ART X ATL

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The Atlanta art scene goes world-class.
IT’S OKAY TO CRY
Standing with Tori Tinsley in front of one of her many neon, high-contrast paintings, I begin to
tear up.
“Please don’t cry.”
I couldn’t help it. Sometimes a piece of art strikes you so precisely, you lose control of your senses and become a resonant part of the artistic instrument itself. And this was just the first room of the first studio visit on our first day in Atlanta. It’s important to pace yourself in these types of high-output emotional scenarios.
Hours before, my photographer and Art Director Trevor and I landed at the “World’s Busiest Airport,” Hartsfield-Jackson Atlanta International and headed into the city to meet with Jessica Miller, executive director of Burnaway, an Atlanta-based arts advocacy nonprofit and publication. I asked her to show me the real Atlanta art scene, and she became the key that unlocked our insider Atlanta experience, taking us to a meeting with four local artists at a new gallery/work space, Day & Night Projects.
tear up.
“Please don’t cry.”
I couldn’t help it. Sometimes a piece of art strikes you so precisely, you lose control of your senses and become a resonant part of the artistic instrument itself. And this was just the first room of the first studio visit on our first day in Atlanta. It’s important to pace yourself in these types of high-output emotional scenarios.
Hours before, my photographer and Art Director Trevor and I landed at the “World’s Busiest Airport,” Hartsfield-Jackson Atlanta International and headed into the city to meet with Jessica Miller, executive director of Burnaway, an Atlanta-based arts advocacy nonprofit and publication. I asked her to show me the real Atlanta art scene, and she became the key that unlocked our insider Atlanta experience, taking us to a meeting with four local artists at a new gallery/work space, Day & Night Projects.
Hours before, my photographer and Art Director Trevor and I landed at the “World’s Busiest Airport,” Hartsfield-Jackson Atlanta International and headed into the city to meet with Jessica Miller, executive director of Burnaway, an Atlanta-based arts advocacy nonprofit and publication. I asked her to show me the real Atlanta art scene, and she became the key that unlocked our insider Atlanta experience, taking us to a meeting with four local artists at a new gallery/work space, Day & Night Projects.
Walking through the four adjacent spaces of the studio was like passing through a living palette, and each of the artists seemed to resemble their own work. The lively color of Tinsley’s work at the doorway passed into adventurous earth tones of the meditative, wall-sized tree rings of Steven L. Anderson. In the next room, Mark Leibert was busy mixing ancient paint recipes to create dreamy, bleach-bypass beach scenes reminiscent of his upbringing in Hawaii. And at the extreme of the building lay the Sumi-tinted serpentine monochromatics of William Downs—possessed, organic and sprawling devilishly over all the walls of his space.
Left: Jessica Miller, Executive Director of Burnaway, gave us the low-down on the Atlanta art scene.
Right: Mark Leibert stands in front of one of his prepared canvases, covered in his own hand-crafted oil paint.
A combination of light work, stage design and costume, along with show-stopping performances, made “Silent Night” a visceral experience.
When I asked the young director about his success since taking over the organization, he said it stemmed from “increasing artistic risk while lowering financial risk,” which means sometimes putting on newer or niche productions in smaller and even sometimes unconventional spaces. Over the last three years, The Atlanta Opera increased attendance while doubling the number of yearly performances, using this creative strategy. As Zvulun told me, he came to the company four years ago because he saw that the people “want to see world-class opera in Atlanta.”
Now, he’s been able to realize big, emotional blockbusters—like the epic wartime piece we saw—responsibly, by shrewdly collaborating with many other production companies. Not to spoil anything, but I cried a second time during the second act of Zvulun’s production of “Silent Night,” the performance completely overwhelming my expectations.
Now, he’s been able to realize big, emotional blockbusters—like the epic wartime piece we saw—responsibly, by shrewdly collaborating with many other production companies. Not to spoil anything, but I cried a second time during the second act of Zvulun’s production of “Silent Night,” the performance completely overwhelming my expectations.
Chris Calhoun aka “Alabama Chris” reflects on his place in the Atlanta arts community at Castle Hill Studios.
That same spirit even appears along the Atlanta BeltLine, which features sculptures, paintings and other art every few paces along the 22-mile historic rail corridor that encircles the city with hiking and biking trails. On our final morning, Trevor and I wandered its paths while local joggers took in the al fresco museum promenade on fast-forward and stopped to catch their breath along with a feeling about the human condition at the art on display.
We made our way to one of Atlanta’s hip indoor markets, where we were honored to meet with Jamie Barton, a brilliant operatic performer in town for a performance. I asked her about our shared interest in Dvorak and Mahler, featured on her new album “All Who Wander,” and then asked what the idea of wandering means to her. She said she is from a small farming community outside of town and that opera wasn’t something she came from but something she fell in love with. To her, the curiosity for “life outside” one’s bubble is a “unifying journey” that speaks to all of us.
Atlanta is home not only to some of the most progressive and competent fine arts institutions in the U.S. but also to uniquely engaged creative communities. The call-and-response collaboration of pioneering expression and audience engagement informs A-Town. Artists paint ornate murals while spectators swill whiskey. Musicians bounce a track and take it directly to the club to gauge the response. It is this fearless and empathetic role of the artist in Atlanta that makes the place a paragon of a new American art mecca—all of which is a great excuse for me to visit regularly.
We made our way to one of Atlanta’s hip indoor markets, where we were honored to meet with Jamie Barton, a brilliant operatic performer in town for a performance. I asked her about our shared interest in Dvorak and Mahler, featured on her new album “All Who Wander,” and then asked what the idea of wandering means to her. She said she is from a small farming community outside of town and that opera wasn’t something she came from but something she fell in love with. To her, the curiosity for “life outside” one’s bubble is a “unifying journey” that speaks to all of us.
Atlanta is home not only to some of the most progressive and competent fine arts institutions in the U.S. but also to uniquely engaged creative communities. The call-and-response collaboration of pioneering expression and audience engagement informs A-Town. Artists paint ornate murals while spectators swill whiskey. Musicians bounce a track and take it directly to the club to gauge the response. It is this fearless and empathetic role of the artist in Atlanta that makes the place a paragon of a new American art mecca—all of which is a great excuse for me to visit regularly.
Top: Su Smith dazzles with this impressionistic canvas of golds and blues.
Bottom: Almost always on the road, we were lucky to catch Atlanta native Jamie Barton in her natural environment.