CAREER HIGHLIGHTS
SOLO EXHIBITIONS
2006 Legion, Ard Bia Gallery, Galway, Ireland.
2004 Five Intimations, St. Andrews-Sewanee Gallery, Sewanee, TN, USA.

GROUP EXHIBITIONS
2007 Lost, Various Arts Council locations in Ireland.
2007 Utility Trances, Bolm Studios, Austin, TX, USA.
2006 Brochure, Tulca Season of Visual Arts, Galway, Ireland.
2006 Vending Machine Project, Dublin Fringe Festival, Project Arts Centre, Connolly Station, Crawdaddy, Dublin, Ireland.
2006 If We Drew on Eve, Burren College of Art, Ballyvaughan, Ireland.
2005 Anthropos, Burren College of Art, Ballyvaughan, Ireland.
2005 Interim, Tulca Season of Visual Arts, Barons Self Storage, Galway, Ireland.
2005 Shifting Ideas, National University of Ireland, Galway, Ireland.
2003 Switchyard, Zeitgeist Gallery, Nashville, TN, USA.
2003 Self, Untitled, Nashville, TN, USA.
2002 More, Untitled, Nashville, TN, USA.

SELECTED BIBLIOGRAPHY
2006 Dunne, Aidan. “The Ticket,” The Irish Times, October 13th.
2006 Waugh, Katherine. “Tulca 2005, Galway City,” Circa Art Magazine.
2005 Dunne, Aidan. “Looks like team spirit at Tulca,” The Irish Times, November 16th.
2005 Mahoney, Donald. “Interim – A Remarkable Show,” Galway City Tribune, November 4th.
2003 Judge, Victor. “Painting Without Borders,” The Spire, December.

HONORS, AWARDS, AND OTHER ACTIVITIES
2006 €15,000 Project Grant Recipient, Arts Council of Ireland.
2006 Visiting Lecturer, National University of Ireland, Galway, Ireland.
2006 Short listed for co-curating the exhibition Interim, Allianz Business2Arts Awards, Ireland.
2005 Michael Greene Scholarship Student, Burren College of Art, Ballyvaughan, Ireland.
2005 Panelist, Visual Art in Galway, Nuns Island Studio, Galway, Ireland.
2003-2004 Journal Painting Coordinator, Vanderbilt Medical Center, Nashville, USA.

The Vending Machine Project

STATEMENT
I make work about urban and suburban environments, visual codes, and existential confusion. I look for the tensions that exist between individuals and their surroundings, both natural and synthetic. Using a variety of materials, I have made works on specific topics like waiting rooms, social statistics, or the spatial dynamics of buildings and cities. My gallery-based works include wall-sized installations and sculptures, sound pieces, videos, drawings, paintings, and prints. Other activities include selling socially ambiguous stickers and making covert changes to actual cityscapes.

CAREER HIGHLIGHTS
*Solo Exhibitions*
2007
New Work, Kiang Gallery, Atlanta, GA (upcoming)
2006
Suspension, Jennifer Kostuik Gallery, Vancouver BC
2005
Scintilla, Pentimenti Gallery, Philadelphia, PA
Microscopia, Kiang Gallery, Atlanta, GA
2004
Efflorescence, Ruby Green Contemporary Art Center, Nashville, TN
Accrescere, Kiang Gallery, Atlanta, GA

Group Exhibitions
2007
PalmBeach3 <http://palmbeach3.com/>, West Palm Beach, FL (w/ Jennifer
Kostuik Gallery <http://kostuikgallery.com/>)
Young Movers and Shakers of the Georgia Art Scene, curated by Annette
Cone Skelton, MOCA GA, Atlanta, GA
Atlanta Printmakers Studio Members Exhibition, /Swan Coach House
Gallery, Atlanta, GA

2006
Bridge Art Fair <http://bridgeartfair.com/>, Miami, FL (w/ Pentimenti
Gallery)
Art(212) Fair <http://art-212.com/>, New York, NY (w/ Pentimenti Gallery
<http://www.pentimenti.com/>)
Au Courant, Bentley Projects, Phoenix, AZ
Takeout, Pentimenti Gallery , Philadelphia, PA
APS Printmaking Exhibition, Roy C. Moore Art Gallery, Gainesville State
College
ArtPapers Annual Benefit, Atlanta, GA
2005
Small Sketches and Drawings, Swan Coach House
Transatlantic 2005/, Atlanta, GA
SkateRDie II, Invitational, Youngblood Gallery, Atlanta, GA
2004
TransAtlantic, Gallery Twenty-Four Berlin, Germany and ArtFarm, Atlanta, GA

Selected Press

New American Paintings_ <http://laurabellstudio.com/nap.html>,(vol. 58)
June 2005,/ Open Studios Press/, juried by Beth Venn
_ Best of the AAF Show / Art Within Reach_
<http://laurabellstudio.com/domino.html>,
<http://laurabellstudio.com/domino.html> May 2005,
<http://www.accessatlanta.com/>/ Conde Nast Domino Magazine/, Natasha
Boas <http://www.accessatlanta.com/>
_ The Intimate Structure of Hidden Worlds Revealed_
<http://laurabellstudio.com/ajc.html>_;
<http://laurabellstudio.com/ajc.html>_ June 2004/,/ /Atlanta Journal
Constitution//, <http://laurabellstudio.com/ajc.html>/ Catherine Fox

STATEMENT

This current work explores the possibilities for disruption and
fluctuation that grow out of an orderly structure.
The images reference the natural, physical world, drawing on forms from
deep-sea flora and fauna, microscopic organisms and cellular structures,
and cryptogamous plants such as algae, lichens, fungus, and mold.
The astonishing and often unsettling beauty found in natural phenomenon
is explored through the use of imaginary, hybrid, and existent imagery.

The repeating marks and forms are derived from patterns of repetition
found in biological systems, as well as by the regularity and repetition
found in computer generated fractals and lace patterns. While the images
are built on symmetrical and orderly forms, the drawings evolve and
develop into a semi-chaotic tangle of ropy vines, bulbous growths, and
spiky creatures. This rampant growth could recall the enchanted, yet
sinister world of a child's fairy tale, the strange and unsettling
beauty of deep-sea life, or the mutation of a cellular structure by a
virus or disease. The delicate intricacy in the drawn and painted marks
lures one in for a more intimate experience, and presents a dream-like,
interior world populated by forms that are both familiar and mysterious.

BIRTHPLACE Atlanta, GA
PHONE (770) 587-3231 or
(404) 488-7722
EMAIL laura@lauranoel.com
WEBSITE www.lauranoel.com
IN ATLANTA Atlanta native
returned in 1994 after living several other places.
MEDIUM Photography
EDUCATION BA from Duke University

BIRTHPLACE: Akron, Ohio
PHONE: 404.314.1555
EMAIL: info@matthaffner.com
WEBSITE http://www.matthaffner.com
IN ATLANTA: 5yrs
MEDIUM: Photo, graffitti, drawing
EDUCATION: BFA - University of Akron, MFA Tyler School of Art

CAREER HIGHLIGHTS:
Grants and Awards
2003 Forward Arts Foundation, Emerging Artist of the Year
Studio Artist at Atlanta Contemporary Art Center
Featured Artist, Spience Fiction
2000 KarmaBomb’s “Most Artistic Web Production Award” for
Everywhereman.com
1997 - 99 Two Year Exhibitions Assistantship ( Tyler School of Art )
1994 Richard Seigal, Cleveland Free Times Award

Selected Solo Exhibitions
2003 Youngblood Gallery, ( Atlanta ), “Subterfuge”
ShedSpace (Atlanta)
1998 Temple Gallery, (Philadelphia), “Simulacra”

Teaching Experience
• Atlanta College of Art, Adjunct Professor (Photography), 2002-present • Georgia State University, Adjunct Professor (Photography),
2001-present
• Art Institute of Atlanta, Adjunct Professor (Digital Photographic
Production), 2000-2002
• Temple University, Adjunct Professor (Photography), 1998-99
• Tyler School of Art, Adjunct Professor (Photography), 1998

STATEMENT
For the past several years my work has dealt with narcissistic themes of possession of godlike abilities, superhero, and urban legend. This work pulls inspiration from comic books, graffiti, Greek mythology, Catholic icon painting, film noir and 70’s action films and is reminiscent of an adolescent fantasy of being other than oneself through the creation of a character that is greater than all others. From these ideas begins the process of creating urban legend, anonymous mark making and modern folklore. These images represent the artist as protagonist / hero, continuing the idea that the artist represents one who possesses abilities that are reminiscent of gods, martyrs, and immortals.

This work seeks to explore the enigmatic relationship between juxtaposing spatial elements and the narrative figure, using the format of urban walls as setting and as an aesthetic component. Taking form through photographs, wheat pasting, drawing, and graffiti, both the narrative and character continue to develop, building and changing the story with each successive image. The images form drawing or painting-like vignettes combined with an ambiguous narrative that builds upon itself with each subsequent viewing. These images culminate in a Robbe-Grillet like story of a hero that seems to go nowhere and do nothing, caught in moments of pause between conflict and paranoia.

Matt Haffner

BIRTHPLACE Atlanta, Georgia
PHONE 404-876-5062
EMAIL 1thunter@bellsouth.net
IMAGES click here
IN ATLANTA Forty one years. Lived in San Francisco ten years as well.
MEDIUM Asphalt on cement ("Birds in Peril" series). Also, large woodcut prints.
EDUCATION BFA, Printmaking, California College of the Arts
MFA, Painting, Georgia State University

CAREER HIGHLIGHTS
Huntsville Museum of Art "Red Clay Survey" (Museum Purchase)
Mary Brogan Museum of Art and Science "Art and Ecology"
(Tallahassee Florida)
Swan Coach House Gallery "Birds" (with Michael Murrell)
Atlanta Arts Council Mural Commission (Hapeville Senior Center)
National Park Service Mural Commission (Atlanta)
Artist Residency Grant (Atlanta)
"New American Paintings" (Publication)
"Southeastern Regional Invitational" (Macon Museum of Art)
"New Orleans Tiennial" (New Orleans Museum of Art)
"Atlanta Biennal" (Nexus Contemporary Art Center)
"Artists in Georgia" (Georgia Museum of Art)
"Stone's Throw" (Greenvile Museum of Art)

BIRTHPLACE Oceanside, CA
PHONE 404-347-8661
EMAIL awrowles@mindspring.com
IMAGES click here
IN ATLANTA 10 years, 20 years in Durham, NC.
MEDIUM Mixed Media Sculpture
EDUCATION B.A. University of North Carolina at Chapel Hill; M.F.A. in Sculpture, University of North Carolina at Chapel Hill

SELECTED SOLO EXHIBITIONS
Cut to Size, Chelsea Gallery, Western Carolina University, Cullowhee, NC
Closet Installation: Memory & Fantasy, Artspace, Raleigh, NC
Gallery A, Raleigh, NC
Center/Gallery, Carrboro, NC
Spirit Square Center for the Arts, Charlotte, NC
University of North Carolina at Charlotte, Cone Galleries
University of North Carolina at Chapel Hill, Hanes Art Center
Brevard College, Brevard, NC
Meredith College, Weems Gallery, Raleigh, NC

SELECTED EXHIBITIONS
Refusing to Dance Backward, Spruill Gallery, Atlanta, GA, 2005
A Reflection on Women, Chaney Gallery, Maryland Hall, Annapolis, MD, 2005
Undercurrents, Moon Gallery, Berry College, Mt. Berry, GA (Two person exhibit with Jennifer Julian), 2004
Sculpture on the Grounds: Ann Rowles and Danielle Roney, The Cultural Arts Center, Douglasville, GA, 2004
Identity Crisis, Claypool-Young Gallery, Morehead State University, Morehead, KY, 2004
Lore, Ballroom Studios, Atlanta, GA, 2004
It’s Better Live: Invitational Sculpture Exhibition, Harper Gallery, Presbyterian College, Clinton, SC. 2003
The Emory Chair Project, Emory University, Atlanta, GA, Spring 2003
Not Just a Pretty Face, Fine Arts Gallery, Seminole College, Sanford, FL, 2003
Normal/Abnormal: Bodies & Minds, Womanmade Gallery, Chicago, IL. 2003
I See London, I See France, A.R.C. Gallery, Chicago, IL. 2003
Crossing the Line, Moore College of Art, Philadelphia, PA. 2002
Change of Space, SOHO20/Chelsea, New York, NY. 2002
2000 + 1, Washington Square, Washington, DC, 2001
Connections, SOHO 20 Gallery, New York, NY
Blurring the Lines, William King Regional Art Center, Abingdon, VA, 1999–2000
Body, Gallery 100, Atlanta College of Art, Woodruff Center, Atlanta, GA , January 1999
Kerek Zold/ Circle Green, Budapest Galeria, Budapest, Hungary, and Green Hill Center for NC Art, Greensboro, NC, 1997
Defining Ourselves, Radford University Galleries, Radford, VA, 1995
Fabulous Figures, Shirley Fitterman Gallery, City University of New York, New York, NY, 1994
The Cutting Edge, Gallery 10, Washington, DC, 1994
North Carolina Arts Council Artist Fellowships, 1993-1994, SECCA, Winston-Salem, NC, 1994
Extended Boundaries, Arts Festival of Atlanta, Atlanta, GA, 1992
Working Title: Pants, Vests, and Shirts, North Carolina Museum of Art, Raleigh, NC, 1989
Emerging Artist Grant Recipients Exhibition, Durham Arts Council, Durham, NC 1985

GRANTS AND AWARDS
Fulton County (GA) Arts Council grant, 1997-98, ArtSHARE Mentoring Program
North Carolina Arts Council Visual Artist Fellowship, 1993-94
Associate Artist Residency, Atlantic Center for the Arts, New Smyrna Beach, FL, March–April 1992
“Indy” Triangle Arts Award in Visual Arts, presented by The Independent Weekly, Durham NC, 1990
Smith Graduate Research Award, University of North Carolina, Chapel Hill, 1990
North Carolina Arts Council Scholarship to Public Art Dialogue Southeast, 1989
Emerging Artist Grant, Durham Arts Council, Durham, NC, 1984

COLLECTIONS
William King Regional Art Center, Abingdon, VA
North Carolina Center for the Advancement of Teaching, Cullowee, NC

TEACHING EXPERIENCE
Western Carolina University, Cullowee, NC
North Carolina Central University, Durham, NC
Durham Technical Community College, Durham, NC
University of North Carolina at Chapel Hill, Chapel Hill, NC

SELECTED ARTICLES AND REVIEWS
Creative Loafing, Felicia Feaster,” My So-Called Life," 6/10/04
Atlanta Journal-Constitution, “Campus Sit-In”, Catherine Fox, 3/28/03
Creative Loafing, “Phat FAT,” Cathy Byrd, 5/22/1999
Atlanta Journal-Constitution, “Fabulous ‘Fat’ is heavy stuff’,” Jerry Cullum5/14/1999
Raleigh News and Observer, “Fashioning a body language,” Chuck Twardy, 7/17/1994
Atlanta Journal -Constitution, “Witness an artist’s take on the world,” Catherine Fox 9/21/1992
Art Papers, “Ann Rowles: Threads,” Bonnie Arant Ertelt, March-April 1992
Independent Weekly, “Full-bodied beauty,” Kate Dobbs Ariail, 2/ 15/1990
Preview, “Working Title: Pants, Vests, and Shirts,” Huston Pascal, The North Carolina Museum of Art, Spring 1989
Independent Weekly, “Profiles in Plumage: Four Artists/Artisans Who Are Making or Mocking Their Medium,” Allison Jones, June 18-July 1, 1987

CATALOGUES AND PUBLICATIONS
Emory Chair Project 2003, Visual Arts Program, Emory University, 2004
Just Racin’: Art on Wheels, Green Hill Center for North Carolina Art, 1999
A Paen to the Puny, Roger Manley, (catalogue: The Think Dinky International Invitational Exhibition,) The Meta Museum, 1997
Kerek Zöld/Circle Green, Budapest Galéria and Green Hill Center for North Carolina Art, 1997
Defining Ourselves, M. Anna Fariello, Radford University Galleries, 1995
North Carolina Arts Council Artist Fellowships 1993-94, Southeastern Center for Contemporary Art, 1994
Working Title: Pants, Vests, and Shirts, The North Carolina Museum of Art, 1989

STATEMENT
My work investigates the human body as it intersects with culture, history, and psyche. I work in a variety of media according to the dictates of the idea.

As a sculptor, the material substance of the body intrigues me. I am especially interested in fat, aging, and otherwise culturally despised bodies. I am both attracted and repulsed by the desire to re-form the body through the self-inflicted bodily trauma of surgical intervention.

I use the garment form as a framing device to present selected portions of the body and to reference cultural associations. The resulting sculptures appear to be both clothing and parts of bodies. This ambiguity implies similarities between the relationship of a person to her or his body and that of the body to its clothing. It contends that a contemporary person wears her or his body as a decorative object separate from the self. Like clothing, the body can be altered or made over to suit various cultural needs. Its attributes can be carefully accented or altered, obsessively planned and compulsively maintained.

My current sculptural process involves layering small pieces of sheer fabric with acrylic medium into negative plaster body casts to produce a positive with a skin-like appearance. I cut and sew these laminated fabric “skins” to transform the original. I add materials such as wire mesh, crepe hair, rubber, and bone, or combine them with silk-screened, painted, or photo-based imagery and video sequences. The results are fantasies on the reconstruction of the body.

BIRTHPLACE: Waycross, Georgia
PHONE: 404.964.7680
EMAIL: info@sheilapreebright.com
WEBSITE: www.sheilapreebright.com
IMAGES click here
IN ATLANTA: since 1997
MEDIUM: Photography
EDUCATION MFA Georgia State University 2003

CAREER HIGHLIGHTS
2006 Santa Fe Prize for Photography
http://www.sfcp.org/programs.cfm?p=SFPrize
2002 Fellowship
The International Photography Institute
New York, New York
2001 Bronica Award
Tamron USA, New York
1999 New Work Photography Award
Enfoco, Inc., New York

Publications:
- Reflection in Black: A History of Black Photographers 1840 to The Present, Deborah Willis-Kennedy: W.W. Norton, New York. 2001
- Black: A Celebration of Culture. Deborah Willis-Kennedy: Hylas Publishing, NY 2004

STATEMENT
Artistically, my goal is to capture thought provoking subject matter, which examines “projected images” of contemporary culture. Through style, concept, and the use of traditional photography and digital technology, I aspire to document stereotypes and challenge perceptions of identity, showing universal commonalities.

PAM LONGOBARDI
STUDIO 12

BIRTHPLACE: Montclair, New Jersey
PHONE: (404) 841-0086
EMAIL: plongobardi@gsu.edu
WEBSITE www.gsu.edu/~wwwart/longobardi
IN ATLANTA: since 1997
MEDIUM: Painting and installation

EDUCATION and CAREER HIGHLIGHTS:
BIO
Pam Longobardi moved to Atlanta to join the School of Art and Design faculty at Georgia State University in 1997. She served as the Associate Dean of Fine Arts from 2001-2003. Longobardi has her M.F.A. from Montana State University, 1985, and a B.F.A. from the University of Georgia, 1981. Prior to her move to Atlanta she taught for ten years at the University of Tennessee, Knoxville. Since 1990, Longobardi has had over 20 solo exhibitions and 52 group exhibitions in galleries and museums in the US and abroad. Her work involves painting , photography, fabricated objects and installations. The paintings and works on paper incorporate phenomenological process such as chemical patination and light-sensitive imaging. Like the paintings, Longobardi’s installations also involve elements of phenomenology. Double/Split, which was shown in two variations in Helsinki, Finland, Bratislava, Slovakia, and three US locations incorporated slide-dissolve projection sequences on two 8
ft. diameter weather balloons. Longobardi, in collaboration with Craig
Dongoski, exhibited a video and sound installation in Wroclaw, Poland in July 2003, and works on paper in Florence, Italy also in July. The previous year collaborative works on paper with Dongoski were show in Kobe, Japan. A version of her 1992 work entitled “1614-1914 (A Disappearance of Wings)” will be included in the 2004 exhibition Birdspace at the New Orleans Contemporary Art Center and will travel to four other museums in the US. Large-scale digital photographs were featured in Skin: Contemporary Views of the Body with artists Tony Oursler and Rona Pondick at the Jacksonville Museum of Modern Art. Longobardi will also have a solo exhibition of paintings at this museum in 2004 and a solo exhibition at Sylvia Schmidt Gallery, New Orleans in 2004. Awards include an artist’s residency fellowship at the Franz Masereel Center in Belgium, and two major public art commissions: for the Fulton County Medical Examiner’s Facility in Atlanta (1999) and the First Tennessee Bank building in downtown Memphis (1995). She received a 1994 Southern Arts Federation Regional NEA Visual Artist Fellowship in Painting, the 1996-97 Tennessee Arts Commission Visual Arts Fellowship, and was chosen in 1996 as Alternate for the SAF/American Academy in Rome Fellowship. In 1994 she was awarded the College of Arts and Sciences Faculty Excellence in Research Prize and in 1997, the Chancellor’s Award for Research and Creative Achievement from the University of Tennessee, Knoxville.

STATEMENT
My recent paintings begin as tondos, or oval shapes, suggestive of a mirror. These paintings depict nature both as record or document, and as library. I have been interested in referencing the natural world through two points of entry: the raw materials of copper metal and acids that act as a stand-in for wild nature, and the human interpretation of nature as pictures. These paintings serve as "worlds" that model our prevailing experience with nature. Patina fields or photo-reactive cyanotype surfaces create a raw, wild environment that is inhabited by pictures of nature, cultural imprints that claim the space, civilize it. The Renaissance belief of painting as a ‘mirror of nature’ has been extended to reflect back a constructed view of the universe.

A mirror reflects not the self but the image of the self. In Lacanian psychoanalysis, the construction of the ego begins with the recognition
of a self in the mirror. It is the point at which the world separates into the me/not me. I am interested in the idea of the positioning of the ego in an attempt to locate the self amidst the incomprensibility of the external world at large. Only a dismantling of ego merges the interior with the exterior into a non-dualistic whole world.

Details of human presence such as small suburban homes, or tiny faces create an entry point, a locus of comfort in a vast realm. Scale is subverted as microscopic forms loom gigantic. A system or network of strands and webs connects elements and defines the depth of the space.
The voids are filled with particles and vapors. They are not empty.

A most telling moment of the past year came with the completion of the Human Genome Project, the mapping of the human genetic sequence. According to the central dogma of DNA theory, humans, as the most complex organism on earth, were expected to have an enormous gene count, predicted to number 100,000. Instead, in the end, the human gene count numbered just around 30,000, just about as many genes as a mustard weed. I feel this is significant in revealing that humans are but a tiny part of a vastness beyond comprehension, connected to every weed, and no more, nor no less important.