Landscapes and Interventions
About the Exhibition
In conjunction with the 2017 Atlanta Celebrates Photography Festival in October, Mary Stanley Studio and Hathaway Contemporary will present an exhibition of works hand-selected from the 80 artists that make up the Atlanta Celebrates Photography Ones To Watch alumni. Free and open to the public, the exhibition will be installed at Hathaway Contemporary Gallery from September 23rd – November 4th, 2017.
While reflecting upon the eight years of the Ones To Watch programming, Landscapes & Interventions explores the work of a subset of OTW artists who are focused on capturing the landscape. Their imagesbring attention to its serenity and natural beauty, highlight critical issues affecting the environment and demonstrate innovative ways to intervene with the natural environment in a playful and thought provoking manner. Artists include Bill Yates (Jacksonville, FL), Adam Forrester (Atlanta, GA), Stephanie Dowda (Richmond, VA), Jeff Rich (Savannah, GA), Steve Giovinco (New York City, NY), Ansley West Rivers (Atlanta, GA), Peter McBride (Colorado), Joshua Dudley Greer (Johnson City, Tennesee), Noah Kalina ( Brooklyn, NY) and Amanda Greene (Danielsville, GA).
887 Howell Mill Rd NW #4
Atlanta, GA 30318
Exhibition Dates- September Saturday Sept 23 through Saturday Nov 4, 2017
Opening Reception-Saturday Sept 23 6-9pm
Artist Talks – Saturday Oct 21st at 11am
Exhibition Hours- Tuesday – Friday 10am- 6pm
Now in its third year, the Feature Shoot Emerging Photography Awards exhibition celebrates up-and-coming artists and documentarians and their contributions to a constantly shifting industry and medium. This year’s winners are Johanna-Maria Fritz, Ansley West Rivers, and Zoe Wetherall.
The word “emerge” comes from the Middle French word émerger, meaning “bring to light.” In the case of this exhibition, it’s significant for two reasons. Of course, the three winning photographers are “emerging,” but all three of them have chosen to bring to light subjects of global importance in ways that are unconventional, innovative, and uniquely their own.
Johanna-Maria Fritz’s body of work Like a Bird follows circus performers in Muslim countries, bringing individual stories of perseverance and freedom to the fore. Afghanistan, Palestine, and Iran have been discussed on an international stage for decades, but Fritz’s lyrical, emotionally-driven portraits of men, women, and children run against the currents of the cliches and headlines. The artists in her photographs have found refuge, autonomy, and in some cases, a sense of equality in an unlikely place— the circus— and in them, Fritz has found a source of hope.
In the last few years, there have been several photo books and large-scale exhibitions devoted to water, usually from a photojournalistic perspective: rising sea levels, pollution, drought, and crisis. Ansley West Rivers takes a more personal, fine art approach. Over the last four years, she’s photographed Seven Rivers: The Colorado River, The Missouri/Mississippi River, the Columbia River, the Rio Grande, the Tuolumne River, Altamaha River, and the Hudson River. Throughout the course of those years, the discussion surrounding water and climate has evolved, and Rivers has evolved too: she moved, started a farm, and had a child. The rivers have become an essential part of Rivers’s being and her sense of self; their future and hers have become intertwined, and her photographs remind us of the primordial connection we all share with water.
The influence of human activity on once-wild landscapes has been a popular subject for the emerging generation of photographers, but Zoe Wetherall confronts the issue from a new and unusual perspective. Drawing influence from design and architecture, she has flown over some of the most classically “sublime” landscapes in the United States by helicopter and hot air balloon. Her aerial images are abstract; their beauty hits you first, then comes something more. Paradoxically, her meticulous, orderly compositions reveal something complex and unsettling about the way mankind interacts with nature, and that tension is what brings the work to life.
This fall The Museum of Contemporary Art of Georgia will exhibit “Edge to Edge”, the first ever state-wide survey of contemporary Georgia photography. The work that has been selected for “Edge to Edge” was chosen for its visual strength, expressive sophistication, and technical artistry. As such the exhibition will serve as a testament to the power of photography itself.
Photography has taken a prominent place in the artistic culture of the contemporary South. Once limited to the traditional themes of the rural and historic south; of rustic barns and rusted trucks; of simple living and country ways, the photographs in this exhibition are modern and reflect a more diverse and complicated world. The pictures were made between the final days of the 20th century and the birth of the 21st. They mirror modern concerns and coincide with the transition from traditional wet process photography to the technical wonders of the digital age. The photographs reveal a more diverse, vibrant and unsettled south which is part of a new demographic that finds most southerners living in urban and suburban centers. The work in this exhibit will reflect many of the changes that are redefining the modern south.
The works by Georgia’s photographers span an eccentric range from familiar and comfortable themes to poetic and provocative evocations, to images that are disquieting and disturbing. These pictures will challenge the viewer who is expecting southern stereotypes with mysterious narratives, poetic revelations, and complex abstractions. The exhibition will present a richly diverse array of the many varied ways contemporary photography is being used artistically and expressively by photographers from across our state, corner to corner and edge to edge.
Edge to Edge is being dedicated to Georgia born photographer Paul Kwilecki (1928-2009), who has been described as “the greatest documentary photographer you’ve never heard of”. Kwilecki was born in the small southwestern town of Bainbridge, Georgia and ran his family’s hardware store for decades. A self-taught photographer, Kwilecki passionately documented life in Decatur County Georgia for more than 40 years. Over time he became a masterful printmaker with an elegant eye. He never photographed elsewhere. Kwilecki eventually received a coveted Guggenheim Fellowship for his work. His photographs are archived at Duke University’s Center for Documentary Studies. We honor Paul for his dedication and commitment to photography. And we honor him because he is one of our own.
The Brower Center is excited to announce our 2016 juried exhibition, which will run from May 20 – September 8, 2016. On the hundredth anniversary of the National Park System, the 2016 juried exhibition will address "America’s Best Idea" as seen through the eyes of local artists. The 2016 juried show jurors are Stephanie Hanor, Director, Mills College Art Museum, Katrina Traywick, Director, Traywick Contemporary, Laurie Rich, Executive Director of the David Brower Center, and Sean Uyehara, Director of Programs, Headlands Center for the Arts.
This year marks the centennial of the Organic Act of 1916, which established the National Park Service. The purpose of the agency is, “to conserve the scenery and the natural and historic objects and the wild life therein and to provide for the enjoyment of the same in such manner and by such means as will leave them unimpaired for the enjoyment of future generations.” Art was crucial to creation of the National Parks System, and continues to be essential to advocates for parks: The oils of Albert Bierstadt, Thomas Hill, Thomas Moran, and other painters of Yosemite moved President Lincoln, in 1864, to protect that most beautiful of valleys as a park. Paintings and photographs of Yellowstone had the same effect in 1872. The success of David Brower and Ansel Adams in getting a copy of Adams’s portfolio of photographs, Sierra Nevada: the John Muir Trail, into the hands of Franklin Roosevelt tipped the balance in creation of Kings Canyon National Park.
Artists today continue in this tradition. Maya Lin’s “Confluence Project,” made up of collaborative installations in parks along the Columbia River, and her “What Is Missing” project commemorates the biodiversity vanishing now in the Sixth Extinction. Conceptual artist Amy Balkin proposes a “clean air park” in the atmosphere and a “global commons.” These contemporaries carry on artistically the conceptual work of activists like David Brower, whose full-page 1969 New York Times ad proposed that this planet become a “conservation district” within the universe--an “Earth National Park"--and of the evolutionary biologist E.O. Wilson, who, at the national parks summit last May, proposed setting aside half of our planet for life forms other than ourselves.
THE HOUR OF LAND
May 18 - June 25, 2016
A group exhibition of the photographs from Terry Tempest Williams newest book
The Hour of Land, A Personal Topography of America’s National Parks.
Reception: Wednesday, June 8th, 2016, 6:00-8:00pm
Please join us for a reception with Terry Tempest Williams and several of the artists.
Terry will be reading from The Hour of Land and we will have a panel discussion with her and the artists.
The show at Perspective Gallery in Chicago Illinois includes my Rayonier Paper Mill photograph on the Altamaha River in Jesup Georgia. The show was juried by Paul Berlanga.
I am honored to be selected for the Gathered show at the Museum of Contemporary Art of Georgia by four amazing artists, John D. Lawrence, Jiha Moon, Joseph Norman and Brian Rust.
I am pleased to announce my first exhibition of my Seven Rivers project at the Southern Light Gallery at Amarillo College in Amarillo, Texas. The exhibition will include photographs from the Tuolumne River and the Altamaha River.
When: August 21- October 2nd, 2014 Opening: August 25th, 2014 Where: Southern Light Gallery, Amarillo College, Amarillo TX
Grayscale October 30 - November 30, 2013
Opening Reception: November 1
Juried Show by
Blue Mitchell is the Founding Editor of Diffusion: Unconventional Photography, an independent, reader and contributor supported annual that highlights and celebrates unconventional photographic processes and photo related artwork. In addition to organizing and curating physical exhibitions around the country, Mitchell curates Plates to Pixels, an online photographic gallery that bridges the gap between antiquated photographic processes and new digital media. He is a fine art photographer, educator, and graphic designer currently serving on the Board of Directors for Newspace Center for Photography in Portland, Oregon. Mitchell also teaches classes at the Oregon College of Arts and Craft's studio school.
It’s difficult to dictate in words, the depths of instinct needed to jury a show with so many exceptional entries. This was one of the more open-ended themes I’ve had the honor to jury. Considering the elite number of images possible to exhibit in the gallery it made the selection process a formidable challenge. The entries were fantastic in so many ways. I vacillated from one image to the next, questioning which ones were staying with me the longest over time - which ones made a long term impression? Because of this process I was forced to need an extension of time for the jury process. Even images that did not make it into the final cut have also affected me in this way. I could only be satisfied with the selections knowing that it was impossible for me to include all the work I found compelling. Instead I focused on the individual quality of each image keeping in mind the merits of good tonal range, contrast, formal dynamics, intrigue and lastly, the challenge of visually interpreting the world in monochrome.
In the end I selected a group of images that spoke to me not only as strong individual images but also as a diverse exhibit featuring all styles and formats of grayscale. I thank both the artists who submitted and The Kiernan Gallery for allowing me the opportunity to contribute to this show as a curator as well as providing inspiration for myself, the photographer.