{"id":927,"date":"2021-06-25T10:41:30","date_gmt":"2021-06-25T02:41:30","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=927"},"modified":"2021-06-25T10:41:30","modified_gmt":"2021-06-25T02:41:30","slug":"as-atlantas-art-scene-evolves-historic-injustices-and-hopes-for-new-futures-come-into-focus","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/as-atlantas-art-scene-evolves-historic-injustices-and-hopes-for-new-futures-come-into-focus\/","title":{"rendered":"As Atlanta\u2019s Art Scene Evolves, Historic Injustices and Hopes for New Futures Come into Focus"},"content":{"rendered":"

For a survey of what lies ahead as the art world looks forward to the future, <\/em>ARTnews\u00a0devoted part of the June-July 2021 issue of the magazine to 10 cities to watch: Philadelphia, Atlanta, Vancouver, Guadalajara, Bogot\u00e1, Oslo, Tallinn, Casablanca, Abu Dhabi, and Taipei. Stay tuned as each city joins related features from Seoul and Paris\u00a0online<\/a>\u00a0in the weeks to come.<\/em><\/p>\n

As the sprawling hub of the evolving modern South, Atlanta has become an important nexus for all aspects of the culture industry, including, in its own homegrown way, art. A mix of established and evolving institutions is making moves, from museums to newly integrated educational networks. And\u2014in a city whose history and current political complexities make it so that matters of race are never far from mind\u2014certain figures are fighting for promising prospects for the future.<\/span><\/p>\n

Picturing the South<\/b><\/span><\/h3>\n

Atlanta\u2019s most illustrious art institution since its founding in 1905, the\u00a0High Museum of Art<\/b><\/a>\u00a0is known for its holdings of a variety of folk and self-taught art and\u2014especially\u2014for its\u00a0Photography Department<\/b><\/a>, which oversees a collection of some 7,000 prints from the earliest years of picture-taking to the present. A milestone on the horizon for the department is the upcoming 25th anniversary of \u201cPicturing the South,\u201d a commissioning initiative started by the High in 1996 (when Atlanta hosted the Olympics) with a mind toward presenting the region as seen and experienced by artists from all over. The first year occasioned new work by Sally Mann, Dawoud Bey, and Alex Webb, and the series has since brought close to 300 photographs into a collection that continues to grow.<\/span><\/p>\n

To be commemorated by an exhibition set to open in November titled \u201cPicturing the South: 25 Years,\u201d the undertaking has always been an \u201copen assignment\u201d and \u201cself-directed project\u201d for the photographers involved, according to High associate curator of photography,\u00a0Gregory Harris<\/b>, and it has produced significant work as a result. \u201cIt kick-started a lot,\u201d Harris said. \u201cPeople who hadn\u2019t otherwise worked in the South became very interested in the history, the topography, the people, and the culture of the region. Institutional support has also been transformative for a number of artists\u2019 careers, and marks major transitions in their work as well.\u201d<\/span><\/p>\n

This year\u2019s commissioned artists\u2014Sheila Pree Bright<\/b><\/a>\u00a0(based in Atlanta),\u00a0Jim Goldberg<\/b>\u00a0(San Francisco), and\u00a0An-My L\u00ea<\/b>\u00a0(Brooklyn)\u2014will take their place within a legacy that has proven important for Atlanta and the surrounding region as they show new work in the anniversary exhibition. \u201cThe commissions really provided an engine for what the photography collection was going to be and has been while thinking about the South more broadly,\u201d High photo curator\u00a0Sarah Kennel<\/b>\u00a0said. Themes considered in the series include environmental justice and the history of slavery and race, and those themes remain resonant today, Kennel said, when \u201cwe\u2019re all at a moment when reflecting on the South\u2019s role in American history is really critical.\u201d<\/span><\/p>\n

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Sheila Pree Bright, Invisible Empire #1, 2019, is included in \u201cPicturing the South: 25 Years.\u201d<\/span>\u00a9SHEILA PREE BRIGHT<\/cite><\/figcaption><\/figure>\n<\/div>\n

Equity in Funding<\/b><\/span><\/h3>\n

As one of Georgia\u2019s biggest philanthropic entities in the area of arts, the\u00a0Community Foundation for Greater Atlanta<\/b>\u00a0plays an important role in the city\u2019s art scene. \u201cThey dole out upwards of a million dollars a year,\u201d said\u00a0Heather Infantry<\/a><\/b>, a close watcher of the foundation as an Atlanta-area advocate for equity in the arts. \u201cIn other cities, that\u2019s pennies\u2014but in Atlanta, it\u2019s very substantial, given how deeply underfunded the arts are in general, from the state level to the municipal level.\u201d (Infantry noted that for a long time Georgia has ranked either last or second-to-last in the nation in grants of public money to the arts.)<\/span><\/p>\n

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Atlanta activist Heather Infantry.<\/span>COURTESY HEATHER INFANTRY<\/cite><\/figcaption><\/figure>\n<\/div>\n

But for all its giving over the years, the Community Foundation for Greater Atlanta had a problem with who was getting that funding\u2014until Infantry took up the cause. After finding that 87 percent of foundation funds had historically gone to white-led organizations, Infantry went public with the news while pointing out that certain rules for eligibility (related to budget and staff size, for example) effectively shut out many small and struggling arts organizations that needed support the most. \u201cWhen you get down to it, the Community Foundation is an incredibly racist institution when it creates guidelines and criteria that disqualify Black arts organizations that are so prolific and abundant,\u201d said Infantry, whose advocacy efforts helped change things for the better.<\/span><\/p>\n

Last year, when the Community Foundation gave out $1.15 million to 28 organizations, 85 percent of the money went to Black-led enterprises. In addition, the foundation made changes to its leadership and vowed to make equality a priority in the future\u2014thanks to advocacy that Infantry, as an independent activist working in different realms, led on her own terms. \u201cI did the work as a representative of myself, as a concerned resident and citizen of this place,\u201d she said. \u201cI wanted to demonstrate that this is an issue of concern for everybody, not only those who have official titles in organizations or institutions. I wanted to communicate that and also be a model for organizations that don\u2019t feel like they have agency for whatever reason.\u201d<\/span><\/p>\n

In addition to her activism, Infantry works on arts and culture issues for the\u00a0TransFormation Alliance<\/b>, a coalition that advocates for community-building in the realm of transit policy, and she started a group she calls the\u00a0Atlanta Taskforce for Philanthropic Reparations<\/b><\/a>,\u00a0<\/b>to address inequities in funding. All the while, Infantry has kept the focus on collaboration. \u201cWe\u2019re working together,\u201d she said of her teamwork with colleagues in different projects. \u201cWe\u2019re not in silos.\u201d<\/span><\/p>\n

New Institution<\/span><\/h3>\n

Though still years from realization, plans are underway for a\u00a0Spelman College Center for Innovation & the Arts<\/a><\/b>\u00a0conceived to \u201cbring the arts, technology, and innovation into close collaboration with one another.\u201d The project received a $30 million gift from Spelman trustee Ronda Stryker and her husband, William Johnston, as well as $2.5 million from former Barnes & Noble chairman Leonard Riggio and his wife, Louise. Construction could begin as early as this coming fall on an $86 million building that will house all the school\u2019s arts programs, as well as the Spelman Museum of Fine Art and the Spelman Innovation Lab.<\/span><\/p>\n

Collective Cultivation<\/b><\/span><\/h3>\n

Involving three historically Black colleges and universities, the\u00a0Atlanta University Center Art History + Curatorial Studies Collective<\/b>\u00a0launched in 2019 to help create a pipeline for future curators, art historians, and other museum professionals through interdepartmental exchange between\u00a0Clark Atlanta University<\/b>,\u00a0Morehouse College<\/b><\/a>, and the program\u2019s official home,\u00a0Spelman College<\/b>. Seeded by a $5.4 million grant from the Alice L. Walton Foundation, the collective offers training and financial support to those attending the three schools as well as younger students not yet at the university level with the intent of changing the makeup of the institutional art world.<\/span><\/p>\n

Citing a 2015 Mellon Foundation study finding that African Americans occupied only 2 percent of leadership positions within museums,\u00a0Cheryl Finley<\/b>, director of the AUC Art Collective, said there was more work to be done in the next such study. \u201cBy 2018, that number had doubled\u2014to a whopping 4 percent. That\u2019s a really embarrassing number.\u201d Finley described the collective\u2019s mission as an effort to \u201csolve the problems of the art ecosystem, to make it a more equitable place for all of us to live and work in, to thrive and be a part of.\u201d Through scholarships and programs for high-school students, and partnerships with local institutions including the High Museum of Art, she said, \u201cwe are trying to create pathways for young and nimble minds to go out and really transform the art industry, to infiltrate museums and cultural institutions as curators, directors, conservators, art handlers\u2014to fill jobs that in the past have not had equitable representation.\u201d<\/span><\/p>\n

The AUC Art Collective just graduated its first class in May, and a student who entered it in high school is currently an art history major at Morehouse. Progress like that, Finley said, can go a long way toward making the art world more amenable to the kinds of diversity it professes to want. \u201cThat\u2019s really what the program was designed to do.\u201d<\/span><\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n

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For a survey of what lies ahead as the art world looks forward to the future, ARTnews\u00a0devoted part of the June-July 2021 issue of the magazine to 10 cities to watch: Philadelphia, Atlanta, Vancouver, Guadalajara, Bogot\u00e1, Oslo, Tallinn, Casablanca, Abu Dhabi, and Taipei. Stay tuned as each city joins related features from Seoul and Paris\u00a0online\u00a0in […]<\/p>\n","protected":false},"author":2,"featured_media":928,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-927","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nAs Atlanta\u2019s Art Scene Evolves, Historic Injustices and Hopes for New Futures Come into Focus - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"For a survey of what lies ahead as the art world looks forward to the future, ARTnews\u00a0devoted part of the June-July 2021 issue of the magazine to 10 cities to watch: Philadelphia, Atlanta, Vancouver, Guadalajara, Bogot\u00e1, Oslo, Tallinn, Casablanca, Abu Dhabi, and Taipei.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/as-atlantas-art-scene-evolves-historic-injustices-and-hopes-for-new-futures-come-into-focus\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"As Atlanta\u2019s Art Scene Evolves, Historic Injustices and Hopes for New Futures Come into Focus - 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