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High Museum Opens to Members and Frontline Workers



High Museum

The High Museum of Art will reopen to members and frontline workers free of charge with valid ID from Tuesday, July 7 through Friday, July 17. The Museum will reopen to the general public on Saturday, July 18.

The High Museum of Art staff has worked tirelessly during this time to find safe and accessible solutions for reopening, following local, regional and federal recommendations. They will continue to monitor the evolving COVID-19 situation and on June 23 will share a comprehensive plan outlining the new health and safety measures they will be implementing to responsibly open the Museum and provide a safe and welcoming environment for members, visitors and staff.

Exhibitions on view when the High opens on July 7 include Paa Joe: Gates of No ReturnThe Plot Thickens: Storytelling in European Print Series and Pioneers, Influencers, and Rising Voices: Women in the Collection.

The Museum will reopen with revised hours to accommodate necessary sanitation protocols. The updated hours of operation are:

  • Tuesday, 10 a.m.–5 p.m.
  • Wednesday, 10 a.m.–5 p.m.
  • Thursday, 10 a.m.–5 p.m.
  • Friday, 10 a.m.–5 p.m.
  • Saturday, 10 a.m.–5 p.m.
  • Sunday, 12 noon–5 p.m.

For continued updates on the High’s reopening procedures and online ticketing, visit  high.org/tickets/.

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Around Atlanta

Faith in New Ways: Connecting to churches and other faith groups



Mary Our Queen Catholic Church had a successful drive-through food drive on May 10.

*Check church and religious organization websites for most up to date worship and gathering times, as they are subject to change.

In the aftermath of COVID-19, churches and faith groups have been understandably scattered. Here’s how some local religious organizations are keeping the body of faith together.

Beth Shalom

The synagogue offers Friday Night Shabbat Services starting at 6:30 p.m. Shabbat Morning Services are streamed Saturdays at 10:30 a.m. Sunday Morning Minyan will be via Zoom link on the Beth Shalom website, bethshalom.net. An electronic version of the siddur (prayer book) is also available online.

Christ the King Lutheran Church

Christ the King Lutheran Church (CtK) currently offers two modified in-person worship services, 8:45 a.m. and 11:15 a.m. on Sundays. Both services are the same format, a Lutheran liturgy and a mix of musical styles. CtK plans to return to offering both traditional and contemporary service formats after the COVID-19 crisis. A face mask is required. Please bring one. A limited number will be available.
Social distancing is required. Only specific places in specific pews will be available. Worshipers will be limited to 50 per service, with online registration required through ctklutheran.org. The sanctuary will be cleaned between services.

Corners Church of Christ

Due to the COVID-19 outbreak, Corners Church of Christ’s services are online at the Worship page on their website, cornerschurch.org. They start Sunday services at 10 a.m. They are making plans to have an outdoor or limited service soon once it becomes appropriate.

Landmark Church

Landmark Church has multiple times a week to connect virtually with fellow church members. Wednesday Evening Bible Study via Zoom starts at 7:00 p.m. Intercessory prayer meetings are held at 6:30 a.m. on Friday mornings. Sunday morning services are broadcast at 10:30 a.m. from the sanctuary. Zoom login information is available on the Landmark Church website, landmarkchurch.org.

Mary Our Queen Catholic Church (MOQ)

The current mass schedule is limited capacity. The church is considered in a time of Dispensation until at least August 1. This indicates a needed deviation from strict religious law practices as allowed in times of emergency or other specific circumstances. MOQ offers two main ways to attend mass.

  1. Livestream mass if a patron chooses or needs to remain at home due to health concerns or illness.
  2. Attend in-person mass, either on the weekend or during the week, following the listed requirements:
  • Wear a face mask at all times on parish campus for mass for ages 2+
  • Maintain 6 feet of social distancing
  • Follow communion procedures,
  • Use hand sanitizer and
  • Arrive 30 minutes early, as parishioners are ushered in and out of their pews one at a time.

The mass schedule is listed as Monday at 12 p.m., a Tuesday Communion Service, Wednesday through Friday at 12 p.m., Saturday Vigil at 5 p.m., and Sunday at 8:30 a.m. and 11 a.m. The 8:30 a.m. service is now being held outdoors, and unlike other services, a face mask is not required. Details are at maryourqueen.com.

Mount Carmel United Methodist

Mount Carmel United Methodist is in the process of trying to reopen on-site services, with a 25-person capacity. Until then, they are offering online worship at mtcarmel-umc.org, Bible study via Zoom and Children’s messages via email and Facebook. Their Counseling Center is offering one-on-one video sessions.

Peachtree Corners Baptist Church (PCBC)

Peachtree Corners Baptist Church hosted several blood drives to benefit the American Red Cross; the most recent was July 21-23.

Like many cautious churches, PCBC has been reopening in phases, seeing how things change and develop. On-campus worship resumed July 5, without childcare or other age-related activities. Seats for on-campus worship can be reserved at pcbchurch.org; online worship experiences are also available.
On August 9, PCBC will expand their on-campus ministries. On Sunday mornings at 9:30 a.m., they will open up the nursery, preschool, and the Kids service called Collide. The student ministry will meet on Sunday nights from 5:30-7:00 p.m. for Elevate and Life Groups.

Peachtree Corners Presbyterian Church

This church is open for both corporate and online worship at pcarpchurch.org. Corporate worship is on Sundays at 10:45 a.m. Facemasks are highly recommended but not required. However, those not wearing masks are asked to refrain from singing during on-site worship. Those who chose to sing should wear face coverings that cover both the nose and the mouth.

As more data has become available, the church has decided to block off more front rows to help reduce the spread of potential germs from the person at the pulpit.

Perimeter Church

Perimeter Church offers many points of connection. Services are held in person and online at 9 a.m. and 10:45 a.m. Reservations are required for in-person service. Alternatively, view service is available through perimeter.org, the Perimeter Church app, Facebook or YouTube.

They also have an app on AppleTV — just search “Perimeter Church” on the device. Worship resources for kids are available on the Perimeter website, including the new KidsQuest Online that can be streamed on demand on Sundays and throughout the week.

Simpsonwood United Methodist Church

On July 5, Simpsonwood UMC held an outdoor service, but has since gone back to virtual services until further notice.

Simpsonwood UMC is following the North Georgia Conference of the UMC in its edicts regarding COVID-19 preparedness. The North Georgia conference has different guidance depending on the current risk level of a church’s county. Gwinnett County is designated at Red, which means no in-person gatherings and staff working remotely.

Simpsonwood has previously held outdoor services on July 5, but will suspend those until it is appropriate to resume. Virtual worship is held at 10 a.m. on Sundays, followed by GrowGroup bible study at 10:45 a.m. Mission work and drive thru food collection is being conducted as needed. Stay connected at simpsonwoodumc.org.

Unity Atlanta Church

Unity Atlanta Church is remaining virtual for the time being. Sunday services are at 11 a.m. on live stream. Wednesday night services are on virtual platforms as well. See their calendar at unityatl.org for more information.

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Around Atlanta

High Museum of Art to present major Julie Mehretu Exhibition this fall



Monir Shahroudy Farmanfarmaian (Iranian, 1924–2019), Untitled (Muquarnas), 2012, mirror, reverse-glass painting, plaster on wood. High Museum of Art, purchase with funds from the Farideh & Al Azadi Foundation, 2019. 174. © Monir Shahroudy Farmanfarmaian

The first-ever comprehensive survey of Mehretu’s career covers two decades of the artist’s work and features many of her monumental paintings.

This fall, the High Museum will present “Julie Mehretu”(Oct. 24, 2020-Jan. 31, 2021), a major traveling exhibition of work by Julie Mehretu (born 1970, Addis Ababa, Ethiopia) co-organized by the Los Angeles County Museum of Art (LACMA) and the Whitney Museum of American Art. This is the first comprehensive survey of the artist’s career, covering more than two decades of her work, from 1996 to the present, and uniting nearly 40 drawings and prints and 35 paintings predominantly monumental in size and scale. 

Mehretu’s work bears witness to the shaping of human consciousness through the combination and reconfiguration of sources and images that address history and its intersection with the present. Her process involves compiling a vast and diverse archive of sources, including diagrams and maps, cave markings, Chinese calligraphy, architectural renderings, graffiti, photojournalism and texts. The exhibition also reveals the centrality of drawing in Mehretu’s artistic practice, from her diminutive drawings made in the 1990s to her monumental paintings of the 2000s, and explores the abiding influences of indexing, diagramming, and mapping as well as their techniques, aesthetics, and ideologies.  

Mehretu’s work of the past decade draws from present-day images of natural disasters, human rights atrocities and global conflicts. Her most recent work in the exhibition refers to the detention camps holding migrant children along the southern border of the United States and is often scaled to the size and reach of her body. This correspondence between the artist’s body and her distinctly physical application of paint (and erasure of objective imagery), in combination with fragmented images produced in drawing, printmaking and stenciling techniques, lend the recent work a palpable sense of urgency and poignancy.   

A highlight of the exhibition is Mehretu’s cycle of four monumentally scaled paintings titled “Mogamma (A Painting in Four Parts)” (2012). Reunited for the first time since they were last shown together in 2013, “Mogamma” interrogates themes of migration, revolution, global capitalism and technology at the dawn of the Arab Spring. Each painting in the cycle belongs to four different museums across three continents. The High Museum of Art acquired “Mogamma (Part 2)” in 2013. 

“We are grateful for the opportunity to present this sweeping examination of Mehretu’s dynamic, multi-faceted career,” said Rand Suffolk, Nancy and Holcombe T. Green, Jr., director of the High. “The globally conscience themes in her work align strongly with our commitment to celebrating diverse perspectives through the High’s collection and exhibition program. We look forward to offering our audiences a chance to experience a broad spectrum of her creative genius.”

“Julie Mehretu is one of the most consequential artists in the first quarter of this century,” said Michael Rooks, Wieland Family Curator of Modern and Contemporary Art, “. . . because she has managed to synthesize histories told and untold, and history in the making, with our present moment beset by dislocation and turmoil. Among the histories with which she contends is the history of visual culture, particularly the language of abstraction, which powerfully expresses the fragmentation, splintering, formation, and reformation of our present moment.” 

“Julie Mehretu” considers the artist’s excavation of the histories of art, architecture, and past civilizations and addresses themes in her work such as migration, revolution, human rights, social justice, climate change and global capitalism. Additionally, the exhibition considers Mehretu’s career in printmaking through a selection of works produced with such techniques as etching, photogravure, aquatint and engraving. In its combination of media, the exhibition draws attention to the artist’s agility in radically shifting scale, moving from the intimate to the grand and from the personal to the universal. The exhibition will also include British artist Tacita Dean’s 2011 filmic portrait of Mehretu titled “GDGDA.” 

Previously on view at LACMA (Nov. 3, 2019-Sept. 7, 2020), the exhibition will travel to the Whitney Museum of American Art (March 19-Aug. 8, 2021) and the Walker Art Center (Oct. 16, 2021-March 6, 2022) following its presentation at the High.

In early works such as “Untitled (two)” (1996), “Map Paint (white)” (1996) and “Untitled (yellow with ellipses)” (1998), Mehretu explores how to represent the cumulative effect of time by layering materials. In these paintings, she has embedded drawings between layers of poured paint, creating fossilized topographies.  

Monir Shahroudy Farmanfarmaian (Iranian, 1924–2019), Untitled (Circles and
Squares), 2014, felt-tipped marker and colored pencil on paper. High Museum of Art,
gift of the estate of Monir Shahroudy Farmanfarmaian and Haines Gallery, San
Francisco, 2019. 173. © Monir Shahroudy Farmanfarmaian

In “Stadia II” (2004) and “Black City” (2007), Mehretu interrogates sports and military typologies to disrupt modern conceptions of leisure, labor and order. The coliseum, amphitheater and stadium in “Stadia II”represent spaces designed to accommodate and organize large numbers of people but that also contain an undercurrent of chaos and violence. While “Stadia II”is filled with curved lines and an array of pageantry such as flags, banners, lights and seating, “Black City” is more linear and contains references to the military and war, including general stars and Nazi bunkers. Both works call attention to the ways in which modern culture and the spectacle of contemporary wars, such as the War on Terror and the Iraq War, are connected to imperialism, patriarchy and power.

The four-part “Mogamma” (2012) took significant inspiration from the 2011 Egyptian revolution, part of the Arab Spring of uprisings in the Middle East and North Africa. The work was named after a government administrative building on Tahrir Square that was seen as a symbol of modernism and the country’s liberation from colonial occupation when it was first built in 1949. It was later associated with government corruption and bureaucracy before eventually serving as a revolutionary site. Mehretu began work on the four vertical canvases by exploring the densely layered environment of Tahrir Square, where an array of architectures — including structures built in Islamic, European and Cold War styles — coexist. She then created a web of drawings that combined the Brutalist architectural style of the Mogamma with details from other public squares associated with the revolutionary fervor of the Arab Spring, such as the amphitheater stairs and spiraling lights of Meskel Square in Addis Ababa, Ethiopia, and the midcentury high-rise buildings surrounding Zuccotti Park in New York. Over this, she layered drawings of global sites of public protest and change, such as Red Square in Moscow and Tiananmen Square in Beijing. “Mogamma” was installed in Documenta in 2012 and again in London in 2013. This exhibition reunites all four panels of the monumental painting and marks the first time the work has been shown in its entirety in the United States. Before traveling with the exhibition, “Part 2” had been on view at the High since the Museum acquired it in 2013.

Mehretu’s most recent paintings introduce bold gestural marks and employ a dynamic range of techniques such as airbrushing and screenprinting. The works draw on her archive of images of global horrors, crises, protests and abuses of power, which she digitally blurs, crops and rescales. She uses this source material as the foundation for her paintings, overlaying the images with calligraphic strokes and loose drawings. For example, “Conjured Parts (eye), Ferguson” (2016) links disembodied anatomy with a site of violence and political strife. The painting began with a blurred photograph of an unarmed man with his hands up facing a group of police officers in riot gear, which was taken during the protests following the fatal shooting of Michael Brown in Ferguson, Missouri. Mehretu layered color over a blurry, sanded black-and-gray background; fuchsia and peachy-pink areas rise from below while toxic green tones float above like distant skies drawing near. Outlines of eyes, buttocks and other body parts appear within the graffiti-like marks and black blots hovering over smoky areas, suggesting human activity obscured.

In “Hineni (E. 3:4)” (2018), Mehretu addresses the fires caused by climate change and the intentional burning of Rohingya homes in Myanmar as part of a campaign of ethnic cleansing. The painting is based on an image from the 2017 Northern California wildfires, while the word “hineni” in the title translates to “here I am” in Hebrew, which was the biblical prophet Moses’s response to Yahweh (God), who called his name from within the burning bush. By interrogating three types of fires in this painting — one environmental, one intentional and one prophetic — Mehretu explores the contradictory meanings of a single elemental force.

Installed alongside these recent paintings, “Epigraph, Damascus” (2016) is a notable achievement in printmaking for Mehretu, representing a new integration of architectural drawings and painting overlaid with an unprecedented array of marks. Working closely with master printer Niels Borch Jensen, Mehretu used photogravure, a 19th-century technique that fuses photography with etching. She built the foundation of the print on a blurred photograph layered with hand-drawn images of buildings in Damascus, Syria, then composited that with a layer of gestural marks made on large sheets of Mylar. On a second plate, she executed her characteristic variety of light-handed brushstrokes, innovatively using techniques known as aquatint and open bite. 

Many of Mehretu’s large-scale works will be on view throughout the galleries. The artist is known to create large horizontal canvases full of layered drawings to work out complexities of scale, size, detail and expanse. These panoramas often take on monolithic or compressed themes and histories such as African liberation movements and the architecture of spectacle. 

The exhibition will also feature“Transcending: The New International” (2003). The painting began with a map of Ethiopia’s capital city, Addis Ababa, which Mehretu fused with maps of every African economic and political capital, creating a vast network of aerial views of the continent. In subsequent layers, she included drawings of both colonialist architecture in Africa and iconic modernist buildings erected there during and after liberation. In the center of the painting, she layered drawings of the many African plazas of independence with idiosyncratic markings she has called “characters.” Here, these characters stage battles, migrate, form alliances, congregate and ultimately participate in a system of entropy. 

“Julie Mehretu” will be on view in the Cousins Special Exhibition Galleries on the Second Level of the High’s Wieland Pavilion.

About Julie Mehretu
Mehretu (born 1970, Addis Ababa, Ethiopia) immigrated with her family to the United States in 1977 and was raised in Michigan. She received a bachelor’s degree in art from Kalamazoo College, Michigan; studied at Université Cheikh Anta Diop, Dakar, Senegal; and received a Master of Fine Arts degree from the Rhode Island School of Design in 1997.   

In 2017, Mehretu unveiled a major new commission of two vastly large site-specific paintings at the San Francisco Museum of Modern Art, California. Her work has been shown in other recent exhibitions at Venice Biennale, Venice, Italy (2019); Kettle’s Yard at the University of Cambridge, United Kingdom (2019); Fundacion Botín, Santander, Spain (2018); Serralves Museum of Contemporary Art, Porto, Portugal (2017); the Modern Art Museu, Addis Ababa, Ethiopia (2016); the Guggenheim Museum, New York (2010); and a major traveling show that began at MUSAC (Museo de Arte Contemporáneo de Castilla y León), Spain, in 2006 and traveled to the Kunstverein Hannover, Germany, and the Louisiana Museum of Modern Art, Humlebaek, Denmark, in 2007. 

Her group exhibitions include Busan Biennial (2002); Istanbul Biennial (2003); Whitney Biennial (2004); São Paulo Biennial (2004); Carnegie International (2004-5); Sydney Biennial (2006); Prospect New Orleans (2008-9); The Studio Museum in Harlem, New York (2011); Documenta (2012); National Gallery of Art, Washington, D.C. (2013); Dak’Art (2014); Biennial of Contemporary Art of Cartagena de Indias (2014); Museum of Modern Art, New York (2014); Sharjah Biennial (2015); and Venice Biennale (2019).

Mehretu is a recipient of many awards, including The MacArthur Award (2005) and the U.S. Department of State Medal of Arts Award (2015). She is a member of the American Academy of Arts and Letters and is represented by Marian Goodman Gallery in New York, where she lives and works. 

Exhibition Catalogue
The exhibition is accompanied by a 320-page retrospective monograph of Mehretu’s work, featuring 455 color illustrations, that traces the development of one of America’s most celebrated abstract painters. Edited and featuring essays by exhibition curators Christine Y. Kim, Curator, Contemporary Art at LACMA, and Rujeko Hockley, Assistant Curator, Contemporary Art at Whitney Museum of American Art, the book includes numerous contributions by leading scholars and writers including Andrianna Campbell-LaFleur, Adrienne Edwards, Thelma Golden, Mathew Hale, Leslie Jones, Fred Moten and Dagmawi Woubshet.

Exhibition Organization and Support
This exhibition is organized by the Los Angeles County Museum of Art and the Whitney Museum of American Art, New York. This exhibition is made possible by Premier Exhibition Series Sponsors Delta Air Lines, Inc. and Invesco QQQ; Exhibition Series Sponsor Northside Hospital; Premier Exhibition Series Supporters the Antinori Foundation, Sarah and Jim Kennedy, Louise Sams and Jerome Grilhot, and wish Foundation; Benefactor Exhibition Series Supporters Anne Cox Chambers Foundation and Robin and Hilton Howell; Ambassador Exhibition Series Supporter Rod and Kelly Westmoreland; and Contributing Exhibition Series Supporters Lucinda W. Bunnen, Marcia and John Donnell, W. Daniel Ebersole and Sarah Eby-Ebersole, Peggy Foreman, Mr. and Mrs. Baxter Jones, Margot and Danny McCaul, Joel Knox and Joan Marmo, and The Ron and Lisa Brill Family Charitable Trust. Generous support is also provided by the Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, The Fay and Barrett Howell Exhibition Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, Isobel Anne Fraser–Nancy Fraser Parker Exhibition Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Katherine Murphy Riley Special Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund, and the RJR Nabisco Exhibition Endowment Fund.

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Children’s Museum of Atlanta to host TinyCON®, September 5-6



A "super" family enjoys a previous year's Tiny Con at Children's Museum of Atlanta. Photos provided by Jennifer Kato. BRAVE Public Relations.

Fourth-annual celebration of all things fantasy, fiction, gaming and more!

Calling all tiny adventurers! Children’s Museum of Atlanta will once again host TinyCON®, a two-day celebration of kids’ favorite comics, games, fantasy books and more, Saturday, September 5 and Sunday, September 6. Throughout Labor Day Weekend, kids can channel their inner superhero with arts and crafts at the Avengers Tower; experiment with chemical reactions to create and dissolve their own DIY Pokémon pokeballs; and participate in Jedi training! Costumes are welcome and families are encouraged to purchase tickets in advance. During TinyCON®, the Museum will continue to practice COVID-19 safety measures, including operating in a session format with cleaning breaks in-between, adhering to social distancing guidelines and wearing face masks.


Celebrate Labor Day weekend with a two-day celebration of fantasy, science fiction, comics, and gaming… for little ones!

Super-sized fun was had at previous Tiny Cons, and Tiny Con 2020 will be no different. Photos provided by Jennifer Kato. BRAVE Public Relations.

Saturday, September 5 and Sunday, September 6

Creativity Café: Avengers Tower
Session A (9:45-11:15 a.m.), Session B (12:45-2:15 p.m.),
Session C (3:45-5:15 p.m.)

Science Bar: Pokémon Slime Time + Fizzing Poké Balls
Session A (9:45-11:15 a.m.), Session B (12:45-2:15 p.m.),
Session C (3:45-5:15 p.m.)

Morph: Kyber Crystals + Lightsaber Making
Session A (9:30-11:15 a.m.), Session B (12:30-2:15 p.m.),
Session C (3:30-5:15 p.m.)

CMA On Stage: Jedi Training
Session A (10-11 a.m.), Session B (1-2 p.m.), Session C (4-5 p.m.)

The force is strong with these kids. Join Children’s Museum of Atlanta at this year’s Tiny Con to become a real Jedi. Photos provided by Jennifer Kato. BRAVE Public Relations.

Children’s Museum of Atlanta

275 Centennial Olympic Park Drive, NW
Atlanta, GA 30313                             


Due to the popularity of TinyCON®, guests are encouraged to purchase tickets online in advance for guaranteed entry and the best value. For additional details and to purchase tickets, visit childrensmuseumatlanta.org

For more information or to support Children’s Museum of Atlanta, visit childrensmuseumatlanta.org or call 404.659.KIDS [5437]

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