Monday, December 1, 2014

Interview with Artist Maxine Hess

Maxine Hess: "Unemployment Line II"

1. Who are you and what do you do, and what is your background?

I am Maxine Hess and I am a visual artist. I think I always wanted to be an artist. Even as a child I drew the trees outside my bedroom window. Whenever there was something that needed to be drawn on the blackboard at school, the teacher would ask me to do it. I still remember the orange house I drew in kindergarten. I studied at Boston University Fine and Applied Arts for two years before getting married and having two children. Wherever we lived I took a painting class, but I didn’t complete my BFA degree until I moved to Atlanta and attended Atlanta College of Art. Then as they say “life happened” and I shifted gears and worked in higher education for a number of years as a career counselor while I completed a M.Ed. and a Ph.D. at Georgia State University in Human Resource Development studying both career and organization development.. My background in career and organization development led me to a position with the Federal Government. During my tenure with the government I was fortunate to be able to complete a certificate in leadership coaching at Georgetown University. During all those years I sporadically took classes in etching and painting. When I retired in 2007 I was determined to return to making art full time, but that got delayed for a couple of years while I provided leadership coaching on a contract basis for the CDC. Now I can finally call myself a full time artist.
2. What’s integral to your art and/or art career?

For me continuing to learn is vital to my art. I took a workshop in encaustic painting from Helen DeRamus, studied painting with Joan Tysinger at SCAD and I’m currently in the Fine Arts Workshop Atelier with Michael David. When I first started back to making art I visited as many galleries and exhibits as I could and I joined WCAGA and the Atlanta Artists Center. 
3. What themes do you pursue and what medium do you use?

In some ways I see myself as a visual sociologist. My themes come from my personal experiences, from growing up during the feminist movement and racial unrest, and from current socio-political events. 

4. What makes you angry, what makes you happy?
Maxine Hess: "Cherish The Idea"

I’m most angered by seeing injustices in the world, by people not accepting diverse ways of thinking and believing, by people being treated uncivilly and without respect. I am most happy when I see people accepting one another, making an effort to understand and respect each other’s differences and similarities. 

5. Who and what inspire you in your work and or in your life in general?

Women in general inspire me, their strength and resiliency. I grew up during the feminist movement and was influenced by so many amazing women who fought for equal rights for women. There were so few options for women in the past – they could get married and have children or they could become teachers or nurses. Yet there were women who broke the mold and became adventurers, doctors, lawyers, engineers. In spite of adversity women have been and still are able to reinvent themselves and move forward. 

6. What superpower would you want?

This probably sounds trite, but I would like to bring peace to the world, to end genocide, human trafficking. I would like to make a positive difference. 

7. Who are your favorite artists and or other person?

I have many favorite artists and as I’ve grown and matured I keep adding more. Some I’ve always loved are Van Gogh, Matisse, Soutine, Kokoshka, Miriam Shapiro and more recently Hannelore Baron and Anselm Kiefer. 

8. What advice would you give to other artists?

Make art that you believe in, that has meaning for you regardless of how it is received. Listen to your own voice, trust your intuition. Learn from feedback and from other artists. And, above all be persistent.

Maxine Hess: "The Veiled Gun"

Saturday, November 1, 2014

Interview with Artist and Philosopher Maggie Davis

Maggie Davis next to the Wall "Beautiful Stranger" currently happening at The Goat Farm.

Who are you, what do you do and what is your background?

My MFA was in painting but drawing has always been a private practice. Mark making on slips of paper, small sketchbooks, and some times on large surfaces has been a continuous obsession. Drawing is a visceral origin: the infinite mark making language; the direct line from the breath and heartbeat. My painting practice occupies a high mental plane circling around questions of perception, assumptions we hold and the contemporary experience. I am also a writer because I love language, its precision, ambiguity and its close relation to drawing.

What is integral to your art and or art career?

Philosophical thinking anchors my work as a human being and an artist. Two years of course work in the IDSVA PhD program exposed me to the great thinkers about art, theory and criticism. My curiosity finally found a place to land where answers to questions were less important than the questions themselves. In graduate school I was accused of too much “chair time” thinking about the next move I would make in a painting. In the PhD program, reading, thinking and writing philosophy were the principle means for examining the role of art in being human. 

What themes do you pursue and what medium do you use?

I have been chewing on questions about perception, its mechanics, the way we collect data visually and how we create and interpret whole images. My paintings explore the slippage of form from one to another through the contrast of color. I want to get inside the space where we make assumptions about the world. I try to set up expectations of space within the work and then confound it by letting the space slip away to a different condition. Form, color, plane, brush marks, tonality, and process are the tools but what I am hunting for is a mirror for the world we now live in, a painted surface that gives us back our complex experience but allows us to examine it slowly. I make slow paintings about our fast world. I rely on abstraction to avoid creating nostalgic memories or metaphors.

Artist books, printmaking, drawing, painting, collage, water media, acrylic and oil are all available methods to articulate my ideas. 

Detail of recent painting by Maggie Davis
What makes you angry? What makes you happy?

The absence of truth is catastrophic to our democratic ethos. 
Searching for truth through my studio practice. Being in community.

Who or what inspires you in your work or in your life in general?

Simon Critchley’s Infinitely Demanding, Ethics of Commitment Politics of Resistance as well as Hannah Arendt’s Responsibility and Judgment.

The persistent questions: What makes us human? How does art gives us back our humanity? What does it mean to be moral? How can philosophy and art contribute to a just world? These are the questions that will make my life as an artist worth it. They comfort my soul and trump any personal recognition or material gain. 

What superpower would you want?

Art, philosophy, history and community are superpowers enough.

Who is your favorite artist/s or other person?

Depends on what I am reading or who I thinking about. Currently I am reading an examination of Heidegger’s writings
Detail of wall "Beautiful Stranger"
about sculpture. At the same time I have been thinking about how the body expresses mark making in space and how that relates to my drawing practice. Heidegger’s ideas about the body, ideas about the mark as an essential expression of being human and Lauri Stallings approach to movement as relational are stretching my thinking about drawing. In collaboration with glo’s hybrid performance exhibition gestures that will soon disappear at MOCA GA, I did an drawing installation, beautiful stranger that gave me an opportunity to push the boundaries of writing as drawing. 

What advice would you give to other artists?

Always look for places that will open you up to new possibilities. Don’t make assumptions. Don’t dismiss that which you don’t like. You are a member of a large and illustrious tribe with a long history. You don’t work in a vacuum. If your work flags consider the philosophers who write about art. I mentioned the ones who back me. 

Contact details

"Untitled" by Maggie Davis

Wednesday, October 1, 2014

Interview With Donna Horn

1.Who are you and what do you do, and what is your background?
My name is Donna Horn. I am an artist, primarily a painter. I've loved to draw and make things from the time I was very young. Even though I was a Fine Arts major in college, I did not pursue my art until I was a mature adult. Instead, I got a masters in business so I could make a living. In the 90's I went to Georgia State, got a BFA in art education; but in the end, I discovered I wasn't really cut out to be a teacher. Finally I realized that all I really wanted to do was paint, so I began to study with various instructors, trying to learn as much as I could about art and painting.

2. What's integral to your art and or art career? 
Having time and a place to work with minimal distractions; having the ability to evaluate my own work. Learning to deal with rejection that comes with the territory, and developing an ability to continue painting even when I get frustrated or discouraged. I would say that being stubborn has helped me.

3. What themes do you pursue and what medium do you use?
My themes come out of my subject matter, which is mainly the natural world. Currently I am painting abstracted landscapes. Because my tendency is to paint, scrape, repaint, etc. I have come to see the creation and destruction that goes on throughout my process as parallel to that of the natural world I am depicting. I start with an image and then use color, texture, brushwork to convey something more. I don't feel bound to depict the image realistically. So I would say that the way memory affects our perception of things is another theme that has come out of the work. I work mainly in oil.

4. What makes you angry, what makes you happy? 
I dislike artistic (or any) pretensions; I am irritated by by arrogance, insensitivity, and excessive self interest or narcissism, and get angry when I feel it directed at me.

Painting makes me happy (most of the time.) Also, the love and company of my family and friends makes me happy. I also enjoy solitude, which I need to think about life and my art. Travel, when I have the time and money because it renews and invigorates me. 

5. Who and what inspire you in your work and or in your life in general? 
In my work, I am inspired by my natural surroundings, and by artists whose work I hold in high regard. In life, I admire those who have overcome obstacles and made peace with themselves. I am inspired by those philosophers whose ideas address what is important in life in order to be happy, or perhaps 'content' is a better word. Course, I can't think of names right now.

6. What superpower would you want?
The only thing that comes to mind is to be able to go without sleep, if I needed to, and still feel good. That way, I could paint for longer sessions and still do the other things that my life requires...not really practical though, I suppose.

7. What is your favorite artists and or other person? 
There are many artists that I like and admire: Richard Diebenkorn, Paul Cezanne, Andre Derain, Cy Twombly, Willem de Kooning, Joan Mitchell, Nicolas de Stael, Phillip Guston, Hedda Sterne, Pat Steir...others I can't think of at the moment.

8. What advice would you give to other artists?
Figure out what you want to do early on, if you can. Stay at it; don't get discouraged. Recognize that we are here for a short time, so make the most of it. Don't let your success be determined by some else.

9. Contact details if any?

Monday, September 1, 2014

Interview with Artist Gwen Gunter

1. Who are you and what do you do, and what is your background?

I am Gwen Gunter and I am primarily an abstract painter at this point in my career.  I have been a graphic designer, photographer, product designer and manufacturer of functional art items for the gift, home décor and apparel industries.  This has included such diverse activities as designing paint by number kits, commercial sign painting, licensing my art for posters, note cards and fine art publishing. All of these endeavors have provided outlets for creative expression and contributed to my overall aesthetic.

2. What's integral to your art and or art career?

I think what has been most integral to my career has been dogged persistenceI have refused to give up on what I believe to be my reason for being here.

3. What themes do you pursue and what medium do you use?

My themes always seem to revolve around the personal narratives that make up everyday life. Whether it is the layers of memory or commentary on present situations, the many layers of existence are always there, some revealed and some completely hidden in the painting process. I use acrylic on wood primarily, but also mixed media from time to time.

4. What makes you angry, what makes you happy?

What makes me angry is the emphasis on “hopeless” worldwide conditions that we are bombarded with through the media daily. I feel there is always hope for transformation no matter what the circumstances happen to look like on the surface and redirecting our focus to what is good and enduring and the highest in each of us can bring about that change. Knowing that makes me happy.

5. Who and what inspire you in your work and or in your life in general?

In my work I am inspired by all the artists I know who make quality inspired work and keep at it even when it is unrecognized and unrewarded.
In my life I am inspired by so many wonderful teachers: Eckhart Tolle, Steven Pressfield, Marianne Williamson, Emmet Fox, Michael Neill.

6. What superpower would you want?

I think I’ll stick with what I have, probably couldn’t handle the pressure of more!

7. What is your favorite artists and or other person

Wow, this is hard to answer, there are so many!  Artists I admire are Richard Diebenkorn, Nicolas de Stael, Brian Rutenberg, Franz Kline, Ad Reinhardt, Ben Nicholson, Lance Letscher, Robert Rauchenberg, Sammy Peters, Ciao Fonseca

8. What advice would you give to other artists?

 I would advise developing a very tough skin to protect the precious gift you’ve been given.  It will be up to you to hold your vision and keep joyfully creating to let the “muse” know you are serious about this calling.
And I would strongly suggest reading (and rereading) two books by Steven Pressfield:
The War of Art and Turning Pro.

9. Contact details if any?

"My Story, Your Story" by Gwen Gunter
"All are invited" by Gwen Gunter
"Alternate Universes 2" by Gwen Gunter

Tuesday, August 12, 2014


WCAGA Board Report

August 11, 2014

Sally Wansboro Eppstein was elected by the board to be vice president. This fills an important board position that has been vacant since January. Kate Colpitts, former vice president, became president in January when then-president Judy Parady left the position before the end of her term due to family issues.

We also now have a new co-treasurer. In the spring, Donna Horn agreed to share treasury duties with Ann Rowles. This was approved by the board.


The WCAGA Members’ Show, “Layers”, opens at Georgia Perimeter College on September 11. There will be a catered reception.

On August 2, a WCAGA pin-up exhibition of work from various drawing marathons at UpStairs [ArtSpace] in Tryon, NC opened. Barb Rehg also has a solo show at the same gallery and attended the opening which she said was very well received. Our drawing marathons have inspired the artists in the Tryon area, spearheaded by WCAGA member Linda Hutchins, to hold a drawing marathon in Tryon.

Draw 4 Days

Our most ambitious drawing marathon will happen August 18–23. Over 14 WCAGA member artists have signed up for space to draw for 4 consecutive days at the Further Polycontemporary Gallery at TULA Art Center on Bennett Street. Some artists have arranged to share their space with another artist or a small group. If you have not previously signed up for a space, please drop by and see what’s happening. There will be a small space for drop-ins to work as well as a chalkboard area for one-day drawings! Feel free to Instagram it, blog about it, post a note on Twitter, and comment on WCAGA’s FaceBook page.


Please come to the opening reception and see the results of a week of drawing in public. The opening will be 6:00–9:00 pm on Friday, August 22.

Artists Discussions—

There will be a discussion with the participating artists on Saturday, August 23 from 2:00 to 4:00 pm.
If you’re interested in knowing more about any of these or other WCAGA topics, feel free to contact Kate Colpitts,

Friday, August 8, 2014

Draw 4 Days

WCAGA and Further Poly Contemporary Gallery Present 
Draw 4 Days
Place: Further Poly Contemporary Gallery at MOCA GA /Tula Art Complex
on Bennett Street
Dates: August 18 to August 23
Closing Reception: August 22, 2014 - 6 to 9pm
Artists Discussion - August 23, 2014 - 2 to 4pm
For the last three years the Women’s Caucus for Art of GA has had an ongoing Drawing Marathon Program meant to be a respite from demands of an individual’s own art process. The artists gather at one another’s studios and spend the day drawing; however they wish, whatever they want and with materials of their own choosing. The purpose: to return to a simpler process and just allow the experience to generate ideas, release oneself from restrictions of ongoing work and enjoy the company of other artists while doing so. 
Beginning August 18, WCAGA members will participate in a four day drawing marathon
at Paul Light Jr.’s Further Poly Contemporary Gallery, located on Bennett Street in the MOCA/Tula Art Complex. Further Poly Contemporary maintains a commitment to a unique and eclectic program. Working with emerging, mid-career and established artists, Further is an ever-evolving context for exhibitions,  lectures, gatherings, and informative presentations that enrich the community's relationship to the arts. 
Over the years there have been dozens of formats for Drawing Marathons. Presently, MOCA GA has a dynamic, ongoing Drawing Program, directed by Angus Galloway, that celebrates the many aspects of the drawing process.

While that is an ongoing program, WCAGA’s Draw 4 Days is meant to be a one week program that has multiple purposes. Foremost: to bring a fundamental (not necessarily simple) art process to the viewer as it unfolds. Additionally, we want this to be an education and a celebration of a process that humans have engaged in for thousands of years. Drawing has many uses. It can be a way to journal about ideas of concept, methods of construction and solutions to problems or simply the end goal. 
Our format for this Drawing Marathon: Each day, images of the work in progress will be posted on WCAGA’s Facebook page. Writers, artists and the public will be encouraged to blog and visit. Engaging the artists in dialogue is encouraged.
On August 22, WCAGA will have a closing reception to unveil the results of our Draw 4 Days journey and on Saturday the 23rd, we will have our exhibit open and the artists will be present to discuss the process, concept and reason for participation. We hope you will join us, on line and in the space.  

Wednesday, April 30, 2014

Interview with Karen Cohen

Image by Karen Cohen. "Suspended Animation"
1. Who are you and what do you do, and what is your background?

I'm Karen Cohen, and I sign my work KElise. I've been drawing and painting since I was 7 years old. I started out drawing portraits and to an extent, I'm still doing it, only the portraits I create now are of the human condition, not of individuals. They focus on all the ways in which we, idealized and stripped down (literally and figuratively) are connected, emotionally, physically, psychologically, circumstantially... our essential commonality.
As an artist my background has been primarily self taught, but with the guidance of two Miami Artists, the late Eugene Massin and RC Bailey--to each of whom I owe an immeasurable debt of gratitude.

2. What's integral to your art and or art career?
The connections between art and science, technique and technology; color.

Image by Karen Cohen "Grace"

3. What themes do you pursue and what medium do you use? My work is all conceptual. I start with the skeleton of an idea and develop it through several iterations and variations on a theme. Usually that translates into a series, each one elucidating another vantage point. In doing so, I hope to convey complex concepts via a series of single images. I don't tell the same "story" over and over, each successive piece must add to it--there's always something new to consider, a new thought-path to explore.

4. What makes you angry, what makes you happy?
The things that make me angry are making the same mistake more than once, and making mistakes because I'm either distracted or hurried. Things that make me happy are my family's and friends'  happiness and success, doing good work, discovering awesome new things, experiencing bold, beautiful and exciting sensations.

Image by Karen Cohen "The Wall Between Us"

5. Who and what inspire you in your work and or in your life in general?
Visionaries, new technologies and awakenings are the things that truly inspire me. I'm very sentimental, but not so much nostalgic. I don't spend a lot of time looking back because I'm not going in that direction.

6. What superpower would you want? 
I would like to be able to time-travel.

7. What is your favorite artists and or other person?
Image by Karen Cohen " Indecision"
I don't have any real "favorites." I do respect anyone who's at the top of his or her game and executes their "art" with confidence, humility and aplomb. But I also respect the artist who never stops exploring. I especially like artists whose work stops you from whatever you're doing and steals your attention--like a "startle" reflex--and immediately and spontaneously transports you to another reality. At the moment, my current hero is not an artist but the visionary Elon Musk who is changing the art and landscape of business while at the same time building products that reduce carbon emissions--electric vehicles and solar energy.

8. What advice would you give to other artists?
Work more on "why" you're creating than on "how." The how evolves into a recognizable style which is a function of matching your ideas with the techniques you develop to best convey them, combined with time and repetition.

9. Contact details if any?
Phone: 770-605-3859
Twitter: @kelisegallery

Wednesday, April 2, 2014

Interview with Artist Kathy Meliopoulos

"Barking Dog"   by Kathy Meliopoulos
1. Who are you and what do you do, and what is your background?
I am an artist. I paint, draw and create art from chamois leather. I have been drawing since I could pick up a pencil. My grandmother said that as a small child, I used up all the paper in her house every time I went to visit. I still draw in the air with my finger when I am away from art supplies. I have a BFA degree in painting and drawing from the University of Florida and have taken additional classes at Florida International University and GA State.
2. What's integral to your art and or art career?
Integral to my art/art career has been the challenge of balancing family life and practical needs (generating income, studio time). I am constantly seeking that balance.
3. What themes do you pursue and what medium do you use?
I pursue three parallel tracks in my work: abstract, animal and chamois leather pieces. There are places where these three intersect. I am still exploring this trinity and have discovered that they are of equal interest. One is not dominant over the other. Since I am motivated primarily by growing and exploring, I am comfortable with this direction.
"Moss and Stone" by Kathy Meliopoulos
4. What makes you angry, what makes you happy?
The big themes of injustice in life make me angry - but specifically relating to art: my frustration in the gap of my skill level and my desire to communicate and create something powerful and beautiful. Art is a reflection of life and I have a limited area of concentration. I am committed to sharing those humble skills and observations.
I am happy when everyone I love is healthy and when I have productive time in the studio.
5. Who and what inspire you in your work and or in your life in general?
My family inspires me. My husband and daughters are all smart and hard working. In general, those who are committed to their vision, disciplined and willing to take risks to achieve progress are inspirational.
6. What superpower would you want?
I wouldn't want a superpower. An ordinary life is gift enough. I wish the same for everyone: good health, clean water, shelter and a loving family. The rest is luxury.
7. Who is your favorite artists and or other person?
My favorite well-known artists right now are: Kandinsky, Degas, Frida Kahlo, Amy Sillman, Alice Neel, Diebenkorn, Wayne Thiebaud. Any artist that makes me groan with admiration, love and envy - I have too many favorites! I have to say that my VERY favorite artists are the ones who may not be famous or "successful", the ones who struggle and strive, who believe in their vision and keep plugging away.
"Map of Parallel Interests" by Kathy Meliopoulos

8. What advice would you give to other artists?
Keep trying, keep learning, keep experimenting.
9. Contact details if any?

Wednesday, February 5, 2014

Interview with Artist and Psychotherapist, Callahan McDonough

A wrinkle in time 2013,

1.Who are you, what do you do, and what is your background?
I am an artist, a painter and print maker and have been for over the past forty years. I received my Bachelor of Visual Arts from Georgia State University in 1970. It was an exhilarating time for art at GSU and I had some wonderful mentors, teachers and friends. Jim Sitton, Medford Johnston and some amazing fellow students really changed my life and how I thought about my art. Happily, I earned a scholarship for graduate school in the art department at the University of South Florida. Unhappily, my mother fell ill and I left grad school to care for her after completing one year of the two-year program. ‘Reality takes precedence’, another mentor, Pauline Clance, PhD would say to me later. By the way, Mom is doing fine and lives in Florida all these years later. After Mom recovered, I returned to Atlanta and worked as Director of the Techwood Homes Girls Club. About this time, the Feminist movement was kicking in gear, and I immersed myself in the Feminist Women’s art movement. Along with 30 other women artists, we started the Atlanta Women’s Art Collective, as well as the co-ed Art Workers Coalition. Both of the organizations were pivotal in changing the art scene in Atlanta. We were lucky to have Maynard Jackson in office as Atlanta Mayor. He was a big supporter of the arts and started the Bureau of Cultural Affairs, which gave a sense of camaraderie and unity to a multitude of Atlanta arts organizations. There was a window of about ten years when it felt as if we were experiencing a contemporary version of the Renaissance in Atlanta. Along the way my life became more complicated; my marriage broke up, but I had a wonderful 2 year old son, Zach. It was clear, however, that selling a few paintings, and writing grants would no longer sustain us financially. I needed an instant way to make a living, be able to be the Mom I wanted to be, and make my art. So like many artists, I created a business (cleaning houses) to pay the bills. It grew into a full-fledged business, which I ran for nearly 25 years. Some of you may have heard of “Sparkle Plenty”; that was my business. I called it my “single mom and artist” survival kit. I was hoping my art would sell consistently, enough to let the business go; or that the business would become less demanding, and support my art career. Despite the fact that I was in the Fay Gold Gallery and selling reasonably well, the money was not enough to support us. I decided to go back to school and get a Masters of Social Work so I could have a private counseling practice and still have flexibility to raise my child and do my art. This career move finally worked; I have been in a rewarding private practice for more than 20 years. Recently I reduced my client load to one day per week and now have the freedom to have the kind of studio time I want. Also, I remarried five years ago and am enjoying the companionship and support of my husband, Bill Pope.

2. What’s integral to your art and art career?
Oftentimes people ask me how psychotherapy and art are related for me. My answer is that both psychotherapy and art are about making the unconscious conscious. One is direct and interactive; the other is studio work, and more reflective and singular. Both contribute to who I am as a woman and an artist. Also integral is my awareness of the work of historical and contemporary artists, as art history has always provided a context for my work. 

squared abstract 2013

3. What themes do you pursue and what medium do you use?
My themes seem to fall into two categories. One is Narrative, which includes the Spiritual/Political/Personal aspects of my life,. The other category is more abstract and lyrical. Both are characteristics of my self-expression and artwork. Recently, I have been collaborating with a spiritual writer, Ronna Detrick, in Seattle who is re-defining some of the women from scripture to show them through a Feminist viewpoint -- as empowered and empowering, not just pawn’s in a man’s world. I am doing a series of prints that represent these women first as painting, then as a print.
I also intend the work to communicate and connect with all kinds of people, in some way. Of course, one of the wonderful things about art is that interpretation is up to the viewer.

4. What makes you angry, what makes you happy?
My desire is that, by creating more of a sense of community, we will all win. Living in a world that over emphasizes the ‘individual’ (what we call in Social Work, rugged individualism) is opposed to choosing the ‘whole community’ concept that encompasses a world that works for everyone, with no one left out. I believe our current lack of cultural expression has become the source of much suffering, often as reflexive violence, i.e. those who are shut out and cannot join the world will ultimately lash out. We can do better, and that makes me really angry that we have culturally not made that shift.
On the other hand, I feel hope and happiness as I have experienced the capacity for kindness and generosity that so many people have, and I see this tendency growing. For example, some of the organized expressions of hopeful change include: The Feminist movement, Civil Rights, Gay Rights, One percent, Ecological movements to name a few.

5. Who and what inspires you in your work and in your life?
My son is my biggest continuing inspiration, along with my family, close friends and people I love. I have a strong spiritual sense of connection to what I choose to call God. My art colleagues, female artists I know, and friends involved in the arts are wonderfully inspiring.

Inner Vision 2013

6. What superpower would you like?
I’d like to wave a magic wand that could create World Peace; a world where all are kind and share, and one that works for everyone, including Mother Earth!

7. Favorite artists?
Soooo many: Kiki Smith, Louise Bourgeois, Cindy Sherman, Frida Kahlo, Judy Chicago, Sonia Delaunay, Guerrilla Girls, Ruth Laxon, Jim Sitton, Med Johnston, David Hockney, Bonnard, Vuillard, Julian Schnabel.

8. What advice would you give to other artists?
First, know that not everyone is going to make a great financial living from their art; it rarely has to do with the quality of the work but myriad variables get between a work of art, and a remunerated work of art.
If you don’t want to be cleaning houses all your life, get another skill that complements doing your work. Lastly, if some limitation won’t allow you to do your work, treat it like an assignment from art school and get it done anyway. Some of my best work came out of those tough circumstances.

Callahan McDonough
The Dream of a common language 2013

Monday, January 27, 2014

Members' Art Exhibit--ROOTS: Underground or in our heads but most certainly, on the wall.

Bryan Seay, Gallery Owner
Blue Mark Studios
892 Jefferson St., NW
Atlanta, GA 30318
" ROOTS: Underground or in our heads but most certainly, on the wall."
Opens February 27, 2014 at Blue Mark Studios
West Midtown Atlanta art gallery, Blue Mark Studios celebrates the winter with the opening of an exhibit featuring the work
of the Women's Caucus For Art of Georgia (WCAGA) Members.
The WCAGA will be presenting its first exhibition together at Blue Mark Studios on Thursday, February 27, 2014 from
7:00pm to 9:00pm in the Blue Mark Studios Gallery. WCAGA members are a dedicated and talented group of women
artists who create with a wide range of medias, portraying many different concepts in their work.
We have our roots in our genetic makeup, in historical stories, in past cultures by evolution and
mutation, by education and experience. This WCAGA members’ exhibit is a sampling of the
many ways one can view this concept.

Exhibiting Artists include: Ginger Birdsey, Jeannine Cook, Karen Cohen, Angie Dachs,
Maggie Davis, Helen DeRamus, Sally Wansboro Eppstein, Jes Belkov Gordon, Gwen Gunter, Lucy
Hale, Linda Hudgins, Dory Ingram, Corlia Kock, Kate Lehman Landishaw, Kathy Meliopoulos,
Barbara Orisich, Marlene Puca, Barbara Rehg, Ann Rhodes, Ann Rowles, Marjett Schille, Ashley
Schick, Edna Lori Shipp, Aviva Stern, Anita Stewart, Patty Weisman.

For additional information about WCAGA, this exhibit or the artists, please visit:

Regular Gallery Hours: Tuesdays & Thursdays from 1:00PM to 7:00PM or by appointment.

About Blue Mark Studios

Blue Mark Studios, with its historic interiors and inspiration-infused atmosphere, is one of Atlanta’s premier artists’ cooperatives, gallery and special event venues. The grand opening celebration held February 21, 2009, allowed resident artists and hundreds of guests to experience an extraordinary Atlanta artist collaboration. Serving as a regional art centre and cultural attraction dedicated to the encouragement of the collaboration of those with different artistic talents; we celebrate artistic excellence in the arts through exhibitions and performances.

Blue Mark Studios hosts many events within its doors, including weddings, receptions, album release parties, movie screenings, corporate events, seminars, classes, fundraisers and personal celebrations of all kinds. At Blue Mark Studios our passion is innovation and creativity.

Wednesday, January 22, 2014

Call For Art--Fine Arts Exhibition 2014, Decatur Arts Festival

May 20-June 8, 2014

Dalton Gallery at Agnes Scott College
Dana Fine Arts Building
141 E. College Ave., Decatur, Georgia 30030 (map)

About the Exhibition

The Decatur Arts Alliance invites artists working in all media to participate in the Fine Arts Exhibition at the 26th Annual Decatur Arts Festival. The exhibition is a juried multimedia presentation that contributes a fresh and unique perspective to the festival every year.
The Decatur Arts Festival draws approximately 60,000 people to downtown Decatur for a celebration of the arts that includes a juried Artists Market, Children’s Festival, New Dance, Literary Arts, Performing Arts Stage, and a Concert on the Square, as well as the Fine Arts Exhibition. This large audience represents a broad spectrum of knowledge and appreciation of the arts, and the Fine Arts Exhibition addresses this spectrum with a diversity of styles and media. Works selected for the show reflect a wide range of artists’ experiences and viewpoints, with excellence as a common thread.


Artists are invited to participate in a juried exhibition of 2-dimensional and 3-dimensional works. Artwork will be chosen from submitted entries by a panel of three jurors on the basis of creative excellence and quality of execution. All works must be original and completed within the last two years. The sponsors are the final authority on eligibility. Works to be hung must be ready for hanging with any necessary hardware in place. Artwork must fit through a standard door.

Opening Reception and Last Call

The opening reception of the Fine Arts Exhibition is Tuesday, May 20, from 5 until 7 pm, in conjunction with the Decatur Business Association monthly meeting. The exhibition closes with the Last Call party on Sunday, June 8, from 4 until 6 pm, which will include selected artists’ talks. We encourage exhibiting artists to attend both of these functions.


Best of Show: $1,000
Gold Award: $700
Silver Award: $500
Purchase awards totaling $2,500 are selected by the City of Decatur, Decatur Business Association, and Decatur Downtown Development Authority for the City of Decatur’s public art collection. Additional purchase awards are being solicited.

Sale of Art

Sales are encouraged. The Decatur Arts Alliance handles all sales and collects a 25% commission on all artwork sold as a result of this exhibition. All artwork for sale must be priced by the artist and so stated in the entry. Please be sure to include the 25% commission for the Decatur Arts Alliance in your price. The 7% Georgia sales tax will be added at the point of sale.
An online catalogue is anticipated. Sales from the Fine Art Exhibition have increased each year and works from the exhibition have been added to private, corporate, and non-profit collections.


Cynthia Farnell is a visual arts professional who brings her broad experience as gallery director, curator, arts writer, teacher, and artist to her diverse projects in visual arts and arts administration. Educated at the Rhode Island School of Design, The International Center of Photography, and Auburn University, she has curated numerous exhibitions from a variety of time periods and cultures and has taught art and humanities courses at the college level. Farnell’s dynamic projects are guided by her recognition of the vital cultural and economic roles of the visual arts in our global communities. She is the gallery director at the Ernest G. Welch School of Art and Design at Georgia State University.
Cinqué Hicks is an art critic based in Atlanta, Georgia. He is senior contributing editor of theInternational Review of African American Art, and during 2012 he served as the interim editor-in-chief of Art Papers. In 2011, he was the founding creative director of Atlanta Art Now and was co-author of its first volume, Noplaceness: Art in a Post-Urban Landscape. From 2008 to 2012, Hicks was an art critic, arts writer, and columnist for Creative Loafing, and he continues to write for a variety of national and international publications including Public Art Review, Art in America,, and Artvoices.
Nick Madden is a visual artist living and working in Decatur, Georgia. He holds a BFA in Drawing and Painting from the University of Georgia and a bachelor’s degree in Art Education from Kennesaw State University. He currently teaches art at Glennwood Elementary in Decatur. Madden’s artwork has been exhibited at Portal Gallery, WonderRoot Art Center, and MINT Gallery in Atlanta. He is a recent recipient of The Creatives Project Artist in Residency program at the Goat Farm in Atlanta, and will be an artist in residence at the Hambidge Center in Spring 2014.

Submission Process


Submitting an entry form to this exhibition through Call for Entries ( constitutes an agreement on the part of the artist with all conditions set forth in this prospectus.No work accepted for the exhibition may be withdrawn before the close of the exhibition. After acceptance, the artist cannot substitute another work for the accepted one or change the sales price.
The Decatur Arts Alliance reserves the right to refuse to install any work that, upon arrival at the Dalton Gallery, differs markedly from the images submitted or that does not, for any reason, meet the exhibitions standards of excellence.
By submitting images of your work, you give permission to the Decatur Arts Alliance to use the images for publicity in the organization’s website, digital publications, press releases, Decatur Arts Festival publications (both print and electronic), and online catalogue of the exhibition.


All reasonable precautions will be taken to ensure protection of submitted work upon receipt. Work will be insured for the duration of the exhibition. No liability can be assumed by the Decatur Arts Alliance during storage or by sponsors or personnel connected to the exhibition for damage incurred or loss of work while in transit. Artists are advised to arrange their own shipping insurance.

How to Enter: CaFÉ

All entries are to be submitted digitally through (CaFÉ). Please retain a copy of the information you provide on the entry form. See Exceptions Below.
If you have not registered previously with CaFÉ, setting up your portfolio is free. There is a $30 charge for entering up to three items in this exhibition, with up to three images per item. After completing the entry information, a credit card number will be required to confirm the entry process.
Please note: a credit card number is required for the first entry. If entering more than one work, artists should follow the instructions during the entry process for additional entries charged to the first payment.
CaFÉ requires that all images conform to a specific format. The Decatur Arts Alliance encourages all entrants to review the instructions and tutorials for formatting images and entering before beginning the actual entry process.
Entries will be active on the CaFÉ website from January 6 through February 21, 2014, and all entries must be completed by midnight MST on February 21.
For technical assistance with your entry, please see, or contact For questions about exhibition guidelines, please
Participants may enter up to three pieces for one fee. Submissions will include the following:
  • Contact information including mailing address, telephone number, email address, and website address (if applicable)
  • Title of each work submitted
  • Brief statement about the work. This may include descriptive material. Limited to 75 words.
  • Up to three images of each work submitted for jurying. If the work is a 2-D work, an overall view and at least one detail are recommended. If the work is a 3-D work, two alternate overall views and one detail are recommended. All submitted images must be formatted to the specifications outlined on the CaFÉ website. ( submitting images of your work, you give permission to the Decatur Arts Alliance to use the images for publicity in the organization’s websites, digital publications, press releases, Decatur Arts Festival publications (both print and electronic), and online catalogue of the exhibition.
  • Image list numbered to correspond to the portfolio images submitted. Please include full photography credits as well as title, dimensions, and description of each work.
  • Presentation/installation requirements for the work submitted including any special fixtures required

How to Enter: CD

Alternately, artists may submit up to three entries on one CD for $45.
  • The CD should be labeled with the artist’s name and the title of each work.
  • Up to three images of each of three works may be submitted for jurying. If the work is a 2-D work, an overall view and at least one detail are recommended. If the work is a 3-D work, two alternate overall views and one detail are recommended. By submitting images of your work, you give permission to the Decatur Arts Alliance to use the images for publicity in the organizations’ websites, digital publications, press releases, Decatur Arts Festival publications (both print and electronic), and an online catalogue of the exhibition.
  • Images should be high resolution in jpeg format and of print quality (up to 300 dpi, no more than 6” on the longest side).
The CD should be accompanied by an MS Word document or a PDF that provides the information listed below.
    • Contact information including mailing address, telephone number, email address, and website address (if applicable)
    • Title of each work submitted
    • Brief statement about the work. This may include descriptive material. Limit to 75 words.
    • Presentation/installation requirements for the work submitted, including any special fixtures required
The CD must be accompanied by a check for $45, payable to the Decatur Arts Alliance. Checks post-dated or returned unpaid by the bank will result in immediate disqualification. No exceptions!
CD entries must be postmarked no later than February 21, 2014, and mailed to Decatur Arts Alliance, P.O. Box 401, Decatur, GA 30031.

Notification and Return of Entries

Notification of acceptance will be by email only, no later than April 1, 2014. Instructions for shipment and retrieval of artwork will follow. Applicants not chosen will also be notified. No phone calls, please.
Images of accepted work will be retained by the Decatur Arts Alliance for archival purposes. The exhibition will hang from May 20 through June 8, 2014, in the Dalton Gallery in the Dana Fine Arts Building on the campus of Agnes Scott College, Decatur, Georgia.