"A thousand tomorrows": 2019 Atlanta Biennial Examines a Changing South

The exhibit was co-curated by Daniel Fuller, the Curator at Atlanta Contemporary, and Phillip March Jones, the Curator-at-Large at Institute 193, Lexington, KY. “This exhibition offers a barometer of the South at its might, to exchange ideas and gain new perspectives based on what artists in our region are creating,” explains Fuller.

Humor is immediately evident: Joni Mabe’s Hitchcock on a Tortoise features the filmmaker and his steed against a glitter background. As one of several artists who use found or repurposed objects, in other works, Mabe juxtaposes incongruous curios as compositional elements.

Jim Roche literally spells it out for the viewer, but instead of the impassioned political signs typically seen at protest marches, his disciplined control belies his heated content. Roche repeats small marks of color with meticulous devotion, creating a diagonal grid hovering behind his carefully stenciled lettering.

The youngest participating artist, Alina Perez brings a maturity of both content and execution to her figurative charcoal and pastel works. She explores perceived physical imperfections with a confident, flowing line quality. In Albuquerque, two embracing nude women exude vulnerability as well as solidity.

Aaron Skolnick’s grid of contour drawings is a personal exploration of acute grief. At his partner’s request, through each quick portrait, Skolnick chronicles Louis’ lingering illness and ultimate passing. The grouping combines to tell a profound, intimate story, elevating the impact of each individual drawing.

In his Post-Monuments series, Matthew Shain brings a more matter-of-fact approach to current headlines. Calling on his background in documentary photography, Shain simply records the absence of recently removed Confederate monuments, sometimes visually replacing them with a tree or cloud.

Born in South Korea, Atlanta artist Jiha Moon exploits cultural stereotypes. In her ceramic work, Moon incorporates teapots, masks, noodles, fortune cookies, eyes, tassels, and other motifs.

Kevin Cole also explores racial identity as well as tragic history in When Scars Are My Testimony. On Cole’s 18th birthday, his grandfather took him to a tree where young African-American men were lynched by their neckties while on their way to vote–a potent experience that inspired this impressive etched aluminum piece.

The 2019 Atlanta Biennial: A thousand tomorrows runs through April 21st. Kevin Cole’s piece will be on extended display through August 4th.