The ninth annual Boxed In/Break Out features the unique sculptures of Abby Edwards, whose work explores the human experience through absurdity, humor, and child-like curiosity. Her installation Dirt and Stardust examines the relationship between humankind’s inner worlds and the outer cosmos through bold and colorful compositions.

Dr. Katie Geha, Director of the Dodd Galleries at the University of Georgia, selected Edwards’ proposal, noting: “Abby Edwards proposal for Boxed In/Break Out was accomplished and realized. Her works have a playful approach to the unknown, UFOs, and the awe that accompanies the exploration of the unknown. Her sculptures, exaggerated in form and color, display an absurdist examination of our inner and outer galaxies. Her work will read particularly well from the street and inspire joy in the casual passer-by.” Recognizing that the unknown can be an unsettling topic, Edwards ultimately invites curiosity, inspiring viewers to ask questions, and reignite their imaginations.

Telfair’s Making Marks exhibition is the essence of community art, showcasing works by diverse individuals of all ages, backgrounds, and abilities, and highlighting the empowering experience of creating. Artmaking provides opportunity for healing, transformation, and discovery, and brings people together to connect our community. This exhibition represents hundreds of local artists and includes artwork created during Telfair’s extensive outreach sessions with various community partners, including local health and social service organizations, as well as individual submissions from students and veterans. Themes found in this exhibition reflect the positive impact art can make in our lives and remind us that artmaking is for everyone.

Opening Celebration will be held December 8th, 2-4pm.

Join Telfair Museums’ staff and members of the Savannah community in the Neises Auditorium* for the opening program for Making Marks. This community exhibition features works submitted by local residents of all ages and backgrounds emphasizing the healing and transformative power of art making. The program will include a presentation of Telfair’s outreach programming and participant speakers from partner organizations. This event is free of admission and open to the public.

*Auditorium program will start at 2:30pm.

Telfair Museums presents a solo exhibition of iconic digital art by Jim Campbell (b. 1956), whose light-based works explore the limits of human perception. Holding degrees in electrical engineering and mathematics from MIT, along with patents for his work in development of high-definition video, Campbell is widely known for his low-resolution moving images created by arrays of LEDS. This exhibition offers a rare opportunity to the San Francisco-based artist’s works in the Southeast and will coincide with Telfair’s 2025 PULSE Art + Technology Festival.

Thresholds of Perception includes a sampling of Campbell’s low-resolution works spanning more than 20 years of his output. His captivating images engage the viewer in a primal act of looking and recognition, bringing physical materiality and humanizing elements to the digital. Works such as Color Home Movies, which incorporates found footage from anonymous home movies, are stripped down to animated pixels of light which rely on the viewer’s memory and imagination to complete the missing information. Recognition often comes from movement, for example the gait of an individual walking in Campbell’s Motion and Rest series. In one of Campbell’s major works Eroding Wave, 3,456 LED lights extend into the viewers’ space, dispersing light in three dimensional particles as silhouettes of swimmers move upward through a sculptural wave.

Jim Campbell’s art has appeared in numerous exhibitions in the US and abroad and is represented in major collections including the Museum of Modern Art, The Metropolitan Museum of Art, The Whitney Museum of American Art, the Smithsonian American Art Museum, and others. His public art works include Day for Night (2018) a permanent moving image installation displayed across the top nine floors of Salesforce Tower in San Francisco.

Exhibition will coincide with Telfair’s 2025 PULSE Art + Technology Festival, January 16-18.

Epic in their explosive color yet confined within painted frames, the large-scale mixed-media paintings of Ken Gun Min capture the paradoxes of our beautifully complex world, where utopian idealism collides with dystopian realities. Through lush landscapes and tender portraits, Min orchestrates sublime scenes — both real and imagined — that draw from his experiences as a queer Korean immigrant in the U.S. Focusing on the emotion of his parafictional stories, Min showcases the moment of beauty before destruction, stirring feelings of uneasiness and awe. Ultimately, his works highlight the importance of seeing life in its entirety and remind viewers to offer gentleness to all journeying through this vast existence.

On raw canvases treated with gesso and Japanese bookbinding glue, Min applies a unique cross-cultural blend of materials, such as Western oils, Korean pigments, and hand-embroidered beads, that address his transition from South Korea to the U.S. and challenge the boundaries of painting and craft. These textural compositions, inspired by historical European paintings and East Asian textiles, evoke Min’s “queer utopia,” underpinned by the repressed histories and urban legends of Los Angeles. Depictions of animals such as lions, peacocks, and moths, adorned with gems and facing their demise, serve as allegories for the gentrification of local queer Asian hubs and as anthropomorphic symbols of “cruisers” or gay sex workers, whose lives are often at risk in their profession. While Min’s portrayals of male figures wading in water also allude to the tragic homophobic murders and disappearances of transgender people at a nearby lake, his centering of intimate, muscular men of color brings visibility to queer communities and offers new conceptions of masculinity, sexuality, and race.

Jan. 24 - June 22, 2025

For nearly three centuries, the Venetian Republic played an uneasy game with its neighbor on the Adriatic Sea, the powerful Ottoman Empire. Amid frequent conflicts, the Republic kept strong trade relations with the Empire to maintain its political independence and economic power. Merchants traveled throughout the Empire and imported coveted spices, sumptuous textiles, and elaborate metalwork to feed Western Europeans’ eager appetites for Near Eastern and Asian goods. In turn, Venetian artisans appropriated their neighbors’ decorative traditions into varying media, from rich silk fabrics to gilt bindings for books, for wealthy consumers at home. Additionally, artists in the city represented these luxurious items in their paintings, placing a decidedly Venetian twist on their subjects.

Venice and the Ottoman Empire brings more than 100 artworks from Venice’s largest and oldest museums to Telfair for a rare glimpse into this intriguing center of exchange. It features paintings, costume, textiles, leatherwork, metalwork, and ceramics from the 15th through 18th centuries that are not often exhibited outside of Italy, including works recovered from a shipwreck. Visitors also will learn about how these historical designs inspired 20th-century textile and fashion designer Mariano Fortuny y Madrazo to create the luminous fabrics that are still manufactured in Venice and prized by connoisseurs today.

The Beach Institute African American Cultural Center proudly presents Roots and Realities, a powerful art exhibit exploring the Gullah Geechee people's vibrant culture and untold stories. Featuring the works of renowned artists Amiri Farris and Isaac McCaslin, the exhibit invites audiences to reflect on the beauty of resilience while honoring the tragedies that have shaped history.

Amiri Farris’s vivid, dynamic pieces pulse with the rhythm of Gullah Geechee life, capturing the brilliance of their traditions and the resilience of their spirit. In stark contrast, Isaac McCaslin’s black-and-white series, The Tragedy at Ebenezer Creek, lays bare the sorrow of lives lost in a long-buried historical atrocity. The massacre at Ebenezer Creek, a dark chapter of the Civil War, shook the nation when news of it reached Savannah, playing a pivotal role in the landmark "40 Acres and a Mule" meeting at the Green-Meldrim House.

Together, their works embody the alchemy of resilience—how the deep roots of memory and ancestral connection can transmute suffering into something enduring, where pain becomes purpose and tragedy gives rise to culture, as vividly reflected in the luminous hues of Amiri Farris’s paintings.

CALL FOR ENTRIES: https://www.ologygallery.com/submissionsaltsodasubmerged

DEADLINE: Saturday, April 12, 2025, 12 AM EST

Salt, soda, submerged... oh my. Alternative firing and “painting” methods will be explored in this juried exhibit featuring soda and salt fired ceramics and the submerged / emersed canvases of Henry Dean. Juror Samantha Hostert

MAY 17TH - JUNE 28TH, 2025

OPENING RECEPTION: SATURDAY, MAY 17TH, 5:30-8 PM

CLOSING RECEPTION: SATURDAY, JUNE 28TH, 5:30-8 PM

(IMAGE COURTESY OF SAMANTHA HOSTERT)

“again… this time with feeling”

A multi-generational and experimental exhibition, again…this time with feeling asks no less than what is an art practice? It explores both art and the influence of teaching, from student and professor perspectives, considering the dynamism of both as learning and incorporating influences from the other. It tackles the power of repetition within artistic practice (with reference to other artists and art history in mentorship) as well as the role of repetition in teaching and learning. This self-selected and intricate show began with conversations about repetition and practice, influences, and homage. It began with thinking about what one takes from a teacher, incorporates, filters, and passes on. The exhibition has taken shape over the span of a year in some ways, and over the span of many years in other ways…

Featuring: Todd Schroeder, Gonzalo Hernandez, Walter Sanmartin in collaboration with Lisa Jaye Young

Opening Reception: February 27th, 5 - 9 PM

The SCAD Museum of Art celebrates pioneering figure of American design and brand development Vera Neumann with an exhibition of her drawings, watercolors, silkscreened production prints, and scarves generously gifted to the museum by The Vera Neumann Artwork Trust. Neumann is perhaps best known for her eponymous line of Vera scarves that have been worn by fashionistas, first ladies, and movie stars alike. Identifying as an “artist who paints things for people rather than for walls,” Neumann defined the aesthetics of the mid-20th century with her complex patterns, abstract forms, and vibrant colors. The exhibition situates Neumann’s work in dialogue with a collection of silk scarves produced by New York-based artist textiles company Massif Central and designed in collaboration with some of the most important visual artists working today. This pairing accentuates the legacy and continued relevance of Neumann’s groundbreaking approach to democratizing art through joy, creativity, and innovation.

Sarah Crowner’s Platform as Platform is an impressive artwork and a generous invitation. For this new exhibition, the artist has created her largest tile installation to date, a site-specific structure that stretches a span of more than 200 feet. Fabricated from custom-made terracotta tiles created in Guadalajara, Mexico, the floor-based work echoes the accumulative repetition of the building’s historic brick masonry, while the tiles’ colorful, glossy glaze and wavy design form a vast, dynamic ground that seems to extend into the horizon.

Crowner welcomes viewers to stand on, walk across, or even dance around the light-refracting composition, encouraging an experience that shifts our relationship to painting. Crowner’s work also functions as a foundation for a group of stretched drop cloths sourced from the SCAD fibers department’s screen-printing lab, displaying the accumulated layers from years of use by students and faculty. These collaborative canvases transform a potentially overlooked surface into something laden with meaning and aesthetic merit, evoking the reframed viewpoint that her installation offers. An inclusive, expansive gesture, Platform as Platform enjoins us to reconsider how we see the world.

Diedrick Brackens creates woven tapestries that blend a cosmic array of allegories, historical narratives, and autobiographical memories into compelling forms. In The Shape of Survival, Brackens brings his work into intimate dialogue with the American South, drawing on the region’s history of quilting and influences from myriad historic artists, most notably Aaron Douglas. Brackens’ use of hand-dyed cotton acknowledges the weighty legacy of this material, honoring its past while transmuting it into lyrical, awe-inspiring artworks.

The Shape of Survival takes on additional resonance in the museum’s Walter and Linda Evans Center for African American Studies within a structure that originally served as a Central of Georgia Railway depot where cotton and other commodities produced by enslaved Black labor were transported and stored. Yet the poetic and often ecstatic gestures of Brackens’ figures offer a sense of joy and revelry, expressing a powerful engagement with the richness of both African American cultural inheritance and queer identity. Together, these works propose conversations across the centuries on the power of art and its potential for transformation and growth.

Feb. 24 - July 7, 2025

SCAD deFINE ART honoree Zanele Muholi is a boundary-pushing artist esteemed for their work exploring notions of Black identity, community, and advocacy. A self-described visual activist, Muholi prioritizes the depiction of marginalized people from queer communities in both their home country of South Africa and around the globe. Through striking photographs, film, and sculpture, the artist honors the complex lived experiences of Black individuals, underscoring the vital need for visibility and agency.

Muholi’s exhibition includes several landmark bodies of work including Somnyama Ngonyama, translated from Zulu as Hail the Dark Lioness, an ongoing series of self-portraits that cast the artist as the central figure in sumptuous black-and-white images. In these staged confrontations, Muholi dons everyday items like clothespins, rugs, and plastic bags, which transform through unexpected arrangements, reflecting both personal and collective narratives of race and body politics.

The exhibition also features selections from Brave Beauties, highlighting trans women and nonbinary people in empowered poses, and Faces and Phases, a series of portraits that respond to the violence and discrimination faced by Black lesbians in South Africa. A never-before-seen group of self-portraits continues the artist’s Somnyama Ngonyama series in lightbox format. Through these works, Muholi reenvisions Black queer representation and challenges pervasive stereotypes, offering an empathetic and emboldened perspective of the human condition.

Feb. 24 - July 6, 2025

Opening Reception: March 8th 5-8 pm with artist talk at 6 pm

Cleo the Project Space is pleased to present A Soft Landing, an exhibition with work by Sophia Belkin, Lou Breininger, Thomas Martinez Pilnik, and Aliyah Salmon. This show brings back four fiber artists that have previously shown at Cleo to celebrate contemporary themes in the textile world. 

Sophia Belkin utilizes embroidery, digital printing on fabric and dye to achieve her kaleidoscope imagery. Inspired by the natural world, Belkin pieces together digitally manipulated images of greenery and flowerscapes with organic line stitching and psychedelic color bleeding to blend lush pieces of an evolved final puzzle. The work is built in equal parts by machine and by hand to achieve a multi-layered and textured form that landscapes a unique aesthetic field of vision with a knowledge of craft across the history of textile work.

With a shared inspiration from nature and a bleeding color scheme, Lou Breininger airbrushes acrylic paint onto carpet swatches to create sensational scenes of ripe lemons. The four exhibited works are prismatic, inducing the soft reference of watercolor on paper plus a divine appellation paired with the typical medium of airbrush found in t-shirt shops on boardwalks. The backdrop of carpet is the final exploration in a mix of references both high and low to create a distinct language of texture, character, and balance.

The tufted surface is also shown through the handiwork of Aliyah Salmon and Thomas Martinez Pilnik. Salmon creates surreal sets through the use of familiar iconography and melodrama. Building up scenarios that feature gradients of color, bold mark making, and cloudy skies, these hand tufted landscapes are cinematic in their ultimate pairings. These pairings explore Black femininity through subconscious considerations that hold signs through culturally significant objects. The slow process of repetition while using an Oxford punch needle to create these works is a meditation on craft and handmade design.

In slight contrast Thomas Martinez Pilnik uses a tufting gun to create his works. These works include everyday objects imbued with significance in their recreation including a place setting with ceramic renderings of cigarette butts, chicken bones, and orange skins. This piece stands as testimony to a familiar and everyday event, while 8 Out of 10 Melanoma stands as a symbol of the extraordinary as a replica of the diagram that was drawn on Pilnik’s stomach before his first cancer surgery. 

Mood Indigo is Location Gallery's 9th Anniversary show by local artists with work that is 60% the shades of indigo. Artists include Stacie Jean Albano, Claire Barrett,  Lennie Ciliento, Brian Condon, Joy Dunigan, Manda Faye Dunigan, Darcy Melton, Cora Ennis Morris, Bernard Nolan, Jennifer Nolan, Anisa Nonya, Michelle Perez, Jessica Pope, Dana Richardson, Lisa D. Watson, Heather L. Young, Rose Marie Woulfe and more. Gallery profits from show are donated to Leukemia & Lymphoma Society of Savannah

On Display March 21st - April 18th, 2025

Ancient stories meet contemporary life in this exploration of theology and art. Through layered imagery and diverse media, personal narratives of faith emerge, offering new perspectives on biblical narrative and inviting contemplation on the enduring power of scripture.

Elise Aleman (b. 1960) embodies the vibrant spirit of a Cuban-born artist who found her home in the artistic haven of Savannah, GA. In 2021, she proudly graduated with a BFA from SCAD, and now, she ardently pursues an MFA at GSU, furthering her artistic journey, and breathing new life into her lifelong passion.

A renaissance woman of the art world, Elise fearlessly navigates the realms of oil, acrylics, printmaking, and mixed media, showcasing her eclectic talents.

Years after leaving the childhood home designed and built by his grandfather, Joshua Archer was struck by the fear of forgetting its once-familiar details. Sentimental Surrealism transforms his youth reveries into tangible objects, elevating the quiet, often-overlooked corners of his past while highlighting the micro design movements of the late 20th century that inform his visual language. Blending memory with material, Archer crafts sculptural furnishings that invite viewers into a reflection on the concept of home and retrospection.

On View March 27-29, 2025

Thursday, March 27, 5 p.m. - 9 p.m.: Opening Reception
Friday, March 28 and Saturday, March 29, 1 p.m. - 4 p.m.: Open Hours

Disappearer: New Works by Jon Witzky

April 4-27, 2025

Opening Reception: Friday, April 4, 5-9pm

Artist Talk: Sunday, April 27, 3pm

Open hours: Saturday and Sunday 1-4pm

SIP is Savannah Clay Community’s annual signature exhibition featuring over 200 functional ceramic mugs, cups, tumblers, etc., from clay artists from across the country and many from Savannah as well.

APRIL 11TH - 25TH, 2025

Beyond Sight, a multisensory exhibition highlighting accessibility in art, is back for its second iteration!  Join us Friday, April 11 from 6:00-8:00pm for the opening reception of this incredible exhibition featuring local artists from diverse backgrounds. Free and open to the public, light refreshments provided.

Contributing Artists: Autumn Gary, Christopher Nitsche, Joshua Alexander, Lois Harvey, Maggie Garner

Curated by Visual Arts Specialist Antonia B. Larkin. Beyond Sight will be on display in our gallery until Friday, May 30. Always free and open to the public.

Opening Reception: Friday, April 11th, 6 - 8PM

Menagerie is new imaginative works by Stacie Jean Albano

Gallery profits from show are donated to Chatham Academy at the Royce Learning Center

On Display April 25th - May 9th, 2025