Celebrating The High with Summer Salon

Our Summer Salon honors the TEN represented SHG artists included in The High Museum of Art's SPRAWL exhibition. We are having such fun with this group show! Works on paper, photographs, collage, ceramic works, paintings... it's all here!

Stop in the see the phenomenal group show now through September 5!


We are thrilled to present TWO exhibitions this summer!


Ryan Coleman
Don Cooper
William Downs
Margaret Fletcher
Michael T. Hensley
Medford Johnston 
Gary Komarin
Mark Leibert
Elizabeth Lide
Susan Loftin
Donna Mintz
Mario Petrirena
Michael Reese
P Seth Thompson



A solo exhibition of new works by Pam Longobardi in our back gallery (shown in conjunction with our Summer Salon).

"I am a conceptual artist with a strong affinity to materials and process. My practice involves site-specific installation and studio-based production. Collectively, both these aspects of my practice explore the Anthropocene as a condition of our contemporary existence. In 2006, after discovering the mountainous piles of plastic debris the ocean was depositing on the remote shores of Hawaii, I began collecting this plastic as my primary material and conceived of the Drifters Project. The Drifters Project centralizes the artist as culture worker/activist/researcher and employs forensics as an aesthetic mode of inquiry. In approaching the sites as a forensic scientist, I am identifying the evidence of what could be perceived as a crime against nature, plastic in all its pernicious ubiquity. To balance and interpret the Drifters Project work, I engage in studio production of paintings. 

My studio production includes paintings on copper and on paper. The paintings create self-contained universes where I attempt to visualize a future point where the Anthropocene may be clearly read through the paintings’ materiality. The most recent works reveal large, connected energy systems punctuated by the minutia of a microscopic lens, continuing my investigation of the problematic psychological relationship between humans and the natural world while simultaneously suggesting an interconnected fate. I utilize the genre of landscape painting to suggest future worlds that warn of a threshold of immense change, often depicting colonization and escape. Suggestions of buildings, factories and cities are minimized and fossilized in a future geologic layer. Miniature and solitary human figuration exists in caves and on isolated promontories."