Wildlife and nature

Animal shelters and rescues

Theater and dance

Rivers, parks and trails

Hunger and food

Schools and learning

Housing and homelessness

Community health

Mental health

Mentoring and foster care

Legal help and rights

Jobs and money help

Atlanta

The Triangle

Everywhere

The Collective Workshop

Royal Animal Refuge

Asian Americans Advancing Justice-Atlanta

Georgia Advancing Communities Together

Atlanta Writers Club

Cobb Collaborative

Bosleys Place

Jewish Fertility Foundation

Burnaway is an art magazine covering the American South, the Caribbean and their diasporas, and it has been tax-exempt since 2011.

Book // Zine 002

Give

Calls for Artists: October 2026

belonging to place: The Creative Community & Artistic Legacy of bell hooks at the Turchin Center for the Visual Arts, Boone

ENID 2026: Generations of Women Sculptors at the KMAC Museum, Louisville

Edmonia Lewis: Said in Stone at the Georgia Museum of Art, Athens

Attuned Vision: Hothouse Bloom by Austyn Wohlers

Holding Together: Cloth, Material & Making at Madison County Arts Council, Marshall

Calls for Artists: September 2026

Sara Jean Ruiz: The Past Remains Present

Dancing the Revolution: From Dancehall to Reggaeton at the Museum of Contemporary Art Chicago

Announcing Open Book, Burnaway’s new book club

Natalie Willis Whylly

Kristina Kay Robinson

📢 Atlanta! 📢 We're bringing Open Book back to Larakin (@larakinatl) on Wednesday, December 9 from 6-8PM EST. Chosen by Carolinas Editor at Large Robert Alan Grand (@robertalangrand), we'll be reading 'Biography of X' in collaboration with our Asheville and virtual Open Book clubs. 'Biography of X' can be purchased in-person in Atlanta at A Capella Books. Learn more about the book club at the link in bio. — Held in-person and virtually, Open Book is a literary program for curious readers who are interested in engaging with stories touching on both art and our coverage region of the South and Caribbean. At a time marked by AI-generated content and declining reading habits, Open Book serves as a space for critical thinking, thoughtful discussion, and gathering. Through this program, we hope to continue fostering a community of engaged readers across our coverage region and beyond. Biography of X was published in 2023 by Farrar, Straus and Giroux. From FSG: “When X—an iconoclastic artist, writer, and polarizing shape-shifter—falls dead in her office, her widow, CM, wild with grief and refusing everyone’s good advice, hurls herself into writing a biography of the woman she deified. Though X was recognized as a crucial creative force of her era, she kept a tight grip on her life story. Not even CM knows where X was born, and in her quest to find out, she opens a Pandora’s box of secrets, betrayals, and destruction. All the while, she immerses herself in the history of the Southern Territory, a fascist theocracy that split from the rest of the country after World War II, and which finally, in the present day, is being forced into an uneasy reunification.” ​Learn more about Open Book and Burnaway at burnaway.org.

Burnaway is excited to announce our new Artistic Advisory Committee, a group composed of artists, writers, and culture workers who offer guidance about the programmatic and artistic direction of Burnaway in order to support our mission of developing and connecting creative communities in the American South and Caribbean. Follow along as we announce the rest of the members of our inaugural board this week, and find more information about the AAC at the link in bio. Joining the inaugural Artistic Advisory Committee is Guyanese-born Grace Aneiza Ali (@grace_aneiza_ali), a curator, writer, and professor whose work engages global contemporary art and migration, with a focus on the Caribbean Diaspora. Ali is currently Curator for the Engine for Art, Democracy, and Justice at Vanderbilt University and Associate Professor in the Departments of Art and Art History and affiliated faculty in the Native American and Indigenous Studies Center at Florida State University (FSU), where she received the University Provost Award for Inclusive Teaching. Prior to joining FSU, she was Assistant Professor and Provost Fellow in the M.A. Arts Politics program at New York University’s Tisch School of the Arts. Read more from Ali’s bio at the link in bio. Joining the Artistic Advisory Committee is Craig Drennen (@craigdrennen), a painter who has had recent solo exhibitions at Brigitte Mulholland gallery in Paris and The Suburban in Milwaukee, Wisconsin. He has been awarded residencies at Macdowell, Yaddo, Two Coats of Paint, and others. He has curated exhibitions at Rockefeller Center in New York City, Greene House Gallery in Brooklyn, NY, and the Bo Bartlett Center in Columbus, GA. Drennen served as dean at the Skowhegan School of Painting & Sculpture, manages THE END Project Space, and teaches at Georgia State University. He was a 2018 Guggenheim Fellow.

Burnaway is excited to announce our new Artistic Advisory Committee, a group composed of artists, writers, and culture workers who offer guidance about the programmatic and artistic direction of Burnaway in order to support our mission of developing and connecting creative communities in the American South and Caribbean. Follow along as we announce the members of our inaugural board this week, and find more information about the AAC at the link in bio. Joining the inaugural Artistic Advisory Committee is Ryan C. Clarke (@negrolith), a tonal geologist from the southeastern banks of the Mississippi, and an editor and curator at Dweller Electronics. His work has been published and presented by Rivers Institute for Contemporary Art and Thought, e-flux journal, Rhizome, Burnaway, Terraforma, Harvard’s Hiphop Archive & Research Institute, Warp Records, and MoMA PS1. With Dweller, Clarke produces festivals and publications providing afrologic counterpoint within an otherwise eurologically dominant music industry. — Image courtesy Ryan C. Clarke. Joining the Artistic Advisory Committee is writer, curator, and art historian Katie Geha (@katiegeha). She is the Director of Tandem Press at the University of Wisconsin, Madison. She received her Ph.D. from the University of Texas at Austin and her MA from the School of the Art Institute of Chicago. She has curated exhibitions by Kara Walker, Paul Pfeiffer, and Rosemary Mayer, among others. Tandem Press is a publisher of fine art prints that hosts internationally renowned artists in its studio space, assisting them as they create original fine art editions. — Image courtesy Katie Geha.

Carmen Ferreira De Terenzio (@carmenferreiradeterenzio) reviews the resourcefulness found in Carol Jazzar (@caroljazzar)’s "Anima, Animus" at Miami Dade College’s Kendall Campus Gallery (@mdckendall), Miami. "Jazzar’s choice of materials reflects an ethic of care: borrowed rather than owned, gathered rather than extracted, returned rather than discarded. The drywall and lumber, provided on loan by Blanco Design + Build, will be reused in future building projects after the exhibition closes. The leaves she gathered will return to the earth from which they came. Nothing is intended to become waste." "Anima, Animus" is on view at the Miami Dade College Kendall Campus Art Gallery in Miami through November 12, 2026. Read more from the review at the link in bio. — 1, 2. Installation view of "Anima, Animus" at Miami Dade College’s Kendall Campus Gallery, Miami. Photograph by and courtesy of Francesco Casale. 3. Carol Jazzar, "Untitled (preliminary drawing for Anima Animus)", 2026, ink on archival Strathmore paper, 11 x 14 inches. Photograph courtesy of the artist.

Burnaway is excited to announce our new Artistic Advisory Committee, a group composed of artists, writers, and culture workers who offer counsel on the artistic direction of Burnaway in order to support our mission of developing and connecting creative communities in the American South and Caribbean. Follow along as we announce the members of our inaugural board this week, and find more information about the AAC at the link in bio. Joining the Artistic Advisory Committee is Houston-based Gabriel Martinez (@gabrielmartinezartist). Gabriel Martinez was born near an atomic blast crater in the New Mexico desert. He graduated with an MFA from Columbia University and attended the Whitney Independent Study Program before moving to Houston as a Museum of Fine Arts Core Fellow and artist-in-residence at Project Row Houses. He is the director of Alabama Song, an experimental arts space in Houston, founded in 2012. Martinez was a 2022 Olmsted Fellow at MacDowell and was awarded the Joan Mitchell Foundation Painters & Sculptors Grant and a Robert Rauschenberg SEED Grant. His work has been exhibited at the Ismaili Center, Blaffer Art Museum, Artpace, the Station Museum, and the Houston Museum of African American Culture. — Image courtesy Gabriel Martinez. Joining the Artistic Advisory Committee is curator and director Elisabeth Sherman (@elisabethfsherman). Sherman is the Robert A. and Elizabeth Rohn Jeffe Chief Curator and Deputy Director at the Museum of the City of New York. Previously, she was Chief Curator and Director of Curatorial Affairs at the International Center of Photography (ICP). Prior to ICP, she was a curator at the Whitney Museum of American Art, where she organized and co-organized many critically acclaimed exhibitions. — Image courtesy Elisabeth Sherman.

Our monthly roundup of opportunities includes fellowships in Rome, Austin, and Richmond, residencies in California and New Hampshire, public art calls in Florida and Nebraska, and juried exhibitions in Louisiana and North Carolina. Pictured here is the Virginia Museum of Fine Arts (@vmfamuseum), whose Fellowship Program supports professional artists and art and art history students in Virginia. Awards for the 2027–28 period are $8,000 for professionals, $6,000 for graduate students, and $4,000 for undergraduates, with half-year awards also available. Work in disciplines including drawing, painting, photography, printmaking, sculpture, and film/video is judged by eligibility category rather than discipline. Learn more about all our calls and opportunities at the link in bio. — Virginia Museum of Fine Arts. Image by and courtesy of Travis Fullerton © Virginia Museum of Fine Arts.

Amanda Haynes (@rudelyearly) profiles the work of Ada Maricia Patterson (@ada_patterson_), noting precarity, adaptability, and tempering self as a working methodology for enduring intolerable conditions. "The evolution from the original drawings, which began as self-portraiture, towards the motif of ‘headlessness’ pushes Patterson’s practice into a new realm of possibility. While the pressure of an outside world on vulnerable bodies has long been present in Patterson’s work, previous works of worldbuilding through masquerade centre the creation of bodies that absorb and negotiate the conditions around them." Read more from Haynes' profile of Patterson at the link in bio. — 1. Ada Maricia Patterson, "tell her she mad, act like she mad", 2025, acid dye, India ink on pongee silk, 27 1/2 x 27 1/2 inches, 70 x 70 cm. Part of Patterson’s "Antoinette" series. Image courtesy of the artist & Copperfield London (@copperfield_london). 2. Ada Maricia Patterson, "does she look intemperate and unchaste", 2025, acid dye, India ink on crepe de chine silk, 39 x 27 inches, 99 x 69 cm. Part of Patterson’s "Antoinette" series. Image courtesy of the artist & Copperfield London. 3. Ada Maricia Patterson, "the hammeress in a state of disgrace, 2025, acid dye, India ink on pongee silk, 55 x 102 inches, 140 x 260 cm. Part of Patterson’s series, "the hammeress in a state of disgrace." Image courtesy of the artist & Copperfield London.

Rian (Raven) Crane (@venus_az_boi) reviews the explorations of land and body relations through mythmaking in Beverly Buchanan and Dionne Lee's joint exhibition "Divination" at Contemporary Arts Museum Houston (@camhouston), Houston. "Divination is burgeoning and ongoing, a Sankofa, conjuring return, ruins and sites becoming referential, an allegory for space beyond traditional exploitative landscape art. The onlooker’s sights are cast down and upward, “[…] close to the ground, forgoing horizon lines, and sweeping vistas […]” The sauntering granular wearing away over time of Buchanan’s temporal works, like 'Marsh Ruins' (1981), alongside Lee’s contemporary photos, collages, and videos, reify Black land relations, no matter how complex, highlighting the artists’ seer-seeing opacities that are rooted from Black spiritual and ancestral practice." Read more from the review at the link in bio. "Divination: Beverly Buchanan and Dionne Lee" is on view at Contemporary Art Museum of Houston (CAMH) (@camhouston) through February 14, 2027. — 1. Dionne Lee, "Challenger Deep", 2019, single channel video (black and white, silent); 19:47 minutes. Image courtesy of the artist and Petra Bibeau, New York.2. Beverly Buchanan, "Cherry Blossom Festival Ocmulgee River Happening" (still), 1982, Super 8 transferred to video (color, silent); 8:45 minutes. Beverly Buchanan papers, Archives of American Art, Smithsonian Institution. Image courtesy of the Archives of American Art, Smithsonian Institution. 3. Installation view of "Divination: Beverly Buchanan & Dionne Lee" at Contemporary Arts Museum Houston, 2026. Image courtesy Contemporary Arts Museum Houston. Photo: Alex Barber.

Thank you so much to everyone who exhibited at, volunteered with, and attended Book//Zine 002!! It was a wonderful day of celebrating print, DIY culture, and independent publishing. All of this is powered by an amazing community of folks that make this happen. You’re a part of that community too - when you donate to Burnaway, it makes Book//Zine that much better. It takes a village to pull something like this off. See you next year 👀 Biggest thank you to all of these wonderful folks: - Art Book Fair Coordinator Aliza Lopez (@alizalopez) - The amazing team at Goat Farm — Allie (@alliebashuk), Parks (@parks.miller), Sandra (@callmesand_ra), Catherine (@hvxala), Jurell (@jurellcayetano), Jep (@wyattlie), Taber (@tabre), and Sierra (@sierra_rye) - Our day-of volunteers — Addie, Allen, Jacqueline, Mabel, Kayla, Olivia, Jason, Sehrish, Nicole, Lea, Caroline, Charles, and Wade - Our set-up and break-down volunteers — Ato, Azikiwe, Avery, Nick, Estefanía, and Tatiana - Our newsstand extraordinate Nick Hall (@nichtsneck) - Coffee, books, and plants vendor Curated Coffee (@acuratedcoffeeco) - The team at El Ponce (@elponceatl) - Book//Zine’s designer Sarah Kennedy (@kennedysurah) - Photographer Ross Landenberger (@rosslandenberger) - The wonderful screenprinters at Saucebox (@sauceboxink) - The team at Atlanta Tent Rentals, our table and chair supplier (@atlantatentrental) — Images by Ross Landenberger.

huiyin zhou 徽音 (@huiyin.zhou) reviews the figurative training and herbalist practice found in Isabel Lu (@iisabellu)'s solo exhibition "Shameful Company" at University of North Carolina at Charlotte’s Upper Rowe Gallery (@cltgalleries), Charlotte. "In the 'Shameful Company' suite of works (all 2026), Lu’s ghostly, androgynous subjects, depicted against a white aluminum panel, seem to hover on the gallery walls. They sit, bend over, kneel, or speak to each other diagonally in yin-yang-like diptychs. Yellow, blue, purple, black, and red pigments reside in and levitate from the body—shapeshifting between amorphous clouds, bruises, and menstrual flow." Read more from the review at the link in bio! "Shameful Company" is on view at UNC Charlotte’s Rowe Galleries through November 2, 2026. — 1. Isabel Lu inside "Shameful Company" at UNC Charlotte’s Upper Rowe Gallery. Image courtesy of the artist. 2. Isabel Lu, "hēidòu II", 2026, oil on aluminum. Image courtesy of the artist. 3. Isabel Lu, "Bilirubin 23" and "Bilirubin 24", 2026 oil on aluminum & acrylic, 36 x 24 inches each. Image courtesy of the artist.

GOAT FARM PARKING IS FULL! Overflow parking available at The Howard School! Enter on ⭐ HUFF ROAD ⭐ 826 HUFF ROAD! See you soon!

Find us tomorrow, Saturday, October 24 from 11AM-5PM at Goat Farm (@thegoatfarm) for Book//Zine 002, our second annual art book and zine fair. 🔎 We’ll be in B6 + B8 along the roundabout. - Free - All ages - Tamale cart (@elponceatl), coffee cart (@acuratedcoffeeco), + cash bar on site - Paid Parking We’re bringing together over 100 independent publishers, small presses, makers, writers, artists, and the public for a day of books, zines, prints, and other artist-made wares. 📋 Register your attendance and learn more about Book//Zine 002 at the link in bio.

Join us this Saturday, October 24 from 11AM-5PM at Goat Farm (@thegoatfarm) for Book//Zine 002, our annual art book and zine fair. We’re bringing together over 100 independent publishers, small presses, makers, writers, artists, and the public for a day of books, zines, prints, and other artist-made wares. - Free - All ages - Tamale cart (@elponceatl), coffee cart (@acuratedcoffeeco), + cash bar on site - Paid Parking - Register your attendance at the link in bio

📢 Book//Zine, Burnaway’s annual art book and zine fair, is THIS SATURDAY at Goat Farm (@thegoatfarm) from 11AM-5PM. Book//Zine 002 showcases exhibitors from thirty cities across sixteen states—including Atlanta, Chicago, Houston, Knoxville, London, Miami, New Orleans, and New York—bringing together print lovers interested in everything from art books and poetry anthologies to riso zines and flip books. This year’s larger list of exhibitors offers even more opportunities for attendees to immerse themselves in independent art publishing, print culture, and DIY practices. Learn more about our exhibitors and register your attendance at the link in bio. 🔗 - Free - All ages - Tamale + taco cart (@elponceatl), coffee cart (@acuratedcoffeeco), + cash bar on site - Paid Parking

Kristina Kay Robinson (@kristinakayrobinson) speaks with Willie Birch about his sixty year retrospective at California African American Museum (@caaminla), New Orleans, and staying true to one's artistic vision. "I got in trouble in New York, because I wanted to tell stories. They wanted me to be an abstractionist. I’m from New Orleans, that’s the people I want to understand. That’s the people I feel closest to in terms of speaking to their lives, because that represents my life. " Read more form the interview at the link in bio. "Willie Birch: Stories to Tell" is on view at California African American Museum, Los Angeles through October 21, 2026. — 1, 2. Installation view of "Willie Birch: Stories to Tell" at California African American Museum, Los Angeles. Photograph by Elon Schoenholz and courtesy of the artist. 3. Willie Birch, Left: "The Builders (For Jacob Lawrence)", 2019. Right: "Shotgun Houses", 2021. Image courtesy of the artist.

Burnaway takes a close look at "No-Man's-Land", a show inspired by the work of 'Kentucky coal-miner-turned-evangelist' Harrison Mayes at the Knoxville Museum of Art (@knoxvillemuseumofart), Knoxville. "This exhibition looks to artists who work in similarly uncharted territory. Bringing together contemporary practices that move through the borderlands between bodies, spiritual traditions, cultures, countries, and planets, 'No-Man’s-Land' considers how art inhabits and transforms these thresholds, envisioning new ways of being in the spaces between." View more from the Close Look at the link in bio. "No-Man’s-Land" is on view at the Knoxville Museum of Art in Knoxville, Tennessee through November 8, 2026. — 1-3. Installation views of "No-Man’s-Land" at the Knoxville Museum of Art, Knoxville, 2026. Images courtesy Knoxville Museum of Art.

Lindsey Cummins (@hillbillycurator) features artfarm (@artfarmcoop), a community arts space in Lexington, Kentucky, for Burnaway's SCHOOLHOUSE theme. "'What is artfarm????' A space in constant motion seems to provide many answers to such a question. Perhaps both a refuge and a fever dream. Yet, at a moment when arts institutions are increasingly struggling to root themselves in the needs of their communities, artfarm reimagines their liberatory potential through acts of mutual creativity and care. Through this cooperative labor, alternative realities and yet imagined futures are nurtured—futures rife with hope and possibility." Read more from the SCHOOLHOUSE feature at the link in bio! — 1 Process Shot of a "What Home Means to Us" tack quilting workshop hosted at Artfarm, 2025. Photograph by Kat Smith (@material.drifter), courtesy artfarm. 2. A quilted banner made for the Third Street Staff Union strike held outside of Third Street Stuff Coffee Shop in Lexington, KY, 2026. Photograph by Audrey Matthews-Fields (@aud_mf), courtesy artfarm. 3. A quilted banner is held by Smith and organizers with Building Communities Not Prisons (@nonewletcherprison), 2026. Photograph by Kat Smith, courtesy artfarm.

Natalie Willis Whylly (@nwilliswhylly) discusses Caribbean artists Ebony G. Patterson's and April Bey (@aprilbey_)'s use of glitter, for Burnaway's SAWTOOTH STAR theme. "In Caribbean nations whose economies often rely on tourism, on a visibility that is promoted by paradisiacal images, light itself (and who gets to be seen within it) is a precious resource. Glitter, in its chaotic and unruly refraction of light (paired with its stubborn stickability), offers an entryway into specific histories of resistance in the Caribbean, and into the way contemporary artists of African descent from the region command attention through a 'visual economy of light.'" Read more from the SAWTOOTH STAR piece at the link in bio! — 1. Ebony G. Patterson, "Of 72 Project (detail)", 2012, digital prints on hand-embellished bandanas, 73 bandanas, 21 inch x 21 inch each. Commissioned by Small Axe Magazine (@smallaxeproject) and the Andy Warhol Foundation for the Arts Grants. Photograph courtesy of the artist and Monique Meloche Gallery (@moniquemeloche), Chicago. 2. Ebony G. Patterson’s "Invisible Presence: Bling Memories" performance on April 27, 2014 in Kingston, Jamaica. Photograph: Monique Gilpin (@moniquegilpin) and Phillip Rhoden. Reproduction courtesy of the artist and Monique Meloche Gallery, Chicago. 3. Installation View of "Colonial Swag", a solo booth by April Bey with Vielmetter Gallery (@vielmetter) at Frieze Los Angeles, Los Angeles. Photograph courtesy of the artist and Vielmetter Gallery, Los Angeles.

Burnaway visits Fried Fruit Art Space (@friedfruitartgallery), a cargo container turned rotating installation gallery in Wilmington, North Carolina. "A good chunk of our audience accidentally happens upon our space while they are getting a slice of pizza, before their hair appointment, or as a curious wanderer. In these interactions, sometimes we reach people who have never visited a gallery or art museum and that feels significant to us. It is hard to quantify how many people see the work, but there are always handprints and faceprints on the glass as evidence of a visit." Read more about Fried Fruit Art Space at the link in bio. — 1. "Embodiment" – Andi Steele (@andi.steele) & Louise Radochonski. Photograph by James Farley (@jamestfarley) and courtesy of Fried Fruit Art Space in Wilmington, North Carolina. 2. "Can’t you see it’s killing me?" – Hannah Banciella (@hbanciellaart). Photograph by James Farley and courtesy of Fried Fruit Art Space in Wilmington, North Carolina. 3. "Poster Pop-Up" – Raney Davis (@raneydavis). Photograph by James Farley and courtesy of Fried Fruit Art Space in Wilmington, North Carolina.

Burnaway is pleased to present over 100 small publishers, presses, and artists for the second edition of Book//Zine (002), our art book and zine fair, on October 24, 2026 from 11AM-5PM EST at Goat Farm (@thegoatfarm). Book//Zine 002 showcases exhibitors from thirty cities across sixteen states—including Atlanta, Chicago, Houston, Knoxville, London, Miami, New Orleans, and New York—bringing together print lovers interested in everything from art books and poetry anthologies to riso zines and flip books. This year’s larger list of exhibitors offers even more opportunities for attendees to immerse themselves in independent art publishing, print culture, and DIY practices. RSVP for Book//Zine at the link in bio for more details. -- @51personaeproject @mmmunder @arenotbooks @artcrittermagazine @artleaguehouston @atlantacenterforphotography @atl_printmakers @planatlanta @__bench_press @barleyxcx @biospherebooks @bodegaflower @buildyourarchive @captura.atl @cattywampuspress @practice_togetherness @evan.p.maloney @exilebooks @fiveeightscollective @flatspresents @nono.gogo.lala @gulchmag @hellmouth.mag @hngyrn @huiyin.zhou caocollective @ianclar.k @jssrhds @pamplemousse.magazine @joecamoosa @isaiaherinjones @georgiachemistry @the_journals @justinisaiahmcelvey @kgpnyc @kyle_bravo_ @hahahahahahastop @lookschill @a_gun_rack @justinaledia @mdwheatley @luckyghostco @macerationpress @memorycavity @memorycavities @jackieblue1385 @n.masani.landfair @blk.obsidian @palace.of.fruit @patricesharon @dvdgdby @shane.wreak @audi0doo @picklesxnickles @pinakothecabooks @press.shop @printstpete @rimadayart @mellogood @sandlot____ @secretastronomer @seen_journal @sharedprintfac @shortiecountry @paul_e_shortt @shriyasusan @slugwormzines @smallcraftadvisorypress @stukenborgpress @susanks1 @barskyrf @f.eli.cita @hayley__abigail @catharta__ @mjsnq__ @vixixu @tbd.mag @georgiareview @walkerbankson @_thungry @totally_clips_ @jputtphoto @ujimaboston @fortunatelymag @vedikamehra_ @voxatl @zine_community @suttleandsinewy honey.b.well @mrjbird101 @carolinekuyrkendall @my1nstagramacc8unt @creativefootnotes @forgottenlands.art @hollingshed @jacquelinehold @jerkpress (tags continued in comments)

May Howard (@reddsroom) visits the Houston studio of Dominique Muñoz (@domo23), speaking together on textiles inherited from loved ones, experimenting with cyanotypes, and what it means to weave an image. "In Muñoz’s compositions, vibrant geometric fragments derived from traditional Guatemalan textiles form slick fields of color. He understands the power of constructing an image, and employs weaving practices to destroy, cut, and alter structures and patterns. To weave an image is to break the frame, allowing for boundaries of image, representation, self, and home to move and be redefined." Read more from the studio visit at the link in bio. — 1, 3. Dominique Muñoz in his studio at the Houston Center for Contemporary Craft (@crafthouston). Photograph by Laura Burlton (chalk_dreams) and courtesy of Houston Center of Contemporary Craft, Houston. 2. Dominique Muñoz, "Dream Vessel #2", 2026 thrifted cotton bedsheets, sisal rope, twine, nylon, basket reed, turmeric, cyanotype, and blue peacock feathers, 38 x 13 x 12 inches. Photograph by and courtesy of the artist.

Burnaway is excited to announce our next pick for Open Book, our first editorial book club. Selected by Carolinas Editor at Large Robert Alan Grand (@robertalangrand), our next Open Book pick is "Biography of X" by Catherine Lacey. Robert will lead a virtual book club on Monday, November 23 from 6-7PM EST and an in-person book club in Asheville at DayTrip (@daytrip.avl) on Wednesday, December 2 from 6-8PM EST. Register for and learn more about the book clubs at the link in bio! 🖇 📘 Copies of "Biography of X" can be purchased via Firestorm Books (@firestormcoop) for 10% off with code BURNAWAY. — Held in-person and virtually, Open Book is a literary program for curious readers who are interested in engaging with stories touching on both art and our coverage region of the South and Caribbean. At a time marked by AI-generated content and declining reading habits, Open Book serves as a space for critical thinking, thoughtful discussion, and gathering. Through this program, we hope to continue fostering a community of engaged readers across our coverage region and beyond.

Introducing the final round of tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM. See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Art Critter Magazine — Saint Petersburg, FL — @artcrittermagazine 2 - Posy Press, Atlanta, GA — @posypress.co 3 - Pamplemousse Magazine, San Francisco, CA — @pamplemousse.magazine 4 - Night Gallery Press — Atlanta, GA — @enterthenightgallery 5 - Are Not Books & Publications — Temple, TX and Knoxville, TN — @arenotbooks 6 - Pinakotheca Books – Cumming, GA — @t.archivist @ordealofroses 7 - Susan Ker-Seymer & Robert F Barsky — Atlanta, GA – @barskyrf, @susanks1

Sherae Rimpsey speaks with Cheyenne Wyzzard-Jones (@cheyennewj) about Toni Cade Bambara's "The Salt Eaters", Blackness and the politics and spirit of place found in "Introduction: Black Spiritual Ecologies" at The Front, New Orleans (@thefrontnola). "The historical significance of each material and the place it was sourced from is important. It is a direct response to the continued practice Black people experience from colonial and supremacist systemic violence, always an extraction of the material or land. That for me is why placemaking is so central, and why it became the first pillar in this inquiry." Read more from their conversation at the link in bio. — 1. Darryl DeAngelo Terrell (@blkboyshine), "42º NE 14º49’58″N 17º14’24″W, Dakar, Senegal", 2021, wheat paste installation, 34 x 40 inches. Photograph by and courtesy of the artist. 2. Ingrid Raphaël (@movingbodyofwork), "Buried Under Water, I Remember – Enterré Sous l’Eau, Je Me Souviens," 2026, 46 x 63 inches, textile, canvas, raffia, flower, paper, leather, cyanotype, ink. Photograph by and courtesy of the artist. 3. Installation view of "Black Spiritual Ecologies" (2026) at The Front, New Orleans. Photograph by and courtesy of the Front.

Leah Solomon (@leahsxlo) outlines artist Leah Jaynes Karp's 1982 mixed media series, made in response to the Atlanta Child Murders of 1979-1981, for Burnaway's STORM SIGNAL theme. "In her collages, the labor of mothering and the labor of making converge, registering both the immediate crisis of vanishing children and the long continuum of Black maternal vigilance. Her work is not simply an act of mourning; it is an act of futurity—an attempt to secure a place for her children in tomorrow." Read more from Solomon's STORM SIGNAL feature at the link in bio. — 1. Leah Jaynes Karp, "Reward for Information-Victim Eulogized Yesterday," 1982; dye coupler print on paper with ink, gift of Lucinda W. Bunnen for the Bunnen Collection. Image courtesy High Museum of Art.2. Leah Jaynes Karp, "The Numbers Are Growing", 1982; dye coupler print on paper with ink, gift of Lucinda W. Bunnen for the Bunnen Collection. Image courtesy High Museum of Art (@highmuseumofart). 3. Leah Jaynes Karp, "Reflections", 1982; dye coupler print on paper with ink, git of Lucinda W. Bunnen for the Bunnen Collection. Image courtesy High Museum of Art.

Get to know another set of tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM. See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Tangled Stream — Providence, RI — @tangledstream 2 - The Georgia Review — Athens, GA — @georgiareview 3 - Love For Sale — New York, NY — @lookschill / @a_gun_rack / @justinaledia / @mdwheatley 4 - Julie Fordham — Atlanta, GA — @the_journals 5 - Yoon Nam — Atlanta, GA — @suttleandsinewy 6 - Good Nest Press — Athens, GA — @nono.gogo.lala 7 - Peace Offering Press — Atlanta, GA — @dvdgdby / @Shane.wreak / @audi0doo 8 - KGP MONOLITH — Queens, NYC — @kgpnyc 9 - Vedika Mehra — Atlanta, GA — @vedikamehra_

Annie Moye (@anniesaysii) profiles Yvette Gunn, an Atlanta artist and environmentalist who has transformed her Kirkwood home into Birdhouse Paradise, an artist-built environment filled with more than 400 handmade birdhouses, gardens, and found objects. “I’m not dying to see heaven, so I create my own here to share with others.” Read more from Moye’s profile of Gunn in Burnaway’s special edition broadsheet, available at the Atlanta Art Fair (@atlartfair) from Thursday, October 1 to Sunday, October 4. — 1-3. Yvette Gunn’s “Birdhouse Paradise” in East Lake, Atlanta. Photograph by and courtesy of Amanda Greene.

Renee Royale profiles Martinique-based artist David Gumbs (@gumbsy), whose interactive installations use technology, everyday objects, and ecological markers to explore memory, ancestry, and the layered histories of the Caribbean. “For the artist, technology can adapt to the environment through the tactile intervention of his hand, offering an equalizing, rather than dominating, force.” Read more from Royale’s profile of Gumbs in Burnaway’s special edition broadsheet, available at the Atlanta Art Fair (@atlartfair) from Thursday, October 1 to Sunday, October 4. — 1. David Gumbs in 2023. Photograph by Kiron Key and courtesy of the artist. 2. David Gumbs, “Mummy’s Crochet,” 2026, interactive installation. Photograph by and courtesy of the artist. 3. David Gumbs, “Ethno Spirits Martinique,” 2023, multimedia installation. Photograph by and courtesy of the artist.

Bryn Evans (@brynevans_) speaks with Marguerite (Margy) Adams (@marguread) and Joslyn Gardner, cofounders of Emory University’s Black Feminist Working Group, about Madeleine Hunt-Ehrlich’s (@madeleine_hunt_ehrlich) “The Ballad of Suzanne Césaire” (2024) and the film’s surrealist approach to Suzanne Césaire, archival fragments, and the politics of seeing. “That’s central to her articulation of camouflage: the tourist isn’t able to see. Beauty itself is a form of camouflage, and there’s a duality where camouflage also acts as a form of resistance. The islands are not allowing people to see through its beauty.” Read more from Evans’s conversation with Adams and Gardner in Burnaway’s special edition broadsheet, available at the Atlanta Art Fair from Thursday, October 1 to Sunday, October 4. Come by Atlanta Contemporary (@atlantacontemporary) on Saturday, October 3 from 11am–1pm for a screening of The Ballad of Suzanne Césaire and pick up a copy of the broadsheet. — 1-3. Stills from “The Ballad of Suzanne Césaire,” 2024. Image courtesy of Madeleine Hunt-Ehrlich and “The Ballad of Suzanne Césaire” Team.

CALLS FOR ARTISTS 🗣 Our monthly roundup of opportunities includes residencies in New York, Texas, and Alaska, public art commissions in Florida and Tennessee, an interdisciplinary artist-scientist grant, and juried exhibitions across the country. Pictured here is a sculpture pad created through the Germantown Public Art Program in Germantown, Tennessee. The Germantown Public Art Program invites sculptors residing in Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Kentucky, Louisiana, Missouri, Mississippi, Ohio, Oklahoma, Tennessee, and Texas to submit outdoor works for the 2027–2029 "Sculpture on the Greenway" rotating exhibition. Seven selected artists will each receive a $4,000 stipend. Applications are due on October 4, 2026. Learn more about this call and other artist opportunities at the link in bio. — Sculpture pad along the Wolf River Cultural Greenway, courtesy Germantown Public Art Program.

Amina Daugherty (@cryingbartsimpson) profiles Atlanta-based printmaker and muralist Jasmine Nicole Williams (@jn.ooomami), whose practice brings together art, working-class identity, community, and cultural liberation, drawing connections to the work of Suzanne Césaire. “Culture is more than art as a commodity; it’s speaking, relating, and caring for one another and the world. What grows from the culture being created? It could be mold—something corrosive—or something beautiful and nourishing that evolves until the systems around us have to change.” Read more from Daugherty’s interview with Williams in Burnaway’s special edition broadsheet, available at our booth at the Atlanta Art Fair (@atlartfair) from Thursday, October 1 to Sunday, October 4. Come by Atlanta Contemporary (@atlantacontemporary) on Saturday, October 3 from 11am–1pm for a screening of 'The Ballad of Suzanne Césaire' and pick up a copy of the broadsheet. — 1. Jasmine Nicole Williams at Atlanta Printmakers Studio, Hapeville. Photograph courtesy of the artist. 2. Jasmine Nicole Williams, "Forward Together," 2025 in Atlanta. Photograph by and courtesy of the artist. 3. Jasmine Nicole Williams, "Liberate," 2023 in Atlanta. Photograph by and courtesy of the artist.

This Saturday, October 3rd, is the return of SITE: Goat Farm’s third annual campus-wide exhibition of contemporary art, performance, music, film, installation, and experimentation. Explore new works by more than 50 local, national, and international artists across Goat Farm’s 12-acre campus, alongside live music, open studios, performances, and large-scale artworks. Each year, SITE explores the idea of “site” through new commissions, performances, and installations that engage with place, context, time, and perception. SITE artists: 1024 architecture Brandon Sadler x Rocko Walker Jacob Irish Hermes Mangialardo Ollie Goss Navin Norling Gresham Cash Dana Haugaard Michael “Mike” Stasny T.W. Pilar Laila Jhané Sound Service (Nia Rich) Living Walls x Addam Yekutieli Kristan Woolford Elisa Dore L42i – Lab for Interaction & Immersion Adam Forrester Maia Jones x With Width Dance Company Broly Su Liliana Penagos Linda McNeil Virginia Broyles Justin W. Archer Gabi Madrid Blaise Dell Amelia Reiser Hiroko Kelly x Isa Newport x Madeline O’Brien Lisa Li x (TBD) Design x Monsieur Blanc Jordan Young Colin Mulligan Musical performances: csndra Nelward (solo) D2T Wifi Daddy Gladys Frankly Dope LUNGWING Schedule: 5:30PM Frankly Dope (WARHORSE) 6:00PM D2T (MAIN STAGE) 7:30PM Lungwing (WARHORSE) 8:00PM Nelward (MAINSTAGE) 8:30PM Brandon Sadler & Rocko Walker (GOODSON) 9:00PM csndra (MAIN STAGE) 9:30PM Gladys 9:45PM Wifi Daddy 💥 SITE 2026 📅 10/3 ⏰ 5pm - 11pm 📍 Goat Farm 🎟️ Week-of $35 at link in @thegoatfarm’s bio 🔗$40 day-of

Daisy Gould (@daisymgould) considers facsimile and displacement in a Caribbean context, reviewing the work of Barbadian artist Annalee Davis (@annalee.devere) for the 61st Venice Biennale (@labiennale). "This is work that demands time, not just to make, but to sit with, and the tenderness of the fabric diverged from the abrupt immediacy of a tourist’s experience (myself included). Our desire to consume and capture the work on phones and film felt contradictory, yet people don’t blink when this happens to the Caribbean landscape." Read more from Gould's feature at the link in bio. — 1. Barbadian artist Annalee Davis on site at the 61st Venice Biennale, pictured with her installation, "Let This Be My Cathedral" (2026), for the 61st Venice Biennale. Image credit: Matteo Losurdo.2. "Bush Bath in the Glasi" (2025), Annalee Davis, embroidery, fabric paint on tea-stained tablecloth, madras fabric, 152 cm (diameter). On loan from Spore Initiative, Berlin. Photo credit: Matteo Losurdo.3. Installation view of "Let This Be My Cathedral" (2026) by Annalee Davis. As seen in "In Minor Keys," curated by Koyo Kouoh, for the 61st International Biennale di Venezia in the Corderie, Arsenale. Photo credit: Matteo Losurdo.

Meet some of the tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM. See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Shortt Editions — Gainesville, FL — @paul_e_shortt 2 - Press Shop — Atlanta, GA — @press.shop 3 - huiyin zhou 徽音 / CAO Collective 离离草 — Durham, NC — @huiyin.zhou / caocollective 4 - With feeling, Collective — Atlanta, GA 5 - Print St. Pete — St. Petersburg, FL — @printstpete 6 - Silverwood Dream — Atlanta, GA 7 - MuthaKween — Chattanooga, TN — @jackieblue1385 8 - SANDLOT — Atlanta, GA — @sandlot____ 9 - N. Masani Landfair — Atlanta, GA — @n.masani.landfair

Back by popular demand! 💌 We’ll be at Atlanta’s liveliest cemetery for their annual music festival this Sunday, September 27. Come by Oakland Cemetery (@oaklandcemetery) for Sunday in the Park ft. Tunes from the Tombs to enjoy all-day live music, a curated market, interactive experiences, a mausoleum porchfest, and Burnaway’s temporary tattoos (first seen at Oakland earlier this year)!

Topher Lineberry (@very_lineberry) profiles “belonging to place”, an exhibition looking at the creative community and artistic legacy of the influential Black feminist writer, activist, and cultural critic bell hooks at Turchin Center for the Visual Arts (@turchincenter), Boone. “Curated by writer E. Gale Greenlee and artist shauna caldwell, who connected through their research and mutual contacts at the bell hooks center, the exhibition brings hooks’ legacy to western North Carolina in order to foster a dialogue across the broader Appalachian region about art and feminist praxis.” Read more from the review at the link in bio. “belonging to place: The Creative Community & Artistic Legacy of bell hooks” is on view at Appalachian State University’s Turchin Center for the Visual Arts in Boone, NC, through October 3, 2026. — 1-3. Installation view of “belonging to place: The Creative Community & Artistic Legacy of bell hooks” at the Turchin Center for the Visual Arts, Boone. Photograph by shauna caldwell and courtesy of Turchin Center for the Visual Arts, Boone.

Browse through some of the tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM. See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Ujima Press — Boston, MA — @@ujimaboston / @fortunatelymag 2 - Bench Press — Chicago, IL — @__bench_press 3 - Biosphere Books — Atlanta, GA — @biospherebooks 4 - Atlanta Regional Commission: Community Engagement + Culture Team — Atlanta, GA — @planatlanta 5 - Benjamin Britton — Athens, GA 6 - Secret Astronomer — Durham, NC — @secretastronomer 7 - Memory Cavity — Stone Mountain, GA — @memorycavity / @memorycavities 8 - Ian Clark — Atlanta, GA — @ianclar.k 9 - Civil Bikes — Atlanta, GA — @practice_togetherness

Next Monday, September 28: Award-winning contemporary artist Rodrigo Valenzuela visits the Welch School of Art & Design at Georgia State University. Rodrigo Valenzuela’s work addresses Latin American sociopolitical history, labor unions, and undocumented workers. It is shaped by blue-collar aesthetics. Autobiographical elements inform a postcapitalist critique of social and civic institutions. His practice blurs documentary and fiction to address the tension between individuals and the way their own communities are often represented. A Guggenheim Fellow and Associate Professor at UCLA, his work has been exhibited at the New Museum, Portland Art Museum, and the Frye Art Museum, among others. — Free and open to the Public Monday, September 28, 5:30-6:45 pm Florence Kopleff Recital Hall, 15 Gilmer St SE, Atlanta, GA 30303 Walking distance from Five Points and Georgia State MARTA Stations, paid parking at T-Deck.

Burnaway takes a close look at “ENID 2026: Generations of Women Sculptors” at KMAC Museum (@kmacmuseum), Louisville, on view through November 1, 2026. “Ranging in media from bronze, ceramic, glass, wood, metal, and stone carving, the exhibition also includes artists working in mixed-media collage, assemblage, installation using unconventional materials, and video. ENID 2026 does not follow a specific theme, rather it celebrates the wide range of creative practices being explored by women artists with ties to Louisville.” — from the exhibition text See more of “ENID 2026: Generations of Women Sculptors” at the link in bio. — 1. Installation view of “ENID 2026: Generations of Women Sculptors,” Louisville, 2026. From left to right: Frances Kratzok, Gayle Cerlan, Jeanne Dueber, Licia Priest. Photograph by Diane Deaton Street, courtesy KMAC Museum. 2. Installation view of “ENID 2026: Generations of Women Sculptors,” Louisville, 2026. Left wall: Jacque Parsley. Center floor: Leticia Bajuyo. Right, from left to right: Caren Cunningham, Ewing Fahehy, Leticia Bajuyo. Photograph by Diane Deaton Street, courtesy KMAC Museum. 3. Installation view of “ENID 2026: Generations of Women Sculptors,” Louisville, 2026. Front right: Ann Klem. Back center: Leticia Bajuyo. Back wall: Linda Erzinger. Left pedestals: Leticia Bajuyo, Ewing Fahey, Caren Cunningham. Photograph by Diane Deaton Street, courtesy KMAC Museum.

Daniel Fuller (@fuller315) reviews “Edmonia Lewis: Said in Stone,” the first major retrospective devoted to the artist, on view at the Georgia Museum of Art (@georgiamuseum), Athens. “Lewis’s biography is so exceptional that it encourages viewers to understand the work through the extraordinary circumstances of its making. But improbability is not the same thing as artistic achievement. In Rome, Lewis built a studio, cultivated patrons, employed assistants, repeated successful compositions, and made things people wanted to buy. She was not simply surviving nineteenth century racism and sexism. She was an ambitious professional artist navigating an international market.” Read more from the review at the link in bio. “Edmonia Lewis: Set in Stone” is on view at the Georgia Museum of Art in Athens, Georgia through January 3, 2027. — 1. Edmonia Lewis, “Forever Free,” 1867; carrara marble, 41 3/4 x 22 1/2 x12 3/8 inches. Image courtesy The Metropolitan Museum of Art. 2. Gisela Torres, still from “Reverie and Slumber,” 2020; 3D print projection video with sound. © Gisela Torres, image courtesy the artist. 3. Edmonia Lewis, “Spring,” 1880; marble, collection of Dr. Sheryl Colyer. Image courtesy Georgia Museum of Art.

Introducing the next round of tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - FLATS — Houston, TX — @flatspresents 2 - Jess Rhodes — Albany, GA — @jssrhds 3 - hngyrn — Raleigh, NC — @hngyrn 4 - Small Craft Advisory Press — Tallahassee, FL — @smallcraftadvisorypress 5 - Abracadabra! — Athens, GA 6 - Atlanta Abolition Research Collective — Atlanta, GA 7 - Patrice Sharon Jackson — Fort Valley, GA — @patricesharon 8 - Joe Camoosa — Atlanta, GA — @joecamoosa

Burnaway’s Editor and Artistic Director Courtney McClellan reflects on Open Book selection “Hothouse Bloom.” — Burnaway is excited to kick off Open Book, our first editorial book club, TONIGHT with “Hothouse Bloom” by Austyn Wohlers, selected by Burnaway’s Editor and Artistic Director Courtney McClellan. Courtney will lead a virtual book club tonight, Tuesday September 15, from 7-8PM EST on Zoom. Register for the virtual book club at the link in bio! Courtney will also lead an in-person book club at Larakin in Atlanta next Wednesday, September 23 from 6-8PM EST. Information about the in-person book club can be found at the link in bio. — Held in-person and virtually, Open Book is a literary program for curious readers who are interested in engaging with stories touching on both art and our coverage region of the South and Caribbean. At a time marked by AI-generated content and declining reading habits, Open Book serves as a space for critical thinking, thoughtful discussion, and gathering. Through this program, we hope to continue fostering a community of engaged readers across our coverage region and beyond.

Every month Burnaway publishes a list of open call calls for artists. The list includes a variety opportunities from residencies, juried exhibitions, project grants, and more. Click the link in our bio to explore our monthly round-up of opportunities! Call for artists submissions can be sent to intern.editorial@burnaway.org. _ @_anchorlight_ @loghavenartistresidency @penlandschool @atlanticcenterforthearts @starworksceramics @joanmitchellcenter_nola @forgeprojectny @locustprojects @southartsorg @vacenterforthecreativearts @nacanartresidency @100w_corsicana

The Burnaway To Do List is a roundup of art events happening in the American South and Caribbean. We check submissions every other day and publish all relevant submissions. The To Do List is also a highly visited part of the website. If you are interested in browsing through the events or submitting your event click the link in our bio!

Introducing Brandon Sheats, Burnaway’s Executive Director (@sheatsb). Brandon Sheats is a strategist and cultural producer who has worked across media and technology, with roots in literature and the arts. Most of his work has been about access and audience: making more room for emerging voices and building up the infrastructure that arts media runs on. He co-founded Regional Art Publishers, a coalition of nonprofit art publications across the United States, and has worked as a Technology Director at Harlem’s Apollo Theater, where he was part of the team that launched the theater’s first digital-first original programming and helped expand its digital archive. Earlier, Brandon directed Murmur, an Atlanta space for DIY and experimental art that was also home to the Atlanta Zine Fest, and led digital strategy and operations at the Atlanta Symphony Orchestra. His career started in copywriting and creative technology, working with organizations such as the Canadian Olympic Committee, Art on the Atlanta Beltline and the National Black Arts Festival. Before any of that, he coached debate. He serves on the Atlanta Mayor’s Advisory Task Force for the Arts and advises a regional food justice coalition. Today, Brandon is the Executive Director of Burnaway, an art magazine covering the American South, the Caribbean and their diasporas. Since taking the role, he has brought the magazine’s coverage into the Caribbean and developed new partnerships with organizations including Art21. — Image credit @phyllis.iller

Check out the next round of tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Seen by Blackstar — Philadelphia, PA — @seen_journal 2 - Stukenborg Press — Grayson, GA — @stukenborgpress 3 - Slugworm Zines — Atlanta, GA — @slugwormzines 4 - Evan Patrick Maloney — Atlanta, GA — @evan.p.maloney 5 - Lucky Ghost Co — Gainesville, FL — @luckyghostco 6 - Juspublishing — Cumming, GA — @JustinIsaiahMcelvey 7 - JONES & I — Atlanta, GA and Quebec, NC — @isaiaherinjones / @georgiachemistry 8 - VOX ATL — Atlanta, GA — @voxatl 9 - Context — Atlanta, GA

Merin McDivitt (@merinmcd) highlights one western North Carolina exhibition that’s a testament to storm recovery while showcasing weaving as a symbol of resilience, connection, toughness, and tenderness in “Holding Together: Cloth, Material & Making” at Madison County Arts Council, Marshall (@madisoncountyarts). “Holding Together’s curation relied on intuition, rather than a master plan for which artists and works to include—both local and from much farther afield—yet the result is remarkably cohesive.” Click the link in our bio to read the full review. _ 1. Installation view, “Holding Together: Cloth, Material & Making” at Madison County Arts Council, Marshall, North Carolina. Photo by Juli Leonard, courtesy of curator Amber M. Jensen. 2. Kayla Powers, “Ropes”, 2025. Cotton, linen, silk, wool, natural dyes, maple wood. 66 x 60 x 18 inches. Photo by Grant Goulet, courtesy of the artist. 3. Sawkille Co., “Rousseau Chandelier”, 2026. Brass, sterling silver, copper, hand-carved branch frame, woven cord. Photo by Juli Leonard, courtesy of curator Amber M. Jensen.

Introducing Madeline Benfield, Burnaway’s Programs and Development Manager (@folkstarfolkstar)! Madeline Benfield is a designer, writer, and arts worker living in her hometown of Atlanta, Georgia. She is the Programs and Development Manager at Burnaway and is a freelance graphic designer. She formerly worked at The Lot Radio, Love Injection, and Big Crown Records. She has a BFA in Communication Design from Parsons School of Design. She co-runs Essie Staycation, a DIY artist residency in Atlanta, and was awarded a 2026 Idea Capital grant for the residency. _ Image courtesy of Madeline Benfield

For Burnaway’s September Mood Ring, Amanda Lechner (@amanda.lechner) presents “portal ‘n’ parcel / partial ‘n’ portable”, an interactive gallery that bridges tangential research with portable buon frescoes. “portal ‘n parcel / partial ‘n’ portable” reflects on geology, habitat dissolution, planetary science, narratives of discovery, mythology, collections, lived experience, and increasingly tangential research. The painting medial employ-egg-tempera, ink, and fresco-are processes that relate to the birth of scientific inquiry and the history of visual art. Click the link in our bio to interact with September’s Mood Ring!

Burnaway is proud to be W.A.G.E (@wageforwork) certified for the eighth year in a row! W.A.G.E. certification verifies that we pay artists and writers equitably in accordance to our staff’s salaries and our organization’s annual budget. Paying writers and artists equitably is a core part of Burnaway’s mission, and we value and support the important work of W.A.G.E “In the context of contemporary art, where the unpaid labor of artists supports a multibillion dollar industry, W.A.G.E.’s mission is to establish sustainable economic relationships between artists and the institutions that contract our labor, and to introduce mechanisms for self-regulation into the art field that collectively bring about a more equitable distribution of its economy.” Learn more about W.A.G.E. at the link in bio.

The Burnaway Reader is an annual print publication that features long-form essays, interviews, artist projects, and other stories related to the magazine’s three annual themes. Each year, the Burnaway Reader creates a physical record of our online publishing and provides an opportunity to commission ambitious new, print-exclusive projects. → Swipe to see some of our Reader covers! Click the link in our bio to learn more and purchase our Readers.

Introducing Courtney McClellan, Burnaway’s Editor and Artistic Director (@courtneylmcclellan)! Courtney McClellan (she/her) is an artist, writer, editor, and educator originally from Greensboro, North Carolina. She has served as the Fountainhead Fellow at Virginia Commonwealth University, Richmond; the Roman J. Witt Artist in Residence at the University of Michigan; a Working Artist Project fellow at the Museum of Contemporary Art of Georgia; and the Innovator in Residence at the Library of Congress. Her work has been supported by residences at McDowell, Yaddo, Stove Works, and the Hambidge Center, among others. Her essay “Putting Words in Your Mouth and Images in Your Eyes” was published in “Ventriloquism, Performance, and Contemporary Art” (Routledge 2023), a volumed edited by Dr. Jennie Hirsh and Dr. Isabelle Loring Wallace. She is the editor and artistic director at Burnaway. _ Photo by Jill Frank

The DIY Index is a field guide to artist-run spaces in the American South and Caribbean. It catalogues grassroots project spaces and each daily piece spotlights one independent/ artist-run space at a time. Click the link in our profile to explore some of the DIY spaces in the region! Submissions and information about DIY spaces can be sent to editorial@burnaway.org. _ @thefrontnola @schoolofthealternative @__tunnel @rand0m_sampl3 @______pond______ @room412__ @sumaccottage

This month’s round up of opportunities include residencies in Georgia, Virginia, and Florida, a Princeton-based fellowship, and a juried exhibition in Athens. Pictured here is The Virginia Center for the Creative Arts (@vacenterforthecreativearts). The VCCA provides time and space for national and international writers, visual artists, and composers of talent and promise to bring forth their finest works, because the arts are vital, diversity is a strength, and creativity is essential. Selected artists come to VCCA’s Mt. San Angelo in Amherst, Virginia or the Moulin à Nef in Auvillar, France for intense periods of creative work, free from the distractions of day-to-day life. Learn more about September Calls for Artists at the link in our bio!

Join Burnaway and Atlanta Contemporary (@atlantacontemporary) on Saturday, October 3rd from 11AM-1PM at Atlanta Contemporary for the first Atlanta screening of the 2024 film “The Ballad of Suzanne Césaire”. The screening will be followed by a discussion and Q&A between scholars Margy Adams and Joslyn Gardner. About the film: An actress and new mother (played by Zita Hanrot) is haunted by voices as she embarks on inhabiting the role of surrealist writer Suzanne Roussi-Césaire. Moving between narrative filmmaking and abstraction – a night at a 1940s cafe, and the garden where a film’s cast and crew discuss and bring to life the missing pieces of the writer’s legacy – this is a film that leaves room for the unknown. Click the link in our bio to learn more and get your tickets!

Take a look at some of the tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM. See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Forgotten Lands — New York, NY — @forgottenlands.art 2 - Cattywampus Press — Chapel Hill, NC — @cattywampuspress 3 - Obsidian Current — Miami, FL — @blk.obsidian 4 - WRFG 89.3FM Zine Collective — Atlanta, GA — @zine_community 5 - This Here Emporium — Atlanta, GA — @walkerbankson 6 - Lex Turnbull — Atlanta, GA — @hahahahahahastop 7 - Strange Stone Press — Atlanta, GA 8 - 51 Personae — Shanghai, China — @51personaeproject 9 - Totally Clips — Atlanta, GA — @totally_clips_

Next up on our staff highlight series is Kristina Kay Robinson, Burnaway’s New Orleans Editor-at-Large (@Kristinakayrobinson). Kristina Kay Robinson is a poet, writer and scholar born and raised in New Orleans, Louisiana. Robinson’s ongoing installation and performance art project, “Republica: Temple of Color and Sound” has been presented in exhibition during Miami Art Week, New Museum’s residency program, Ideas City, New Orleans African American Museum, in collaboration with MoMa’s “Reconstructions: Architecture and Blackness in America and Notes For Tomorrow” with Independent Curators International. Robinson’s curatorial endeavors include Sudanese artist, Khalid Abdel Rahman’s “A Disappearance” hosted in 2017 by the Arts Council of New Orleans and “Welcome to the Afrofuture: The Matrix of Creativity: Where the River Meets the Sea” with New Orleans African American Museum. Her fiction and poetry has appeared in publications such as Southern Cultures, Academy of American Poets, The Baffler and criticism in Art in America, Guernica, The Nation, Harper’s Bazaar and Elle among other outlets. Robinson is a 2019 recipient of the Rabkin Prize for Visual Arts Journalism and a 2024 Andy Warhol Grant for arts writing. Currently she serves as the New Orleans editor at large for the Atlanta based, Burnaway magazine. _ Image courtesy of Kristina Kay Robinson.

Burnaway is excited to kick off Open Book, our first editorial book club, with “Hothouse Bloom” by Austyn Wohlers, selected by Burnaway’s Editor and Artistic Director Courtney McClellan. Courtney will lead an in-person book club in Atlanta at Larakin (@larakinatl) on Wednesday, September 23 from 6-8PM EST. Please RSVP to confirm your attendance at the link in bio. Learn more about “Hothouse Bloom” and Open Book at the link in bio! If you’re unable to attend our in-person book club, we will host a virtual meeting on Tuesday, September 15 from 7-8PM EST. Link to register in bio. — Burnaway is excited to announce Open Book, our first editorial book club. Held in-person and virtually, Open Book is a literary program for curious readers who are interested in engaging with stories touching on both art and our coverage region of the South and Caribbean. At a time marked by AI-generated content and declining reading habits, Open Book serves as a space for critical thinking, thoughtful discussion, and gathering. Through this program, we hope to continue fostering a community of engaged readers across our coverage region and beyond.

MAGAZINE vs. DAILY... what is the difference? The magazine is organized around recurring editorial themes. This year’s themes include: Sawtooth Star, Storm Signal, and Schoolhouse. The content includes longer-form, essay style pieces like profiles, artists interviews, travelogues, and columns like “Annotations” and the “Mood Ring”. The BA DAILY contains regularly published informational resources, including weekly staff picks and a monthly call for artists, as well as short-form exhibition reviews, and the DIY Index. Click the link in our bio to learn more about the different types of content we produce!

Introducing Isabella Marie Garcia, Burnaway’s Editorial Assistant (@isamxrie)! Isabella “Isa” Marie Garcia works as the editorial assistant at Burnaway and is an interdisciplinary lens-based artist, writer, and educator living in her native Miami, Florida. Interested in alternative educational spaces, she is actively researching the work of women and nonbinary photographers in correctional facilities and residential rehabs. Garcia is a recipient of a 2026 Oolite Arts Home + Away Residency at Artpace, San Antonio, Texas, a 2026 DVCAI Artist Catalyst Award and Spring 2026 Miami-Dade County Artist Access Grant, a 2025 Oolite Arts Ellies Creator Award and the 2024 WOPHA Research Fellowship for “The Photography Care Matrix: Teaching Traditional and Experimental Photo Techniques within Prison Environments, Residential Rehabs, and Alternative Schools”, a 2024 Visual Aids Research Fellowship, and the 2023 Locust Projects Wavemaker Research and Implementation Grant for “What Happens When the Dust Settles?”. Garcia was in residence at Bakehouse Art Complex for their 2025 Summer Open program and is an associate artist with the organization. She is pursuing a low-residency MFA in Image Text at Cornell University beginning Summer 2026 and graduated summa cum laude with her Bachelor of Arts in English from Florida International University in 2019. More information on her practice can be found at isamxrie.com. _ Photo credit Chantal Lawrie @chantal_lawrie.

Introducing Robert Alan Grand, Burnaway’s Carolinas Editor-at-Large (@robertalangrand)! Robert Alan Grand (he/him) is a writer and photographer based in Asheville, NC. His writings have appeared in numerous publications, including “American Craft”, “Art in America”, “Garden & Gun”, and Burnaway, where he currently serves as Carolinas Editor at Large. Grand’s feature essay on the Brasstown Carvers for “The Bitter Southerner” was named a Longreads Editors’ Pick, and he is a 2025 recipient of the Andy Warhol Foundation Arts Writers Grant. Follow him @robertalangrand on Instagram and Substack. — Image courtesy Robert Alan Grand.

We are excited to announce our Community Room exhibitors for Book//Zine 002, Burnaway’s second art book and zine fair. Join us at Goat Farm (@goatfarm) on Saturday, October 24 from 11AM-5PM for a selection of books, zines, and print materials from these exhibitors at the community table. RSVP for Book//Zine at the link in bio to stay up-to-date on exhibitors, programming, and details. — @mrjbird101 @carolinekuyrkendall @my1nstagramacc8unt @creativefootnotes @hollingshed @jacquelinehold @jerkpress @_moxiemag @moxie.musings @BikeDork_ATL @plutosmoons @mary_ejdpkl_worlds @skylarrains @fangsproductions @____uhruba @tannerrowan @tinyispowerful @words.of.warda

Introducing Natalie Willis Whylly, Burnaway’s Caribbean Editor-at-Large (@nwilliswhylly). Throughout the next few weeks we will be introducing Burnaway staff members, so stay tuned for the next staff highlight! Natalie Willis Whylly (she/they) is a queer curator, writer, and cultural worker from Grand Bahama. Their practice centers on decolonizing the Caribbean art archive, accessible curation and scholarship of Bahamian and wider Caribbean visual culture, and prioritizing sensitive representation of marginalized and vulnerable communities and identities. Willis spent over six years on the curatorial team at the National Art Gallery of The Bahamas (NAGB) from 2015-2021 developing exhibitions, programming, and publications. They joined Burnaway as Caribbean Editor-At-Large in 2024, and have had work published by Burnaway, Terremoto, the National Art Gallery of The Bahamas, University of Texas at Austin, and the Studio Museum in Harlem. _ Image courtesy of Natalie Willis Whylly.

Meet some of the tablers who will be sharing their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM. See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Gulch Magazine — Atlanta, GA — @gulchmag 2 - Art League Houston — Houston, TX — @artleaguehouston 3 - Maceration Press — Atlanta, GA — @macerationpress 4 - Rima Day — Spring Hill, TN — @rimadayart 5 - Hellmouth Magazine — Knoxville, TN — @hellmouth.mag 6 - Shared Print Fac — Miami, FL — @sharedprintfac 7 - Atlanta Center for Photography — Atlanta, GA — @atlantacenterforphotography 8 - Romello Goodman — Baltimore, MD — @mellogood

Burnaway is excited to kick off Open Book, our first editorial book club, with “Hothouse Bloom” by Austyn Wohlers, selected by Burnaway’s Editor and Artistic Director Courtney McClellan. Courtney will lead a virtual book club on Tuesday, September 15 from 7-8PM EST. Learn more about “Hothouse Bloom” and Open Book at the link in bio! If you’re local to Atlanta and would like to attend our in-person book club, at Larakin on Wednesday, September 23 from 6-8PM EST (link also in bio). — Burnaway is excited to announce Open Book, our first editorial book club. Held in-person and virtually, Open Book is a literary program for curious readers who are interested in engaging with stories touching on both art and our coverage region of the South and Caribbean. At a time marked by AI-generated content and declining reading habits, Open Book serves as a space for critical thinking, thoughtful discussion, and gathering. Through this program, we hope to continue fostering a community of engaged readers across our coverage region and beyond.

Amina Daugherty (@cryingbartsimpson) profiles the vulnerable, archival artworks of Texas-born, Pittsburgh-based textile artist and printmaker Sara Jean Ruiz (@sarajeanruiz). “This is the future Ruiz is constructing: a life in which self-expression intersects with public accountability. She creates pieces that dissect trauma, then shares them through social media to foster conversations about abuse, estrangement, survival, and recovery. The past remains present. The materials retain their contradictions. The house can still wound even after it has been left behind, but it is Ruiz who now controls the needle.” Click the link in our profile to read the full profile. _ 1. Sara Jean Ruiz, “same but different”, 2025, quilted collage, inkjet on fabric, recycled fabrics, vintage handkerchief, found textiles. Photograph by and courtesy of the artist. 2. Sara Jean Ruiz, “same but different”, 2025, quilted collage, inkjet on fabric, recycled fabrics, vintage handkerchief, found textiles. Photograph by and courtesy of the artist. 3. Sara Jean Ruiz, “i understand this might bring up some mixed feelings”, 2025, artist’s care bears baby blanket, photos of artist screaming (current day and the day i was born), images of a healing rash on her legs printed on fabric, words from a text from her mother. Photograph by and courtesy of the artist.

We are excited to introduce the first round of tablers who will be presenting their work at Book//Zine, Burnaway’s annual art book and zine fair, at Goat Farm (@thegoatfarm) on Saturday, October 24 from 11AM-5PM. See more from these exhibitors—as well as the full list of tablers who will be joining us at Book//Zine—at the link in bio. 1 - Exile Projects — Miami, FL — @exilebooks 2 - Juniper Press — Atlanta, GA 3 - Pickle Nickle Press — Atlanta, GA — @picklesxnickles 4 - Five Eights Collective — Tuscaloosa, AL — @FiveEightsCollective 5 - Captura Atlanta — Atlanta, GA — @captura.atl 6 - Bodega Flower — North Jersey, NJ — @bodegaflower 7 - Shortie Country — Atlanta, GA — @shortiecountry 8 - THUNGRY — Chicago, IL — @_thungry 9 - TBD Magazine — New Orleans, LA — @tbd.mag 10 - Anatomic Air Press — Atlanta, GA

Mario Andrés Rodriguez (@mayuco_jr) reflects on the lived politics of Caribbean music in his review of “Dancing The Revolution: From Dancehall to Reggaeton”, at the Museum of Contemporary Art Chicago (@mcachicago). “There are several elements within the genres—the sex, the grassroots origins, and the counterculture sensibilities—that could either be minimised or exotified for the sake of consumption within intellectual spaces. Dancing the Revolution: From Dancehall to Reggaeton strikes an appropriate balance of highlighting what makes these genres unique, in a heartfelt and honest fashion.” Click the link in our bio to read the full review. _ 1. Josefina Santos, Dominican Soundsystems 1, 2021, chromogenic print from medium format negative; dimensions variable. Image courtesy of the artist. 2. Beth Lesser (b. 1953, New York, NY; lives in Toronto, Canada), “Singer Gregory Isaacs in front of his record shop, African Museum, on Chancery Lane, Kingston, Jamaica”, 1984, digital print; 11 × 17 inches. Image courtesy of the artist. 3. Denzil Forrester (b. 1956, Grenada; lives in Cornwall, United Kingdom), “Duppy Deh”, 2018, oil on linen; 79 1/8 × 120 1/8 inches. Margot & George Greig. © Denzil Forrester. Photograph by Stephen White & Co.

We are excited to announce full and half table exhibitors for Book//Zine 002, Burnaway’s second art book and zine fair. Join us at Goat Farm (@goatfarm) on Saturday, October 24 from 11AM-5PM for a selection of books, zines, and print materials from these exhibitors and more who will be participating in our Community Room. Over the next few weeks, we’ll be highlighting some of the works of these exhibitors, so stay tuned. RSVP for Book//Zine at the link in bio to stay up-to-date on exhibitors, programming, and details. — @51personaeproject @mmmunder @arenotbooks @artcrittermagazine @artleaguehouston @atlantacenterforphotography @atl_printmakers @planatlanta @__bench_press @barleyxcx @biospherebooks @bodegaflower @buildyourarchive @captura.atl @cattywampuspress @practice_togetherness @evan.p.maloney @exilebooks @fiveeightscollective @flatspresents @forgottenlands.art @nono.gogo.lala @gulchmag @hellmouth.mag @hngyrn @huiyin.zhou caocollective @ianclar.k @jssrhds @pamplemousse.magazine @joecamoosa @isaiaherinjones @georgiachemistry @the_journals @justinisaiahmcelvey @kgpnyc @kyle_bravo_ @hahahahahahastop @lookschill @a_gun_rack @justinaledia @mdwheatley @luckyghostco @macerationpress @memorycavity @memorycavities @jackieblue1385 @n.masani.landfair @blk.obsidian @palace.of.fruit @patricesharon @dvdgdby @shane.wreak @audi0doo @picklesxnickles @press.shop @printstpete @rimadayart @mellogood @sandlot____ @secretastronomer @seen_journal @sharedprintfac @shortiecountry @paul_e_shortt @shriyasusan @slugwormzines @smallcraftadvisorypress @stukenborgpress @tangledstream @f.eli.cita @hayley__abigail @catharta__ @mjsnq__ @vixixu @tbd.mag @georgiareview @walkerbankson @_thungry @totally_clips_ @jputtphoto @ujimaboston @fortunatelymag @vedikamehra_@voxatl @zine_community @suttleandsinewy

Miriam Calleja (@miriamcalleja) reviews the aberration seen in the hydrographic screenprint and faux ceramic works found in Daniel Luedtke: Wobbly Grid at Ground Floor Contemporary, Birmingham (@dnmldaniel) (@groundfloorcontemporary). “Wobbly Grid by Daniel Luedtke is a collection of wall-mounted hydrographic screenprints on ceramics and faux ceramic tiles made of foamcore, resin, and ink, responding to the American health industry’s attempts to classify individuals into simplified categories.” Click the link in our profile to read the full review. _ 1. Daniel Luedtke, “X-Ray Coin Toss (Print)”, 2024, screenprint on plastic, 28 x 24 inches. Image courtesy of Daniel Luedtke. 2. Daniel Luedtke, “Blood and Fat Data”, 2024, hydrographic screenprint on ceramic, 15 x 11 x 2 1/2 inches. Image by Jennifer Marshall and courtesy of Ground Floor Contemporary, Birmingham. 3. Daniel Luedtke, “Eyetracking Pattern” (detail), 2026, foamcore, resin, ink, 9 x14 feet. Image by Jennifer Marshall and courtesy of Ground Floor Contemporary, Birmingham.

Burnaway is excited to announce Open Book, our first editorial book club. Held in-person and virtually, Open Book is a literary program for curious readers who are interested in engaging with stories touching on both art and our coverage region of the South and Caribbean. At a time marked by AI-generated content and declining reading habits, Open Book serves as a space for critical thinking, thoughtful discussion, and gathering. Through this program, we hope to continue fostering a community of engaged readers across our coverage region and beyond. We are excited to kick off Open Book with “Hothouse Bloom” by Austyn Wohlers, selected by Burnaway’s Editor and Artistic Director Courtney McClellan (@courtneylmcclellan). Courtney will lead a virtual book club on Tuesday, September 15 from 7-8PM EST and an in-person book club in Atlanta at Larakin on Thursday, September 23 from 6-8PM EST. Register for the virtual book club and the in-person book club at the links in bio. — Open Book is a hybrid program in which Burnaway’s editorial staff will select and announce a new book each season. Featured books may be fiction, non-fiction, essay collections and other forms of published writing and will touch on art and our coverage region of the South and Caribbean. In-person events will be held in different locations across our coverage region in accordance with editor-at-large locations (Atlanta, the Caribbean, the Carolinas, and New Orleans), and virtual events will be held on Zoom within the same week.

For Burnaway’s STORM SIGNAL theme, Tedecia Bromfield (@estrella_lune) profiles the analog and digital assemblages, consisting of everything from handmade paper to serpentine forms, found in the work of St. Thomas-based artist Sonn Ngai (@_he.datboii.legba_). “Across paper, archive, and forgotten belief, Ngai’s method holds: He never asks the pieces to merge. The plant fibers keep their textures, the eras stay unblended, and the serpents coil without a need for an end. Assemblage is how that which remains finds new form and relations, in the open hands of whoever gathers them next.” Read more from the STORM SIGNAL piece at the link in bio! — 1. Sonn Ngai, “Black Heart Man,” 2025; oil, ink, collage, spliff on handmade paper, 7.3 × 6 inches. Photograph by and courtesy the artist. 2. Sonn Ngai. Photograph by NLS Kingston and courtesy the artist. 3. Sonn Ngai, “Ob Takes the Form of a Hierophant to Save the Princess from Her Arrogance,” 2026; digital collage. Photograph by and courtesy the artist.

Lauren Stroh visits the New Orleans studio of Susan Bowers (@modernpromethea), alongside her life partner Genevieve McKeown (@genevievemckeown), to discuss the literary references and the tonal imagery across her paintings. “Sue is a product of twentieth-century New Orleans. In high school, she describes herself as both a cheerleader and a prom queen (“I was desperate for this kind of love and attention,” Sue says); she has evolved into an ageless eccentric. She was closeted until recently, although she met her life partner, the artist Genevieve McKeown, at Charlene’s, a since-shuttered lesbian bar in the Marigny, in the 1990s.” Read more from the studio visit at the link in bio. — 1. Susan Bowers, “Wild Horses in the Sunset,” 2025. Image courtesy of the artist. 2. Susan Bowers, “Ghosts Along The Mississippi,” 2025. Image courtesy of the artist. 3. Susan Bowers, “Artist Painting in Paradise Garden After Wildfire,” 2026. Image courtesy of the artist.

Mario Andrés Rodriguez (@mayuco_jr) profiles the industrial, yet tender work of Miami-based artist Luna Palazzolo-Daboul (@lunapalazzolo). “The Argentine-born artist explores raw, synthetic, construction materials that reference Goya, create a self-portrait, and elicit a statement about labor. Each piece is what it seems to be, while giving several layers of philosophical quandaries beyond what is visible.” Click the link in our bio to read the full profile. _ 1. Luna Palazzolo-Daboul in her studio, Miami, 2026. Photograph by Lauren Bouza, courtesy the artist. 2. Luna Palazzolo-Daboul, “Intra-mural”, 2025; drywall, hot dip galvanized spikes and the artist’s grandfather’s rosary. Image courtesy the artist. 3. Luna Palazzolo-Daboul, “O la temporada que Rimbaud pasó en el infierno”, 2025; wood, foam, plaster, concrete, found object. Photograph by Oriol Tarridas, courtesy the artist and Primary © Luna Palazzolo-Daboul.

Daryl Meador (@darylceleste) reviews John Akomfrah (@akomfrahjohn)’s six-screen audio-visual installation “The Hour Of The Dog”, on view at The Menil Collection (@menilcollection), Houston. “’The Hour Of The Dog’ unfolds as “Five Parables on Fugitivity and Trespass,” each interweaving present-day footage with archival materials. Historical imagery of cotton fields and anti-segregation picketers unfurl across the screens, along with newly filmed vignettes depicting actors in repose, their eyes closed and hands clasped, surrounded by objects: protest signs, cotton bolls, old televisions.” Read the rest of the review at the link in bio. “John Akomfrah: The Hour Of The Dog” is on view at The Menil Collection in Houston, Texas, through October 11, 2026. — 1. Installation view of John Akomfrah, “The Hour Of The Dog”, at the Menil Collection, Houston, 2025. Baltimore Museum of Art: Commissioned by the Baltimore Museum of Art and the Menil Collection, Houston. Photograph by Paul Hester, courtesy Smoking Dogs Films and Lisson Gallery, © John Akomfrah. 2. Installation view of Andy Warhol, “Little Race Riot”, 1964, in “John Akomfrah: The Hour Of The Dog”. The Menil Collection, Houston. Photograph by Paul Hester, © Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York. 3. John Akomfrah, “The Hour Of The Dog” (still), 2025; six-channel color video, sound, 50:37 min.; Baltimore Museum of Art: Commissioned by the Baltimore Museum of Art and the Menil Collection, Houston. Courtesy Smoking Dogs Films and Lisson Gallery, © John Akomfrah.

Collective

Collections

Account

Burnaway staff