Jerry Cullum

2 months ago | ajc.com | Jerry Cullum

This story was originally published by ArtsATL. Herbert Creecy (1939-2003) remains a Georgia-based painter who has yet to be satisfactorily categorized because of the exuberant diversity of his aesthetic choices. With “Herbert Creecy: Made in Space, Paintings from 1992-2001,” at Johnson Lowe Gallery through April 19, gallery director Donovan Johnson has curated a show that gives us yet another hitherto unnoticed aspect of Creecy’s sprawling oeuvre.

2 months ago | ajc.com | Jerry Cullum

This story was originally published by ArtsATL. “Call and Response,” at the Michael C. Carlos Museum through June 22, is one of the most gorgeous and profound exhibitions you are likely to see this year. Carlos Museum Director Henry Kim is correct when he calls it one of the most important shows the museum has presented. Both edgy and appealing, it gives us new ways of looking at how we approach the museum’s collections and how scholars help visitors make sense of them.

Nov 15, 2024 | ajc.com | Jerry Cullum |Megan O’Neil

“Picture Worlds: Greek, Maya, and Moche Pottery,” at the Michael C. Carlos Museum through Dec. 15, is a visually handsome work of meticulous scholarship that attempts to bridge some of the greatest divisions that museums of art and archaeology confront in terms of addressing ethnically and socially diverse audiences. The exhibition addresses the ways in which three unrelated cultures approached storytelling through pictorial imagery on terra-cotta vessels.

Aug 13, 2024 | ajc.com | Jerry Cullum

This story was originally published by ArtsATL. Two very different exhibitions currently on view demonstrate how in visual art — to modify a no longer popular saying — what you see is not necessarily what you get. “Invisible Forces,” at Johnson Lowe Gallery through Sept.

Jul 31, 2024 | ajc.com | Jerry Cullum

This story was originally published by ArtsATL. Some art galleries present exhibitions for years in highly visible locations and yet remain little known and effectively invisible. Gallery 100 has flourished in an iconic downtown building with no signage and only modest publicity. Meanwhile, 3rd Rail Gallery is the newest iteration of the visual art component of a music and multimedia space similarly operating sans signage since 1997 in Emory Village.