Emerging urban market? I grew up here...Atlanta is a chocolate city and has been on the forefront with most "urban" markets, including fashion. These guys are just acting like they are better by saying "Atlanta fashion sucks".
Come on man!!!
If your going to leave a comment or opinion ...what can we learn positively and is it a good inference. I think the important message here is, Atlanta has an emerging, urban fashion market that never existed before. Don't be a small thinker, embrace your City. -Chilly-O
Ever notice that any article of "hip hop" fashion makes its wearer look like an overgrown toddler?
When I read about a d-bag fashion "designer" say: "Atlanta fashion sucks. Period," then it's fair game, especially when said "designer's" clothes are straight wack and unoriginal.
Kriss - maybe your "design" buddy needs to take your own advice and not criticize with such hyperbolic statements. Now GTFO of here. FCUK what you heard.
@TheGorgeousJR fashion is freedom of expression. There isnt a correct way of doing it. You can't copy right a style or trend. If its lame, do something better. If you can't, FUKK off.
These lames are ripping off the FCUK name that was big in the early 2000s. These guys are a real solid reason why Atlanta fashion sucks. Y'all making Kanye West's "hip hop" t-shirt look good.
I got an acronym for ya...GTFO of here.
i'll be looking for these items at rag o rama and goodwill, not gonna spend $200+ just so i can get beer spilled on it
so you really wanna debate about style and fashion, cause there is no right or wrong answer
Exactly what is stylish about dressing like a Boko Haram reject?
To all, I'm speaking for a lot of young, Atlanta-based African American artists when I say this. The NBAF's presentation of itself to Atlanta, the country, and to the art world, at large, is dated and broken. NBAF coordinators and curators dont appear to be very inclusive of avant-garde african diasporal artists and ideas, at all. For the minute amount of contemporary artists that are included, dialogue about the work isn't established, in any form, and education about who that artist is, remains glaringly absent. Just last year, I witnessed works by talented contemporary artists Paul Benjamin, Nikita Gale, and Yanique Norman get treated as meer backdrop decorations at a packed NBAF event held at a car dealership. No docents. No info. No inquiries. No nothin'. Wow.
Also, fellow artists have expressed to me their frustrations about how the NBAF treats its participating artists. For years, artists who participated in NBAF's artist market, payed exorbitant prices, plus many others expenses, to travel here to present their work at Greenbriar Mall. This venue set the tone, past and present, for many an artist's disdain towards the NBAF. To my knowledge, for quite some time, it was very off putting for artists and collectors alike to engage in a venue as distracting and run down as Greenbriar mall. I've been told that directly affected sales and perceptions of their work.
I have a friend of mine, who's an art dealer in Northern Virginia, who flew down just to attend the artist market at the world congress center a few years ago. He told me how great it was to see the venue changed that year, but also how he was shocked to see so many commercial salesman in booths, directly adjacent to the artists, selling their wares! He stated that at one point, a gentleman asked him if he wanted to buy gutters for his home! What?!!
In regards to gala events and auctions, the NBAF asks artists to donate work, in which the organization recieves upwards of 50%-60% of the final sales commissions. In other instances, artists are asked to donate 100% of a sales commission of one work to the organization , and in return, have the opportunity to make 100% commission on the sale of another piece entered into the event. Seems cool right?
No. Many young artists are told that these auctions create interest in collectors to regularly follow their work, but in reality, these events are marketed as annual sale opportunities for collectors. These auctions have long been described as "feeding frenzies" for local art patrons who are unwilling to pay emerging artists, or their galleries, full price for prized work. These factors are the reasons why you NEVER see an artist's best work at these functions, just so you know.
Cumulatively, with all of the aforementioned factors added up, this is a probable reason why fewer emerging artists and local/national/international artists of note participate, which in turn, affects the amount and quality of critics, gallerists, and collectors who attend, critically write about and show financial support for the festival. I can't speak directly to advances in the music, dance, film, and stage components of the NBAF, but it appears to me that the art component of it is going backwards.
In closing, i believe some are thinking "Well, despite what you said, you aren't going to find a better place for african american art to be showcased." What you may be thinking is true, but just because its available, doesnt mean that its ACCEPTABLE. African american artists in Atlanta, and beyond, have too much artistic talent to offer to other organizations and cities, to accept what the NBAF is offering to them at this time.
I was raised in cabbagetown. We lived with my grandparents spergon & mary ashley ok Iswald st. I remember mr. Catledge. We always looked forward to seeing him and taking pictures. This was in the late 70's & early 80's. He took pictures of me Shannon Johnson and my friend maryann wilbanks. He also took pictures of my uncle Ronnie Ashley. Is it possible to find any of these pictures?
If so plz email me at email@example.com
Thanks for sharing this.....
☆ shannon ☆
We all live the lives we choose. If one chooses to sell drugs for a living, it's a pretty safe bet that person will end up doing time, regardless of those snitches.
I am not an artist, but I know a few. An artist does not care who views their product. The entire idea of art is freedom of expression. Why limit the expression to particular groups of race. Display your art to the world, with pride. And if the artist is not allowed to do so, then form a supportive group in protest. We've come a long way on the blood, sweat, and tears of those that came before us and those who remain in the game. But we have a long way to go. Lets don't tire ourselves out by isolating ourselves . Lets stay in the game, but keep up with the game at the same time.
For the record, I cannot claim any knowledge of the Contemporary prior fall 2000. I also want to make it clear that the director at that time, Helena Reckitt, was very generous to me and the students I brought to visit. I was quite fond her then and continue to be. Ms. Reckitt even hired me to give a series of three lectures on contemporary art topics, so in my own small way I became a part of the Contemporary’s programming. My comment at the end of the article that the “….last few shows before Stuart came on board being consistently disappointing” was an excerpt from a larger statement and not meant to be disparaging toward Ms. Reckitt in any way. There was a moment in 2005 when both the Contemporary and the small bookstore in back—which is all I knew NEXUS to be—seemed asphyxiated by lack of funding. That was the impetus for my comment.
-- Craig Drennen
For the record, I cannot claim any knowledge of the Contemporary prior fall 2000. I also want to make it clear that the director at that time, Helena Reckitt, was very generous with me and the students I brought to visit. I was quite fond her then and continue to be. Ms. Reckitt even hired me to give a series of three lectures on contemporary art topics, so in my own small way I became a part of the Contemporary’s programming. My comment at the end that the “….last few shows before Stuart came on board being consistently disappointing” was an excerpt from a larger statement and not meant to be disparaging toward Ms. Reckitt in any way. There was a moment in 2005 when both the Contemporary and the small bookstore in back—which is all I knew NEXUS to be—seemed asphyxiated by lack of funding. The was the impetus for my comment. --- Craig Drennen
Every culture has a legacy that they focus as part of their history, the art festival is no different what the problem seems to be is that the event itself is not self sufficient, and depends heavily on government funds by way of grants along with city budgets. Very little on the collectors and sponsors who should be the benefactors.
What is needed no longer exist the veterans of this event are no longer involved the new money generation really must ask themselves what are they doing to give back to their communities;
We now have billionaires, Why are we still depending on the services of grants and government?
25yrs. is enough time to have establish an endowment a healthy one and yet we are still begging.
This is not a world problem this is a Black America issue and only Black America can solve it Bill Cosby, Camille, Oprah, Tyler, and the rest of the deep pockets that stems from there allows us to see what we are not doing they the names above cannot do it alone!
It's a shame that the museum doesn't have the funding to relocate to a more prominent location. Its current site is so off the beaten path that no one but locals with a keen sense of navigation could find the place.
The biggest loss in the move from Ralph McGill to the Westside was the theater. In it's McGill heyday, the Nexus theater was one of the premiere presenters of cutting edge dance and performance art in the nation and an active member of the National Performance Network. When they opted to forego the performance component in the move to the Westside, many in the performance & dance community gave up on the place, and many still mourn the loss to this day.
"A nationally respected institution" - this is totally true. ACAC does something for Atlanta that no one else is doing. You can see a show at The Contemporary and then recognize that artist in an international arts publication the next month.
Then, I guess if you're lucky, you can see that artist at the High in 10 or 20 years.
A good article, with one significant omission: the studio program. The Contemporary has three areas of programming: the exhibitions, the educational programs (briefly alluded to), and the artists' studios. Many of Atlanta's best artists have benefitted over the years from the studios. There are 14 of them, and are rented out at well below market rates - for more information see http://www.thecontemporary.org/studio-arti…
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