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Fes Tiv Al Guide 2014 #acpfest FESTIVAL GUIDE ATLANTA CELEBRATES PHOTOGRAPHY [ PUBLISHED BY WELCOME 260 Peachtree Street MONTH-LONG, CITY-WIDE. Suite 300 Atlanta, GA 30303 Delight your eyes, inspire your mind! 404-527-5500 atlantamagazine.com Through this festival, ACP seeks to involve anyone who has taken or shared ] a photograph—that means YOU! PUBLISHER Every part of the city is touched by a variety of events and exhibitions—at the world’s Sean McGinnis busiest airport, in the weekend bustle of Piedmont Park, or tucked away in quiet corners of Atlanta’s outskirts—photographers transform retail shops, galleries, museums and EDITORIAL DIRECTOR Kevin Benefield public spaces into a coordinated cultural experience! DESIGN DIRECTOR Katy Miller • Featured ACP events highlighted on pages 22–37 • All ACP festival events are listed chronologically in the Main Section of the Guide DIRECTOR OF SALES Clint Smith • Calendar at the front of the Guide is the most comprehensive display of all ACP ART DIRECTOR events, and is a handy one-stop planning tool for all of your ACP Festival adventures. Mark Ziemer • Index of Artists and Venues to aid your search for a particular event. PRODUCTION MANAGER Whitney Tomasino Disclaimer: The listings compiled in this guide are submitted by companies and individuals, and are COVER ART considered as advertisements. Although every effort has been made to ensure that this information is Rogerio Reis of correct, the publisher cannot guarantee accuracy. Please note that the information herein is meant to Rio de Janiero, Brazil be used as a guide only. Exhibitions, dates, locations, and services may be subject to change without from the series notice. We apologize in advance for any errors or omissions. NOBODY’S NO MAN Copyright: Reproduction in whole or in part of any elements of this publica- ACP’S MISSION: Atlanta Celebrates Photography aims tion is strictly prohibited without the to make Atlanta a leading center for the world’s fastest written permission of the publisher indicates Sign growing art form. Primarily, by producing the largest and the individual artist. Language inter- annual community oriented photo festival in the United pretation will be Atlanta Celebrates Photography, Inc. is States, we provide experiences that engage and educate provided at this a 501(c)(3) nonprofit arts organization. diverse audiences. t event. 1 [ TABLE OF CONTENTS CONTENTS OF TABLE @ACPtweets #ACPfest TABLE @atlantacelebratesphotography OF CONTENTS fb.com/AtlantaPhotoFestival 1 A Message from ACP ] Experience ACP online during the festival: 4 ACP Program Sponsors 5 Welcome Message FestivalGuide.ACPinfo.org View the Festival by week, neighborhood, artist or venue. 6 Image and Identity Download the swanky ACP Festival iPhone app! 9 Remembering the Future See which exhibitions and events are happening near you! To download for iPhone, iPad or iPod 12 Good Fences Make Good Neighbors Touch, please visit the App Store, or scan this code: 14 Calendar of Events Visit ACPinfo.org for a downloadable PDF of the entire Festival Guide and a Google Map of all ACP 2014 participating venues! 22 ACP Featured Events ACPinfo.org/blog 38 Participating Venues It’s called ACP Now!, and it’s a blog. Sounds great, eh? Trust us, a year-round, comprehensive view of all-things-photography in 66 Event Supporters & Credits Atlanta and beyond is a very good thing. If you’re tired of the Web (really?) you can subscribe via email, and have all that freshness 68 Venue Index fly straight into your inbox. We’re here for you! 70 Artist Index t 3 ] WE LOVE—AND THANK—OUR SPONSORS! Major funding for this organization Massey Charitable Trust LUBO Fund is provided by the Fulton County Board of Commissioners under the guidance An initiative of The Community Foundation of the Fulton County for Greater Atlanta Arts Council. This ACP PROGRAM SPONSORS PROGRAM ACP [ program is supported in part by the Georgia Council for the Arts through the appropri- ations of the Georgia General Assembly. The Georgia Coun- cil for the Arts also receives support from its partner the National Endowment for the Arts. This program is also sup- ported in part by the City of Atlanta Office of Cultural Affairs. t ACP is a member of Festvial of Light, an international consortium of photography festivals 4 [ WELCOME WELCOME Welcome, from the Director Call me a skeptic or a party pooper, every time I see an announcement for a panel ] discussion about whether or not photography is dead, I cringe. My reaction isn’t because we all know that photography is more alive now than ever, but there have always been doomsayers shaking their finger at the sky. The end of the world is when, again? Truth is – no one knows where photography will be in 10 years (or dare say, 5 years). No. One. Those experts on the panel? They don’t know either. My belief: some things will change drastically - some things will barely change at all. The phrase “new normal” is so 2009, but perhaps the uncertainty surrounding everything we’ve taken for granted is the new normal. Earlier this year, I came across this quote by artist and writer, Trevor Paglen: “Without question, the 21st Century will be a photographic century. Photography will play a more fundamental role in the functioning of 21st Century societies than 20th Century practitioners working with light-sensitive emulsions and photographic papers could have ever dreamed. So while in one sense photography might be Amy Miller “over,” in another, it’s barely gotten going. And we haven’t seen anything yet.” Executive Director, ACP Mr. Paglen, you nailed it. What I’m sure of is that every indicator points to photography being the world’s fastest growing art form. An art form of limitless possibility, nearly infinite in value - an art form worth celebrating. Welcome to the 16th annual Atlanta Celebrates Photography Festival! t 5 ] Image and Identity THOMAS ALLEN HARRIS EXPLORES THE INTERPLAY OF RACIAL ATTITUDES AND PHOTOGRAPHY THROUGH A LENS DARKLY DARKLY LENS A THROUGH A project nine years in the making, filmmaker Thomas [ Allen Harris’s award-winning documentary Through a Lens Darkly: Black Photographers and the Emergence of a People explores the ways black identity has been deformed and altered by the photographic record. The film is a chronicle of the incredible influence images have had in shaping perceptions about race. At every critical juncture in the evolution of black Americans—from slave to hip-hop artist, from share- cropper to president of the United States, from the urban housing project to Palm Beach—black photogra- phers have been there, showing the ordinary daily lives of a people who have been integral to making America what it is,” says Harris. The filmmaker culled 15,000 images from historical societies and archives and another 6,000 family photos for the project, these were t then edited down to the 950 images that appear in the final film. “The overwhelming majority of these images 6 [ THROUGH A LENS DARKLY DARKLY LENS A THROUGH have never before been seen on film,” ] he says. Beginning with the earliest pho- tographic documents, Harris’s illu- minating documentary shows how an idea of what black means has been proposed—most often by white photographers exercising their own agendas and prejudices—in photo- graphs. Lynching photographs traded like souvenirs, images of minstrels, racist advertising, and the damag- ing black caricatures in films like D.W. Griffith’sThe Birth of a Nation have all colluded to diminish and deny black achievement. Artists and historians, including the filmmaker’s brother Lyle t Ashton Harris, Carrie Mae Weems, 7 ] Glenn Ligon, Coco Fusco, Deborah Willis, Renee Cox, and Atlanta artist Sheila Pree Bright, are interviewed to offer their own commentary on how their lives and art have been altered by the depictions of black Americans in film and photographs. Along with artists challenging rac- THROUGH A LENS DARKLY DARKLY LENS A THROUGH [ ist diminishment of black life, Harris offers up the powerful corrective of family photographs of African- American life and the affirmative, dignified self-portraits commissioned by Sojourner Truth and Frederick Douglass to counter vicious carica- ture. Operating at odds to hurtful, damaging pop culture images, these photographs showed black weddings, graduations, and birthdays, loving Harris’s film is a Who’s Who survey hundreds of historical photographs families and proud moments. In the of some of the important contribu- that tell a very different story about hands of influential black photogra- tions of black artists to not just art the complex and often ugly truth phers like Gordon Parks, Roy DeCar- history, but to a reassessment of the of American life as seen in photo- ava, and James Van Der Zee, African- black image in popular culture. The graphs of black Americans. For infor- Americans could finally see the reality film is also a haunting, illuminating mation about this event, please see t behind the stereotypes. survey of American history seen in page 33. 8 [ SELESNICK AND KAHN KAHN AND SELESNICK Remembering the Future PHOTOGRAPHERS RICHARD SELESNICK AND ] NICHOLAS KAHN REIMAGINE OUR WORLD. Collaborative artists and photographers Richard Selesn- ick and Nicholas Kahn channel other eras and imagined futurescapes in photographs that variously celebrate and pillory exploration, questing, and misguided colonialism with delerious imagination. Informal collaborators since they were undergraduates at Washington University in St. Louis, London-born Kahn and New York City–born Selesnick have worked together since 1988. Their photographs are elaborately designed and staged fictions involving fantastic costumes, props, and performances that have imagined cities built on ice- bergs off the German coast, space exploration set against the lunar-reminiscent badlands of Death Valley, and a trav- eling cabaret troupe—the Truppe Fledermaus—perform- ing against an apocalyptic landscape in a body of work t 9 ] offering commentary on ecological ick’s surreal study of space explora- destruction.
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