Just one block south of the Martin Luther King Jr. historical site, two new art galleries, One Contemporary and The Sun ATL, celebrated their openings on the same mid-January Friday night. In the midst of a bustling Edgewood Avenue, both drew the arts community out for an evening of appreciation.
Although both galleries hosted their openings at the same time, the two are completely dissociated, yet structurally conjoined. That’s right, both businesses share a wall and the same purpose; aiding Atlanta’s robust art culture.
“Atlanta is considered a bubbling art hub and contemporary art destination, but we’re dead last for legislative funding for the arts. It’s a paradox,” said Faron Manuel, Director and Principal Curator at One Contemporary. There’s a lot of creativity and interest here, but we just need shows like this to get people inquiring and involved to help us grow here in Atlanta,” he added.
From observation, One Contemporary is passionate about art’s future reality. The inaugural exhibition, titled “The Start of Something”, means just that. It leads with young, Gen-Y/Z work that spawned from an energetic era of existence. These artists have a unique understanding of life, blending it with their specialized medium, then producing pieces that reflect their current sense of self and cultural affairs.
“I needed to tell this story about Atlanta in a very particular way. I think highly of these ten artists and they are a great example of what can be done, as a young artist in Atlanta making an impact,” said Manuel.
Cozy, yet spicy, and lively, this gallery has potential to house pieces of the 21st century new Atlanta renaissance period.
Both galleries, conjoined at the hip, offer an alternative energy to a bustling Edgewood Ave. (The Sun ATL, yellow building and One Contemporary, white building) Photo credit: JannahB, The Bold Opinion
Its neighbor, The Sun ATL, is owned and curated by Shawn Vinson, a four-time gallery co-founder himself. The gallery is housed in a space that was previously an architecture firm, so its structural components immediately set an exploratory mood. The exhibition, “First Light”, features artists from around the globe, touching European, American, and Congolese art.
This gallery, for sure, is a mixing bowl of international art, but still shows respect for the city in which it breathes. “We are in the heart of Atlanta and I wanted to celebrate where we are, so we have Jim Alexander as a permanent artist here,” said Vinson. “Jim is a legend who’s been in Atlanta since the 1970s photographing Black culture, music, and civil rights. He was the first person I called to ask if I could show his work here,” he added.
At the end of the day, both businesses compliment each other well, but juxtapose just the right amount to separate their narratives. Nestled next to a college campus and in the middle of a pedestrian-friendly social district, these two galleries provide alternativity to the bass and booze filled streets of Edgewood Ave. This is just another testament to the strength of Atlanta art.
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‘Spark Lab’, in partnership with Boys & Girls Clubs of Metro Atlanta, is a youth development and engagement effort that sprouted from Usher Raymond IV’s Social Impact Tour. This tour, which kicked off last August in partnership with Boys & Girls Clubs of America and the After School Alliance, has reached over 4,800 youth across 11 cities including Washington, D.C.; Detroit, MI; Philadelphia, PA; Oakland, CA, Houston, TX, Brooklyn, NY and more.
“The Spark Lab and Entertainment Industry Club is about providing our youth with the tools, confidence, and opportunities they need to turn their dreams into reality,” said Usher Raymond IV, Chairman of Usher’s New Look. “It’s an honor to help inspire the next generation of leaders and innovators. We are invested in our future. We’re invested in youth and I’m an example,” he added.
ATLANTA, GEORGIA – DECEMBER 09: Usher (C) along with guests cut the blue ribbon during the ribbon cutting ceremony for the Usher Raymond IV Spark Lab at Joseph B. Whitehead Boys & Girls Club on December 09, 2024 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images for Boys & Girls Club)
The ribbon-cutting ceremony celebrated the 25-year legacy of USHER’s New Look and its unwavering dedication to transforming the lives of under-resourced youth through comprehensive, passion-driven leadership programs. With the Entertainment Industry Club set to launch in 2025, this initiative reaffirms USHER’s ongoing commitment to creating brighter futures for young people nationwide.
“Boys & Girls Clubs of Metro Atlanta is thrilled to announce this year’s much-anticipated launch of the Usher Raymond IV Spark Lab,” said David Jernigan, President & CEO of Boys & Girls Clubs of Metro Atlanta.
“Usher’s Spark Lab will not only be a resource to our Club members, but also a space where they can gain hands-on experiences in fields like music production, filmmaking, photography, and more. This initiative perfectly aligns with our mission to ignite the unlimited potential of kids and teens by creating safe, inclusive, and engaging environments, empowering them to find their spark and pursue their passions.”
Learn More about Usher’s youth development efforts by visiting Ushersnewlook.org.
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October 2024 marked a special moment in time for the Atlanta art scene as the Southern Mecca hosted its first international art fair that wrapped up a bolstering finale of indulging Atlanta Art Week activities.
In a unique blend of creativity, wonder and purpose, Atlanta’s first art fair brought together neighboring artists, creatives, local and international galleries alike at Pullman Yards, showcasing its strength in an age-old industry. The city’s global attractiveness reeled in works by over 100 artists and 60 exhibitors, including multiple local galleries: Alan Avery Art Company, Day & Night Projects, Dunwoody Gallery, Fay Gold Gallery, Gallery Anderson Smith, Hawkins Headquarters, Jackson Fine Art, Johnson Lowe Gallery, Marcia Wood Gallery, Maune Contemporary, The Object Space, Poem 88, Sandler Hudson Gallery, Spalding Nix Fine Art, and Whitespace.
“Atlanta is arguably the home to the kindest people—I’ve never felt more welcome, and so many folks over the last years have been so willing to sit down with me and talk to me about the goals of the community,” said Atlanta Art Fair Director, Kelly Freeman in an interview with Artsy. “It all just comes together with the ability to create a centralized gathering space for what the city already has going for it,” she added.
Hungry and eager to solidify a space for an enduring southern spirit, the fair made sure to pedestal regional talent, providing a platform for both new and seasoned voices. Increased demand for a southern meeting point, the AAF proved to be just that.
Notable Themes of AAF
Style Diversity
Like traditional fairs, colorful and eclectic, the AAF brought forth artists and their respective disciplines from all over. Viewers encountered contemporary, portraiture, photography, sculpture, and various paint styles throughout the curated space. Every corner of the cubicle booths held something special and different.
“The Art Fair is exactly what ATL needed to propel the art movement in the city and surrounding areas,” said Adila Halim, Art Curator of the Trap Music Museum(Instagram: artselectah). “The fair officially puts Atlanta on the map as an official and respected art hub and I anticipate that it will grow to become just as big as any well respected art fair in the art world. It’s only up from here,” she added.
A collection of brightly-colored, glass-beaded AKs by Ralph Ziman was one of the first to greet fair goers. Titled “The Casspir Project”, Ziman’s pieces parallel South Africa’s brutal past with America’s dark present. The largest piece of the collection was, ironically enough, a Casspir itself. The hulk-like military vehicle was decked out in the same colored glass beads. This piece was on display at the Atlanta Contemporary Museum and will make its way to the Emma Darnell Aviation Museum from October 18th through November 15th.
Photos of Casspir (left) and Beaded rifle (right) courtesy of The Rendon Gallery, Los Angeles, CA
Also near the first handful of booths at the fair were a collection of marbled busts from Ejiro Fenegal and Mitochondria Gallery. Stunning and captivating, these precious stoned pieces brought you face to face with prestigious African beauty. Behind them were a series of large oil to canvas paintings by Izere Antoine. Together, the collection pulled viewers close into the uniqueness of fine African art.
Photos of bonded marble sculptures by Ejiro Fenegal. Ochanya (left) and Out Of The Blue (right).
Preceding the booth of busts, Mitochondria Gallery affixed more works from a third artist of the gallery’s triad; Odeyemi Oluwaseun. His portraits feature a textured, monochromatic color scheme or non-continuous lines that evoke deeper gazing beyond the oil-painted faces in the foreground.
‘Hold Tight’ by Odeyemi Oluwaseun
“Wow-able” Pieces
What’s an art fair without stumbling on a few “wow” factors? This year, viewers encountered several pieces stimulating heightened experiences. Art is subjective, but these pieces were bold, direct, and emotionally pronounced in a way that some might consider Art Basel worthy.
The Melissa Morgan Fine Art Gallery booth was definitely one of those spaces where viewers spent more time. The immediate attraction? A life-sized stainless steel geometrical object with LEDs and an infinity mirror effect. The piece, titled ‘TRIACONTAHEDRON’ by Anthony James stood 60” tall and forcibly lured viewers into the depths of a reflective abyss. Works like that are terribly hard to surpass, maybe, until you peep the price tag.
Slightly adjacent to James’ mirrory portal, sat a hyper realistic sculpture of a woman in a one-piece swimsuit and a metallic swim cap. Carole A. Feurman’s piece, titled ‘MID POINT II’, appeared so believable that a hint of chlorine could be smelled when approached.
Close enough in proximity, both pieces in the gallery booth seemed to oddly work together by providing a contrast of reality and metaphysics.
Photos of work by Anthony James ‘TRIACONTAHEDRON’(right) and Carole A. Feurman ‘MID POINT II‘ (left).
Another indicator of Art Basel-like works would be the ability to evoke emotion through activism. This one particular piece by Pam Longobari was a towering conglomerate of salvaged ocean debris. No contemplation needed. This piece was intended to make the viewer reflect on human influence on the largest medium on our planet; the ocean. This piece highlights the damage humans blindly contribute to the aqua ecosystem. There’s something about looking at pieces of plastic, fish netting, and waste piled to the ceiling that pulls the sorrow right out of you.
Recycling? Yes. Art? Also yes.
Photos of ‘Anxiety of Appetites’ by Pam Longobardi, Karen Comer Lowe curtesy of The Atlanta Art Fair.
Southern Richness
The inaugural Atlanta Art Fair swoops in due to growing recognition of the city as an unearthed gem of the United States. Bringing views of Southern identity, cultural influences, and insignia, the fair aimed to be an inclusive platform showcasing 37 Southern galleries, 22 of which from Atlanta alone. A strong presence of ATL-based art enthusiasts gathered to solidify the community’s stamp of approval.
“The Atlanta Art Fair 2024 was a vibrant celebration of creativity and diversity, showcasing a wide array of artistic expressions from both local and international artists,” said local Congolese multidisciplinary artist, Masela Nkolo. “The energy of the fair was palpable, with engaging paintings, sculpture, thought-provoking works, and interactive experiences that drew in a diverse audience,” he added.
Southern Black culture being a genre of its own is the reason why it stands out with such pride. A mere “way of life” showcases individuality, poise, and freedom that cannot be duplicated. Its spirit runs deep in the soul just as it does the soil.
Works like Fahamu Pecou’s ‘One Thing About Me I’ma Be Alright: NUFF SAID’ exemplifies mastery of craft and blends that Southern swag with its African roots. All elements working together harmoniously.
Photo of Fahamu Pecou’s ‘One Thing About Me I’ma Be Alright: NUFF SAID’
Photography, another highly appreciated medium on display at the Atlanta Art Fair, is fairly new in the art world compared to paint and sculpture. It allows for a time-capsuled view into a specific moment in time. The collection of photography by Steve Schapiro at Jackson Fine Art Atlanta jumps viewers straight to the 1960s when Dr. Martin Luther King Jr. and the Civil Rights Movement was the nation’s largest influencer.
Collection of works by Stevie Schapiro for Jackson Fine Art.
One other gallery booth that shined bright in the modern Black Woman art space was the ‘Protective Style’ collection by Autumn Breon. With its furry pink walls and relativeness, this exhibit is heavily inspired by Bernice Robinson (a South Carolina beautician who taught Black folks to read and write so they could pass literacy tests and vote). ‘Protective Style‘ is a body of work that monumentalizes the hair salon as a portal for Black women’s freedom. Cultural transparency at its finest.
Collection of ‘Protective Style’ works by Autumn Breon.
Overall, the inaugural Atlanta Art Fair turned out to be profitable for local artists’ pockets and their industry credibility. It was a huge success. The Atlanta Art Fair will continue to be a landmark for Southern culture and existence.
For more information on artists, works, and to keep up with The Atlanta Art Fair, please visit www.theatlantaartfair.com.
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