This article explores the artistic journey of the American artist Bob Landström, the development of his creative vocabulary, his project-minded approach, and the profound connection he has with his chosen medium: crushed, pigmented volcanic rock.

Art critic Kimberly Drew surveys the first-of-its-kind period room that presents an imagined Black home in New York City.

Times are changing for the better. We visit with Alan Avery to talk about some very difficult but necessary topics involving race and how art can act as a bridge.

“Before Yesterday We Could Fly,” a novel approach to the period room, threads together past, present and future. It focuses on Seneca Village, a Black community whose erasure still reverberates.

Bob Landström, an Atlanta-based visual artist, explores his interests in the metaphysical from a terrestrial perspective.

With a new variation on the theme, the Met is trying a different approach. Rather than conjure what was (or some version of it, anyway), “Before Yesterday We Could Fly: An Afrofuturist Period Room,” opening to the public this week, asks what if.

The room, which brings together contemporary art and historic works that evoke Seneca Village, is a vision of loss, hope, and imagination.

The works in Ghost Meadows include loose, abstract flowers that drift and scatter through a piece's multiple panels, unbound from the confines of time and place.

The visuals of his pieces rely heavily on the unmistakable texture and pigment duo that are truly his own. As a world traveler, creating a great deal of work abroad, his work incorporates a great deal off universally understood iconography.

One day, Logan pressed the wrong button in the elevator of the building the gallery was in, only to make an inspiring discovery.

"In Atlanta, I am represented by Alan Avery Art Company. I have known Alan for 30 years, and we have a relationship based on mutual respect and honesty."

The Beinecke Library is delighted to announce its acquisition of Rewriting History by Fabiola Jean-Louis; the series of 12 photographic prints document Jean-Louis’s wearable paper sculptures in tableaus devised by the artist. 

Bob Landström is an artist who primarily works with crushed, pigmented volcanic rock. His abstract paintings, with their highly granulated texture and color combinations, only achieved through such a medium, reconsider our relationship with meaning by eliciting the iconography of ancient languages, science, religions, and mysticism. 

As the main medium of his paintings—crushed volcanic rock—is derived from the core of our planet, Bob Landstrom’s body of work is also an attempt to tap into the core of the human experience. 

I’ve always well, for a long time, had sort of a focus on metaphysics, you know, and some kind of exploring our place in the universe from being a human being that sort of thing. So the things I was painting had that kind of context and that sort of subject matter for a long time.

Bob Landström è un artista astratto americano che realizza dipinti fatti interamente con rocce vulcaniche pigmentate frantumate in minuscoli pezzetti. 

This curated online group show, “Dress Codes: Black and Brown Women Artists Fashioning Identity,” explores and reveals the myriad ways Black, Black Latinx, and Indigenous womxn flex our style sensibilities. 

“This work goes beyond purposeful elegance, nautical maps or fishing objects; it’s external views of landscape, views of the internal wilderness,” says Atlanta artist Michi Meko, whose expressive paintings serve as a means of personal wayfinding within an oft-unwelcoming culture.

Meaningful materials give the newly-built family getaway a passed-down-through-generations feel.

Black creatives have long been influencing American art, design, and culture with their talent, ingenuity, and unique perspectives. Unfortunately, so many Black artists, architects, and designers have been silenced or exploited because of the color of their skin for most—or even the entirety—of their careers. 

 From intimate and finely detailed works in blue or red pencil on Mylar polyester film to self-portraits in graphite and large-scale pieces in pastel, Logan’s hyper-realist style combines his fascination with the beauty of the Baroque and the business of botany, with environmentalism, ecology and the ephemeral nature of personal experience.

"I was fascinated by everything around me and have always felt an intrinsic connection to the natural world"

Atlanta-based, South Korean-born artist Jiha Moon’s paintings look like contained explosions, the world blown to smithereens.

Located in the Miami Circle design district home to restaurants and a variety of design shops, the blue chip Alan Avery Art Company features nationally and internationally known artists in a handsome space.

The Hudgens Center for Art & Learning has announced the four finalists for the 2019 Hudgens Prize: Benae Beamon, Paul Stephen Benjamin, Darien Arikoski-Johnson and Michi Meko.

“Identity is a mutation,” says Korean-born, Atlanta-based artist Jiha Moon. “It’s a hybrid of two to three things. Like if you’re foreign, a woman and a person of color, those characteristics bond together to create something else. That new creature, that’s what I’m interested in.”

Kevin T. Kelly has created a new body of paintings for this exhibition at Alan Avery Art Company in Atlanta, and they are his most complex, his most biting, his most urgent in his long career as one of this country’s foremost painters.

Kevin T. Kelly's paintings are a wry, complex admixture of sardonic social commentary, the six o'clock news and the Sunday funnies. 

Fabiola Jean-Louis has always thought of herself as a time traveler. Because she conceives of the artist’s job as responding to and shaping reality, she cultivates an historian’s obsession with the way that narratives are told, and the way that telling the past constructs the present. 

From my earliest memories I knew I wanted to be an artist of some kind…I never questioned it, and rarely saw myself growing into anything else. 

"My work is an ongoing diary of time, my life, places, memories, adventures, emotions, hopes and dreams."

The bustling, bright-hued art in “Double Welcome, Most Everyone's Mad Here” is as lively as a stroll through Seoul or Hong Kong, keeping one eye ...

Superior execution and ingenuity in the graphic design of museum publications are recognized through the Museum Publications Design Competition, the only national juried competition of its kind.

In “Rewriting History: Paper Gowns & Photography,” her exhibit currently on display at the DuSable Museum of African American History, artist Fabiola Jean-Louis juxtaposes beauty and brutality in her mixed-media exploration of racial struggles during various periods of American history as well as contemporary America.

Jean-Louis subverts chattel slavery, black cruelty and female European nobility by dressing black and brown women in period clothing. 

 It’s me playing a lot with a material, trying to understand what it can do. It’s trying to find results that I like . . . 

Matt Richburg enlisted designer Kate Hayes to work on his Brookwood condo. “My favorite wall has the Hermès wallpaper with the gorgeous landscape and Modernist pieces on it,” says Hayes. “To balance the midcentury, we played up the French influence, antiques, and texture.”

Atlanta has a creative spirit which likes to reveal itself in unexpected ways.

The finalists for the 2017 Atlanta Artadia Awards have been announced. The selected artists are: Clark Ashton, Michi Meko, Masud Ashley Olufani, Charlina Rose-Renaye Smith and Tori Tinsley.

Her work speaks to the shocking treatment of Black people throughout history, yet it is also filled with a vision of hope, resilience, and justice for the future.

The business of being an artist and working with galleries Alan K. Avery, owner Alan Avery Art Company

After 35 years in the art business, Alan Avery might have read it as a sign that it was time to hang it up when he was wildly outbid for the low-rise building his gallery has occupied for more than two and a half decades in the heart of Buckhead on East Paces Ferry.

But Avery was undeterred. He announced this week that Alan Avery Art Company, one of the city’s longest-running private galleries, is moving just a mile away, to Miami Circle.