Weekend Arts Agenda: Atlanta Zine Fest June 12 2014

Featuring lectures with titles such as “Intersectionality and Urban Culture,” “Candiactrick: How to Do Something without Being Noticed,” and “Deep Topics for Small Pockets: Using Zines to Discuss Death and Dying,” the Atlanta Zine Fest returns for its second year. The event is slimmer than its inauguration (last year was a weekend affair), but Saturday is still all-day at Castleberry Hill’s Erickson Clock Building. Its mission is also unchanged: championing DIY at the practical and abstract levels. There will be workshops on canvas stretching and drawing with needle and thread. (Dangerous!) Plus: an after-party at Big House.

As co-founder Amanda Mills told us last year: “Although this is a zine fest we’re really highlighting all aspects of DIY culture. These things all work in tandem. Zines are a medium to express DIY ethos.” That still seems true today.

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FRIDAY

Nathaniel Galka, Carl Linstrum, and Ashley L. Schick will open three separate solo shows (concurrently!) at Kai Lin Art: Twilight Falls Gently, The Pretenders, and a small rustle, respectively. Here is one word to describe each: redoubtable (Galka), découpage (Linstrum), and swath (Schick). Otherwise each exhibit varies wildly in all the ways you would expect from three different artists - though there is something so particular about Galka’s flowers set against his thunder clouds, how in the contrast they become detailed instead of delicate. With a reception from 7-10 p.m.

SATURDAY

• Courtesy The High
• Wynn Bullock, “Lynne, Point Lobos”

Together with the Center for Creative Photography, the High “will become the first major art museum in nearly 40 years to mount a retrospective of work by photographer Wynn Bullock.” Simultaneously, the Bullock Estate will make a “a major gift” of the late photographer’s works - black and white things famously; severe but not spare; and scary, if you don’t have a lot of lights on when you look at them - to the museum. Revelations will run through January of next year.

• Courtesy Kibbee
• Jessica Wohl

There’s one image immediately worth seeing in Defiant Providers, a new exhibit at Kibbee from Jessicas Scott-Felder and Wohl: in it, a woman is kneeling and every end or face of her has been replaced with fingers. It’s shocking, even obvious, and effective. The gallery describes her collage approach as presenting “feminine, empowered creatures ruling over their domestic domains”; while Scott-Felder’s “silverpoint drawings investigate the common thread of entrepreneurship and the desire to be self-employed shared by her African-American, Irish, Cherokee and Pilipino family.” Their exhibit is political in the way all investigations of the personal are. With a reception from 6-10 p.m.