    string(22) "Product Representative"
    [3]=>
    string(17) "CL Correspondents"
    [4]=>
    string(18) "Account Executives"
    [5]=>
    string(6) "Admins"
    [6]=>
    string(7) "Artists"
    [7]=>
    string(12) "Wiki Editors"
  }
  ["user_followers"]=>
  array(2) {
    [0]=>
    string(5) "jonny"
    [1]=>
    string(14) "thevinylwarhol"
  }
  ["like_list"]=>
  array(0) {
  }
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(0) {
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(0) {
  }
  ["relation_count"]=>
  array(0) {
  }
  ["title_initial"]=>
  string(1) "C"
  ["title_firstword"]=>
  string(7) "Carving"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item179637"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "179637"
  ["contents"]=>
  string(3797) "    First African-American to solo at MOMA featured at High's downtown gallery    2001-03-07T05:04:00+00:00  Carving charisma   Cathy Byrd  2001-03-07T05:04:00+00:00 For most of us, leaving home is a rite of passage, a necessary transition to adulthood and the only way we can gain the education and exposure we need to "make it." The late self-taught artist William Edmondson proved quite the opposite. His story, told in The Art of William Edmondson at the High Museum of Art Folk Art & Photography Galleries, illustrates how, in this fast-moving, far-flung world, there's meaning and fulfillment to be found quite close by.
Edmondson's life began in 1874 on a former plantation in southwestern Davidson County in Tennessee, and ended in 1951, less than three miles away, in Nashville. When a spiritual vision in 1933 led him to begin sculpting tombstones, he gathered discarded stones from the streets and fields and used old railroad spikes and a hammer to chisel a series of simple rectangles. He figured out how to add decorative relief along with lettering to the stones and began to sculpt birdbaths, birds and animals. Eventually, his yard became a world inhabited by a myriad of limestone forms that he constantly rearranged.
In 1935, Edmondson's magical environment was discovered by a Harper's Bazaar fashion photographer, Louise Dahl-Wolfe. Magazine owner William Randolph Hearst wouldn't allow a black artist's work to appear in the publication at the time, so Dahl-Wolfe took photographs of the artist and his sculptures to Alfred Barr, then director of the Museum of Modern Art in New York. Barr arranged for Edmondson's one-man museum show in 1937, the first for an African-American artist.
Dahl-Wolfe's photographs, along with those of renowned artist Edward Weston and Consuelo Kanaga, accompany the sculptures in this exhibition. The photographers that captured the spirit of the carver and his creative process often were drawn to his pensive visage and sensitive, slim-fingered hands.
Edmondson's subjects depict his influences — a deep spirituality, his community, African-American folklore and popular culture. The artist often spoke of allowing forms to emerge from the stones by setting free their spirits. His philosophy parallels that of stone sculptors ranging from Michelangelo to first generation Zimbabwean Shona sculptors.
Certain aspects of his sculptures connect Edmondson with the late Nellie Mae Rowe, whose work was featured in the High Museum's downtown space last year. His sphinx-like "Talking Owl" fuses animal and human form. There are two galleries of creatures — turtles, rabbits, eagles, rams, horses and a bear/possum that the artist called "Critter."
Though he never married, the artist was surrounded and influenced by women. He carved many female figures, including "Girl With Cape," "Bride," a schoolteacher, a nurse. His small statue of Eleanor Roosevelt features the late first lady with a high-collared coat and hair that cascades down her back all the way to her feet. There's an "Eve," whose form evokes the work of Fernand Leger. The most practical of his biblical references to woman is the delightful "Angel With a Pocketbook."
One Weston portrait portrays Edmondson's realm as poignant theater. A white curtain pulled up and back reveals the artist seated beside a few rectangles of stone, crumbled stone at his feet. His noble demeanor belies his tattered clothes and shoes worn completely through at the toes. Those metaphoric shoes speak volumes about a man who went a long way, without straying far from home.
The Art of William Edmondson continues through May 19. High Museum Folk Art and Photography Galleries, 30 John Wesley Dobbs Ave. 404-577-6940.


              1229779 13003436                   Carving charisma "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(35) "atlantawiki_tiki_main_62872e622a9ae"
  ["objectlink"]=>
  string(36) "No value for 'contentTitle'"
  ["photos"]=>
  string(125) "

"
  ["desc"]=>
  string(83) "First African-American to solo at MOMA featured at High's downtown gallery"
  ["chit_category"]=>
  string(11) "88"
}

array(88) {
  ["title"]=>
  string(19) "Reimagining history"
  ["modification_date"]=>
  string(25) "2018-06-16T00:46:25+00:00"
  ["creation_date"]=>
  string(25) "2017-12-29T14:22:33+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(9) "ben.eason"
  }
  ["date"]=>
  string(25) "2001-02-28T05:04:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["parent_object_id"]=>
  string(2) "11"
  ["parent_object_type"]=>
  string(7) "tracker"
  ["field_permissions"]=>
  string(2) "[]"
  ["tracker_field_contentTitle"]=>
  string(19) "Reimagining history"
  ["tracker_field_contentByline"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentByline_exact"]=>
  string(10) "Cathy Byrd"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "144574"
  ["tracker_field_description"]=>
  string(51) "Palimpsest examines history, both real and imagined"
  ["tracker_field_description_raw"]=>
  string(51) "Palimpsest examines history, both real and imagined"
  ["tracker_field_contentDate"]=>
  string(25) "2001-02-28T05:04:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(29) "Content:_:Reimagining history"
  ["tracker_field_contentWikiPage_text"]=>
  string(3504) "The key to any encounter with the exhibition Retreat: Palimpsest of a Georgia Sea Island Plantation at Clark Atlanta University Galleries is an understanding of "palimpsest." According to The American Heritage College Dictionary, palimpsest is defined as "a manuscript, usually of papyrus or parchment, written on more than once, with the earlier writing incompletely erased and often legible." Memory is like a palimpsest; our minds are layered in forgotten and repressed history. Who does not embellish the past for the purpose of a sweeter recollection?
Land, possessing the same malleable qualities, sometimes swallows history whole. Focusing on the history of coastal land once known as Retreat Plantation on St. Simons Island, local artist Lisa Tuttle and local historian Melanie Pavich-Lindsay play with the notion of sublimation. In doing so, they revive a textured Southern chronicle.
Commencing with the shell mounds left by nomadic Guale Indians, the multi-dimensional installation carries the viewer through time to the current use of the land as a golf club and resort. Survey maps and pages copied from history books, bones, alligator hide and collaged vintage portraits begin the task of creating and effacing. An area of the exhibition defined as "Section 2: Retreat" dwells on the cotton plantation years. Here Tuttle's gift for fabricating narratives takes over. "Authentic" representations of Anna Matilda Page King, daughter of the original Retreat plantation owner, along with her family and slaves, evoke rather than recall factual history through delicate domestic artifacts, photographs and pages from antique auction catalogs, along with photocopied excerpts of letters and ledgers from the 1800s.
The overlay of fact and fiction may somewhat confound the viewer. In the "Museum of the Now" section of Retreat, the collaborators bring the viewer back to reality with copies of real documents and present day photographs. Careful readers learn the true life story of Neptune Small, a slave who accompanied one of King's sons into the Civil War, brought the son's body home and cared for the grave until he died. The wall display shows that an island garden club since has been named after Small, while amateur snapshots illustrate how the plantation's historic ruins have been reduced to an island inside the resort.
Though golf balls may have replaced cotton bolls on the land known as Retreat, in the mind of Atlanta artist Lynn Marshall-Linnemeier, deep psychological and emotional scars remain. Her own display, "A Slave Speaks of Silence," recalls what she imagines to be the voice of Rhina, Anna King's personal slave. In a small side room, Marshall-Linnemeier's large-scale, brightly embellished photoportraits of black women bring to life some of the thoughts that surface on viewing the cooler statement of Retreat. Pink, green, blue and yellow backdrops seem to deny the hand-written text that remembers the pathos of servitude. "The colors are bright," says Marshall-Linnemeier, "symbolizing the endurance and happiness gleaned from the surreal existence of being owned by another human being." The contemporary photographs, she notes, are to remind American blacks "that any of us could have been slaves."
Retreat: Palimpsest of a Georgia Sea Island Plantation is on view through April 13 at Clark Atlanta University Galleries, 223 James P. Brawley Drive. 404-880-6102. Sunday Discussion Circle will be held March 11 at 3 p.m. ("On Knowing and Speaking-Education").


"
  ["tracker_field_contentWikiPage_raw"]=>
  string(3524) "The key to any encounter with the exhibition ''Retreat: Palimpsest of a Georgia Sea Island Plantation'' at Clark Atlanta University Galleries is an understanding of "palimpsest." According to ''The American Heritage College Dictionary'', palimpsest is defined as "a manuscript, usually of papyrus or parchment, written on more than once, with the earlier writing incompletely erased and often legible." Memory is like a palimpsest; our minds are layered in forgotten and repressed history. Who does not embellish the past for the purpose of a sweeter recollection?
Land, possessing the same malleable qualities, sometimes swallows history whole. Focusing on the history of coastal land once known as Retreat Plantation on St. Simons Island, local artist Lisa Tuttle and local historian Melanie Pavich-Lindsay play with the notion of sublimation. In doing so, they revive a textured Southern chronicle.
Commencing with the shell mounds left by nomadic Guale Indians, the multi-dimensional installation carries the viewer through time to the current use of the land as a golf club and resort. Survey maps and pages copied from history books, bones, alligator hide and collaged vintage portraits begin the task of creating and effacing. An area of the exhibition defined as "Section 2: Retreat" dwells on the cotton plantation years. Here Tuttle's gift for fabricating narratives takes over. "Authentic" representations of Anna Matilda Page King, daughter of the original Retreat plantation owner, along with her family and slaves, evoke rather than recall factual history through delicate domestic artifacts, photographs and pages from antique auction catalogs, along with photocopied excerpts of letters and ledgers from the 1800s.
The overlay of fact and fiction may somewhat confound the viewer. In the "Museum of the Now" section of ''Retreat'', the collaborators bring the viewer back to reality with copies of real documents and present day photographs. Careful readers learn the true life story of Neptune Small, a slave who accompanied one of King's sons into the Civil War, brought the son's body home and cared for the grave until he died. The wall display shows that an island garden club since has been named after Small, while amateur snapshots illustrate how the plantation's historic ruins have been reduced to an island inside the resort.
Though golf balls may have replaced cotton bolls on the land known as Retreat, in the mind of Atlanta artist Lynn Marshall-Linnemeier, deep psychological and emotional scars remain. Her own display, "A Slave Speaks of Silence," recalls what she imagines to be the voice of Rhina, Anna King's personal slave. In a small side room, Marshall-Linnemeier's large-scale, brightly embellished photoportraits of black women bring to life some of the thoughts that surface on viewing the cooler statement of ''Retreat''. Pink, green, blue and yellow backdrops seem to deny the hand-written text that remembers the pathos of servitude. "The colors are bright," says Marshall-Linnemeier, "symbolizing the endurance and happiness gleaned from the surreal existence of being owned by another human being." The contemporary photographs, she notes, are to remind American blacks "that any of us could have been slaves."
Retreat: Palimpsest of a Georgia Sea Island Plantation ''is on view through April 13 at Clark Atlanta University Galleries, 223 James P. Brawley Drive. 404-880-6102. Sunday Discussion Circle will be held March 11 at 3 p.m. ("On Knowing and Speaking-Education").''


"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-01-19T21:35:37+00:00"
  ["tracker_field_contentWikiPage_freshness_days"]=>
  int(1581)
  ["tracker_field_photos_names"]=>
  array(0) {
  }
  ["tracker_field_photos_filenames"]=>
  array(0) {
  }
  ["tracker_field_photos_filetypes"]=>
  array(0) {
  }
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "631"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "631"
  ["tracker_field_contentControlCategory"]=>
  array(0) {
  }
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentMiscCategories"]=>
  array(0) {
  }
  ["tracker_field_contentLegacyContentID"]=>
  string(7) "1229632"
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13003347"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(2) {
    [0]=>
    int(581)
    [1]=>
    int(518)
  }
  ["deep_categories"]=>
  array(7) {
    [0]=>
    int(242)
    [1]=>
    int(244)
    [2]=>
    int(1356)
    [3]=>
    int(581)
    [4]=>
    int(28)
    [5]=>
    int(988)
    [6]=>
    int(518)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(2) {
    [0]=>
    int(988)
    [1]=>
    int(518)
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(3) {
    [0]=>
    int(244)
    [1]=>
    int(1356)
    [2]=>
    int(581)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["user_groups"]=>
  array(8) {
    [0]=>
    string(27) "Organization Representative"
    [1]=>
    string(20) "Event Representative"
    [2]=>
    string(22) "Product Representative"
    [3]=>
    string(17) "CL Correspondents"
    [4]=>
    string(18) "Account Executives"
    [5]=>
    string(6) "Admins"
    [6]=>
    string(7) "Artists"
    [7]=>
    string(12) "Wiki Editors"
  }
  ["user_followers"]=>
  array(2) {
    [0]=>
    string(5) "jonny"
    [1]=>
    string(14) "thevinylwarhol"
  }
  ["like_list"]=>
  array(0) {
  }
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(0) {
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(0) {
  }
  ["relation_count"]=>
  array(0) {
  }
  ["title_initial"]=>
  string(1) "R"
  ["title_firstword"]=>
  string(11) "Reimagining"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item179636"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "179636"
  ["contents"]=>
  string(3719) "    Palimpsest examines history, both real and imagined    2001-02-28T05:04:00+00:00  Reimagining history   Cathy Byrd  2001-02-28T05:04:00+00:00 The key to any encounter with the exhibition Retreat: Palimpsest of a Georgia Sea Island Plantation at Clark Atlanta University Galleries is an understanding of "palimpsest." According to The American Heritage College Dictionary, palimpsest is defined as "a manuscript, usually of papyrus or parchment, written on more than once, with the earlier writing incompletely erased and often legible." Memory is like a palimpsest; our minds are layered in forgotten and repressed history. Who does not embellish the past for the purpose of a sweeter recollection?
Land, possessing the same malleable qualities, sometimes swallows history whole. Focusing on the history of coastal land once known as Retreat Plantation on St. Simons Island, local artist Lisa Tuttle and local historian Melanie Pavich-Lindsay play with the notion of sublimation. In doing so, they revive a textured Southern chronicle.
Commencing with the shell mounds left by nomadic Guale Indians, the multi-dimensional installation carries the viewer through time to the current use of the land as a golf club and resort. Survey maps and pages copied from history books, bones, alligator hide and collaged vintage portraits begin the task of creating and effacing. An area of the exhibition defined as "Section 2: Retreat" dwells on the cotton plantation years. Here Tuttle's gift for fabricating narratives takes over. "Authentic" representations of Anna Matilda Page King, daughter of the original Retreat plantation owner, along with her family and slaves, evoke rather than recall factual history through delicate domestic artifacts, photographs and pages from antique auction catalogs, along with photocopied excerpts of letters and ledgers from the 1800s.
The overlay of fact and fiction may somewhat confound the viewer. In the "Museum of the Now" section of Retreat, the collaborators bring the viewer back to reality with copies of real documents and present day photographs. Careful readers learn the true life story of Neptune Small, a slave who accompanied one of King's sons into the Civil War, brought the son's body home and cared for the grave until he died. The wall display shows that an island garden club since has been named after Small, while amateur snapshots illustrate how the plantation's historic ruins have been reduced to an island inside the resort.
Though golf balls may have replaced cotton bolls on the land known as Retreat, in the mind of Atlanta artist Lynn Marshall-Linnemeier, deep psychological and emotional scars remain. Her own display, "A Slave Speaks of Silence," recalls what she imagines to be the voice of Rhina, Anna King's personal slave. In a small side room, Marshall-Linnemeier's large-scale, brightly embellished photoportraits of black women bring to life some of the thoughts that surface on viewing the cooler statement of Retreat. Pink, green, blue and yellow backdrops seem to deny the hand-written text that remembers the pathos of servitude. "The colors are bright," says Marshall-Linnemeier, "symbolizing the endurance and happiness gleaned from the surreal existence of being owned by another human being." The contemporary photographs, she notes, are to remind American blacks "that any of us could have been slaves."
Retreat: Palimpsest of a Georgia Sea Island Plantation is on view through April 13 at Clark Atlanta University Galleries, 223 James P. Brawley Drive. 404-880-6102. Sunday Discussion Circle will be held March 11 at 3 p.m. ("On Knowing and Speaking-Education").


              1229632 13003347                   Reimagining history "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(35) "atlantawiki_tiki_main_62872e622a9ae"
  ["objectlink"]=>
  string(36) "No value for 'contentTitle'"
  ["photos"]=>
  string(125) "

"
  ["desc"]=>
  string(60) "Palimpsest examines history, both real and imagined"
  ["chit_category"]=>
  string(11) "88"
}