OCTOBER 2019 – January 2020
“Here is an autopsy of my life as a twentieth century woman and an artist; a body of evidence of what I have witnessed and translated, then built through my soul’s perception.” — Karen Swenholt
Karen Swenholt is a figurative sculptor who lives and works in Northern Virginia. Influences from the West Coast’s Bay Area Figurative Movement combine with the emotional power of abstract expressionism from her East Coast studies and origins to form the foundation of Swenholt’s work today.
Altars of Reconciliation
June – August 2020
Native American Christians are often accused of being assimilated or “colonized.” Yet it’s not that simple—especially for the Cherokee, Chickasaw, Choctaw, Muscogee, and Seminole people of the Southeastern United States who used to be labeled “civilized.”
The installations in Altars of Reconciliation express diverse, individual faith experiences of three Southeastern Native artists. Each “altar” depicts ongoing personal reconciliation between the artist and God, with awareness of the complex history of Christianity among Southeastern tribes and the mystery of faith that transcends it.
—Contributing scholar Stacy Fife Pratt, PhD, Muscogee (Creek)
Matthew Doll, Debris
Night, Desert, Garden at Still Point
JULY – SEPTEMBER 2019
Night, Desert, Garden. Each of these represent broad geographic categories. They are landscapes of possibility, places of refuge and exile, distances to be crossed out of necessity or desire. They are places of beauty and hostility, zones of accessibility and fragility. These paintings were made in a wide context between Jerusalem and Rome, cities celebrated and burdened by their own identities. They include passages that speak peace against the abuse of power, and scenes of impossible areas of trespass.
Using loaded place-names and figures, such as Europa, Golan, Caesar, and Leper as a way to invite existing associations for the viewer, the work resides in a tension of familiarity, conceptualized to be in dialogue with the places we live and how we share our relationship to it. In the diverse language of making, painting offers distinct boundaries of perception which negotiate distances from events or places with singularity. If the work succeeds in drawing alongside these emphases, it may aid in framing a vision that is empathetic and compassionate, one which prioritizes solidarity in a moment of increasing division.
Matthew Doll is an American painter and graphic designer based in Orvieto, Italy. Night, Desert, Garden was created in a wide context between Jerusalem and Rome, cities celebrated and burdened by their own identities. This solo exhibition explores charged spaces, landscapes of beauty and hostility, including passages that speak peace against the abuse of power, and scenes of impossible areas of trespass. Using loaded place-names and figures, Doll invites dialogue with the places we live and how we share our relationship to it.
March – July 2019
Marc Chagall and the Sacred brings together the spirituality and imagination of one of the twentieth century’s most beloved artists. With wit and joy, the art of Marc Chagall is filled with reoccurring symbols of his own visual memory, childhood fantasy, and Jewish heritage. “Art seems to me to be a state of soul more than anything else,” he wrote. This exhibition includes luminous interpretations of some of his most favorite sacred stories, including original etchings and lithographs from his 1956 and 1960 Bible series. With the sophisticated artistry of a master printmaker, each work is a delightful and colorful interpretation that lets the viewer enter the sacred world of Marc Chagall.
Marc Chagall (1877-1985) was a Russian-French artist born in a Lithuanian Jewish Hassidic family near the city of Vitebsk. Chagall is known for his creative work in nearly every artistic format, including stained glass created for cathedrals of Reims, the UN, the Art Institute of Chicago, and the Jerusalem Windows in Israel, in as much as the media of painting, illustration, ceramics, stage sets, tapestries, and fine art printmaking. The landscape of his childhood and the sacred imagination afforded by his Jewish roots made their way into everything Chagall created. An early modernist, Chagall saw the sacred stories of the Law and the Prophets as the greatest source of poetry of all time. “The Bible is like an echo of nature and the secret I have tried to transmit.” With childlike dreams and interrogation, the art of Chagall invites viewers to see the real in the fantastic, the sacred in the story, and the color in life itself.
Marc Chagall, Moses II
Craig Hawkins, Dear Rekha
November – February 2019
Witnessing to remarkable beauty in the face of suffering.
CRAIG HAWKINS | ELIZABETH JONES
Beautiful is a collaborative exhibition featuring photography by Elizabeth Jones and painting by artist Craig Hawkins. With portraiture in multiple media, the intent of this exhibition is to witness to remarkable beauty in the face of suffering. The work captures the faces of women in India who have suffered from painful burns.
Still Point partnered with humanitarian aid organization Wellspring International to honor these remarkable women through art. A full color book of photography and limited-edition prints signed by artist Craig Hawkins also accompany also accompany the exhibit. One hundred percent of the proceeds from sales and donations pledged throughout the duration of the exhibit will be designated toward the building of a new surgical burn and treatment center in India.
Identity at Arm’s Length
July – October 2018
A group exhibition featuring Atlanta artists engaging themes of identity in their work. Artists include Antonio Darden, Haylee Anne, William Massey, Angela Davis Johnson, Michael Dillon, Jessica Caldas, Matthew Phillips, Danielle Deadwyler, JOEKINGATL, Angela Bortone, Hasani Sahlehe, Jen DePlour , Sara Zimmerman, Evan Jones, Craig Hawkins, and Rose Smith.
Georges Rouault (1871-1958) occupies a unique place amongst twentieth century artists. A contemporary of Cubism, Expressionism, and Fauvism, he never aspired to belong to any one of these movements. Often categorized as a religious painter, he was, above all, independent. He did not find his inspiration in an abstract way, but rather in observing real life as much as the highest form of spirituality. Georges Rouault was a painter who did not need religious subjects in order for his work to be stamped with the characteristics of holiness.