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The Contemporary

July 16, 2008

Today, in thanks to a granted half day from my manager at work, I visited The Contemporary which is the Atlanta Contemporary Art Center. It’s a small, but pretty awesome gallery space in west Atlanta right around GA Tech. I must say that the area around the gallery was definitely striking as it’s seems to be a newly developed area with some modern small buildings mixed in with remnants of the old neighborhood it used to be. Right around the parking lot there was a piece of an old road bridge still standing, but it looked just like someone cut off half of it and then built a parking lot in front of it. Wish I had my camera at the time. Anyway, there were some pretty interesting exhibits. Here are two that I found particularly compelling for the social aspect they involve:

From The Contemporary

Susan Silton, The Five W’s:
“referencing the key journalistic conditions that should be present in the relating of any story: who, what, where, when, and why. Silton complicates and challenges the existence of these ideal questions by embedding the words within an intensely optical pattern of black and white. Printed on postcards ‘endlessly’ stacked for the viewer to take, they suggest unlimited bounty as well as obfuscation and hidden agenda. The cards are positioned within similarly painted enclosures in the gallery, further problematizing the relationships between message and messenger, and individual and institution.”

Daniel Duford, The Naked Boy
“…a graphic novel that Daniel Duford began in 2003, incorporating over 200 action-packed drawings made with graphite and ink wash. It is a labor-intensive production that coincides with the artist’s work in figurative sculpture, public art projects, and wall murals. In recent years, his creative output has been inspired by the psychology of flawed heroes, the American landscape, and politics, including the Iraq war and prisoner conditions at Guantanamo Bay. His work connects to various contemporary artists including Sue Coe, Kerry James Marshall, and William Kentridge, who each use drawing as a flexible tool for examining and critiquing social realities.”

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