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"Up Right: Atlanta" makes art of Ponce City Market

Artist Nick Cave, choreographer T. Lang, and Flux Projects collaborate in the Old Fourth Ward space

In collaboration with choreographer T. Lang and Flux Projects, artist Nick Cave is bringing a two-part performance with dancers, actors, and musicians to the not-yet-opened central food hall at Ponce City Market.

Cave is the professor and chairman of the fashion department at the School of the Art Institute of Chicago, best known for his multidisciplinary work that often includes sculpture, video, and performance — sometimes all at once. His public collections live at several major museums across the country, including the Museum of Modern Art in New York. He'll incorporate his famous SoundSuits, sculptural forms that are based on the scale of his body.

Cave spoke to Creative Loafing about working with Flux Projects at Ponce City Market, giving back through his performance, and Atlanta's own urban renewal.

How was it working with this concept at such a new space as Ponce City Market?

The piece is about the "Initiates," self-preservation, and being reborn into a new world, as well as looking at how we can come in and provide an admission to a better existence. We've been to Atlanta about four times, scouting spaces, and we decided on Ponce City Market. We were really interested in that location. We have yet to see the set for the performance piece, but that's been designed. We are interested in what that feels like, looks like, and how it all comes together.

How about the SoundSuit-costumes worn by the [performers]? How did that come together?

When [we] are working with a body of sculptures, we have to take into account a different way of building the suits. We have to take into account the wear and tear and what kind of materials can handle the level of stress. And weight comes into play.

The costumes are still in line with my past work. In here, we'll be working with a lot of found objects, synthetic hair, raffia, and that's about it. I'm collaborating with T. Lang, who works at the Spelman College dance department, and she will be choreographing the opening piece for the performance. The second part is a new piece that I've developed.

[The performance includes] seven individuals from the community [whom] we will be undressing and redressing. They will be literally building this sort of apparatus/attire sort of sculpture, so as the viewer you will be seeing this process as it occurs. Then the individuals will rise and walk into the world. It's preparing the mind, body, and spirit to face the forces that get in the way of selfhood. It's really about this sort of rite of passage to a degree.

Tell me about collaborating with T. Lang and selecting the dancers.

We were in Atlanta and looking around to see who we wanted to collaborate with. We started scouting for dancers and musicians. We visited Spelman since we wanted to connect with an academic sort of setting. Up Right is about what has prepared me for who I am today, individuals who have come into my life, brought attention to my abilities and ... conditioned me and handed me to the next person. I've always been in training, and this is my way of giving back to those individuals who need a jump-start and make them feel like they matter.

This concept seems to relate back to Atlanta being reborn, both in the last few years and since the burning [of the] city, right?

I think so. I think it's about a renewal, and in order for Atlanta to rebuild itself the people need to be renewed. It's about regurgitation, looking at the past yet looking at what's present, and how do we look at the future.



More By This Writer

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  string(7114) "TEA TIME: Sharon Norwood’s “The Fruit of the Matter V”Courtesy Sharon Norwood

Victoria Camblin and Daniel Fuller, editor at ART PAPERS and Atlanta Contemporary’s curator, respectively, found themselves deep in the archives of their new employers in 2013-2014 to learn more about Atlanta’s path to now. As non-natives, they quickly bonded over their institutions’ shared legacies. Both the Atlanta Contemporary (then Nexus) and ART PAPERS have been integral voices in the city’s arts scene since the ’70s — from providing a forum for exploring contemporary art to providing public programming to the community.

They both found reviews from the past Atlanta Biennials, plus a surprise — a response to the Atlanta Biennial called the Alternative Biennial, Camblin says, laughing during a phone conversation with Creative Loafing. The irony.

A biennial, an Italian term for every other year, is often a large-scale contemporary art exhibition aimed at highlighting new voices in the art world. Cities around the world have their own biennials, from Kingston, Jamaica to Berlin. The Atlanta Biennial was born out of need.

In 1983, the Whitney Museum released a survey of influential contemporary artists. Of the 75-plus artists featured, none hailed from or currently resided in the Southeast. The Whitney Museum Biennial is often regarded as the most important survey of the state of contemporary art in the United States.

As a response, Alan Sondheim, curator of the Nexus Contemporary at the time, created an exhibition on contemporary art emerging from the Southeast that same year. According to Camblin, the first Atlanta Biennial had a meager $800 budget and 55 artists on display, a feat in itself. Over the next 23 years until 2007, the Atlanta Contemporary switched up the ratios of Southeastern artists in its exhibitions, but the message was the same: to highlight an often-overlooked section of the country and its influential art.

Today, while more exposure exists, the region’s lack of representation continues to be problematic.

In 2014, the Met accepted 57 mixed-media pieces by 30 African-American artists from the region in an effort to highlight neglected Southern artists. “There is a renewed interest in Southern self-taught work, but in regards to new work coming from the South, much of the work is wrongly looked over,” Fuller says.

Camblin calls the new round of the Atlanta Biennial “an exercise in a little myth busting.” That myth being that the only way for artists to have a sustainable artistic career is to move to New York or Los Angeles. The exhibition aims to showcase these artists’ talents and the Southeast as a place of opportunity.

Camblin and Fuller stopped wishing for Atlanta’s Biennial to come back and got to work. But the question arises — why now?

She found herself discussing the Atlanta Biennial, and its absence, with folks who attended the first round of Atlanta Biennials and those who were new to the event’s history. “It was really a response to what we saw as an increasing urgency to have this,” Camblin says. “There’s definitely something in the air.”

Massive lists and conference calls took over all four curators’ lives for more than a year, including Aaron Levi Garvey, an independent curator in Jacksonville, Florida, and Gia Hamilton, director of the contemporary visual arts Joan Mitchell Center in New Orleans. With the sole criteria that artists had to live in the South at the time of the exhibition, the curators tried their damndest to step away from Atlanta, avoid getting caught in the usual stereotypes, and look further.

“I think as the biggest city in the South, we sometimes think things start and finish here,” Fuller says. Fuller and the rest the team split to take trips to discover new talents, from Memphis to uncover an underground arts scene all the way to Florida to discover an artist with Caribbean roots.

The artists involved represent every state in the Southeast. The curatorial team tried to represent diversity of backgrounds of those living and working in the region.

This year’s Atlanta Biennial focuses on how the artists experience the South — whether they moved away, never left, or moved to the region in the last few years. One of the featured artists, mixed-media artist Andrew Scott Ross, was born in New York and now lives in Tennessee.

“The Southern landscape still affords me the space to construct a fortress for my imagination to run wild,” Ross says. “Space comes at the price of geographic connection — and for a moment, the Atlanta Biennial can become a bridge for a region that is always redefining itself.”

On the other hand, participating painter Ridley Howard grew up in Atlanta and recently moved back after 17 years in New York. He says he feels communication and access have made it possible for artists to experience their local scene and a much broader international community simultaneously.

“It’s an interesting time to think about regionalism and how that idea is changing, especially as the traditional art centers become prohibitively expensive,” Howard says. “I think this show will raise some of those issues.”

In the end, Camblin senses there’s a need for more events like this one in Atlanta that provide opportunities and connections to artists in the region and provide a new perspective to curators as well.

“We’re hoping that this brings Atlanta attention to artists that they haven’t seen before,” she says. “We’re hoping it brings regional attention to people that are working in Atlanta, and not just working as artists, but a few exhibition opportunities here that they might not otherwise have had. My hope is that this will create this themed exchange between different artists and also institutions and hopefully it has an exponential effect.”

ART PARTY 2016. $25-$50. 7 p.m. Sat., Aug. 27. Atlanta Contemporary, 535 Means St. N.W. 404-688-1970. atlantacontemporary.org.

---
!!!Artists to Watch at the ATLBNL
No value assigned

Stephen Collier

Born Biloxi, Mississippi / Lives New Orleans, Louisiana

There’s a certain duality that heavily influences Collier’s work; it’s a subtle balance between darkness and humor. His chosen materials are often a reflection of the concept behind the artwork.

No value assigned

Erin Jane Nelson

Born and lives in Atlanta, Georgia

Nelson’s textile work is visually stunning. Using various fabrics, found objects, and imagery, Nelson keeps you captivated as you find all of the details in her pieces.

No value assigned

Virginia Griswold

Born Petersburg, Virginia / Lives Nashville, Tennessee

Griswold’s sculptures are often distorted on purpose as she explores the notion of what’s natural vs. unnatural and how we follow these binaries blindly.

No value assigned

Sharon Norwood

Born Kingston, Jamaica / Lives St. Petersburg, Florida

Norwood blends her Jamaican roots and issues with identity into her digital collage prints on paper to deconstruct her feelings about hair and socially constructed perceptions."
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Victoria Camblin and Daniel Fuller, editor at ''ART PAPERS'' and Atlanta Contemporary’s curator, respectively, found themselves deep in the archives of their new employers in 2013-2014 to learn more about Atlanta’s path to now. As non-natives, they quickly bonded over their institutions’ shared legacies. Both the Atlanta Contemporary (then Nexus) and ''ART PAPERS'' have been integral voices in the city’s arts scene since the ’70s — from providing a forum for exploring contemporary art to providing public programming to the community.

They both found reviews from the past Atlanta Biennials, plus a surprise — a response to the Atlanta Biennial called the Alternative Biennial, Camblin says, laughing during a phone conversation with ''Creative Loafing''. The irony.

A biennial, an Italian term for every other year, is often a large-scale contemporary art exhibition aimed at highlighting new voices in the art world. Cities around the world have their own biennials, from Kingston, Jamaica to Berlin. The Atlanta Biennial was born out of need.

In 1983, the Whitney Museum released a survey of influential contemporary artists. Of the 75-plus artists featured, none hailed from or currently resided in the Southeast. The Whitney Museum Biennial is often regarded as the most important survey of the state of contemporary art in the United States.

As a response, Alan Sondheim, curator of the Nexus Contemporary at the time, created an exhibition on contemporary art emerging from the Southeast that same year. According to Camblin, the first Atlanta Biennial had a meager $800 budget and 55 artists on display, a feat in itself. Over the next 23 years until 2007, the Atlanta Contemporary switched up the ratios of Southeastern artists in its exhibitions, but the message was the same: to highlight an often-overlooked section of the country and its influential art.

Today, while more exposure exists, the region’s lack of representation continues to be problematic.

In 2014, the Met accepted 57 mixed-media pieces by 30 African-American artists from the region in an effort to highlight neglected Southern artists. “There is a renewed interest in Southern self-taught work, but in regards to new work coming from the South, much of the work is wrongly looked over,” Fuller says.

Camblin calls the [https://atlantacontemporary.org/exhibitions/atlbnl|new round of the Atlanta Biennial] “an exercise in a little myth busting.” That myth being that the only way for artists to have a sustainable artistic career is to move to New York or Los Angeles. The exhibition aims to showcase these artists’ talents and the Southeast as a place of opportunity.

Camblin and Fuller stopped wishing for Atlanta’s Biennial to come back and got to work. But the question arises — why now?

She found herself discussing the Atlanta Biennial, and its absence, with folks who attended the first round of Atlanta Biennials and those who were new to the event’s history. “It was really a response to what we saw as an increasing urgency to have this,” Camblin says. “There’s definitely something in the air.”

Massive lists and conference calls took over all four curators’ lives for more than a year, including Aaron Levi Garvey, an independent curator in Jacksonville, Florida, and Gia Hamilton, director of the contemporary visual arts Joan Mitchell Center in New Orleans. With the sole criteria that artists had to live in the South at the time of the exhibition, the curators tried their damndest to step away from Atlanta, avoid getting caught in the usual stereotypes, and look further.

“I think as the biggest city in the South, we sometimes think things start and finish here,” Fuller says. Fuller and the rest the team split to take trips to discover new talents, from Memphis to uncover an underground arts scene all the way to Florida to discover an artist with Caribbean roots.

The artists involved represent every state in the Southeast. The curatorial team tried to represent diversity of backgrounds of those living and working in the region.

This year’s Atlanta Biennial focuses on how the artists experience the South — whether they moved away, never left, or moved to the region in the last few years. One of the featured artists, mixed-media artist Andrew Scott Ross, was born in New York and now lives in Tennessee.

“The Southern landscape still affords me the space to construct a fortress for my imagination to run wild,” Ross says. “Space comes at the price of geographic connection — and for a moment, the Atlanta Biennial can become a bridge for a region that is always redefining itself.”

On the other hand, participating painter Ridley Howard grew up in Atlanta and recently moved back after 17 years in New York. He says he feels communication and access have made it possible for artists to experience their local scene and a much broader international community simultaneously.

“It’s an interesting time to think about regionalism and how that idea is changing, especially as the traditional art centers become prohibitively expensive,” Howard says. “I think this show will raise some of those issues.”

In the end, Camblin senses there’s a need for more events like this one in Atlanta that provide opportunities and connections to artists in the region and provide a new perspective to curators as well.

“We’re hoping that this brings Atlanta attention to artists that they haven’t seen before,” she says. “We’re hoping it brings regional attention to people that are working in Atlanta, and not just working as artists, but a few exhibition opportunities here that they might not otherwise have had. My hope is that this will create this themed exchange between different artists and also institutions and hopefully it has an exponential effect.”

''ART PARTY 2016. $25-$50. 7 p.m. Sat., Aug. 27. Atlanta Contemporary, 535 Means St. N.W. 404-688-1970. [http://atlantacontemporary.org|atlantacontemporary.org].''

---
!!!__Artists to Watch at the ATLBNL__
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__Stephen Collier__

''Born Biloxi, Mississippi / Lives New Orleans, Louisiana''

There’s a certain duality that heavily influences Collier’s work; it’s a subtle balance between darkness and humor. His chosen materials are often a reflection of the concept behind the artwork.

%{[ data-embed-type="image" data-embed-id="57bb43de35ab469753a592b1" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%____

__Erin Jane Nelson__

''Born and lives in Atlanta, Georgia''

Nelson’s textile work is visually stunning. Using various fabrics, found objects, and imagery, Nelson keeps you captivated as you find all of the details in her pieces.

%{[ data-embed-type="image" data-embed-id="57bb43de38ab467e302a7272" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%____

__Virginia Griswold__

''Born Petersburg, Virginia / Lives Nashville, Tennessee''

Griswold’s sculptures are often distorted on purpose as she explores the notion of what’s natural vs. unnatural and how we follow these binaries blindly.

%{[ data-embed-type="image" data-embed-id="57bb43dd36ab46385d78ffd3" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%____

__Sharon Norwood__

''Born Kingston, Jamaica / Lives St. Petersburg, Florida''

Norwood blends her Jamaican roots and issues with identity into her digital collage prints on paper to deconstruct her feelings about hair and socially constructed perceptions."
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Victoria Camblin and Daniel Fuller, editor at ART PAPERS and Atlanta Contemporary’s curator, respectively, found themselves deep in the archives of their new employers in 2013-2014 to learn more about Atlanta’s path to now. As non-natives, they quickly bonded over their institutions’ shared legacies. Both the Atlanta Contemporary (then Nexus) and ART PAPERS have been integral voices in the city’s arts scene since the ’70s — from providing a forum for exploring contemporary art to providing public programming to the community.

They both found reviews from the past Atlanta Biennials, plus a surprise — a response to the Atlanta Biennial called the Alternative Biennial, Camblin says, laughing during a phone conversation with Creative Loafing. The irony.

A biennial, an Italian term for every other year, is often a large-scale contemporary art exhibition aimed at highlighting new voices in the art world. Cities around the world have their own biennials, from Kingston, Jamaica to Berlin. The Atlanta Biennial was born out of need.

In 1983, the Whitney Museum released a survey of influential contemporary artists. Of the 75-plus artists featured, none hailed from or currently resided in the Southeast. The Whitney Museum Biennial is often regarded as the most important survey of the state of contemporary art in the United States.

As a response, Alan Sondheim, curator of the Nexus Contemporary at the time, created an exhibition on contemporary art emerging from the Southeast that same year. According to Camblin, the first Atlanta Biennial had a meager $800 budget and 55 artists on display, a feat in itself. Over the next 23 years until 2007, the Atlanta Contemporary switched up the ratios of Southeastern artists in its exhibitions, but the message was the same: to highlight an often-overlooked section of the country and its influential art.

Today, while more exposure exists, the region’s lack of representation continues to be problematic.

In 2014, the Met accepted 57 mixed-media pieces by 30 African-American artists from the region in an effort to highlight neglected Southern artists. “There is a renewed interest in Southern self-taught work, but in regards to new work coming from the South, much of the work is wrongly looked over,” Fuller says.

Camblin calls the new round of the Atlanta Biennial “an exercise in a little myth busting.” That myth being that the only way for artists to have a sustainable artistic career is to move to New York or Los Angeles. The exhibition aims to showcase these artists’ talents and the Southeast as a place of opportunity.

Camblin and Fuller stopped wishing for Atlanta’s Biennial to come back and got to work. But the question arises — why now?

She found herself discussing the Atlanta Biennial, and its absence, with folks who attended the first round of Atlanta Biennials and those who were new to the event’s history. “It was really a response to what we saw as an increasing urgency to have this,” Camblin says. “There’s definitely something in the air.”

Massive lists and conference calls took over all four curators’ lives for more than a year, including Aaron Levi Garvey, an independent curator in Jacksonville, Florida, and Gia Hamilton, director of the contemporary visual arts Joan Mitchell Center in New Orleans. With the sole criteria that artists had to live in the South at the time of the exhibition, the curators tried their damndest to step away from Atlanta, avoid getting caught in the usual stereotypes, and look further.

“I think as the biggest city in the South, we sometimes think things start and finish here,” Fuller says. Fuller and the rest the team split to take trips to discover new talents, from Memphis to uncover an underground arts scene all the way to Florida to discover an artist with Caribbean roots.

The artists involved represent every state in the Southeast. The curatorial team tried to represent diversity of backgrounds of those living and working in the region.

This year’s Atlanta Biennial focuses on how the artists experience the South — whether they moved away, never left, or moved to the region in the last few years. One of the featured artists, mixed-media artist Andrew Scott Ross, was born in New York and now lives in Tennessee.

“The Southern landscape still affords me the space to construct a fortress for my imagination to run wild,” Ross says. “Space comes at the price of geographic connection — and for a moment, the Atlanta Biennial can become a bridge for a region that is always redefining itself.”

On the other hand, participating painter Ridley Howard grew up in Atlanta and recently moved back after 17 years in New York. He says he feels communication and access have made it possible for artists to experience their local scene and a much broader international community simultaneously.

“It’s an interesting time to think about regionalism and how that idea is changing, especially as the traditional art centers become prohibitively expensive,” Howard says. “I think this show will raise some of those issues.”

In the end, Camblin senses there’s a need for more events like this one in Atlanta that provide opportunities and connections to artists in the region and provide a new perspective to curators as well.

“We’re hoping that this brings Atlanta attention to artists that they haven’t seen before,” she says. “We’re hoping it brings regional attention to people that are working in Atlanta, and not just working as artists, but a few exhibition opportunities here that they might not otherwise have had. My hope is that this will create this themed exchange between different artists and also institutions and hopefully it has an exponential effect.”

ART PARTY 2016. $25-$50. 7 p.m. Sat., Aug. 27. Atlanta Contemporary, 535 Means St. N.W. 404-688-1970. atlantacontemporary.org.

---
!!!Artists to Watch at the ATLBNL
No value assigned

Stephen Collier

Born Biloxi, Mississippi / Lives New Orleans, Louisiana

There’s a certain duality that heavily influences Collier’s work; it’s a subtle balance between darkness and humor. His chosen materials are often a reflection of the concept behind the artwork.

No value assigned

Erin Jane Nelson

Born and lives in Atlanta, Georgia

Nelson’s textile work is visually stunning. Using various fabrics, found objects, and imagery, Nelson keeps you captivated as you find all of the details in her pieces.

No value assigned

Virginia Griswold

Born Petersburg, Virginia / Lives Nashville, Tennessee

Griswold’s sculptures are often distorted on purpose as she explores the notion of what’s natural vs. unnatural and how we follow these binaries blindly.

No value assigned

Sharon Norwood

Born Kingston, Jamaica / Lives St. Petersburg, Florida

Norwood blends her Jamaican roots and issues with identity into her digital collage prints on paper to deconstruct her feelings about hair and socially constructed perceptions.             20831405         http://dev.creativeloafing.com/image/2016/08/arts_biennial2_1_18.57bb43b94c860.png                  The South comes alive once again "
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Article

Thursday August 25, 2016 08:00 am EDT
The Atlanta Contemporary wakes up the Atlanta Biennial out of its 9-year slumber | more...
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Moving is a sure way to shoot down nostalgia road, but for artist Kyle Brooks, it led to a much larger discovery than embarrassing photos. While packing up his Southeast Atlanta home, the folk artist better known as BlackCatTips rediscovered his grandfather’s old journals. Brooks kept them in a box since his pop’s passing in 2008 but never actually sat down and read through them until a recent move. Brooks unearthed moleskine-type journals with yellowing pages and Almanac-esque notes about the weather. “He had funny little handwriting but it was all very organized,” Brooks says.

 

Literal pages from these found books propel a new BlackCatTips show, Just South of Love, an ode to his grandfather.

 

“My pop would always send me letters in the mail,” Brook says. “He had sent me a Valentine’s card. He would always draw this little bird. That's about all I ever saw him draw. And then the phrase ‘Just South of Love’ was written on the Valentine's card. It was a take on a local car dealer TV commercial from Stone Mountain Toyota. They would say, ‘Just south of high prices.’ We always made fun of local commercials.”

 

For Just South of Love, Brooks pulls specifically from his grandfather’s weather-themed journals.

 

“He sat by himself at the square kitchen table after my grandmother had passed away and would watch the TV and write down the temperature, humidity, barometric pressure, etc.,” Brooks says. “He would also note things like storms, as well as plant and nature notes — for example, when the hummingbirds arrived every spring. I found that interesting.”

 

But those weathered journals have more than just temperature stats, as Brooks came to find. His pop had also left short, funny love notes in the margins of the journals, all for his then-deceased wife. “The funny notes were little sayings that were remarkably similar to my street poems,” Brooks says of his surprise as he had never seen them before. “I was dumbstruck.”

 

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[|The show includes old and new pieces to be installed together in the newly renovated Art Institute of Atlanta gallery space, with many highlighting their almost identical funny sayings, according to Brooks. ]

[|  ]

[|Brooks says he finds the show cathartic. He’s moved to the magical area of Arabia Mountain and is still recovering from the draining process. But with moving comes a new art studio and Brooks says he has already broken it in by working on art for the show. ]

[|  ]

[|“Moving takes a certain toll on mind and body,” Brooks says. “Growth, I find, is sometimes painful, but needed. My new space to work and live and the freedom I have here will in time help me blossom further into my creative spirit.” ]

[|  ]

[|In the end, Brooks hopes attendees laugh and find joy when they come to the show, just as much as he did when working on it. ]

[|“He was quite the character and made a lot of people laugh,” Brooks says. “I think his spirit for funny strangeness and quirkiness flowed through to me.” ]

Just South of Love. Opening reception: Sat., Aug. 13, 6-10 p.m. Runs through Sept. 17. The Art Institute of Atlanta, 6600 Peachtree Dunwoody Road. 770-394-8300. www.artinstitutes.edu/atlanta.''"
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Moving is a sure way to shoot down nostalgia road, but for artist [http://clatl.com/atlanta/atlanta-according-to-kyle-brooks/Content?oid=17285493|Kyle Brooks], it led to a much larger discovery than embarrassing photos. While packing up his Southeast Atlanta home, the folk artist better known as BlackCatTips rediscovered his grandfather’s old journals. Brooks kept them in a box since his pop’s passing in 2008 but never actually sat down and read through them until a recent move. Brooks unearthed moleskine-type journals with yellowing pages and Almanac-esque notes about the weather. “He had funny little handwriting but it was all very organized,” Brooks says.

 

Literal pages from these found books propel a new BlackCatTips show, ''Just South of Love'', an ode to his grandfather.

 

“My pop would always send me letters in the mail,” Brook says. “He had sent me a Valentine’s card. He would always draw this little bird. That's about all I ever saw him draw. And then the phrase ‘Just South of Love’ was written on the Valentine's card. It was a take on a local car dealer TV commercial from Stone Mountain Toyota. They would say, ‘Just south of high prices.’ We always made fun of local commercials.”

 

For ''Just South of Love'', Brooks pulls specifically from his grandfather’s weather-themed journals.

 

“He sat by himself at the square kitchen table after my grandmother had passed away and would watch the TV and write down the temperature, humidity, barometric pressure, etc.,” Brooks says. “He would also note things like storms, as well as plant and nature notes — for example, when the hummingbirds arrived every spring. I found that interesting.”

 

But those weathered journals have more than just temperature stats, as Brooks came to find. His pop had also left short, funny love notes in the margins of the journals, all for his then-deceased wife. “The funny notes were little sayings that were remarkably similar to my street poems,” Brooks says of his surprise as he had never seen them before. “I was dumbstruck.”

 

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[|The show includes old and new pieces to be installed together in the newly renovated Art Institute of Atlanta gallery space, with many highlighting their almost identical funny sayings, according to Brooks. ]

[|  ]

[|Brooks says he finds the show cathartic. He’s moved to the magical area of Arabia Mountain and is still recovering from the draining process. But with moving comes a new art studio and Brooks says he has already broken it in by working on art for the show. ]

[|  ]

[|“Moving takes a certain toll on mind and body,” Brooks says. “Growth, I find, is sometimes painful, but needed. My new space to work and live and the freedom I have here will in time help me blossom further into my creative spirit.” ]

[|  ]

[|In the end, Brooks hopes attendees laugh and find joy when they come to the show, just as much as he did when working on it. ]

[|“He was quite the character and made a lot of people laugh,” Brooks says. “I think his spirit for funny strangeness and quirkiness flowed through to me.” ]

[https://www.facebook.com/events/1776338779246372/|Just South of Love. ''Opening reception: Sat., Aug. 13, '']''[https://www.facebook.com/events/1776338779246372/|6-10 p.m]''[https://www.facebook.com/events/1776338779246372/|''. Runs through Sept. 17. The Art Institute of Atlanta, 6600 Peachtree Dunwoody Road. 770-394-8300. www.artinstitutes.edu/atlanta.'']"
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Moving is a sure way to shoot down nostalgia road, but for artist Kyle Brooks, it led to a much larger discovery than embarrassing photos. While packing up his Southeast Atlanta home, the folk artist better known as BlackCatTips rediscovered his grandfather’s old journals. Brooks kept them in a box since his pop’s passing in 2008 but never actually sat down and read through them until a recent move. Brooks unearthed moleskine-type journals with yellowing pages and Almanac-esque notes about the weather. “He had funny little handwriting but it was all very organized,” Brooks says.

 

Literal pages from these found books propel a new BlackCatTips show, Just South of Love, an ode to his grandfather.

 

“My pop would always send me letters in the mail,” Brook says. “He had sent me a Valentine’s card. He would always draw this little bird. That's about all I ever saw him draw. And then the phrase ‘Just South of Love’ was written on the Valentine's card. It was a take on a local car dealer TV commercial from Stone Mountain Toyota. They would say, ‘Just south of high prices.’ We always made fun of local commercials.”

 

For Just South of Love, Brooks pulls specifically from his grandfather’s weather-themed journals.

 

“He sat by himself at the square kitchen table after my grandmother had passed away and would watch the TV and write down the temperature, humidity, barometric pressure, etc.,” Brooks says. “He would also note things like storms, as well as plant and nature notes — for example, when the hummingbirds arrived every spring. I found that interesting.”

 

But those weathered journals have more than just temperature stats, as Brooks came to find. His pop had also left short, funny love notes in the margins of the journals, all for his then-deceased wife. “The funny notes were little sayings that were remarkably similar to my street poems,” Brooks says of his surprise as he had never seen them before. “I was dumbstruck.”

 

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[|The show includes old and new pieces to be installed together in the newly renovated Art Institute of Atlanta gallery space, with many highlighting their almost identical funny sayings, according to Brooks. ]

[|  ]

[|Brooks says he finds the show cathartic. He’s moved to the magical area of Arabia Mountain and is still recovering from the draining process. But with moving comes a new art studio and Brooks says he has already broken it in by working on art for the show. ]

[|  ]

[|“Moving takes a certain toll on mind and body,” Brooks says. “Growth, I find, is sometimes painful, but needed. My new space to work and live and the freedom I have here will in time help me blossom further into my creative spirit.” ]

[|  ]

[|In the end, Brooks hopes attendees laugh and find joy when they come to the show, just as much as he did when working on it. ]

[|“He was quite the character and made a lot of people laugh,” Brooks says. “I think his spirit for funny strangeness and quirkiness flowed through to me.” ]

Just South of Love. Opening reception: Sat., Aug. 13, 6-10 p.m. Runs through Sept. 17. The Art Institute of Atlanta, 6600 Peachtree Dunwoody Road. 770-394-8300. www.artinstitutes.edu/atlanta.''       0,0,10      20829867         http://dev.creativeloafing.com/image/2016/08/arts_brooks1_2_16.57a3a782405ee.png                  A little Southern love "
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Wednesday August 10, 2016 06:30 pm EDT

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Moving is a sure way to shoot down nostalgia road, but for artist Kyle Brooks, it led to a much larger discovery than embarrassing photos. While packing up his Southeast Atlanta home, the folk artist better known as BlackCatTips...

| more...
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 The 7th Annual Atlanta Shortsfest kicks off the Atlanta Film Series, screening nearly 100 short films at the Synchronicity Theatre on Fri., July 15, and Sat., July 16. The two-day fest highlights filmmakers  from across the world.

 “It’s been incredible to see the evolution of the films over the years,” Festival Director Bj Ogden says. “The line-up just keeps getting stronger. After carefully reviewing countless entries, we have selected only the best of the best, and I am ecstatic with the quality of the films programmed this year.  I’m also really impressed with the great local filmmakers screening this year. I encourage everyone to come out and support our local, national, and international talent.”


   The Atlanta Shortsfest aims to promote often overlooked short films and provide a platform for filmmakers to show, share and discuss their work with their targeted audiences. To qualify, all shorts must be under 45 minutes.

 Films will be screened throughout the day with the last showtime being at 9:30 p.m. You can view the schedule here. Tickets can be purchased up to 30 minutes before showtime. Tickets cost $7 per screening, $20 for a one-day pass, or $30 for a two-day pass.

 The Atlanta Film Series continues next month with the Atlanta Underground Film Festival on Aug. 19, followed by the Atlanta DocuFest in September, and the Atlanta Horror Film Festival in October. Our inner film buffs are squealing with joy. 
 
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 “It’s been incredible to see the evolution of the films over the years,” Festival Director Bj Ogden says. “The line-up just keeps getting stronger. After carefully reviewing countless entries, we have selected only the best of the best, and I am ecstatic with the quality of the films programmed this year.  I’m also really impressed with the great local filmmakers screening this year. I encourage everyone to come out and support our local, national, and international talent.”


   The Atlanta Shortsfest aims to promote often overlooked short films and provide a platform for filmmakers to show, share and discuss their work with their targeted audiences. To qualify, all shorts must be under 45 minutes.

 Films will be screened throughout the day with the last showtime being at 9:30 p.m. You can view __[http://www.atlantashortsfest.com/schedule.html|the schedule here.] __Tickets can be purchased up to 30 minutes before showtime. Tickets cost $7 per screening, $20 for a one-day pass, or $30 for a two-day pass.

 The Atlanta Film Series continues next month with the Atlanta Underground Film Festival on Aug. 19, followed by the Atlanta DocuFest in September, and the Atlanta Horror Film Festival in October. Our inner film buffs are squealing with joy. 
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 Films will be screened throughout the day with the last showtime being at 9:30 p.m. You can view the schedule here. Tickets can be purchased up to 30 minutes before showtime. Tickets cost $7 per screening, $20 for a one-day pass, or $30 for a two-day pass.

 The Atlanta Film Series continues next month with the Atlanta Underground Film Festival on Aug. 19, followed by the Atlanta DocuFest in September, and the Atlanta Horror Film Festival in October. Our inner film buffs are squealing with joy. 
 
m>?   The Atlanta Shortsfest starts on Fri., July 15, at 2 p.m. in Midtown’s Synchronicity Theatre.              13087794 17388392        http://dev.creativeloafing.com/image/2016/07/09536c_thetenor_mid_song.png                  Salute your shorts(fest) "
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Wednesday July 6, 2016 10:38 am EDT

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The 7th Annual Atlanta Shortsfest kicks off the Atlanta Film Series, screening nearly 100 short films at the Synchronicity Theatre on Fri., July 15, and Sat., July 16. The two-day fest highlights filmmakers from across the world.

“It’s been incredible to see the evolution of the films over the years,” Festival Director Bj Ogden says. “The line-up just keeps getting stronger. After...

| more...
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  string(3547) "image-1After self-publishing her psychological thriller, Free of Malice, local author Liz Lazarus found herself inspired by Little Free Libraries in her neighborhood. As a way to promote her book and give back, Lazarus started leaving copies of her book in these libraries around town to encourage feedback, all with the promise of donating a portion of her book sales to local libraries with every new review. 
   
   CL spoked to Lazarus via email about what inspired this initiative, how can residents get involved, and where the June book sales portion is going.
   
   What made you think of adding your books to Little Free Libraries? How did you discover them?
   Would you believe this all started with my cat? To explain, a neighborhood teenager “babysits” my cat when I travel. After my last trip, I was walking around the corner to her house when I noticed one of the Little Free Libraries across the street. That sparked the idea to donate one of books which I promptly did. The next week, I was in New Orleans meeting with my PR team, JKS Communications, and showed them a photo of my book in the windowpane of the little library. One brainstorming idea led to another and we came up with the plan to donate more copies to other little libraries and to encourage feedback by donating portions of my book sales to local libraries, a win-win.
   
  
         Have you heard back from readers? What's the feedback like?
   At my very first delivery, I met the woman who set up the library — she was about to walk her dog and was so thrilled that I was her first stop, and that I was a local author. To my delight, she took the book to read so it should be back in her library once she is finished. I made a few more stops that day and then geared up for round two the next weekend. On my second trip out, I met another owner who had recently moved to Georgia and set up the library as a way to meet her neighbors. She asked if I would be willing to visit her book club. I agreed, so I’m looking forward to that event later this summer! My first e-notification came from nextdoor.com, the online site where neighbors can chat with one another. A woman in the neighborhood wrote to me, not realizing I was an author until she discovered my novel in the library. She wrote that she loves thrillers and was about to stay in for the night to dig in to the book. Having just started this project less than a month ago, I’m looking forward to more feedback as the “new book on the block” is discovered.
   
   How much have you donated so far? What libraries are you donating to? What's the portion?  
   To spread the wealth, I plan to donate 10% of my June book sales proceeds to the Brookhaven Branch Public Library and 10 percent to the Chamblee Public Library, which I’ll visit at the end of the month once the sales numbers are in.
   
   Are you doing any other projects to raise money for local libraries?
   Spoiler alert: my next book is aimed at raising awareness about adult literacy so we plan to do some more promotions with our local Atlanta libraries when it launches next year.
   
   How can folks around town get involved in your project?
   Believe it or not, there are 54 Little Free Libraries in the Atlanta metro area. So far, I’ve made my rounds to about a dozen of them, so still have a ways to go to reach them all. For anyone interested in joining my “street team,” I’d love to hand over a few books with the target sites and, as a reward, will provide a complimentary, signed copy to you!
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   ''CL'' spoked to Lazarus via email about what inspired this initiative, how can residents get involved, and where the June book sales portion is going.
   
   __What made you think of adding your books to Little Free Libraries? How did you discover them?__
   Would you believe this all started with my cat? To explain, a neighborhood teenager “babysits” my cat when I travel. After my last trip, I was walking around the corner to her house when I noticed one of the [https://littlefreelibrary.org/|__Little Free Libraries__] across the street. That sparked the idea to donate one of books which I promptly did. The next week, I was in New Orleans meeting with my PR team, JKS Communications, and showed them a photo of my book in the windowpane of the little library. One brainstorming idea led to another and we came up with the plan to donate more copies to other little libraries and to encourage feedback by donating portions of my book sales to local libraries, a win-win.
   
  
         __Have you heard back from readers? What's the feedback like?__
   At my very first delivery, I met the woman who set up the library — she was about to walk her dog and was so thrilled that I was her first stop, and that I was a local author. To my delight, she took the book to read so it should be back in her library once she is finished. I made a few more stops that day and then geared up for round two the next weekend. On my second trip out, I met another owner who had recently moved to Georgia and set up the library as a way to meet her neighbors. She asked if I would be willing to visit her book club. I agreed, so I’m looking forward to that event later this summer! My first e-notification came from nextdoor.com, the online site where neighbors can chat with one another. A woman in the neighborhood wrote to me, not realizing I was an author until she discovered my novel in the library. She wrote that she loves thrillers and was about to stay in for the night to dig in to the book. Having just started this project less than a month ago, I’m looking forward to more feedback as the “new book on the block” is discovered.
   
   __How much have you donated so far? What libraries are you donating to? What's the portion?  __
   To spread the wealth, I plan to donate 10% of my June book sales proceeds to the Brookhaven Branch Public Library and 10 percent to the Chamblee Public Library, which I’ll visit at the end of the month once the sales numbers are in.
   
   __Are you doing any other projects to raise money for local libraries?__
   Spoiler alert: my next book is aimed at raising awareness about adult literacy so we plan to do some more promotions with our local Atlanta libraries when it launches next year.
   
   __How can folks around town get involved in your project?__
   Believe it or not, there are 54 Little Free Libraries in the Atlanta metro area. So far, I’ve made my rounds to about a dozen of them, so still have a ways to go to reach them all. For anyone interested in joining my “street team,” I’d love to hand over a few books with the target sites and, as a reward, will provide a complimentary, signed copy to you!
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   CL spoked to Lazarus via email about what inspired this initiative, how can residents get involved, and where the June book sales portion is going.
   
   What made you think of adding your books to Little Free Libraries? How did you discover them?
   Would you believe this all started with my cat? To explain, a neighborhood teenager “babysits” my cat when I travel. After my last trip, I was walking around the corner to her house when I noticed one of the Little Free Libraries across the street. That sparked the idea to donate one of books which I promptly did. The next week, I was in New Orleans meeting with my PR team, JKS Communications, and showed them a photo of my book in the windowpane of the little library. One brainstorming idea led to another and we came up with the plan to donate more copies to other little libraries and to encourage feedback by donating portions of my book sales to local libraries, a win-win.
   
  
         Have you heard back from readers? What's the feedback like?
   At my very first delivery, I met the woman who set up the library — she was about to walk her dog and was so thrilled that I was her first stop, and that I was a local author. To my delight, she took the book to read so it should be back in her library once she is finished. I made a few more stops that day and then geared up for round two the next weekend. On my second trip out, I met another owner who had recently moved to Georgia and set up the library as a way to meet her neighbors. She asked if I would be willing to visit her book club. I agreed, so I’m looking forward to that event later this summer! My first e-notification came from nextdoor.com, the online site where neighbors can chat with one another. A woman in the neighborhood wrote to me, not realizing I was an author until she discovered my novel in the library. She wrote that she loves thrillers and was about to stay in for the night to dig in to the book. Having just started this project less than a month ago, I’m looking forward to more feedback as the “new book on the block” is discovered.
   
   How much have you donated so far? What libraries are you donating to? What's the portion?  
   To spread the wealth, I plan to donate 10% of my June book sales proceeds to the Brookhaven Branch Public Library and 10 percent to the Chamblee Public Library, which I’ll visit at the end of the month once the sales numbers are in.
   
   Are you doing any other projects to raise money for local libraries?
   Spoiler alert: my next book is aimed at raising awareness about adult literacy so we plan to do some more promotions with our local Atlanta libraries when it launches next year.
   
   How can folks around town get involved in your project?
   Believe it or not, there are 54 Little Free Libraries in the Atlanta metro area. So far, I’ve made my rounds to about a dozen of them, so still have a ways to go to reach them all. For anyone interested in joining my “street team,” I’d love to hand over a few books with the target sites and, as a reward, will provide a complimentary, signed copy to you!
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Wednesday June 29, 2016 10:14 am EDT
image-1After self-publishing her psychological thriller, Free of Malice, local author Liz Lazarus found herself inspired by Little Free Libraries in her neighborhood. As a way to promote her book and give back, Lazarus started leaving copies of her book in these libraries around town to encourage feedback, all with the promise of donating a portion of her book sales to local libraries with... | more...
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Wednesday June 22, 2016 03:24 pm EDT

image-1
The Studio Artist Program is opening its doors and inviting Atlanta to get a sneak peek of what these 14 artists (some pictured above) have been up to. The program supports them by providing subsidized studio space and encouraging them to create. From getting to see their new work to getting first dibs on a new piece, it’s a unique opportunity to meet artists like Christina A. West...

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