@artsatl

artsatl has been a member of Linktree for 5 years and joined in January 2021. The social media accounts linked to from artsatl are: • Facebook • Instagram • Apple Podcasts • Threads Besides social media accounts, artsatl has populated their site with: • Remembrance: Susan Stiefel leaves Atlanta theater community with her legacy of joy • Atlanta Black Writers Weekend connects Black storytellers with their next big win • Discover Community arts centers • Podcast: Cabbagetown ’76, ColorPath and Comic-Con • Browse exciting Atlanta arts events • 'Cabbagetown ’76' documents Atlanta's past in never-before-seen photographs by Barbara McKenzie • Julian Mejia introduced Atlanta to Cuban salsa in the ’90s and has been teaching it ever since • Gainesville High School alum Delaney Benson returns home in ‘Spamalot’ at the Fox • Review: Down Right’s two-person comedy ‘It Had to be You’ is a downright wild ride - ARTS ATL • KSU professor’s ‘Briar Patch’ lands spot in Midtown International Theatre Festival - ARTS ATL • KSU professor’s ‘Briar Patch’ lands spot in Midtown International Theatre Festival • 48 Hour Film Project conjures creative chaos, generates genius moments for Atlanta indie film fans • Set Life: How Disney film composer and educator Andy Hill is activating Atlanta’s next big score in film arts - ARTS ATL • 48 Hour Film Project conjures creative chaos, generates genius moments for Atlanta indie film • Pylon’s Vanessa Briscoe Hay and Squalls founder Bob Hay celebrate four decades of creativity • Read about Brady Lum's federal theft case • Arts Agenda: Book events and signings • Alumni Musical Productions’ inaugural summer stock season is poised to ‘Bring It On’ • Arts and nonprofit champion Chandra Stephens-Albright’s 11 Good Things • Not just ‘baby Mastodon’: The resilient sonic fury of Atlanta’s Palaces - ARTS ATL • There’s one week left to see ‘Double Take,’ four shows in one at Spalding Nix Fine Art • Podcast: Spamalot, Dior, peaches on Peachtree and Olympic mascot Izzy on ATL Arts Collective • Danielle Charbonneau named ArtsATL’s new senior editor • Atlanta teen Jake James wins Jimmy for Best Leading Actor, looks ahead to future in theater • Review: ‘Baby Bipolar’ at 7 Stages exudes DIY charm despite a familiar structure • Independent films and special screenings • Preparing future professional musicians both for life and career • Stream ATL Arts Collective: Stop-motion animation, FRESH JUGO, Lucy Luckovich • Atlanta comic artist Anderson Carman hits big leagues with San Diego Comic-Con • Discover vacation reads perfect for July • The Tap Rebels prepare to take the stage at Atlanta Cultural Exchange • Hanna Bulatova’s play at PushPush Arts is an exploration of Ukraine’s fight for sovereignty • Set Life: Writer-director-producer Nicholas Molencupp spotlights self-love and acceptance in queer romcom ‘In Between’ • Terminus Modern Ballet Theatre celebrates 10 years, announces 2026-2027 lineup • Find 9 must-see weekend arts events • Review: The diversity and beauty of the South shines in ‘This is Somewhere’ at Haugabrooks Gallery • Queer comic Trey Toler pens memoir on how ‘Good Damage’ shaped his search for beauty • Emory film professor, author and curator Gregory Zinman • Today in street art: L5P mural commemorates Atlanta’s 2,000 murals • Growing Woodstock Arts offers a cultural gateway between North Georgia Appalachia and metro Atlanta • Discover comedy picks on ArtsATL • This week: True Colors Theatre’s production of Cinderella, Kess Fest, Nuestra Creación and more • Decatur Book Festival’s new leadership looks to the future • Innovative, tantalizing and thrilling: Kit Modus crafts a new world in ‘Die Körper’ • Steve on TV: A cursed island, adolescent castaways and a sloppy Spielberg homage • Johns Creek Symphony’s 20th season centers storytelling, diversity and community • A celebration of the organ and of a life of service to the Atlanta arts community • Introducing the MAP Rover, Atlanta’s new mobile art projector • More than the room allows: Lisa Tuttle’s ‘Paper Quilts and Stories’ at Gallery 100 • 9 essential arts events in Atlanta • Enigmatic street artist Evereman’s 11 good things • Experience juneteenth celebrations • At Mason Fine Art, artists from disparate generations confront an ongoing struggle for Civil Rights in America • News briefs: Driskell Prize and South Arts winners; 404FoundATL expands; Spruill Studios launch; LOOP opens; Flux Projects on Peachtree - ARTS ATL • Review: Despite missing elements, Alliance’s ‘Basura’ delivers hope in face of hardship - ARTS ATL • Review: True Colors’ ‘Cinderella’ reminds us that magic belongs to the marginalized - ARTS ATL • Listen to Screams, Clowns, Wit and a roving curatorial practice on this week’s ATL Arts Collective • Both letters and numbers are muses for poet Danielle Hanson in ‘The Night Is What It Eats’ • Review: Synchronicity’s ‘Ambivalence’ is a moving but overwrought exploration of trauma • Review: Dad’s ‘Gutenberg’ is a riotous lesson in musical theater with enthusiasm and heart • Review: ‘Wit’ at Actor’s Express shows the meaning of time while standing the test of time • Review: Theatrical Outfit’s ‘Revolutionists’ blends historical drama, comedy, self-awareness • New Gregg Allman documentary is an unflinching portrait of a complex artist • Discover Pride month highlights • Photographic works in ‘Passing Glance’ challenge assumptions, loosen tethers to realism • ATL Arts Collective FIFA World Cup show • 9 essential Atlanta arts events this weekend • ‘Tomorrow mourning’ explores modern grief and impermanence at Hambidge Hive - ARTS ATL • An ambitious push for human rights: ‘This Is Now’ at the Goat Farm • Atlanta Gay Men’s Chorus connects with Elton John’s parade of hits for Pride Month • The Atlanta Symphony closes its season with a majestic Mahler • On memory, nostalgia and the eternal return of childhood: ‘I hope we never Land’ at the Atlanta Fringe Festival • Browse top theater shows happening • Review: Aurora’s ‘In the Heights’ is a delight to visit -- full of Latin culture and terrific music - ARTS ATL • Remembrance: Multi-hyphenate artist Larry Larson spent life creating, making people laugh • Crafty culture vets Megan Sexton and Michael Hunter love Atlanta -- and each other • Amplify Decatur returns, celebrating 10 years of community support • Atlanta Opera’s ‘Twilight of the Gods’ brings Ring cycle to blazing finish • In Downtown Atlanta, Eddie Farr’s sculpture lights the path forward at The Stitch - ARTS ATL • Arts Beacon’s new owners promise a commitment to legacy, more arts programming in Grant Park • Listen to the latest ATL Arts Collective podcast • Review/interview: Stevie Nicks poetry collection is a layered ode to song and writer • Atlanta Fringe Festival approaches 14th year with the promise to be wild and weird • A little bit of everything at the Atlanta Jazz Festival • A timely premise, unevenly delivered: ‘In the Beginning’ at the Hudgens Center • Explore 21 World Cup murals in Atlanta • The High Museum of Art presents Isamu Noguchi’s playful, useful works in ‘I am not a designer’ • Basura musical honors healing music • Atlanta variety shows offer laughter • Binge Steve on TV: Murder, melodrama and monetizing sex • Watch FREE outdoor movies • Blues-rock musician Buddy Red discusses his influences and playing the Atlanta Jazz Festival • Multidisciplinary artist LeylisMR’s 11 good things • News briefs: CTR Culture Studios announces first tenants; arts and wellness in focus; Greg Mike brings art to Medley in Johns Creek • SCAD FASH’s ‘Dior: Crafting Fashion’ exhibit tracks couture through the ages • Educator Spotlight: Jacque Pritz’s Catching Mangoes Dance celebrates her Filipino roots - ARTS ATL • Read fourth installment of Flays Anatomy • Spano’s return brings balance, precision and elegance to the ASO • Former High Museum of Art COO charged in $600K theft headed for lengthy, negotiated resolution • Beyond the body: Jess Self’s emotive power at the Marietta Cobb Museum of Art - ARTS ATL • More than spectacle: MomoCon celebrates its 21st anniversary in Atlanta, launches collaboration with Japan’s Wonder Festival • Explore outdoor art exhibitions in Atlanta • 9 essential Atlanta arts events this weekend - ARTS ATL • Find upcoming open mic happenings • Spoke & Word puts storytelling in motion during Atlanta Cycling Festival • Atlanta Ballet’s ‘Frida’ offers a complex and vibrant portrait of Mexican artist Frida Kahlo • Review: ‘Emma’ from Shakespeare Tavern and Belle Esprit is inventive, spirited and romantic • Review: ‘Cluedunnit’ at Out Front finishes the season with laughs and dirty jokes - ARTS ATL • Review: City Springs’ ‘Mean Girls’ is energetic fun despite some casting fumbles • Why Ives? A look at the Atlanta Youth Wind Symphony’s Charles Ives Festival • At Spalding Nix Fine Art, Déjà Vu presents the ephemeral through four artists’ eyes • Bent steel, twisted metal: the visual language of Richard Dial at Johnson Lowe Gallery • Sneak Peek: MOCA GA’s new digs at the Goat Farm • Make a gift to ArtsATL • Recording Academy Atlanta Chapter Executive Director Michele Caplinger’s 11 Good Things • Josh Russell’s essay collection ‘Commonplaces’ connects life challenges with everyday beauty • Rhythms of change: Emory Arts Dance Fellow Madelyn Sher explores what it means to conduct and be conducted • Review: Merely Players’ ‘Disgraced’ is an engrossing 90 minutes with an uncomfortable premise - ARTS ATL • Review: Performance Jam’s ‘Detroit’ provokes conversations with unusual style • Set Life: Latinas in Media Atlanta co-founder Denise Santos created a community for Atlanta filmmakers • Atlanta Opera’s ‘Turandot’ thrills in spectacular production - ARTS ATL • Explore jazz and blues venues • A stage for the city: Atlanta Culture House invites the world into its creative pulse • When the story has already been told -- ‘Gordon Parks: The South in Color’ at Jackson Fine Art - ARTS ATL • Local sculptor inspires compassion and respect for nature along the Stone Mountain Trail - ARTS ATL • Partners in the Arts: Writers Topher Payne and Charlie Cote collaborate in theater and in life • Theater performer Andrew Benator’s 11 Good Things • The Atlanta Film Festival at 50: A miracle of history and persistence • Binge Steve on TV: Four Nicks, a funeral and a shark attack • East Atlanta singer-songwriter Spencer Thomas follows his own cynical vision • News Briefs: Dashboard’s new executive director; Atlanta Art Week postponed; 2027 Edge Award announced; Atlanta History Center celebrates 100 years; Center for Puppetry Arts revives touring shows; EarthGang launches comic book • Browse Book signings and discussions • Review: Kylie Lee Baker’s ‘Japanese Gothic’ stokes dread, salves with off-kilter beauty • Review: Yockey’s ‘Venus’ at Actor’s Express beams with dynamic performance, witty script • Review: Theatrical Outfit’s ‘The Price’ exposes economic disparity through precise performance • In Lilburn, a family made a movie; you may only get one chance to see it • Discover classical music picks on ArtsATL • A sublime, adventurous program shows the ASO at its best • Cat Eye Creative lights up the night with ‘illumine’ at Oakland Cemetery • Georgia House resolution links mental health and art as legislative policy • Erik Thurmond’s ‘Smoke’ unfolds through movement, electropop at the Goat Farm • Listen to ATL Arts Collective podcast • Conceptual artist and art director Kat Stockton’s 11 good things • Beacon Dance centers community in ‘Moving Bodies/Moving Hearts/Moving Minds IV’ • Kate Donadio MacQueen, Suehyla El-Attar Young return to Steve Yockey’s world in ‘Venus’ • Review: Stage Door’s ‘Steel Magnolias’ remains a steadfast crowd-pleaser • Atlanta native Travis Hall makes music ‘in between places,’ from opera to soul • Not flat; not white; not to be missed: ‘The Art of Paper’ at the Zuckerman Museum • Peep Independent films, fests and special screenings • Beloved East Atlanta bookstore Bookish reopens after flood • The Yum Yum Tree conjures Atlanta in Peter Gabriel’s English studio • Review: Aurora world premiere ‘Initiative’ has realness at core despite game-playing • Review: Horizon’s ‘Dog Mom’ is a funny, poignant look at unconditional love • Still incubating: Lillian Blades reveals an evolving practice in ‘Sanctuary’ • 9 essential Atlanta arts events • Browse our editor's theater picks • Find your next play on ArtsATL • Multihyphenate theater artist Claire F. Martin’s 11 Good Things • Atlanta now has more than 2,000+ murals. How did we get here? • Review: Theater Emory’s 'Bright Star' charms despite uneven edges • Enjoy top comedy picks from ArtsATL • City of Lawrenceville asks Aurora Theatre to pay up for LAC stage usage • Missing funds leads to internal investigation at the High Museum • Review: Center for Puppetry’s ‘Poe’ gives springtime a bit of a spooky edge • Low-stakes academic adultery, Atlanta plays St. Louis and a red-herring stew • Set Life: Actor and director Anthony J. James dreams, creates and chooses his own adventure • Brahms gets the spotlight in ASO’s 2026-27 season • In the studio: Kelly Breedlove's photographic archive of what goes unsaid • Review: Catrakilis’ ‘Under an African Sky’ has makings of a cohesive story, ends up fragmented • DeKalb Arts Council revived after a twenty year hiatus • Sneak peek: Spruill expands into Chamblee with Spruill Studios • Review: Out Front’s ‘Which Way to the Stage’ is thoughtful comedy for theater buffs • Review: ‘Come From Away’ captures 9/11 aftermath with dynamic cast, direction - ARTS ATL • ArtsATL to launch new podcast in April with executive producer Kim Drobes • Museum leader, educator and ethicist Andrew Westover’s 11 good things • The Atlanta Opera breathes frivolity and joy into a timeless Mozart classic • Layers of care: Devotion and detail in Emmanuelle Chammah’s ‘carescapes’ • Discover Choral and vocal music on ArtsATL • Atlanta filmmaker explores the value of the city’s tree canopy in ‘The Tree Economy’ • Review: Tavern’s ‘Much Ado’ amplifies hilarity, plays with evergreen sexual politics • Review: In ‘Fires, Ohio,’ Chekhov’s world meets the modern climate crisis • Longtime performer Tim Miller returns to 7 Stages to ‘be here and be queer’ • Playing with light: Armando Chacón and Dominic Bozzuto in ‘Off the Beaten Path’ • Poet Amy Pence’s lyrical novel ‘Yellow’ explores Jungian ideas through a Southern lens • Chinatown Memories a must-see dance performance for Women’s History Month • Bach's Mass in B minor results in an auditory malaise uncharacteristic of the ASO • Jacob York and Galen Crawley support each other in theater and in life • Feminist play festival asks what it means to be a woman in Shakespeare’s work - ARTS ATL • Fab 5 Freddy’s new book documents his role in the rise of hip-hop culture • Explore Spring festivals • New writing salon inspires Black women to keep up their craft • Atlanta Opera’s 2026-27 season blends boundary-pushing works with operatic classics • Research-driven artist T.W. Pilar’s 11 Good Things • Frankie’s Blues Mission delivers heart and soul with authenticity • The Coucherons and their extraordinary collaborators flourish at Spivey Hall • A classic turned on its head: ‘Rhapsody in Gershwin’ by Terminus Modern Ballet Theatre defies tradition • Discover spring book picks on ArtsATL • Our picks in Dance • Catch 2026 Theater picks on ArtsATL • View upcoming arts events today in our Spring Arts Preview • Book signings and events • Steve on TV: Dahlonega gets a starring role, and Ryan Murphy’s bonkers body horror is tolerably trashy • Partners in the Arts: Filmmakers met on-set and literally produced a young Superman • ‘Thankful to be back’: Marietta-based duo The Waymores persevere with their fourth album • A decade-and-a-half later, Atlanta’s makerspaces adapt, survive, thrive • Review: In ‘Divas, Blues, and Memories,’ Beau McCall stitches together legacy and cultural monuments • Bringing the past to present with ABV’s ‘Nostalgia’ • Indigo Girls singer-songwriter Emily Saliers has scored a new musical, in previews this week • Review: Stage Door Theatre’s ‘Bad Dates’ is like a late-night conversation with your single friend • From the Randall Bramblett Band to Widespread Panic, guitarist Nick Johnson takes music ‘to a whole ‘nother level’ • News Briefs: Atlanta Opera to open new Molly Blank Center; Decatur Arts Festival pauses in 2026; Day & Night Projects announces new co-director; Moving in the Spirit buys its building; SCAD’s Paula Wallace wins French award; and more • New books by local Black women • Set Life: Film gaffer Schenley Sargusingh paints the set with light from an Atlanta-inspired canvas • Atlanta Jewish Film Fest tackles weighty subjects but offers moments of joy and humor • Atlanta musician Buddy Red • In ‘A Book Arts Revolution,’ Cynthia Nourse Thompson curates a refined selection of Georgia women artists • Construct Gallery puts pedal to the metal with ‘Next Exit’ • Museum and gallery highlights • Into the deep end with EXCAVATE BODY’s ‘alternate endings’ • Review: Lee Osorio’s ‘Prisontown’ invites closer look at injustice through heartfelt performance • Review: Despite a superb musical score, ‘Girl from the North Country’ lacks rhythm • Spike Lee on the legacy of ‘School Daze’ and his Atlanta ties • Atlanta Jazz Fest announces 2026 lineup • Atlanta Contemporary announces Lauren Haynes as new Executive Director • Photographing Fear: Mimi Plumb’s ‘Blazing Light’ at The High Museum • Find Jazz + Blues events on ArtsATL • UNIMA-USA, based at Center for Puppetry, continues to inspire puppeteers after 60 years • Review: An ode to queer Black women: ‘BLKS’ at Out Front captures youth’s magic and mayhem • Black History Month events • Upcoming book on The Colonnade builds on Atlanta LGBTQ+ legacy with a side of Southern stories • Educator spotlight: Christina Massad brings dance to homeless children through Open Bounce program • Read about Paul and Melanie Shaw love art, music and each other • Review: Yah Yah Scholfield’s ‘On Sundays …’ is a modern take on gothic Southern horror • Can't miss Atlanta fringe fest highlights • Set Life: Cafecito Productions’ Erika Miranda and Caitlin Hargraves celebrate and create everyday magic • Composer Zack Browning brings his musical galaxy to Atlanta • Join the Critics Circle + make a monthly gift today • Center for Puppetry’s ‘Mirrored Pool’ reflects music and mood of Earth, past and present • Binge the ATL Arts Collective podcast • SCAD TVfest provides a front-row seat to top performers in the industry • DeKalb Symphony firing on all cylinders while spotlighting an exceptional young talent • Steve on TV: Pucking around on the down low; great casts can’t save bad material • Improv performer, producer and instructor Madeline Evans • The uncompromising vision and enduring power of Kevin Cole • Valentine-related arts • Review: Yockey’s ‘Bleeding Hearts’ contains lots of bleeding, plot twists and wild shifts in tone • Atlanta blues rocker Tinsley Ellis does a ‘reverse Dylan’ on his acoustic journey • AVON Theater brings new crowds to a historic music venue in Avondale Estates • Review: In Kyoung Chun and Huey Lee offer visual bliss in ‘Earthly Delights’ • ArtsATL FREE events calendar • Review: ‘let the circle be unbroken’ inspires the next generation of changemakers at Haugabrooks Gallery • 🎨 Explore Atlanta's Art Scene on ArtsATL • Heck.house founder and Executive Director Paula Novelle’s 11 Good Things • Atlanta Unifieds returns after years-long hiatus, ready to connect performers with theaters • Explore the musical smorgasbord of contemporary classical music at SoundNOW • Review: Georgia Ensemble’s ‘The Giver’ wavers a bit but is ultimately memorable • Goizueta Stage for Youth and Families is ready for the next generation of theatergoers • Play Haven incubator reveals first season of new work showcasing Atlanta playwrights • Set Life: Leanna Adams says limitation is an indie filmmaker’s superpower • News Briefs: Mobile art experiences; mural unveiling; High Museum Wine Auction relocates; traveling butterfly exhibit lands at Fernbank; FUTURE GALLERY & RAILROAD leaves Underground Atlanta • Sneak peek: Goat Farm’s LOOP takes shape at Georgia Tech • 2025’s most notable arts stories • Can’t-miss Atlanta arts stories of 2025 — according to our editors • Reader’s Choice in 2025 • Looking back on 2025: Best photos of the year • Classical music • Independent films, fests and special screenings • Theater • Highlights of early 2026 • Review: Cirque du Soleil’s ‘LUZIA’ brings the illusory vision of Mexico to life under the big top • Playwright Jamie Goss’ ‘Women of Willow Creek’ contains both darkness and levity • Interim Executive Director Christina Hamilton seeks to expand Aurora Theatre’s reach • Partners in the Arts: Dancing through life with Gregory Catellier and Kristin O’Neal • Former Atlantan Desmond Sean Ellington takes the heat starring in ‘Hell’s Kitchen' • Music news: Stutzmann’s term at Atlanta Symphony extended; Johns Creek Symphony gets new executive director • StoryMuse founder and creative director Shannon M. Turner’s 11 Good Things • In the studio: Ato Ribeiro’s loud soundtrack and quiet revolution • Introducing the 2026 Paint Love Artist Cohort • Luxury Addict: André Leon Talley’s ‘Style is Forever’ at SCAD FASH • Experimentation beyond the lens: a retrospective of Ralph Eugene Meatyard debuts at the High • Vincent Murphy’s new memoir chronicles a life destined for theater • Steve on TV: Smiling automatons, scenic excess and murderous husbands • Choreographer and movement artist Juel D. Lane’s 11 Good Things • Everything but the ‘Nutcracker:’ a plethora of dance performances offer something for everyone this holiday season • Nearly a decade on, Atlanta Ballet is transformed by Nedvigin’s expansive vision • Giwayen Mata keeps the spirit of Kwanzaa alive through dance • Review: City Springs’ ‘Wizard is Oz’ conveys the classic story with touches of new magic • Review: ‘Mamma Dearest!’ keeps up Out Front’s tradition of madcap holiday fare • Ann-Carol Pence reflects on 30 years of Christmas Canteen -- prepares to pass the torch • Horizon’s and Dad’s new ‘Too Fast, Too Festivus’ is funny holiday fare for all Atlantans • Immersive Sundance program relocating to Newnan’s Dunaway Gardens in 2026 • Set Life: Stunt actor and military coordinator Alessandro Folchitto rolls with the punches • Atlanta’s Dust-to-Digital Foundation collaborating on a massive online archive of rare American music • In the studio: Marie Munk on the exploration of biology and technology • Fernbank’s WildWoods come to life at night with AGLOW • Big News: Doug Shipman named South Arts next president and CEO • Discover Family-friendly holiday shows • Nutcrackers and holiday dance events • Holiday fun for grown-ups • Explore Holiday music: Part I • Holiday music: Part II • Aris Theatre’s ‘Snow White’ turns a classic fairy tale on its head with zany humor • Atlanta Youth Wind Symphony provides a haven for young wind instrumentalists • Steve on TV: Guillermo del Toro’s return to form and a hysterical weirdo • Authenticity tops perfection for director Wanyu Yang and the cast of Theater Emory’s ‘Peerless’ • First Voices Festival in Little Five Points celebrates 4 years • Review: ‘In My Defense, I was left Unsupervised’ by Trey Dowell at Tennessee Gallery • News Briefs: fellowships and awards; Frank Stella sculpture lands in Buckhead; BAIA works installed in Freedom Park; Amy Sherald coming to the High; upcoming public art projects • Review: Sabre Esler explores physical and ephemeral connectivity in ‘The Network’ • Suzi Bass Awards’ 20th anniversary celebrates veteran actresses, new talent • Remembrance: Atlanta remembers Andrew Houchins, beloved actor, director and mentor • Rich Tommaso creates golden age comics for a modern audience • Review: ‘Untitled’ charts legacy, fatherhood and transformation on a changing Peters Street • Partners in the Arts: Okorie ‘OkCello’ Johnson and Chaunesti Webb-Johnson’s ‘Big Tent Blackness’ • Doug Jones wants to help writers connect with his Opening Movements workshop • Atlanta Symphony’s Beethoven Project finale is a moment of rousing ‘Joy’ • Atlanta Opera tackles the genre-defying ‘La Belle et la Bete’ by Philip Glass • Review: ‘Overflow’ explores abundance and possibility at CBrooks Gallery • Every inch a universe: the astounding detail of Jiha Moon • Breaking records and bread at the Atlanta Ballet’s 2025 Fashion Show & Luncheon • Gucci Mane’s ‘Episodes: Diary of a Recovering Mad Man’ reveals the pain behind the persona • Debbie Gibson joins MJCCA Book Festival lineup • ‘Boom Town’ author Nic Stone’s 11 Good Things • Review: Theatrical Outfit’s ‘Glass Menagerie’ is an emotional rendition of an American classic • Atlanta Opera stages a sumptuous, beautifully sung ‘La Traviata’ • Arts Agenda: Theater • Synth nerds and hackers find common ground at Common Circuits • Students and alumni shine in the 20th annual SCAD Fall Fine Arts Showcase • Viktor&Rolf’s ‘Fashion Statements’ hovers between two worlds • MJCCA Book Festival author Laura Dickerman adds nuance to rom-coms with ‘Hot Desk’ • Review: Staibdance’s ‘between dog and wolf’ performance is tense, gripping • Review: Out Front’s ‘9 to 5’ is a madcap day at the office with a vibrant cast • ‘MadTV’ and ‘Veep’ stars bring laughs to Atlanta stages through Bluebird Improv • Set Life: Location Manager Jonathan Wymer consistently circles back to the page • The Ain’t Sisters are here to rock your folk and spread some love • DeKalb Symphony gets a venue upgrade and shines with newfound cohesion • Del Roscoe: Southern Gothic band or quirky outsider theater troupe? • When beauty melts: Niki Zarrabi’s ambitious evolution at Luca Fine Art • Arts Agenda: Museum and college gallery highlights • Choreographer, dancer and Dance Canvas Executive Artistic Director Angela Harris’ 11 Good Things • After more than a century, the Atlanta Writers Club has new stories to tell • Atlanta poet Theresa Davis’ queer awakening led to a legacy in neon lights • Review: Horizon’s ‘Heart Sellers’ is a subtle, powerful study on the importance of friendship • Review: ‘Wolfman’ is a fun addition to Havoc Movement’s mangled body of work • How Atlanta gave musician Makenna Lyric the confidence to create • Atlanta’s Catfight! fights for reproductive rights • News briefs: new kids’ art space; art + health lab debuts; fine art gallery relocates to Midtown; awards to local creatives; public art projects unveiled • Today in street art: The Drip Invitational brings murals, graffiti and home cooking to the Pittsburgh neighborhood • The Atlanta Beltline unveils new arts programming this fall • Review: ‘Encounters’ at Johnson Lowe Gallery invites slow looking in a fast world • Oakland Cemetery’s annual Día de los Muertos festival honors life, death and cultural connection • Arts Agenda: Halloween • Burnaway’s first Book//Zine fair was an escape from digital malaise • Cindy goes indie: Cindy Wilson on her new EP and the B-52’s tour • Seen, Heard and Honored: ‘Hold the Line, Volume III’ at PATH Museum • Atlanta Regional Commission embraces art through Community-Centered Design program • Arts Agenda: Hispanic Heritage Month • Review: Synchronicity’s ‘Rocket Men’ launches slowly, reaches emotional impact • Atlanta Jewish Film Festival and the ASO celebrate the music of classic films • Atlanta Blues Society on a life-affirming musical mission • Partners in the Arts: Charly Palmer and Dr. Karida Brown • Emory’s second Ideas Festival offers the public new perspectives • Georgia book banners work in secret, but anticensorship movements are growing • Arts Agenda: Jazz and blues • Atlanta radio DJ English Nick’s 11 Good Things • Review: Stage Door Theater’s ‘The Cottage’ opens the door to both realism and absurdity • Review: At Actor’s Express, the line between real and supernatural proves to be ‘The Thin Place’ • Chamber Cartel speaks contemporary classical music’s special language • Review: When is reflection not enough? On ‘Outside’ At Hawkins HQ • 'Grit' exhibition highlights artists' perseverance at Echo Contemporary • Review: At Spruill, raw construction breathes life into a refined nature • 2025 Decatur Book Festival gives student writers a turn in the spotlight • Lenai Wilkerson revives outdoor dance series 'Wabi Sabi Terminus' • Center for Puppetry Arts’ Latine rock musical ‘La Cucarachita Martina’ is a lesson in inclusivity • Steve on TV: Posh trash and an aggressively cozy crowd pleaser • Get to know Spruill’s 2025 AMPLIFY finalists • Review: ‘Insistent Presence’ explores identity and the body through the eyes of contemporary African artists • www.artsatl.org • Writer, actor and singer Galen Crawley’s 11 Good Things • Broadleaf Writers Association celebrates a decade with this weekend’s annual conference • ‘Uncorked Conversations’ by playwright Bill Balzer centers upon shared stories and connections • Review: Topher Payne’s ‘First Lady’ is a win-win for all political audiences. And it’s funny, too. • Out on Film celebrates diversity and defiance • Premiere of indie film ‘We’re So Dead’ set to serve up a lifeline for food service workers • Henry Cheng radiates infectious charm in debut as Johns Creek Symphony director • Arts Agenda: Book festivals and events • Photo Essay: Goat Farm activates 12-acre property with immersive sights, sounds and experiences for SITE 2025 • Grass, Glitter and Gingham: Victoria Dugger confronts the Southern Gothic in ‘Must Be Nice’ • Master puppeteer Raymond Carr’s 11 Good Things • News Briefs: City Lights Collective canceled; new dance and art complex in Grant Park; Atlanta Art Week curator announced; new sculptures and installations • What to see at the Atlanta Art Fair according to CurateHers ATL • First Look: your mini guide to the second annual Atlanta Art Fair • Arts Agenda: Visual arts • Arts Agenda: Classical music • KSU’s ‘Double Exposure’ proves that private philanthropy can produce dynamic new works • Review: Alliance Theatre’s and Atlanta Opera’s ‘Fiddler’ is a fine-tuned take on a classic • Atlanta's Improvement Movement gets elevated on the road to Shaky Knees • Photographer David Clifton-Strawn’s new book brings Atlanta arts community into focus • Atlanta metro welcomes numerous new book shops for readers of all tastes • Review: Tavern’s ‘Shrew’ cast fights the battle of the sexes from a surprising angle • Steve on TV: Sex, guns, crime and a bubbleheaded travelogue • Nuestra Creación brings artists together to celebrate artistry and culture in 'Ojalá' exhibition • Review: Danny Lyon’s ‘The Bikeriders’ cruises into the Booth Museum • Arts Agenda: Comedy • 🍂 The 2025 Fall Arts Preview • Summer Stories: Jessica He and Severin Brotschul - ARTS ATL • Ann Hite’s new book about Lucille Selig Frank is a conversation from one ‘Georgia girl’ to another • Set Life: Director of Photography German Valle is observance on steroids • Partners in the arts: wordsmiths Ralph Ellis and Susan Puckett • Atlanta creatives bask in shared glow of 2025 Suzi Bass Award nominations • The sober wisdom of Atlanta musician Brandon Reeves' blues • Atlanta mezzo-soprano Jamie Barton talks about debut recording of Jake Heggie’s ‘Intelligence’ • The Hambidge Hive levels up for the 2025 Hambidge Auction • Leia's Lens: Floyd Hall steps down from Atlanta Contemporary. Please don’t let this be the end. • Atlanta Black Theatre Festival co-founders see the city as ‘Black theater mecca’ - ARTS ATL • Local filmmaker brings her feature debut to BronzeLens Film Festival • ‘Spanish Moss’ is a dazzling work of stop-motion animation and Tarantino-like melodrama • Ethel Cain leans into her Southern Gothic roots at Atlanta’s Eastern • Arts Agenda: Festivals, late summer and early fall • Xernona Clayton’s trailblazing legacy honored with new art installation in Downtown Atlanta • Georgia author Sara Omer debuts Turkic-inspired fantasy novel ‘The Gryphon King’ • Review: ‘Orange’ at Stage Door takes time to unpeel, reveals themes of freedom • Summer Stories: Atlanta Ballet’s Carriag New and Georgie Grace Butler • Ideas Festival Emory returns this fall with Rosanne Cash and more • DeKalb Symphony dismisses musicians amid search for a new home • Trey Wright offers a space for the ‘jazz curious’ to learn • Three exhibitions confront the troubled present through reclamation of the past - ARTS ATL • Arts Agenda: Workshops and learning opportunities • Macrophotographer Levon Biss’ new exhibit at Fernbank gets up close and personal with arthropods • Review: True Colors’ ‘Ain’t No Mo’ depicts Black life in America with equal hope and pain • Jazz guru Jeff Crompton says farewell to Atlanta • ‘Brilliant Exiles’ brings the women of Jazz Age Paris to the Georgia Museum of Art • Black Writers Weekend offers a platform for more Black storytelling • Partners In The Arts: Pam Peacock and Ryan Shuckhart -- aka RYSHU • Loom Lab’s ‘Old Growth’ explores loss, grief and community through movement • Arts Agenda: Outdoor art • Danielle Deadwyler makes ‘Woman in the Yard’ worth the watch • Leia's Lens: Atlanta Art Week and Atlanta Art Fair - is separate better? • A milestone year for Atlanta Chamber Players -- a 50-year labor of love • The continued growth and undeniable success of Black Art in America’s Fine Art Print Fair • Review: ‘Strange Loop’ at Actor’s Express turns mirror upon mirror for a fascinating reflection • How a 1969 police raid sparked a queer resistance movement • Pam Longobardi’s ‘INSTAR’ explores the chaos and endurance of nature • Local voices, big impact: Atlanta’s burgeoning independent film and TV scene • These novels set in North Georgia cover everything from suspense to romance • A word with Collective Soul: New doc tells the band’s story • Hear OkCello's new Juneteenth anthem, the title track on his upcoming album • Arts Agenda: Open mics • IMLS cuts create uncertainty at Georgia libraries • Review: ‘Siddhartha, She’ offers a powerful retelling of a classic tale • Entertainment industry tastemaker Fiona Bloom’s 11 Good Things • Review: Myth meets monochrome in Adam Gabriel Winnie’s ‘Into the Night Land’ • Leia’s Lens: Long live the summer group show • Immersive rock experience is impressive, not enlightening • Rialto announces 2025-26 season with jazz, tango, country and more • Set Life: Makeup Artist Christelsie Johnson turns beauty inside out • Celebrate Dad’s birthday this weekend – the parties are still a blast after 30 years • Overture Series takes first step toward returning in Lawrenceville • Partners in the Arts: Micah and Whitney Stansell • Arts Agenda: Independent films, fests and special screenings • Second Lavender Fest at Out Front Theatre packs in more of the ‘rainbow aspect’ • Steve on TV: Taraji P. Henson elevates Tyler Perry’s latest film • ImmerseATL mentors next generation of contemporary dancers in Atlanta • News briefs: BLVDNEXT debuts; Callanwolde’s artist-in-residency; Art Calendar ATL joins GULCH Magazin • 'The Many Passions of Michael Hardwick’ chronicles a landmark gay rights case • ‘Milo’ actor Jordan Patrick uses improv and music to explore imagination • Review: Theatrical Outfit’s ‘Young John Lewis’ is a fun way to learn Civil Rights history • Playwright and screenwriter Topher Payne’s 11 Good Things • Jazz at All Saints’ announces 2025-26 season • Review: Lack of specificity both a weakness and a strength in Aaron Kagan Putt’s abstractions • Arts Agenda: family-friendly events • Review: MADFest celebrates Atlanta’s diversity through dance • ABV Gallery partners with Center for Puppetry Arts for whimsical pop-up exhibition • Arts Agenda: Book events • Atlanta-based musician among competition hopefuls in new conducting contest • Beloved children’s books highlighted in ‘Faith Ringgold: Seeing Children’ at the High • Melissa Huang’s ‘No Doll’ confronts femininity and societal expectations at Whitespace • Review: Authenticity Theater’s ‘Uncle Vanya’ depicts tension between ideals and limitations • See how art transforms community in ArtsXchange film program • Your Atlanta summer reading list -- plus reasons to tackle it • Theatrical Outfit Associate Artistic Director Addae Moon’s 11 Good Things • From stunts to directing, Atlanta film studio’s new bicoastal head of development does it all • Illustrator Barry Lee’s ‘Gentle Reminders’ journal encourages tender care for ourselves and each other • Local artists explore the concepts of home, familial connections and identity • Arts Agenda: Free outdoor movies • Review: ‘Traces of an Unseen Fire’ resists presumption through new mythos at MOCAGA • Portrait of a leader: Monica Campana of Living Walls • Artist Mario Petrirena’s 11 Good Things • Leia’s Lens: What Melissa Messina’s appointment reveals about the Atlanta Art Fair • Connecting culture through dance at the Atlanta Afroindigenous Peoples Festival • Nicholas Tecosky steps down as host of Write Club Atlanta to pursue new projects • Disney, Pride and the power of song: A magical night with the Atlanta Gay Men’s Chorus • Review: Ezrom Legae’s first U.S. solo show renders quiet resistance in spare, striking lines • Photo essay: Artful ATL comes alive at Atlanta Contemporary • Arts Agenda: Summer festival • Love, death and summer vacation unite in ‘Murder on Vavianna Island’ at Dad’s Garage • Atlanta band Mother’s Finest is a true rock ‘n’ roll survival story • Choreographer D. Patton White’s 11 Good Things • Dancing with robots: IEEE fuses automation and fine arts • Review: ‘Ninja Puppet Shenaniganza’ keeps audiences guessing and laughing • An outpouring of love for Lois Reitzes as she receives ASO honor • The reclamation of Black hair in Nneka Kai’s ‘On Unstable Grounds’ • Portrait of an artist: the playful nostalgia of Lowkey Lyss • Review: Horizon’s ‘Laughs in Spanish’ keeps it lighthearted, could go deeper • Tony nominated ‘Dead Outlaw’ star Andrew Durand discovered theater as a kid in Roswell • Greek fantasy meets modern innovation in Atlanta Opera’s ‘Semele’ • You Live, You Learn: Megan Volpert traces Alanis Morissette’s wisdom over three decades • Review: Alliance’s world premiere ‘Millions’ is rich with strong performances, needs firmer finish • Review: Actor’s Express’ ‘Doubt’ is a relevant, fascinating look at complex topics • Review: Cig Harvey’s ‘Emerald Drifters’ shines at Jackson Fine Art • Arts Agenda: Community arts centers • Arts Agenda: Theater Spring + early summer • Avondale Estates’ WigWag combines the best of Atlanta-bred music, art and food • Atlanta collective puts the focus on contemporary chamber music • Atlanta musician and Recording Academy board chair Tammy Hurt’s 11 Good Things • Remembrance: Poet and playwright Robert Earl Price blended words, music, memory • Preview: 'Hypnagogia' evokes cloud-like freedom in 'Catch Tuplet' • Critic’s Picks for 2025 Atlanta Fringe Festival • Review: Aurora Theatre serves a slice of humor and heart with ‘Waitress The Musical’ • A big screen moment for rarely seen experimental films • Steve on TV: Gleeful gore distinguishes Atlanta-filmed 'The Bondsman' • Atlanta-born Katie Pruitt blends confessional Americana with cathartic rock and roll • Contemporary Black artists consider heritage, history and the future • Flux Projects, Core Dance collaborate with nature for ‘Braiding Time, Memory and Water’ • Belle Esprit changes theater history to herstory once again with ‘Lady Susan’ • True Colors’ Next Narrative Monologue competition moves to Harlem’s Victoria Theater • Atlanta’s largest-ever Fringe Festival brings on the bold, weird and wonderful • The Western comes roaring back at the Midtown Art Cinema • Russell Gunn will share his musical journey at Atlanta Jazz Fest • Arts Agenda: Photography • Review: 'She is an Object of Beauty' confronts Orientalism and fetishization • Art News: Alison Saar wins Driskell award; pop-up gallery closes; plus opportunities for artists • Review: ‘Trick!’ at Out Front is a romantic, authentic musical for adults • Deb Bowman reflects on life and the Great American Songbook, with a Latin twist • Atlanta chamber choir Coro Vocati marks 15 years • Arts Agenda: museum and gallery highlights • Arts Agenda: Family-friendly arts events • Arts Agenda: Free outdoor music series • Review: the tender delicacy of Eve Brown’s ‘light leaves this prism’ • Review: ‘Pride and Prejudice’ at Shakespeare Tavern turns a new page on an old story • NoWordsATL4 festival lets music do the talking • Atlanta Opera’s ‘Siegfried’ a stirring, heroic triumph • Transmutation of utility with W. Chester Old • Leia’s Lens: South of Center Art Experience gets it right • Review: ‘Beautiful’ at City Springs stages Carole King story with solid cast and songbook • ‘Blue Sun Palace’ reflects on anti-immigrant hate, four years after Atlanta spa shootings • Former Guadalcanal Diary singer-songwriter Murray Attaway avoids labels • Three exhibitions offer variety that pleases and dismays • Tony-winning director Bartlett Sher brings ‘Millions’ to the Alliance Theatre • KSU Tellers craft personal stories into a performance showcase • Atlanta Olympics doc premieres as part of Atlanta Film Festival • WABE to launch ‘The City Lights Collective’ in July, following Lois Reitzes’ retirement • Atlanta illustrator Anderson Carman is making graphic history with a Civil War comic textbook • The Atlanta Film Festival prioritizes Georgia films • Atlanta Ballet’s 2025-26 season spans the centuries, from Petipa to Peck • A celebration of the life and music of Atlanta’s Mary Lou Williams • Scoring world-class talent a triumph for Atlanta Opera’s ‘Siegfried’ • Will Atlanta galleries participate in this year’s Atlanta Art Fair? Maybe; maybe not. • Decatur Square comes alive with art during Decatur Arts Festival • Poet’s Dozen: 13 collections by Atlantans to celebrate National Poetry Month • Billy Pilgrim’s Kristian Bush and Andrew Hyra are still asking questions • Blueprint Festival at Windmill Arts gives new stories the stage • Review: Stage Door’s ‘Spelling Bee,’ while not a perfect score, embraces possibilities • KSU professor of dance and chair Marsha Barsky’s 11 Good Things • W.J. Lofton’s poetic journey: ‘I wrote the book that saved my life’ • South Atlanta artists open their doors for ‘South of Center’ event • Oakland Cemetery’s ‘Illumine’ shines brightly in its 18th year • Isadora Pennington named ArtsATL's new Senior Editor for art & design and dance • Federal cuts force Out of Hand Theater to halt vaccine outreach, affecting overall operations • Things to do: Spring festivals in and around Atlanta • Review: Jessica Blinkhorn’s ‘20 Years of Atrophy’ at End Project Space • At SweetWater 420 Fest, the spirit of the past lives on in a new generation • Review: Sandler Hudson, Swan Coach House and Tennessee Gallery • Atlanta’s film industry navigates post-strike uncertainty • Atlanta multimedia artist and activist Royce Soble’s 11 Good Things • Dad’s Garage Managing Director Katie Pelkey’s 11 Good Things • Meet the Atlanta musician and DJ fusing electro-pop with her operatic and musical theater training • ‘Who gets to dance?: choreographer Ashlee Jo Ramsey-Borunov responds • Arts Agenda: Book events and festivals • Review: Out of Hand’s ‘How to Make a Home’ shows the story behind the struggle • Pollinator Art Space at Goat Farm: small space, big ambitions • Review: Aurora’s ‘Gods of Comedy’ has audiences laughing more, thinking less • Review: Dance Canvas’ 2025 Performance Series: Fresh takes on AI, identity • Atlanta Chamber Players offer dynamic takes on Beethoven and a world premiere quartet • A band on a mission to uplift each other -- and everyone else • Mitchell Anderson and Jennifer Levison write ‘Love Letters’ to food, art and each other • Atlanta’s World Cup poster, created by a SCAD graduate, is revealed • Dance Canvas’ choreographer initiative a game changer • How punk is Emory’s Rose Library? Find out at the DIY Fest • A Century after her birth, celebrations continue for Georgia writer Flannery O’Connor • Arts Agenda: Theater Spring 2025 • Kenny Leon’s ‘Othello’ on Broadway is more modern than you think • Review: ‘Topdog/Underdog’ at Actor’s Express depicts a bond turned to battlefield • Theater artist Hailee Beltzhoover Zuniga’s 11 Good Things • Georgia book bans in 2025: Cobb County ‘doubles down’ • Review: Atlanta Ballet charms, dazzles in Balanchine’s ‘Coppélia’ • Fun and mischief in Balanchine’s ‘Coppélia’: an Atlanta Ballet premiere • Review: Horizon’s ‘Carry Your Heart’ shows nuances of traumatic memory • Alliance Theatre’s managing director stepping down • Review: New exhibits at Spalding Nix, Marcia Wood and Wolfgang galleries • Review: Elizabeth Lide at whitespace -- a rich, singular attic of the mind • Review: Out Front’s ‘Immediate Family’ has fun of a ’90s sitcom with higher stakes • Review: New exhibits at Spelman, Johnson Lowe and the Carlos • Review: Sally Mann’s provocative ‘At Twelve’ at Jackson Fine Art • Period authenticity is key in Atlanta Baroque Orchestra's take on a Monteverdi masterwork • 🌸 The 2025 Spring Arts Preview • Artist Steven L. Anderson’s 11 Good Things • Black letters: Your complete guide to Atlanta’s Black literary scene • Out on Film’s spring mini-fest blooms a third time • WABE's Lois Reitzes retiring from daily broadcasting • Dad’s Garage’s new managing director Katie Pelkey is laughing on the job • No boundaries in Annalee Traylor’s ‘Shiny Objects’ for Terminus Modern Ballet • Voices of Note focuses on human resilience, body positivity • Atlanta Symphony spotlights Beethoven's transitional symphonies • Dad's Garage Theatre's 'Hot Jambalaya' delivers a tasty stew • Theatrical Outfit’s new Launchpad series gives playwrights the power to produce • Habima Theatre continues leading inclusive productions with ‘Fiddler on the Roof Jr.’ • Steve on TV: Norman Lear leaves us with a ‘Clean Slate’ to push boundaries • To the left now! Your complete guide to line dancing in Atlanta • Arts Agenda: Nonprofit Galleries • Street Art Stories: 3 people who keep Pittsburgh and Adair Park shining • Dinner and a show Midtown: Your complete guide to restaurants near theaters • 2025 SCAD TVfest celebrates television made in Georgia • Review: ASO’s intoxicating take on Beethoven’s Sixth and Eighth Symphonies • Jazz vocalist Milton Suggs on organized chaos and listening • Partners in the Arts: Drag artists Taylor Alxndr and Mr. Elle Aye • Gallerist Yu-Kai Lin’s 11 Good Things • ✨ Former AJC Editor Shane Harrison named executive editor of ArtsATL.org • Review: True Colors’ ‘Jaja’s African Hair Braiding’ plaits multiple emotions into one day • NBAF in turmoil as leaders resign amid ‘destructive’ board • Dept. of Ed. has declared book bans a ‘hoax,’ all investigations dropped • Remembrance: Churchill Grounds’ founder Sam Yi gave Atlanta jazz a home • Leia’s Lens: Karen Comer Lowe proves the value of a curator-in-residence • The Beltline: How regular Atlantans created one of America’s biggest art projects • Review: Theatrical Outfit’s story of the Lehman Brothers. Yes, those Lehman Brothers • Review: The Ailey Company dazzled with angels, sinners, ‘Grace’ • Remembrance: Marquetta Johnson turned adversity into art • Leia’s Lens: The High’s research on well-being will be a game changer • Writer Aisha Saeed’s 11 Good Things • Review: Vasily Petrenko evokes Ukraine in roaring ASO program • Arts Agenda: Independent Galleries • Arts Agenda: Jazz & blues • Theatrical Outfit’s ‘Lehman Trilogy’ is a complex study of the American Dream • Wanna dance Alvin Ailey’s ‘Revelations’? Maybe you can. • Artist Petie Parker’s 11 Good Things • Here’s why each of the 2025 Townsend Prize finalists could win • Cornerstone Jazz Center: a pitch perfect addition to Atlanta’s jazz scene • Review: Out Front’s ‘At the Wedding’ marries character to comedy • Street Art Stories: OftenSeenRarelySpoken re-invents still life at ABV Gallery • Arts Agenda: Atlanta museum highlights • Medford and Loraine Johnston Collection sheds new light at the High Museum • Atlanta critic Steve Murray: David Lynch changed my life • How Amy Hale helped the Tate revive Ithell Colquhoun’s ‘sex magic’ • How to Hear It: DeKalb Symphony plays Copland’s ‘Rodeo’ • Art patron Mary Stanley’s 11 Good Things • Review: In Stage Door’s ‘Cry It Out,’ strong performances overcome a weak story • Review: Alliance world premiere of ‘De Soto’ suggests we grin and bear our differences • Who is Pasquale? Dancer-musician Erik Thurmond reveals all • Review: Don Pollack mines family history at Marcia Wood Gallery • Review: The ASO Beethoven Project has launched, raw and strong • Portfolio: in ‘The Makeshift City,’ Joshua Dudley Greer depicts Atlanta in flux • Review: Lauren K. Watel’s ‘Book of Potions’ ignores the rules of writing and wins • Aineki Traverso: Artadia’s first SEEN award recipient • Writer, producer and musician Mykal June’s 11 Good Things • Bluesman Skyler Saufley’s unique sound is inspired by the greats • True Colors named theater company in residence at Southwest Arts Center • Leia’s Lens: At last, Gen-Z Atlanta, we have an art district! • The Old Fourth Ward has two new contemporary art spaces • Anticipation: 9 book-related things I’m clearing a shelf for in 2025 • Anticipation: 10 things we’re looking forward to in Music in 2025 • Poet Rita Dove honors Beethoven’s friend, Black violinist George Bridgetower • Anticipation: 7 things I’ve got my eye on in Atlanta Art+Design for 2025 • Anticipation: 7 things on my calendar for Atlanta theater in 2025 • Anticipation: 8 things we’re excited about in dance in 2025 • Anticipation: TV shows, films and festivals our Film+TV critics are tuning in for • Derett Boyd Jr.’s TV pilot makes sense of Blackness, queerness and youth • Remembrance: Jimmy Carter left a legacy in the arts of Georgia and the country • Core Dance’s ‘Constructing Dance’ project challenges Atlanta’s dance artists in new ways • Review: Shakespeare Tavern’s ‘Love’s Labour’s Lost’ loses power and focus • Choreographer Annalee Traylor’s 11 Good Things • Second half of Synchronicity season highlights girls and women, past and present • Science Gallery's ‘Sacred Breaths’ is out of place at Northlake Mall • Harrowing WABE podcast, narrated by Rose Scott, reveals history of Forsyth County • Cultural producer Oronike Odeleye’s 11 Good Things • Review: Run the Jewels biography ‘Kill Your Masters’ profiles Killer Mike’s Atlanta • Atlanta actor Braelyn Rankins gets ready to roar on ‘Mufasa: The Lion King’ • For Sweet Honey in the Rock's Carol Maillard, Rialto concert is a homecoming • How to Hear It: ASO performs Vivaldi’s ‘Four Seasons’ • Leia’s Lens: Let’s make it easy to be an Atlanta ‘insider’ • Refunds and rain checks: What to do with your tickets to canceled events • DC NEXT gives Atlanta dancers and choreographers a step up • Georgia O’Keeffe’s urban visions at the High Museum • Raymond McCrea Jones’ Palmetto Portrait Project documents change in a small town • How to Hear It: Handel's ‘Messiah’ • Review: ‘Frozen: the Musical’ retains magic of film through strong music and cast • Steve on TV: December • Editor’s Choice Re-issue: Books • Editor's Choice Re-issue: Dance • Editor’s Choice Re-issue: Theater • Editor’s Choice Re-Issue: Film+TV • Atlanta’s Notable 9 in Dance • Editor’s Choice Re-issue: Music • Atlanta’s Notable 9 in Theater • Editor’s Choice Re-issue: Art+Design • Atlanta’s Notable 9 in Art+Design • Atlanta's Notable 9 in Music • Arts Agenda: Must-Visit Art Markets • Arts Agenda: Holiday Spectacular • Arts Agenda: Winter Festivals • Eddie Farr Lights up Woodruff Park with ART in the PARK’s ‘Radiant’ • Remembrance: Chris Kayser • Tyler Perry and Donna Biscoe team up again in ‘The Six Triple Eight’ on Netflix • Actor Danielle Deadwyler prepared for her new film ‘The Piano Lesson’ like it was theater • Donate to ArtsATL Today • Michael Richards will be at the MJCCA book festival. Does his memoir say enough? • Omelika Kuumba will bring her ‘Soaring High’ concert to Atlanta’s ArtsXchange • Leia’s Lens: Why nonprofits should ditch art auctions and throw a good party instead • Review: Synchronicity’s ‘Year with Frog and Toad’ contains a message for all ages • Filmmaker Will Feagins’ 11 Good Things • Choreographer Claudia Schreier’s 11 Good Things • Partners in the Arts: How Esohe and George Galbreath grew an emerging art scene • Partners in the Arts: Improv duo Amber Nash and Kevin Gillese lighten their love with laughter • Tyler Perry Studios President Steve Mensch dies in plane crash • Dancer Madison Lee’s 11 Good Things • ‘Black Nativity’ celebrates the Christmas story with music and dance • Steve on TV: Peacock’s ‘Fight Night’ revels in the roots of Black Atlanta • Street Art Stories: Babe Walls was the women-centered mural event we all needed • Partners in the Arts: Madeline Beck and Ben Rawson deliver art and light • Theater Emory’s ‘Other Shore’ captures tension between self and society • 🎷Arts Agenda: Jazz and Blues • Arts & Social Justice Fellow gives Emory medical residents and fellows a creative toolbox • Artistic Director Matt Torney's 11 Good Things • 🎬 Arts Agenda: Arthouse Film • 🖼️ Arts Agenda: Independent Galleries • 🩰 Arts Agenda: Dance • 📸 Arts Agenda: Photography • The Backstory: Why ‘The Avenues’ makes Bathe Alone just a little uncomfortable • Leia’s Lens: Elizabeth Catlett shows the global might of Atlanta art • Review: Burning Bones’ ‘Hysteria’ contains layers of motion and thought-provoking messages • Cullum’s Notebook: Carlos Museum puts Greek, Maya and Moche pottery in dialogue • Artadia’s 2024 Atlanta awardees have joined a very small club • Atlanta's classical music and jazz faithful enjoy concerts in religious spaces • Choreographer George Staib’s 11 Good Things • Leia’s Lens: If you really care about art, visit a university museum • Dashboard Executive Director Oshun Layne’s 11 Good Things • Suzi Bass Awards highlight the work of Atlanta artists both onstage and off • Silkroad’s ‘American Railroad’ makes tracks to Atlanta • Review: Tavern’s ‘Hamlet’ finds new emotional depths in a classic Shakespearean tragedy • 🎶 Arts Agenda: Classical music • 🎭 Arts Agenda: Theater • Pianist Julie Coucheron’s 11 Good Things • Lee Osorio’s 11 Good Things • Atlanta’s Eddie 9-Volt packs the house with modern soul and the blues • How to Hear It: ASO performs Mozart’s ‘C Minor Mass’ • 'Humblabad Four' backyard dance event took flight with poetry and paper airplanes • Meet two Suzi Bass nominees from ‘Natasha, Pierre and the Great Comet of 1812’ • Steve on TV: ‘Stopping the Steal’ is the Georgia election documentary that shouldn't exist • Mel Konner Play Festival launches new act for retired Emory professor - ARTS ATL • ATL StyleWriters Jam is a hip-hop legacy for global artists • Leia’s Lens: The death and rebirth of Atlanta’s art publications • ARTS ATL | News, Previews and Reviews of the Arts in Atl • Sarah Hillmer helps choreographer Helen Pickett bring ‘Crime and Punishment’ to life • Review: Out Front Theatre’s ‘Hairspray’ overcomes outdated script to reach joy • In Cobb County, a battle over who’s authorized to remove books from schools • Violist Ettore Causa explores light and shade two ways • Atlanta’s global moment: Highlights from Art Week, Art Fair and more • Review: ‘POTUS’ sends up powerful men -- and the women who save their hides • Flutist Adam W. Sadberry will honor a Civil Rights hero, his grandfather, at Spivey Hall • Atlanta Greek Film Expo is a trim offering of only the best cinema • Roderick Cox promises depth and beauty in ASO program • ‘ICONoclasts’ explained: How to read Marryam Moma’s lush public artwork • Street Art Stories: Aziza Andre’s mural is an ode to Black cowboys • Core Dance celebrates 45 years with new work and LIFT fellowship • ‘… an Atlanta Biennial …’: The artist-run project that sets a new standard for the city • Streaming in October: gods, apes and human-like creatures • New Atlanta Opera complex was architect Allen Post’s dream job • Review: Equitable Dinners series urges American women to think about their vote • Review: Atlanta Opera’s superb ‘La Bohème’ and ‘Rent’ shine in immersive Pullman Yards setting • Crux Collective gives contemporary circus a new spin • Review: ‘Midsommar Night’s Dream’ is a crazed festival of love, violence and spellcasting • Leia’s Lens: Atlanta Art Fair overshadowed Atlanta Art Week. It didn’t have to be that way • Lauri Stallings’ civic action blooms in Palmetto • Partners in the Arts: A surrealist filmmaker gets close up with an Afro-punk singer • Partners in the arts: Love leaps from City Springs stage to the altar • Partners in the Arts: How an Atlanta Ballet couple makes room for baby in their pas de deux • Partners in the Arts: Out Front leader Paul Conroy and videographer Brian Wallenberg • Partners in the Arts: ASO’s Michael and Elizabeth Tiscione • Partners in the arts: photographer Billy Howard and publisher Laurie Shock • Dust-to-Digital gives historical recordings new life • Out on Film 2024 reminds audiences that coming out is eternal, and joy is queer • Artadia’s ‘When We Were Twenty-Five.’ shares lessons learned by artists • José Ibarra Rizo explores quiet moments at Wolfgang Gallery • T. Lang Dance’s 'Out From the Deep' pushes sight, sound, performance to the edge • In Theater Emory’s ‘Mud,’ a woman’s hope overcomes oppression • Whole World Improv Theatre celebrates 30 years of making it up as they go • Review: Lee Osorio’s ‘A Third Way’ is relatable, sexy and queer • The 2024 Fall Arts Preview: See what's coming next • Vol I: What to see, do and hear weekly guide • Leia’s Lens: Atlanta Art Fair opens the door to Atlanta. Will anyone walk in? • The ultimate guide to Atlanta Art Week, Atlanta Art Fair and more • Gyun Hur’s art subdues the hate • The Crux: Can ‘Art Papers’ engineer a soft landing? • Partners in the Arts: Theater pros Candy McLellan and Jeremiah Davison - ARTS ATL • Partners in the Arts: Theatrical Outfit's Matt Torney and Amber McGinnis - ARTS ATL • Partners in the Arts: Ballethnic Dance's Nena Gilreath and Waverly T. Lucas - ARTS ATL • Independent film festivals in Georgia mark cusp of summer and fall • So long, Sundance – Atlanta’s film card is full • Street Art Stories: Greg Mike’s winding path to the new ABV Gallery • Review: Jessica Caldas honors pathos, trials of women in MOCA GA exhibit • Art briefs: Ed Spriggs at Hammonds House; MOCA GA fellows; new art fair • What to see, do and hear: Chinese dance, Decatur Book Festival, more • Leia’s Lens: With new hires, the High Museum can frame both the future and the past • Review: The pain of loss colored Terminus Ballet’s season opener • The Backstory: How Collective Soul’s ‘December’ got that sound • Atlanta dancer Rachel Van Buskirk performs a new move -- to Texas • Art+Design – Featured - AR • What to see, do and hear: Woodruff Library, Bautantz Here, South Fulton Arts, more • Puppetry’s ‘Pancho Rabbit’ is a Mexican fairy tale depicting a realistic family journey • How Jimmy Carter stayed in tune with the arts • Why poet and illustrator Sean Fahie is an open book • Namwon Choi maps journeys from Korea to North Georgia at MOCA GA • Lace or polka dots? Costume designer PhaeMonae is done with minimalism • What to see, do and hear: ADAMA, ASO, Working Title Playwrights, more • A $2-million contribution from the city is catapulting MOCA GA’s building project • Leia’s Lens: Why isn’t the city saying where big arts money is coming from? • Review: ‘Seagull’ at Pullman allows Chekhov’s work to take flight • Why troublemaker Andrew Aydin brings politics to Dragon Con • Dawn Williams Boyd weaves social activism into powerful artworks • Dancers found creative heat during the summer months • Review: ‘The Rock & the Hard Place’ is a harrowing look at race and our justice system • SheATL Fest closes a gap in the theater industry with more representation for women • Bojana Ginn reinvents the future at a Georgia Tech lab • Micah Cash shows what the South looks like from a Waffle House window • The 2024 Fall Arts Preview: Ones to Watch • What to see, do and hear: Flamenco, Lucian Books, 7 Stages and more • MINT Gallery closed suddenly, and the artists are pissed • Leia’s Lens: MINT Gallery’s demise was long overdue • 🖼 The 2024 Fall Arts Preview: Our picks in art and design • 🎞 The 2024 Fall Arts Preview: Our picks in film and TV • 📚 The 2024 Fall Arts Preview: Our picks in books • 🩰 The 2024 Fall Arts Preview: Our picks in dance • 🎶 The 2024 Fall Arts Preview: Our picks in music • 🎭 The 2024 Fall Arts Preview: Our picks in theater • Review: Aurora’s ‘Color Purple’ gives a few new hues to a Georgia favorite • An artist’s experiments with light: ‘Panorama’ at the Woodruff • What to see, do and hear: Pink bubbles, KSU dance, BronzeLens, more • Children will have more ways to create as the Woodruff expands • Pulitzer Prize winner Rita Dove will read her Beethoven poem with Chamber Music Society • First Look: Your early guide to the Atlanta Art Fair • What to see, do and hear: Underground film, Blackberry Smoke and more • Review: ‘Cabaret’ is decadent, dangerous and worthy of praise • Pearl Cleage on how Maynard Jackson shaped Atlanta - and her work • Cullum’s Notebook: Connections at Johnson Lowe and Hammonds House • The new Margaret Mitchell House shakes up an author’s legacy • Review: Photographer Tyler Mitchell reclaims nature for Black Americans • More is more for Manish Arora at SCAD FASH • What to See, Do and Hear • Ashli J. Washington dreamed of Atlanta, woke up a filmmaker • Cullum’s Notebook: Gallery 100 and Third Rail, invisible gems • Cinqué Hicks brings new energy to ArtsATL • How Charmaine Minniefield’s ‘Praise House’ was nearly demolished (but survived) • What to see, do and hear: Impact Theatre, '9 to 5,' Margaret Mitchell House, more • Street art stories: Inside the fierce competition for Catlanta’s public art • Stacey Abrams is helping to re-ignite the Decatur Book Festival • Tim Youd transforms literature into art at Atlanta Contemporary • The Decatur Book Festival’s comeback is in no rush • Review: Horizon’s ‘Game’ plays on human behavior with winning results • Drag queens strut their stuff at Southern Fried Queer Pride Fest • What to see, do and hear: Atlanta stories, a nest of jazz, trans cinema, more • Love, death and puppetry loom large in Atlanta Opera’s new season • Alliance’s 56th season engages audiences in hopeful conversation • New season of Theatrical Outfit offers depth and scope • Stories that matter are on the Horizon for the theater’s 40th season • Out Front Theatre’s ninth season brings queer stories to life • Center for Puppetry launches a new season of exciting exploration • Cinqué Hicks / Poet She Pharaoh / “The Next King” • What to see, do and hear: ’Jersey Boys,’ Dutch art, vintage Spielberg and more • Rialto’s 2024-25 season plays it safe with jazz, political satire • Guggenheim Fellow Jessica Blinkhorn takes sex (and art) seriously • Camille Russell Love is set to retire from Cultural Affairs • Review: ‘The Wash’ depicts Atlanta history with a fresh scent • Writer Constance Collier-Mercado wins by bending rules • Atlanta Soundtrack: Breathers, Rose Hotel and vintage Ma Rainey • Artemus Jenkins stays grounded at Hidden Gallery 333 • Kai Lin Art tells five artists’ stories • Weekly Guide: What to see, do and hear • Blacktop Improv celebrates 25 years of brotherhood and comedy • Sharing a room with ArtsXchange women artists • Inaugural Lavender Fest is a rainbow of queer performance art • Shanequa Gay reflects on art in the South at Jackson Fine Art • Streaming in June: Secrets, mirrors, veils and more • Queer dancemaker wrangles with Ibsen's ’Doll's House‘ • ‘The Wash’ by Kelundra Smith is inspired by both history and muse • George Long has nothing to hide at Marcia Wood Gallery • Georgia Ensemble co-founder and leader Anita Farley steps offstage • Review: Alliance’s ‘Preacher’s Wife’ still a work in progress • Review: ‘Blues’ is a powder keg of a period piece • ‘Our Voices. Our Lives’ tells of Atlanta’s Black and Brown creatives • Review: ‘Sister Act’ is a chorus of mainly positive notes • How a facelift has made ‘54 Columns’ easy to love • Timothy Short puts family on a pedestal at Echo Contemporary • Fringe Fest breaks up traditional theater and rewards risk • Composer Malek Jandali is Syria's ‘musician of the revolution’ • In ‘The Preacher’s Wife,’ both faith and theater have power to heal • 2024 Atlanta Jazz Festival • Cullum’s Notebook: legendary women, mythic lands • Lalla Essaydi sees bullets and bottle caps in modern Morocco • ‘Old Enough’ explores what older women artists know • Mariyka Foster’s children’s book pokes at gender norms • Butcher Brown presents new flavors of jazz at Atlanta Jazz Fest • What to see, do and hear: Fringe Fest, Photowalk, Dutch art and more • The High Museum reflects on South African democracy • Today in Street Art: Politics and personal visions in Little Five Points • Movement artist Jimmy Joyner evokes lives lost to AIDS • Third European film fest spotlights international film culture • Two new theater companies formed on a ‘Playground’ share similar goals • Review: Timothy Curtis survives incarceration with inkblot paintings • UTA Artist Space brings human touch to the fore • Atlanta Soundtrack: New music by Bathe Alone, Baby Rose and vintage Microwave • What to see, do and hear: Wynton Marsalis, ACP, European Film, more • Review: Dad’s Garage ‘Peach’ is locally juicy, has plenty for non-Atlantans to pick - ARTS ATL • Review: ‘Fat Ham’ reinvents Shakespeare's classic with modern flavor and spice • ‘Xperimental Puppetry Theater’ returns with all-new high jinks • What to See, Do and Hear: Inman Park Festival, Living Walls, Shaky Knees, more • Mr. Charlie Brown, activist and drag performer (1949–2024) - ARTS ATL • 48th Atlanta Film Festival raises the bar for Georgia filmmakers • Today in street art: Hard-to-find murals are worth the effort, our expert says • Review: Percussionist Klimchak and drummer Bob Stagner created noise and sonic tapestry at Atlanta Contemporary • Review: Amanda Grae Platner reveals personal enigmas at Echo Contemporary • Holley documentary is a ‘Thumbs Up’ to an artist whose muse is mystery • What to see, do and hear: Core Dance, Wolfgang Gallery, Actor’s Express, ASO, more • Cullum’s Notebook: A handful of exhibitions features art whose meaning is not what it appears to be • Folk horror elements in Mab’s 'Macbeth' question who among us is uncanny • Goat Farm reopens in West Midtown as a residential space for arts programming - ARTS ATL • Review: ‘Clyde’s makes a tasty sandwich with relatable cast, poignant ideas • 2024 Spring Preview: Four Atlanta creatives to watch this arts season • 2024 Spring Preview: Atlanta’s music, art, theater and dance continue to bloom • Review: ‘Freaknik’ takes a helluva party snapshot that could have been an album • Clark Atlanta Museum artwork on loan to Met Museum for landmark show • Q&A: Novelist Parul Kapur reinvents Indian art history with women at the center • Atlanta Soundtrack • What to see, do and hear: Stellaluna, Beacon Dance, Black Art in America, Vega Quartet, more • Review: Atlanta podcast ‘The Passage’ explores the soul of the United States • Serenbe launches new jazz series with dynamic British vocalist Julie Dexter • Precious Lovell explores Black history with textiles in Hammonds House exhibits • News: Cinqué Hicks joins ArtsATL as editor-in-chief, effective March 1 • Review: Terminus Modern Ballet dancers looked strong, but program lacked depth • 2024 Spoleto Festival in Charleston showcases the arts over 17 days • Art News: Color, light, sound in Woodruff Park; Atlanta artists to exhibit in Venice • Q&A: Fahamu Pecou, African Diaspora Art Museum founder, celebrates new home • Review: Enthusiastic cast and catchy music make ‘Jamie’ worth talking about • New contemporary art museum, the Warehouse, to open in Atlanta in April • French designer Jérôme Kaplan creates magic for Atlanta Ballet’s ‘Coco Chanel’ • Review: Atlanta Ballet’s ‘Coco Chanel’ entertains but lacks heart and soul • Streaming in February • Composer Carlos Simon curates the ASO with a focus on Atlanta’s Black identity • Cullum’s Notebook: Diverse group exhibits explore the South’s many identities • Georgia-set Out Front play ‘At the Wake of a Dead Drag Queen’ celebrates life in drag • Review: From books to buildings, two thoughtful exhibits at Jackson Fine Art • Review: ‘REMEMBER THIS’ showcases heroism amid the Holocaust • News: Hammonds House names artistic chair for three years • Cullum’s Notebook • News: Atlanta Contemporary names Floyd Hall executive director • ‘Eunice in Paris’ sheds light on the shadows of musical legend Nina Simone • Review: ‘HUMAN’ at Center for Puppetry Arts is deep with otherworldly beauty, wisdom • Streaming in January • Kat Taylor’s first book