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• Dashboard Co-op co-founders Courtney Hammond (left) and Beth Malone

Meet Courtney and Beth. They like art. What's more, they like artists. And Atlanta. So they started Dashboard Co-op, a virtual gallery intended to promote and create more opportunities for local artists. They also throw parties — Dash hosts its coming out party Sat., March 20 at the Blue Tower Gallery with music (Jeffrey Butzer & Tom Cheshire, Walker Talbott, Joseph War, DJ Luis Ponce and the Back Pockets), art, dancing, motorcycles and fire(!).  (Beth also places in fiction contests.)

What’s Dashboard Co-op and who’s behind the wheel?

Courtney Hammond: Dashboard is an arts empowerment cooperative. We work alongside other nonprofits, publications, galleries and artists in an effort to better streamline arts initiatives in Atlanta. By connecting everyone involved and playing the role of mediator, we think we’ll have a stronger influence on the city as a whole.

Beth Malone: Simply put, we’re an online art gallery that promotes artists to spur creative momentum and, hopefully, lucrative opportunity. Court’s a sculptor, I’m a writer; we’re capable people but still have a hard time getting our work recognized, let alone purchased, without help.

We started Dash because we want to help artists support themselves financially through their work. One of the site’s artists has already caught the eye of an international collector! Yay Emily! Ok, collector is a loose term. It’s my friend Paul who moved to Thailand to smoke weed without hassle. Nonetheless, he’s got dough and, after checking out our site, he’s giving it to an ATL artist.

What is it about Atlanta that lends itself to the artist co-op? Is it more telling of the city or the times?

Court: I think it’s both, equally. Beth and I have been in Atlanta for 10 years now and it’s always felt like the city wanted to expand so badly, as if buttons were popping off its shirt — like my uncle’s fat belly after turkey dinner. The art scene is a roller coaster ride; at one instant we think things are changing and then within a month that movement has died. YOU’RE MESSING WITH MY EMOTIONS, ATLANTA!

I think a lot of the fluctuation has to do with the thought that our fair city is a start-off city. You survive Atlanta for a few years and then move north — Chicago, Philly, New York — whatever, just north. I personally like the weather here so I have to make it amazing, for me. Recently, we’ve come into contact with a load of like-minded people and they’ve made us feel like serious change and growth is possible. With stars in our eyes and fast moving hands, we all talk about how to make Atlanta a real competitor in the war of the arts. With a full heart I sleep well at night knowing it’s going to happen.

Beth: This city is always morphing and growing; she’s a little self-conscious, I think, like a 13-year-old who doesn’t know where to put her hands. Transplants are moving in, established artists are moving out – this constant shift is an obstacle in trying to maintain a vibrant arts community.

That said, I agree with Court, there is fresh energy and static. Co-ops and orgs are being started by a new generation of folks who have grown restless with the lack of community engagement in the arts, but who see resolute potential hiding underneath Atlanta’s rusty charm. We’re collaborating with many of these groups – WonderRoot, Pine Magazine, BurnAway – to connect artists with the community at-large, in order to produce something truly innovative and sustainable. We’ll see if she sticks.

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• "Little Bunny Frou Frou" by Baxter Crane

Court: We’ve started off with a remarkable group of artists. Each of them has a totally different background and it shows in the diversity of the work on our site. We wanted to be completely open to all mediums and, I personally, can’t wait to get them all in a room just to see what happens. Baxter Crane paints about dinosaurs eating nursery rhymes and illustrates mice on picket lines. Matt Sigmon makes ready-made furniture to poke fun at our ridiculous consumerism — or is he poking at contemporary art — I guess it’s both. James Bridges produces the most dreamlike, whirlwind paintings. Watching him work puts me on auto-pilot.

Beth: We also coerced the Paper Twins, duo guerrilla artists, whose work you’ve likely seen on DeKalb Ave. Patrick Toups, an intensely dedicated sculptor. I don’t actually know what he looks like cause he’s always covered in soot. Erica Wilson – cryptic badass. Nikki Starz – bloody genius. JTav – freakin adorable. John Dirga – I’m speechless. And Tak Masuda, my favorite animator in ATL. He’s become an accountant so he can eventually support his craft. That’s true dedication, pals – locking up your soul for five years so one day you can afford to fully explore it.

All in all, we know we’re got lucky that this group of artists took a chance on us.

How have the obstacles facing emerging artists evolved?

Court: Unfortunately, business is 50 percent, if not more, of becoming a successful artist and sometimes the most creative people don’t have those skills. Many of the greatest artists I know — the people who produce the most clever and beautiful work — are not always the people who can sell themselves, or their work, to buyers, collectors and galleries. As a result a lot of amazing work goes unseen.

Beth: When Court graduated art school she said, “I have no clue what to do now, they didn’t teach me how to be a promoter and business woman in school. I’m screwed.” Then we started thinking about all those other kids in art school, the ones that aren’t the most outgoing or practical, and decided to try and help them out. That’s the crux of Dash.

What can Dashboard do as a virtual gallery that traditional galleries can’t to meet those challenges?

Beth: Practically speaking, we’re accessible. You can come to our gallery whenever you want without moving your bum. We get a lot more traffic. Of course, in that same vein, you can’t truly interact with the work through a computer screen, which is why we reach out to traditional galleries to host shows. Court once said, “ I want to be able to walk right up to a piece and learn something about the creation process.” You can’t really do that with an online gallery, but if you see something you like online you’re more likely to go check it out in person.

Court: Dashboard focuses on playing the middle-man role. We spend our time seeking out talented artists and amazing work that we can’t believe isn’t being shown anywhere. Then we introduce it to its most fitting gallery. I find that just as much as artists want to be discovered, galleries want to find them. There’s often a disconnect between the two that makes for a power struggle and confuses the whole transaction. Having a mediator helps loads, especially when the mediator loves both parties.

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• "Osama On Drums" by John Dirga

Word is Dashboard’s throwing a party March 20, with art, dancing, motorcycles and fire, and that our moms and pops are invited…

Court: Yep.

Beth: It’s free at Blue Tower Gallery on March 20th. All Dash artists will be on glorious display with lots of great local music from Jeffrey Butzer & Tom Cheshire, Walker Talbott, Joseph War, DJ Luis Ponce and the Back Pockets.

If you had free reign to do one thing for the arts in Atlanta and money/time/politics, etc. weren’t an issue, what would it be?

Beth: Arts funding for public schools. Kids don’t even have their own box of crayons in Kindergarten anymore.

Court: Make everyone slow dance together.

Beth: While keeping eye contact.

Court: Yeah, that would solve a lot of problems.