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Spot 1: Documentary After Truth

Auscultation

Artifact Auscultation: A Speculative Examination for Mati Diop’s Dahomey Auscultation, n., the action of listening to sounds from the heart,...

Magdalena Suarez Frimkess—The Finest Disregard

Even her utilitarian tableware—tortilla plates and coffee mugs—appear sculptural, not functional. Whereas many ceramicists, including her husband, take great pains to rid their work of evidence of their physicality, eradicating touch, pressure, emotion, and kinetic energy, Magdalena’s sculptures quiver with her presence. Fingerprints, pinch marks, patchwork, the spontaneity and surety of her brushstrokes altogether engender a perceptible alive-ness.

Spot 2: Post-Post-Truth

Chernobyl

“What is the cost of lies?” HBO’s miniseries Chernobyl opens with this dark rumination of dying Soviet chemist Valery Legasav’s....

Carrie Lambert-Beatty: Truth Bias

Carrie Lambert-Beatty discusses her latest research by way of the value of investigation, epistemological behaviors, and fake news in an age of uncertainty.

Below Baldwin

In 2015, renovations to the University of Georgia’s Baldwin Hall revealed 27 graves near and beneath the foundation of the...

Spot 3: REWORLDING

Earth Studies

Despite the diminutive size of our bodies, the Earth, in all its grand scale and complexity, is managing to grow inside us.

A Ceramic Materials Atlas

Organizing these materials in our studio is the outermost tip of a complex global distribution network of intricate webs of highways, shipping routes, rail lines, and flight paths—a planetary vascular system and neural network, a pulsing flow of matter and information covering the surface of the earth.

Ecotone

In ecology, a place that comes into being only when two other places meet, is called the ecotone.

Spot 4: NOSTALGIA/HERITAGE

Greg Ito: Looking Back to Let Go

This is probably the most personal show I’ve made. I want people to know that the work is connected to these real experiences, so there’s pretty intimate stuff that’s only been seen within our family circle .… I had to ask my mom if it was okay to share these photographs. Since we weren’t able to get permission from relatives who have passed to share these things, all the faces are going to be covered with small white stickers. That way we can keep our family identities private and off the internet. These stickers also create a pathway for viewers to insert themselves into [my family’s] experience.

Simone Leigh: Sovereignty

“The work is a gateway, one that bridges extracted projections of African aesthetic realities by refocusing upon the origins of Black exterior expression. Those spaces—just like bodies—hold stories, memories, and dreams. The transformation of this pavilion foreshadowed how this experience would find me in a house of discourses. But this time, there could be a more nuanced conversation about the interiority of Black female consciousness.”

Spot 5: Art Isn’t Neutral

Art Isn’t Neutral

Sara Wintz, Carin Kuoni and Laura Raicovich discuss the impossibility of neutrality

Where is the Art World Left?

Where is the artworld “Left” in the age of “trickle-down,” homelessness, the rise of the Aryan Nation and corporate art coma: a dehumanization of art and artist into a common denominator of profit?

The New Exclusionism

Catchwords like “diversity,” “transculturalism,” “pluralism” cause my antennae to go up, and warning bells of skepticism to go off in my head. Not about these ideas per se, you understand, but about the way they are being implemented in our free-enterprise society in the 1980’s.

Spot 6: Challenging the Museum

Decolonizing the Ethnographic Museum

Europe’s museums turn to institutional rebrands and infusions of contemporary art to update their imperial-era collections —but are these efforts enough?

Access+Ability

What would a completely accessible museum look like? Removing all barriers for every visitor to a cultural institution is an...

Vitshois Mwilambwe Bondo: Para-institutional Kinshasa

Lauren Tate Baeza and Vitshois Mwilambwe Bondo talk about particularities of how a continent-wide trend of community-centered and para-institutional arts organizing unfolds in his hometown of Kinshasa; his personal journey from artist to administrator; and his own organization, Kin ArtStudio.

Spot 7: Georgia on my Mind

Amanda Grae Platner: It’s Still Not Me, It’s You

In It’s Still Not Me, It’s You at Atlanta’s Echo Contemporary Art, Platner’s self-portraits and installations invite the viewer into her world. She coaxes empathy through a variety of strategies, some that are playful and interactive, others that involve showing pain.

The Eyes Were Always on Us

The Eyes Were Always on Us opened March 23 at the United Talent Agency’s new Atlanta gallery on Peachtree Street—a...