Virginia Jackson Kiah, Ph.D., was a painter, educator, museum founder, and civil rights activist. Born in 1911, Kiah grew up in Baltimore, and spent her formative years working alongside her parents at voter registration drives and other community-based, political activation events. Kiah was a trained portrait painter and arts educator, but as a young artist she was prohibited from entering museums and exhibiting her work solely because of exclusionary and racist practices. Committed to creating spaces of open access, in 1959 — just eight years after moving to Savannah — she opened the Kiah Museum as a "museum for the masses."

Kiah had a close, decades-long relationship with SCAD and cared deeply about creating a positive and accepting environment for students to learn and create. In 1986, SCAD awarded her an honorary doctorate of humanities. A year later, she was appointed to the SCAD Board of Trustees where she would serve until 1997. Interested in fostering young artists' work, Kiah created the Kiah Painting Endowed Scholarship, which is still active today.

In 1993, honoring Kiah's lifelong dedication to creating equity in the arts and support for emerging artists, SCAD renamed a prominent SCAD Museum of Art building in her honor. That same year, Kiah donated a selection of her paintings and drawings to the museum. In her donation letter, she explained, "It is my desire that the Kiah collection serve as an inspiration to future artists so that they, too, may live their vision."

Gathered from this significant donation, Live Your Vision brings together a wide range of Kiah's figurative works, from casual self-portraits to regal military portrayals to life drawings. Using an array of media — oil, watercolor, and graphite on supports including canvas, Masonite, and paper — Kiah captured the essence of family, friends, celebrities, and strangers alike. Individually, these portraits are acts of attention, focus, and dignity. Taken as a whole, the exhibition reflects Kiah's deep belief in humanity and the vital role of inspiration and creativity in re-envisioning our future.

Virginia Jackson Kiah, Ph.D. (b. June 3, 1911 - d. Dec. 28, 2001) was an artist, educator, civil rights activist, museum founder, philanthropist, and nationally acclaimed portrait painter. She studied portraiture at the Philadelphia Museum School of Art and, in 1931, she graduated with honors. Kiah continued her studies at the University of Pennsylvania and at the Art Students League of New York. In 1950 she received her master's degree from Columbia University. Her work was exhibited at the Baltimore Museum of Art; the Baltimore Women's Civic League; the Carnegie Institute in Pittsburgh; the first National Council of Negro Women's Conference; the Eggleston Galleries, New York; and the SCAD Museum of Art.

On display online at the SCAD MOA website through December 31st.

Artists depict interior settings in many ways. Some focus on them as the subject of their work, while others use them to create settings and backdrops to inform a scene. Often, they are rich in detail and ripe for further visual exploration. Stay Awhile: Interiors in Art encourages visitors to thoroughly ponder a selection of works from Telfair’s permanent collection, including paintings, drawings, and photographs, that feature a variety of views of the indoors. Rather than emphasize a specific narrative, the text accompanying each work of art offers the visitor entry points for looking more closely at elements of a composition, encouraging them to form their own ideas or discuss them with fellow museumgoers.

In Reflection: Contemporary Art and Ourselves is a long-term evolving installation of Telfair Museums’ modern and contemporary collection featuring paintings, prints, drawings, photographs, sculptures, textiles, and mixed and time-based media from 1945 to the present day. In addition to the expansive historical context and aesthetics, the wide variety of artworks on view encourages us to consider the artist’s role in mirroring individual and collective experiences and identities through these objects. These reflections are broadly explored as personal, social, and cultural themes. The PERSONAL delves into the self, offering insight into the feelings and emotions invoked through the work. The SOCIAL looks critically at the world, tackling of-the-moment topics such as climate change, globalization, social activism, and politics. The CULTURAL takes a big picture view, grappling with history, religion, language, heritage, legacy, and land that are central to cultural customs and traditions.

The exhibition also features select loans of provocative artworks by cutting-edge contemporary artists in the United States and beyond. These additions remind us that art is never static but continues to personally, socially, and culturally respond to the current moment. Offering another point of view, audio clips by artists, art professionals, and community members react to select works and encourage multiple interpretations. As we navigate the exhibition and learn about the works, we can ponder our own perspectives, unveiling a deeper understanding of ourselves and our relationships with the world around us.

This exhibition is organized by Telfair Museums and curated by Erin Dunn, curator of modern and contemporary art with assistance from Kylie de Jesus, Melaver Family Curatorial Intern.

Telfair celebrates a new exhibition in its immersive Children’s Art Museum (CAM) that focuses on the fantastic art of Savannah artist and sailor William O. Golding (1874-1943). A host of new interactive experiences will lead children and adults through the remarkable story of this artist whose seafaring adventures of 49 years inspired his distinctive maritime drawings. New exhibits by FREN Inc. bring Golding’s pencil and crayon drawings to life in animations that visitors of all ages may control and interact with.

A popular 2022 Telfair Museums exhibition and book documented Golding’s colorful life and art. Golding, an African American seaman, was tricked aboard a sailing ship as a youth on Savannah’s waterfront in the 1880s. He eventually became a seasoned sailor who served in the U.S. Navy and worked on ships of all types from a whaler to a man o’ war. In the new CAM, Telfair’s collection of 23 Golding drawings serves as inspiration for interactive exhibits showcasing the ships depicted in his art, as well as ports near and far that he visited across the globe. An immersive LED wall will allow participants to guide their own animated ship to follow Golding’s journeys, exploring geography, weather, and maritime technology as seen by one of Savannah’s most unique artists.

The tenth annual Boxed In/Break Out is a collaboration between Savannah-based artists Lisa D. Watson and Dana Richardson. Watson is a native plant advocate with the Georgia Plant Conservation Alliance and the Georgia Native Plant Society and serves as a guide for painter Richardson to explore indigenous plant habitats as inspiration for her paintings. Combining sculpture, painting, and text, the artists will transform each window into a theatrical narrative where fragile ecosystems take center stage. The scenes will invite viewers to step into an immersive experience that bridges the divide between human-made and wild spaces. Unique stories—from ancient trees in Maritime Forest to Longleaf habitats, fleeting grasslands and wildflowers, the adaptations of bog and aquatic plants —are revealed to evoke a sense of wonder and urgency and education. By casting Coastal Plains indigenous plants as both hosts and heroic performers, the installation underscores their critical role in sustaining life while highlighting the precariousness of their existence.

Guest judge Renée Maurer, associate curator at The Phillips Collection, selected Heroes and Hosts because “of the creative ways it addresses themes of biodiversity and conservation, using storytelling to highlight indigenous and vulnerable plant species in Georgia. Combining painted and sculptural elements, each window will theatrically reveal a beautiful, immersive, educational experience. The project will create moments of reflection allowing visitors to consider their relationship with nature and their role in conservation.”

Displaying works both within and on the façade of the SCAD Museum of Art, Tomokazu Matsuyama presents large-scale paintings and sculpture that blur distinctions between interiority and exteriority, Eastern and Western, and past and present. A first-generation Japanese American, the artist grew up in an immigrant neighborhood in Southern California, lived in Japan, and has spent more than two decades in New York — personal experiences of cultural displacement that he channels into his work. Matsuyama depicts figures within intricate domestic spaces, drawing from a broad visual vocabulary ranging from the refined tradition of Nihonga painting to contemporary Japanese aesthetics, alongside references to American editorial photography and the bold, graphic sensibilities found in West Coast subcultures.

These works are meticulously constructed through a mix of hand-drawn and digital techniques, combining patterns and symbols to reflect shifting notions of identity and meaning in a globalized world. Inspired by daily life in cities, each painting synthesizes a barrage of visual information, treating what is traditionally considered high or low culture with equal attention and care. The exhibition includes works from First Last, a series influenced by the artist’s religious upbringing that incorporates elements from Western art historical depictions of Biblical scenes. Collectively, these works explore how stories and the images they conjure have multiplied over centuries and across communities, revealing the myriad ways context shapes perspectives of one’s self and society.

For millennia, bells have organized society by tolling to mark the hours, calling communities to assemble, clanging alarms of danger, and ringing in momentous occasions. These cultural connotations are made even more multivalent by the many shapes and styles bells have taken over the centuries. Since 2017, Davina Semo has explored the meanings and artistic potential of this form in resonant sculptures, translating poured molten bronze into a range of textures, shapes, and patterns with an almost infinite variety of paint or patina finishes. This exhibition, the artist’s first solo museum showcase of her bells, features more than 50 works suspended at different heights in groupings that emphasize their polyphony. Together, the bells offer variations on a theme with complex surfaces that reflect their environment and encourage viewers to engage with sculpture in the round. Ultimately, Semo invites us to consider the functional elements of art by experiencing its sonic dimensions. As museum visitors strike the clapper against the shell, their action becomes participation and metaphor simultaneously: we hear the ringing bell vibrate and sense how our gestures reverberate outward toward others.

Drawing elements from the horror genre and video game aesthetics, Andrew Roberts examines the violent aspects of cultural and economic systems. His multimedia work has recently focused on the geopolitical dynamics that have shaped the relationship between the U.S. and his home country Mexico, as well as the effect these forces have had on his familial history. In his first institutional solo show in the U.S., Roberts incorporates film, sculpture, and installation in a compelling tableau that transports viewers to a ghostly simulacrum of the fast-food franchise Jack in the Box. The artist’s new animated film, designed with video game software, presents the restaurant interior populated by spectral manifestations of the brand’s mascot in three forms: darkness, liquid rubber, and red light. Pulled from the artist’s childhood memories of visiting his father at a Jack in the Box on the U.S.–Mexico border, which also served as a gathering point for migrant workers and families separated by immigration policies, Roberts’ installation examines the haunting realities at the intersection of policy, corporate identity, and personal experience.

Since the invention of photography almost 200 years ago in 1826, the medium has successfully served as a tool to capture and rethink our world. This exhibition explores the evolution of photography as a fine art form and its expanding presence in art museum collections, as seen in the growth of Telfair’s photography collection from 400 works in 2015 to over 1,100 today. Telfair’s collection features prominent figures like Joel Meyerowitz (b. 1938), whose adoption of large format color photography in the early 1970s influenced emerging practitioners. The exhibition also considers the success of women like Helen Levitt (1913-2009), who despite encountering obstacles in a field largely dominated by men, captured engaging scenes of city streets in the 1940s. Unsurprisingly, the Southern landscape, and Savannah in particular, are frequent subjects of the works in the collection, like George Barnard’s (1819–1902) skillfully framed post-Civil War photographs of Savannah’s River Street. This exhibition also celebrates Savannah-based artists such as Jason Miccolo Johnson (b. 1956), a nationally recognized photojournalist whose image of a pastor in front of a burned down church stands for loss and resilience. Ultimately, this exhibition is a celebration of photography and its powerful presence in our culture.

Michi Meko creates large-scale paintings that address and process “the African American experience of navigating public spaces, particularly in the American South, while remaining buoyant within them.” The artist’s powerful subject and impressive approach to making these works were brought about by a near-drowning, which shifted his perspective on how he exists in nature. While pursuits in the water or woods like fishing or hiking have historically been fraught for Black individuals, often restrictively codified as “white” spaces in the U.S., Meko’s exuberant art and passion for fly-fishing reclaim these nonurban sites, demonstrating that nature has always been a thriving source for Black creative expression.

Meko’s immersive paintings evoke turbulent skies, undulating seascapes, and billowy marshes with spray-painted gestural markings, while also incorporating forms and navigational lines in white color pencil and beacons of gold leaf sparkling in the night sky. The artwork’s inky palette and the exhibition’s title, So Black and So Blue, take inspiration from Louis Armstrong’s interpretation of the jazz standard “(What Did I Do to Be So) Black and Blue,” Ralph Ellison’s evocation of the song’s racial protest dimensions, and Imani Perry’s groundbreaking text Black in Blues: How a Color Tells the Story of My People. Contextually and lucidly, Meko maps an optimistic framework of resilient expedition and profound change.

André Leon Talley: Style Is Forever is a tribute to the enduring legacy of André Leon Talley — distinguished editor, cultural icon, and beloved SCAD mentor and friend. The exhibition features select looks from Talley’s personal collection, including ready-to-wear, couture, and bespoke pieces, highlighting some of his most recognizable moments from legendary Met Galas to famed front rows as well as more intimate occasions and celebrations.

Rising from his Southern roots in North Carolina, Talley launched an unparalleled career that began with Diana Vreeland at The Metropolitan Museum of Art’s Costume Institute and traversed through pop culture with Andy Warhol at The Factory and into the highest echelons of style with Anna Wintour at Vogue. Talley’s deep intellect, flair for language, and skill at contextualizing contemporary design within the richness of history established his long reign as fashion’s kingmaker. In his columns and editorials, he stirred audiences to view aesthetics through a more expansive lens of beauty, identity, authenticity, and empowerment.

Style Is Forever displays a curated selection of Talley’s wardrobe by designers including Givenchy, Ralph Rucci, Balenciaga, and Gucci alongside cherished mementos and artworks from friends such as Diane von Furstenberg. Made possible through an extraordinary bequest of garments, accessories, and ephemera to the SCAD Permanent Collection, the exhibition foregrounds Talley’s lasting gift to generations of students and scholars.

Presented across SCAD museums in Atlanta and Savannah, Style Is Forever marks the 10th anniversary of the university’s SCAD FASH Museum of Fashion + Film. Across his long partnership with SCAD, Talley curated acclaimed exhibitions and welcomed renowned designers to the university to share their insights, enriching the student experience while advancing cultural dialogue and exchange. 

An accompanying exhibition catalogue commemorates Talley’s grandeur and global impact, brought to life in new photography by SCAD alum Allen Cooley alongside images from the archives of fashion documentarians Jonathan Becker and Robert Fairer. Essays, stories, and memories from colleagues and admirers who experienced Talley’s singular character reflect on a career spanning more than four decades, offering a rare view into his private world, the people who shared it, and their collective contributions to fashion history.

Ships of the Sea Maritime Museum—an acclaimed museum dedicated to celebrating and preserving America's maritime legacy—is delighted to present "Beyond the Plate: Sea and Sky," an exciting new solo exhibition featuring nautical-inspired, mixed-media art by Rob Strati

"Beyond the Plate" will showcase new work by one of America's hottest contemporary artists. Strati has recently enjoyed sold-out exhibits at Duane Reed Gallery in St. Louis and FREMIN Gallery in New York and has sold work to top international art collectors in New York, London, Hong Kong, Dubai, and beyond. Strati's art incorporates broken porcelain plates that have been embellished and adorned with creative details. The exhibition features the artist's latest bold, kinetic mixed-media works and limited-edition prints, as well as an ambitious site-specific installation that will be suspended from the ceiling of the Ships of the Sea atrium.

Opening Reception: September 25, 2025, 5:30-7:30 pm

Read more here!

Reception: October 23, 6-8pm

For her debut solo museum exhibition, Jana Marie Cariddi (SCAD B.F.A., painting, 2015) presents two new bodies of work, including her signature amorphous constructions alongside a suite of black-and-white graphite drawings. Titled after the brain’s processing center for memory and emotion, Amygdala features sculptural paintings whose uncanny forms stir the instinctual urge to decode their designs through one’s own lived experiences, eliciting feelings of familiarity, curiosity, or even disgust. These surreal works, originating from intuitive sketches and meticulous planning, animate the artist’s obsession with childhood artifacts, pop culture relics, and early digital interfaces, spanning Windows screensavers, Betty Spaghetti toys, and Pee-wee’s Playhouse. Cut from CNC-milled wood and embellished with airbrushed patterns, resin, and marbles, the compositions pulsate with color and texture while mediating tensions between the organic and synthetic, the playful and macabre. Cariddi’s drawings similarly depict abstract ecosystems guided by a personal pseudo-science that favors feeling over logic, coalescing into an alphabet of idiosyncratic petroglyphs. Balancing visually and conceptually opposing forces, Cariddi’s works reflect on the unruly, discordant harmonies undergirding our bodies, sensibilities, and surroundings.

Jana Marie Cariddi (b. 1993, N.J.) earned her B.F.A. in painting from the Savannah College of Art and Design in 2015 and her M.F.A. in painting and drawing from the University of Wisconsin–Madison in 2024. She has exhibited her work nationally and internationally at venues in Los Angeles, Berlin, New Orleans, and Savannah, Ga., among others. Cariddi has participated in residencies including GlogauAIR in Berlin; Artist in ASO in Kumamoto, Japan; On::View at ARTS Southeast in Savannah; and the Elizabeth Murray Artist Residency at Collar Works in New York. Cariddi lives and works in Jackson, Miss., where she is a Windgate Fellow and professor of painting at Millsaps College.

Amygdala is organized by SCAD Museum of Art assistant curator Haley Clouser.

Throughout her storied career, actress Glenn Close has collaborated closely with costume designers to help bring the characters she embodies to life. Inspired by the creativity and craftsmanship she saw in her film and theater productions, she began collecting and preserving costumes and accessories from her projects after her first movie, The World According to Garp (1982). In 2017, she donated her over 800-piece collection to the Sage Fashion Collection in the School of Art, Architecture + Design at Indiana University.

First presented at the Eskenazi Museum of Art at Indiana University in 2020, The Art of the Character: Highlights from the Glenn Close Costume Collection will offer visitors a unique opportunity to thoroughly explore the careful consideration and exacting details that teams of designers, drapers, and other craftspeople created in over 50 ensembles and numerous examples of jewelry, shoes, and other accessories. It will feature the work of award-winning costume designers, including Anthony Powell (1935–2021), Ann Roth (b. 1949), James Acheson (b. 1946), and Alexandra Byrne (b. 1962), and costumers like Barbara Matera Ltd (active 1968–2001), from 14 of Close’s best-loved movies.

20 local artists each make six 6" x 6" pieces for a total of 120 pieces for holiday shopping! Artists include Stacie Jean Albano, Camela Aliffi, Janet Bailey, Adrienne Berkland, Joy Dunigan, Manda Faye Dunigan, Tate Ellington, Mary Hartman, Tree McDougal, Christopher Nitsche, Julia Licht, Tobia Makover, Jennifer Nolan, Anisa Nonya, William Pagano, Melody Postma, Alex Pashikov, Peter E. Roberts, Lisa D. Watson and Heather L. Young. Gallery profits from run of show are donated to Safe Shelter.

Just in time for the holidays, “The Banquet: Winter’s Feast” will showcase stunning ceramics for your dining experience. Discover beautifully handcrafted bowls, cups, vases, plates, platters, and all the essentials you need to create an exquisite table.

SCULPTURE RELIEFS BY KYLE BROWN

NOVEMBER 22, 2025 – DECEMBER 20, 2025

OPENING RECEPTION: NOVEMBER 22, 2025, 5:30 - 8:00 PM

CLOSING RECEPTION: DECEMBER 20, 2025, 5:30 - 8:00PM

Personified presents selections from the SCAD Museum of Art Permanent Collection that focus on the human form as a vessel with which to examine common culturally constructed ideas related to identity. The works on view demonstrate the myriad ways artists hybridize, morph, caricaturize, or embellish their figures, imbuing them with characteristics typically unrelated to the body but which ultimately emphasize their humanity.

Exhibiting modes of personification from animals to common objects, the shifting body manifests first through metamorphosis — a theme anchored in historic literary and religious sources — which sees the subject in the process of transformation, typically as a metaphor for broader themes like love, alienation, hidden fears, or growth. These works include Wangechi Mutu’s Homeward Bound (2010), which depicts a figure transmuting into a hybrid animal–machine, an expression of the raw strength of women. Other works explore the notion of the composite, in which the subject is presented as an amalgamation of an array of cultural signifiers as a reflection of the social conditions of the artist’s time, as seen in the images of luxury items that make up Rashaad Newsome’s photographic collaged portrait GAG (2015). Lastly, the adorned body is celebrated in works like Nick Cave’s Drive-By, a freewheeling film in which the artist’s iconic Soundsuits jump, roll, and dance in fluid, pulsating motion. The artist’s extravagant costumes obscure all identifying features of the wearer as well as the resulting inferences the viewer could make based on appearance, offering transcendent, joyful embodiments of empowerment.

Personified is organized by SCAD Museum of Art curator Ben Tollefson.

Image: Wangechi Mutu, "Homeward Bound," 2010, archival pigment print with silkscreen on archival paper, edition 32 of 45, 25 x 19 1/4 in. SCAD Museum of Art Permanent Collection.

In the House of Johnny Ray is a solo exhibition by Marta McWhorter exploring the intersection of absence and imagination, and the great "What Ifs" surrounding the loss of a parent, through a highly sculptural installation environment. 

Through her creative exploration, Marta has built a personalized dreamscape to reimagine a fantastical childhood with the father she did not know from the ages of 3-23. A feast for the senses, the show will entice the viewer to spend time contemplating life and the creative spirit.

On view December 5, 2025-January 2, 2026

Opening Reception: Friday, December 5, 5-9pm

Artist Talk: Sunday, December 14, 3pm

Closing Reception: Friday, January 2, 5-9pm

Open Hours: Saturday and Sunday, 1-4pm or by appointment. Additional hours posted on IG @gallery_2424. Closed for the holidays Saturday, December 27 and Sunday, December 28.

Working Titles is a result of when the performers from the big top, sideshow and midway return to everyday life with spectacular results. New mixed media pieces by Peter E. Roberts.

Gallery profits from show are donated to Third Act

LOCATION GALLERY @ Austin Hill Realty features group and solo art shows by local Savannah artists. Gallery profits from shows are designated to local non-profits.

Open Mon.-Fri.10a-5pm, Sat. 11a-3p or by appointment

show@locationgallery.net

For more than three decades, Telfair’s annual Making Marks exhibition has celebrated community art making, highlighting the work made by individuals of all ages, backgrounds, and abilities. Art making provides opportunities for self-expression, creative development, and healing. Much of the art featured is made in group environments as part of Telfair’s extensive outreach programming at Savannah area community partner sites. The exhibition includes art made under the guidance of Telfair outreach instructors at local health and social service organizations, along with art made by local students, veterans, and incarcerated individuals. Making Marks reflects on the positive impact art can make in our lives.

2025 Community Partners Include:

St. Joseph’s/Candler Hospital –Outpatient Rehabilitation, Georgia Infirmary, Movement Disorders Program, and Cancer Survivorship Program, Union Mission, Inc. –Ben and Betty Barnes Center, Park Place Outreach, Inc., Senior Citizens, Inc. –Ruth Byck Adult Day Health Center, Savannah Center for Blind and Low Vision, Chatham County Sheriff’s Office, Youth Intercept Program, EmployAbility, Savannah Speech and Hearing Center –Stroke Survivors’ Support Group, City of Savannah Therapeutics Program, City of Savannah Adult Day Care Program, Coastal Harbor Behavioral Health, LIFE, Inc., Savannah VA Outpatient Clinic, Savannah Regional Youth Detention Center, Tharros Place, Matthew Reardon Center for Autism, Savannah-Chatham County Public Schools System, and Telfair’s Veterans Studio Art Program –Savannah Veterans of the Arts.

A Seat at the Table is a solo exhibition of figurative paintings on canvas and a site-specific mural by artist Julia Roland (b. 2002). A recent graduate of SCAD who grew up in Savannah, Roland’s identity as a queer Black woman from the American South informs her practice, but she sees the works speaking broadly to the human need for community. The exhibition invites painted figures and the viewer to meet in quiet dialogue, sharing a space around a table in both a physical and metaphysical sense. Through expressive hairstyles, layered color, contrasting backgrounds, and shifting poses, each unique subject’s face becomes a focal point, meeting our gaze with insistence—a site of recognition and resistance. A Seat at the Table invites all voices into the room, asking us not just to look, but to witness human connection and empathize with ongoing struggles.

About the artist:
Julia Roland is a visual artist and graduate of the Savannah College of Art and Design, earning a BFA in Painting with a minor in Art History. She began making art in fifth grade and continued her development through performing arts schools in her hometown, Garrison School for the Arts and Savannah Arts Academy.

Roland’s work explores the layered complexities of African American culture and human identity. She creates portraits that reflect her lived experience and intersections of race, gender, and sexuality in shaping identity and visibility.

A Seat at the Table is part of Telfair Museums’ #art912 initiative, which is dedicated to raising the visibility and promoting the vitality of artists living and working in Savannah. This exhibition is organized by Telfair Museums and curated by Erin Dunn, curator of modern and contemporary art.

Image: Julia Roland; mural proposal for A Seat at the Table, 2025-2026; courtesy of the artist.

Telfair Museums presents a solo exhibition by artist Bojana Ginn in conjunction with the 19th edition of the museum’s PULSE Art + Technology Festival. Ginn states that her works “operate between science and spirituality, where algorithms translate intimacy into wonder.” Her new interactive installation entitled Biometric Sublime transforms the rhythms of the human body into a living ecosystem of art. At its core is the heartbeat, translated into luminous video animations, therapeutic audio, and sculptural fiber elements that invite immersion and contemplation. A biometric sensor in the exhibition amplifies the viewer’s presence, turning each heartbeat into a visual expression. The rhythm of deepbreath is also encoded in the movements of the immersive video. Alongside the installation’s digital components, sculptural elements created from organic fibers such as sheep’s wool and jute will merge with sustainable synthetic materials, echoing themes of renewal and healing. Biometric Sublime is an aesthetic environment of well-being: intimate, futuristic, and profoundly human.

About the artist:

Dr. Bojana Ginn is an award-winning interdisciplinary artist, former medical doctor, and curator. Her abstract art advocates health as a human right, addressing the impact of digital and biotechnologies amid climate change. A recipient of the Ellsworth Kelly Award, Ginn’s work has been exhibited internationally, including the Venice Architectural Biennale and the Museum of Art and Design in New York, and she has held solo exhibitions at the Museum of Contemporary Art, GA, and Atlanta Contemporary. Collaborating with scientific institutions such as NASA, Ginn’s impactful work resonates at the intersection of art and innovative research. Her ephemeral and site-specific installations often incorporate biological material such as sheep’s wool in combination with LED lighting, and digital video projections. A champion of sustainability, she was an artist in residence at Georgia Tech, Atlanta, where she used AI to visualize experiments with fungi that consume plastic.

This exhibition is organized by Telfair Museums and curated by Harry DeLorme, Director of Education and Senior Curator.

Gallery 2424 presents The Winter of our Discontent, a solo exhibition of work by Savannah-based artist Tamara Garvey which pairs statements from women with paintings of the Log Lady from the David Lynch show Twin Peaks.

Garvey’s inspiration for this new body of work stemmed from various interviews and speeches made in 2021 by then-Senate candidate J.D. Vance in which he referred to childless "ladies" (and people in general) as "miserable," and with "no physical commitment to the future of this country." Garvey issued a public call inviting women from all over the U.S. to submit their thoughts on their commitment to community, others, the future, and the environment in rebuttal to Vance’s statements that marginalized and devalued half of his constituents.

In addition to the paintings, Garvey combined their actual voices (or her own voice reading their written words) into a continuous sound file as part of the exhibition experience. The women’s voices provide a backdrop for her paintings which feature a gamut of symbolism, including witchery, Woody Guthrie's phrase "This machine kills fascists,” suffragism, Ruth Bader Ginsberg's iconic collars, and the tree of the knowledge of good and evil.

On view: January 30-February 21, 2026

Opening Reception: Friday, January 30, 5-9pm

First Friday: Friday, February 6, 5-9pm

Open hours: Saturdays and Sundays, 1-4pm

Artist talk: Sunday, February 15, 3pm

Off the Coast of Paradise: Artists and Ossabaw Island, 1961–Now is the first major exhibition to explore the profound impact of an undeveloped, 26,000-acre barrier island off the coast of Savannah, Georgia, on artists working in the United States. The exhibition will focus on the Ossabaw Island Project (OIP) and Genesis—a pair of revolutionary multidisciplinary residency programs that ran on the island from 1961–1982—and their legacies in its examination of Ossabaw as a site for creative experimentation. Taking its name from a poem written by celebrated poet and former Genesis member Henri Cole, Off the Coast of Paradise will feature the work of internationally renowned artists, past and present, who have considered the island through myriad lenses in their work, including the historical, the environmental, the social, the cultural, and the personal. They include Harry Bertoia, Agnes Denes, Marcy Hermansader, Suzanne Jackson, Ellen Lanyon, Doris Lee, Sally Mann, Michael Mazur, Ross McElwee, Athena Tacha, Betty Tompkins, and Anne Truitt, among many others, as well as a major new commission by Allison Janae Hamilton.