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The article discusses the highlights of the conference, Southern Experiment: A Critics Forum, held in Atlanta, Georgia in 1985. Atlanta Art Papers Inc. organized the conference to generate critical dialogue among artists, critics and the public about Southeastern art. Some of the critics invited to discuss the role of criticism in American art include Martha Rosler, Virginia Rembert and Margaret Miller.

The author discusses the historical public art collection of the Georgia State Capitol. He relates that former Georgia Governor Carl Sanders wanted the bronze bust of himself to be displayed at the Capitol but an amendment to the public art legislation of the state denied his request. He considers the sculpture "Expelled Because of Color," by John Riddle, which aims to honor the departed African American citizens of Georgia who suffered bondage and oppression as the most interesting work of art in the lawn facing Capitol Avenue.

An interview with Ruby Lerner, executive director of IMAGE Film/Video Center in Atlanta, Georgia, and Cheryl Chisholm, director of the Atlanta Third World Film Festival, is presented. Lerner talks about the possibilities of developing an audience for serious film or video in Atlanta, Georgia. She also discusses her plan for IMAGE during late 1989 and 1990. Chisholm presents the planned programs for the Atlanta Third World Film Festival.

The article presents a speech by artist and poet J. W. Cullum delivered at Small Press Bookshop in Atlanta, Georgia, in which he discussed his life as a poet and his poetry, another on the question of art and the spiritual, and a model of the decline of oral tradition from everyday life in the midst of postmodernism.

The article examines the problems facing the Mattress Factory Group in Atlanta, Georgia. One of the issues facing the group is questions about the value of the annual Great Mattress Factory Show to artists due in part to its carnival atmosphere. It points out that the ad hoc nature of the decision making process is contrary to the reputation and visibility of the group and the event. Also noted are the drawbacks of transforming the group into a stable organization.

The article discusses the highlights of a symposium organized by the 20th Century Art Society and the Ad Hoc Collections Committee of the High Museum of Art titled "To Have and Have Not: Who's Supporting the Arts Today." The symposium dealt with issues confronting the arts community of Atlanta, Georgia such as limited government support, how artists can be viable in areas where patronage is limited and whether museums can be an advocate in the community. Panelists in the symposium were chosen for their professional experiences and track records.

The article compares the 1987 Atlanta Biennale exhibition at the Whitney Museum of American Art and at the Nexus Contemporary Art Center in Atlanta, Georgia. It notes that while trying to limit participants the Whitney exhibit maintained the true spirit of the survey show while the Nexus show created a limited exhibited despite efforts to provide diversity. It also discusses the differences and similarities in the curators' vision for the show and their selection of artists.

The article describes the Pura Visibilisimo project of Professor Bahram Shirdel's students at the College of Architecture of Georgia Institute of Technology. The project deals with the science of imagination and may be described according to the seven principle operators that include ontological new, Daedalus compass, form of thought and transformation. Related photographs are provided.

The article focuses on the life and works of architect Philip Trammell Shutze. Shutze was born in Columbus, Georgia in 1890, graduated at the Georgia School of Technology in 1912 and became a partner at Hentz, Adler and Shutze in 1926. It notes that Shutze's works are influenced by modernism and he has inclinations towards the Italian Baroque. Photographs of some of Shutze's works, including the Goodrum House and the Ben Smith House on Paces Ferry Road in Atlanta, Georgia, are provided.

The article discusses the works of Mack Scogin, an architect based in Atlanta, Georgia. It describes Scogin as a Southern architect who does not create Southern architecture but his works are influenced by the subtle forces that comes with being born in the South. Scogin describes his designs as present-centered with no idea how they will be received by later generations. Several examples of Scogin's designs are provided, including the Buckhead and Clayton County libraries and the bridge for the Landmarks Group at Concourse.

The article discusses the highlights of Atlanta's Visual Art Scene and the Press: An Open Forum sponsored by the Atlanta-Fulton County Ad Hoc Committee for the Arts, which centers on the cultural maturity of the City of Atlanta in Georgia. Topics include group art exhibitions, the limited resources of newspapers and how art can help magazines do their work. The forum featured several magazine editors including Erika Archibald, Chris Jennewein and Xenia Zed.

The author reflects on the Southern GF (SGF) design competition for students of architecture at the Georgia Institute of Technology in Atlanta. She explains that its purpose is to reward quality of thought in an architectural dialogue and mentions that defining architecture is at the heart of the SGF conflict. A selection of letters, studio treatises, and emotional responses to the 1985 SGF competition is presented.

An interview with Peter Morrin, curator of 20th Century Art at the High Museum of Art in Atlanta, Georgia, is presented. He shares that folk art has collectors who appreciate it strictly in visual terms while it also has anthropologists who see it as an expression of communal values. He explains that artists such as Susan Loftin, Don Cooper, and Ed Moulthrop has New York representation in some cases. Morrin believes his sense of curatorship involves a great deal of sublimation of one's personal tastes and desires.

The article provides an outlook for Nexus Press, a small artists' presses in Atlanta, Georgia. The company was founded in 1977 when Nexus became more ambitious with its gallery shows. Nexus was able to purchase a Hamada Star 700 DX press through the help of several grants including one from the National Endowment for the Arts. Artists' books became the ideal learning tool when director Michael Goodman began teaching color-offset printing workshops at the Press.

The article presents a lecture by architect Carol Rusche delivered to the Architecture Society of Atlanta in Georgia in April 1985, in which she discussed the role of historical continuity in the modern Italian history, relation between the 1920s and 1930s contemporary architecture and Italian heritage, and Italian modernism.

The article discusses the highlights of the conference, Southern Experiment: A Critics Forum, held in Atlanta, Georgia in 1985. Several critics such as Virginia Rembert and Christopher Knight discussed the function of art criticism. The function of the artist at the critic was discussed by several panelists including Laura Lieberman and Martha Rosler.

The article describes the photography collection of photographer Lucinda Bunnen. The collection was reportedly started in the spring of 1981 when Bunnen decided to use her money to expand the existing collection at the High Museum in Atlanta, Georgia. Bunnen relates that her goal was to obtain images that extended the parameters of photography. The author shares that the collection of Bunnen was made to examine the subjective third world of photography.

This section offers news briefs related to art as of July 1983. The National Endowment for the Arts has awarded ten grants totalling 149,580 U.S. dollars to Southern visual artist groups, including the Artist Alliance in Tampa, Florida and Contemporary Arts Center in New Orleans, Louisiana. Governor Joe Frank Harris has named seven new members to the Georgia Council for the Arts. The Georgia Volunteer Accountants for the Arts was established in Atlanta.

An essay is presented on the art works included in the "Out of the South" exhibition in Heath Gallery in Atlanta, Georgia from October 5-9, 1982. It relates that the exhibition contains an integrating concept that can be connected through the different works of the featured artists. It adds that it can be summarized as contemporary American abstraction. The author believes that one of the featured artists Kenneth Noland, is attempting to establish a Mondrian concept in his works.

The article discusses the highlights of a panel discussion during the symposium "Regional Influences on Contemporary and Traditional Crafts," hosted by the 1981 Arts Festival of Atlanta in Georgia. The panel discussion was initiated by curator Lloyd Herman who believes that regionalism does not exist because there is an exchange of talent around the country through traveling workshops and summer school programs. Artist Donna Polseno thinks that teachers and education strongly influence arts and crafts.

An interview with visual artist Vito Acconci is presented. When asked about how he ended up doing a piece for the Art Workers Coalition in Atlanta, Georgia, Acconci shares his experience of agreeing to the Coalition's president Dan Talley. He mentions how he was able to work with the limitations of the Coalition space, and explains the mechanics of his piece, "Instant Decor." He also stresses that he wanted to influence the viewer.

The article offers a look at the teaching method being used at the Atlanta School in Georgia. Founders Joy Ward and H. P. Wellborn believe that teachers must get to know their students in order to ensure the effectiveness of teaching. Teachers must reportedly have artistic visions to assist their students in identifying their own artistic visions.

An interview with artist Beathe Terfloth is presented. Terfloth comments on her wall paintings, influences, materials, artistic style and creative process. She also shares her views about sketching in the open space and the response of audience to her works. She also notes her experiences in Atlanta, Georgia while doing and presenting her "Room Drawing/Atlanta" at Nexus Contemporary Art Center Gallery as part of the "Salute to Berlin" sponsored by Goethe Institut.

Several letters to the editor are presented in response to articles in previous issues, including Steven Evans' review of the 1987 Atlanta Biennale in Georgia in the May 1987 issue, views on the works of postmodern artist Barbara Kruger displayed at the Rich Auditorium of the Memorial Arts Centers on May 10, 1987 and a response by Kevin Hamilton to a review of his works comparing them to those of Keith Haring and Roy Lichtenstein.

The article discusses the style and influences of Atlanta, Georgia-based architect Philip Trammell Shutze. It notes that his education developed within the American tradition of the French Beaux-Arts being educated at the Georgia School of Technology's School of Architecture. The article also explains that Shutze's design has shifted from an architecture based on concepts to one based on images and he was influenced by an architectural theory that resulted from the fusion of stones or "res" and expressions or "verba."

The article focuses on the advantages and disadvantages of nonprofit art organizations as showed by the Nexus Contemporary Art Center in Atlanta, Georgia. It says that Nexus has become a more complex organization, which started to grow with the issue of institutionalization as an inevitable factor behind it. According to the author, no one can deny the very important role played by the artists' organizations of the late 1960s and 1970s in supporting artists in the U.S. The role of the National Association of Artists' Organizations is also discussed.

The author focuses on the life of Saint EOM, who was born Eddie Owens Matin, and his fantasy world, Pasaquan. It states that before he took his own life, he spent 30 years building the Pasaquan. The article explains how Saint EOM's works reflect his visions, the life he led in seclusion, and influences of African and American Indian art forms. It also presents details on the life of Saint EOM from birth to the time he went to New York and until the time he established his own religion and went back to Georgia for his inheritance.

This section offers news briefs on the arts community in Atlanta, Georgia as of March 1986. The High Museum at Georgia-Pacific Center has opened and Fulton County Arts Council is providing operating funds. The Design Arts Program of the National Endowment for the Arts has announced that its theme for 1987 will be the design of cities, focusing on specific design components within the urban environment. The Visual Arts Program of the National Endowment for the Arts awarded grants totaling 2.7 million U.S. dollars to artists for fiscal 1985.

The article offers information on several upcoming exhibitions including college collections of American painting at the North Carolina Museum of Art on December 14, 1985, "Selections From the Bequest of Nancy Hanks" at the Madison-Morgan Cultural Center in Georgia on November 29, 1985, and "20th Century American Drawings" at the Jacksonville Art Museum in Florida on November 14, 1985.

The article assesses the appropriateness of holding the Atlanta Biennale art exhibit at the Nexus Gallery in Atlanta, Georgia. Observation shows the existence of contradictory concerns placed side-by-side such as political and social commentary, autobiographical and humorous art works. Also observed was the contrast of an enthusiasm with material form to a disguised content such as in Denise Tombro's "Dream Nightmare" installation and the "Print for Bilateral Symmetry," by Paul Higgins. The issue of privacy was also prevalent in many of the works.

The article offers a background of the revisionist history of the Arts Festival of Atlanta in Georgia from 1953 to 1984. The Arts Festival began as a clothesline art sale in 1953 and later on became the Peidmont Arts Festival. Social and political climates became apparent at festival by the late 1960s and in 1973, artists and festival officers disputed over the issue of censorship. Artists had the chance to participate in the festival with the funding from the U.S. Bureau of Cultural Affairs followed by the emergence of an American business mentality.

Excerpts from the statements submitted with the artists' proposals for on-site sculpture installations to the 1984 Arts Festival of Atlanta in Georgia are presented.

An interview with Peter Eisenman is presented. He noted that the theme of the architectural competition for the Arts Festival of Atlanta is a good one but the idea of a monument to southern memories is better than a tower. A memory for the monument would have more tombs which he says is more appropriate. When asked if he still believes in what he wrote in his article in 1963 that utilitarian function produces a specific form while symbolic function produces generic form he replies that the statement was too proscriptive, limiting and productive.

This section offers news briefs on the art industry. "Artspace Southeast" a regional conference mandated by the National Association of Artists' Organizations (NAAO), is to be held on January 29-30, 1983 in Atlanta, Georgia. National Endowment for the Arts (NEA) chairman Frank Hodsoll was in Atlanta for two days last October for the Southern Arts Exchange conference. The NEA and the American Film Institute launched the Regional Fellowship Program in Media Arts.

This section offers U.S. news briefs. The winners of the National Endowment for the Artist regional competition included Robert D. Brady and Mark Grote. The exhibition of "The Dinner Party" will be held from July 25 to October 3, 1982 in Atlanta, Georgia. A 20,000-U.S.-dollars annual fellowship for a doctoral dissertation in the field of European or American Art has been established by the Art Dealers Association of America.

An interview with artist Sam Gilliam is presented. According to him, his exhibition at the Nexus gallery in Atlanta, Georgia existed as a series of individual works in both black and red. He said that he has a plan or measurements for the gallery while he worked even before they had closed off the two windows at the opposite end. According to him, he was very satisfied with how the exhibit worked at Nexus.

The article describes the eight portraits included in the Swan House collection of the Atlanta Historical Society in Atlanta, Georgia. It discusses the portrait of Robert Spencer, Viscount of Teviot dated 1628-1694 which became the portraiture standard in England in the seventeenth century and a bust portrait of James Craggs, Sr. It also details the other artworks found in the house, including portraits of Philip and Mary Yorke, Constance and Charlotte Yorke, and a three-quarter length Portrait of a Gentleman.

The article focuses on the yearly sites works program held in conjunction with and sponsored by the Arts Festival of Atlanta in Piedmont Park. According to the author, the Arts Festival is a ten day event that has evolved from a Buckhead backyard gathering into a lively and colorful event that showcases over 800 visual artists and craftsmen as well as theater, music, and dance performances.

The article reviews two art exhibitions including one featuring sculpture and paintings by artist Linda Mitchell at the Callanwolde Fine Art Center in Atlanta, Georgia from August 2 to 30, 1991 and "12 Saints and 2000 Years Later" at the Exhibit A Gallery from August 9 to 24, 1991 and reviews the book "If You Sleep On Your Other Side It Will Go Away," by Pattie Belle Hastings.

The article offers information on the 38th Arts Festival of Atlanta to be held in Piedmont Park in Atlanta, Georgia from September 14 to 22, 1991.

The article reviews the exhibition "General Idea" at the Hillman Holland Gallery in Atlanta, Georgia from January 15 to February 23, 1989.

The article provides information on the history of the Hambidge Center for Creative Arts and Sciences in Rabun Gap, Georgia.

The article presents highlights of the annual trade show held by the Association of Computing Machines Special Interest Group on Computer Graphics (ACM SIGGRAPH) at the Georgia World Congress Center in Atlanta, Georgia from August 1-5, 1988. The installation "Plasm: A Nano Sample" by Rob Myers, Peter Broadwell, and Eva Manolis was featured in the art show. Maurice Clifford displayed Tikal, a stereoscopic piece wherein the viewer peers through a periscope, seeing a videotaped image of ruins and a computer-generated abstract shape.

The article describes the Electronic Music Plus Festival which was held in Atlanta, Georgia from April 21 to 23, 1988, as a performance which meshed both music and images. Electronic music, as shown in the festival is considered an integration of sounds and images, two media which are normally considered as independent from each other. It is argued that one drawback of the festival was the lack of interactive performances. Performances at the festival include "A Night in the Royal Ontario Museum" by Nancy Van de Vate.

The article presents an appreciation of the art collection of the Arnall Golden & Gregory law firm in Atlanta, Georgia. The collection was organized in 2005 by members of the firm together with Peter Morrin, curator of the High Museum. It is focused on 20th century photographs, contemporary prints and cultural artifacts. The collection is exhibited at the firm's two offices in Atlanta.

The author discusses the contribution of the IBM Tower, owned by Philip Johnson, to the civic religion in Atlanta, Georgia, as well as in reshaping the city's skyline. He cites that the tower seems to be inspired by the Gothic cathedrals in Europe. He claims that the tower rival the Episcopal Cathedral of St. John the Divine in New York and the Shrine of the Immaculate Conception in Atlanta, Georgia.