Scattered and Smothered

Scattered and Smothered

Presented by Howard’s

January 17, 2019 – March 3, 2019

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January 17, 2019 at 6:00 pm
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January 17, 2019 at 6:00 pm

Howard’s is proud to present Scattered and Smothered at Atlanta Contemporary, opening January 17 in conjunction with the Atlanta Biennial. The project room is designated for shows organized by artist run galleries in the Southeast.

The show includes work in various media by Mo Costello, Alicia Gibson, Becky Kolsrud, Sarah Peters, Joe Sola, and Mitchell Wright. The title Scattered and Smothered is a nod to the Waffle House and late-night dining. A friend said it sounds like a Pavement song, which seems right. The show is about longing, confusion, alienation, anxiety, and distress. They are age-old themes in American art, but perhaps these artists scramble the language with a degree of detachment, consideration, or levity. The purity of expressionism is reshuffled, but emotion and the experience of the artist is central to the work.

Mo Costello was born in Seattle, received her MFA from RISD, and lives in Athens, GA. Alicia Gibson was born in Manhasset, NY, spent her formative years in South Carolina, received her MFA from Hunter, and now lives in Brooklyn. Becky Kolsrud was born in LA, received her MFA from UCLA and now lives and works in Los Angeles. Sarah Peters was born in Boston, received her MFA in Sculpture from VCU, and now lives and works in Queens. Joe Sola was born in Chicago, received his MFA from Otis College of Art and Design, and lives in LA. Mitchell Wright was born in Mississippi, received his MFA from the University of Tennessee, and now lives and works in Brooklyn


Mo Costello

Mo Costello is an artist and educator based in Athens, Georgia where she is the recipient of recent fellowships from the University of Georgia’s Lamar Dodd School of Art (2015 - 2017) and Emory University (2017).Currently, Mo is an instructor at The Zero School of Art + Time in Atlanta’s South Downtown, established alongside Blair LeBlanc in Spring 2018.

Alicia Gibson

Alicia Gibson lives and works in Brooklyn, NY. She was born in Manhasset, NY, and spent her formative years in South Carolina. Gibson received her MFA from Hunter College, BA from Boston College, a Post-Baccalaureate Certificate from the Boston Museum School. She has had solo exhibitions at Marvin Gardens, Brooklyn; CANADA, New York; Loyal Gallery, Stockholm; Real Estate, Brooklyn; Julius Caesar Gallery, Chicago. Selected group exhibitions include First Ever and Only East Hampton Biennial, curated by Woobie Bogus and Adrianne Rubenstein, East Hampton, NY; Fort Greene, curated by Adrianne Rubenstein, Venus over LA, Los Angeles, CA; Hill of Munch, curated by Brian Belott, Rachel Uffner, New York; The Breeder, Athens; Lyles and King, New York; Derek Eller, New York. She is represented by Loyal Gallery in Stockholm. She has been written about in Frieze, ARTnews, the New York Times, Hyperallergic, among others.

Becky Kolsrud

Becky Kolsrud lives and works in Los Angeles. She received her MFA from UCLA in 2012. Her work has recently been included in group exhibitions at Foxy Production and Maccarone gallery, both in New York. Her upcoming solo exhibition at JTT Gallery (New York) will mark her third solo exhibition by the gallery, which also represents her work. Her work is in the collection of the Hammer Museum (Los Angeles) and was recently acquired by the Hall Foundation.

Sarah Peters

Sarah Peters lives and works in Queens, NY. Peters was educated at Virginia Commonwealth University (MFA), The University of Pennsylvania (BFA), and The Pennsylvania Academy of Fine Arts (Certificate). The artist is a recipient of awards and residencies from John Michael Kohler, WI and New York Foundation for the Arts (NYFA), NY (2011); The Fine Arts Work Center, Provincetown, MA (2010); and The Marie Walsh Sharpe Art Foundation Space Program, Brooklyn, NY (2008). Solo and two-person exhibitions include Halsey McKay Gallery, New York, NY (2017); Eleven Rivington, New York (2015); 4 AM, New York (2015); Bodyrite(with Mira Dancy) at Asya Geisberg, NY (2014); Edward Winkleman Gallery, NY (2007,2010); and John Davis Gallery, Hudson, NY (2013). Group exhibitions include Objects Like Us, The Aldrich Contemporary Art Museum, Ridgefield, CT, curated by Amy Smith-Stewart and David Adamo (2018); Galerie Eva Presenhuber, Zurich, Switzerland (2018); and Rodin and the Contemporary Figurative Tradition, Frederik Meijer Gardens & Sculpture Park, Grand Rapids, MI (2017), among others. Her work has been reviewed and featured in publications such as The New York Times, Art in America, Artforum, and The Brooklyn Rail.

Joe Sola

Joe Sola lives in Los Angeles.  He has participated in various international institutional group exhibitions at: Kunsthuas Graz, Austria (2014), Musée d’Art Moderne Grand-Duc Jean, Luxembourg City, Luxembourg (2014), Vancouver Biennale (2009), Museo Rufino Tamayo, Mexico City, Mexico (2002), Instituto Cubano Del Art e Industria Cinematographico as part of the Havana Biennial (2000) InSite 2000, Tijuana, Mexico. And nationally at many institutions including: Los Angeles County Museum of Art (2016, 2009), Dallas Medianale (2015), Hirshhorn Museum and Sculpture Garden, Washington DC (2013), Andy Warhol Museum, Pittsburgh, PA (2011), San Francisco Museum of Modern Art, (2009), The Orange County Museum of Art, Newport Beach, CA (2002). His performances have been shown at 356 Mission Road, Los Angeles, (2013), MOT International, London (2010), The Hammer Museum, Los Angeles, (2007), The Atlanta College of Art, (2006) Los Angeles Contemporary Exhibitions, (2005). His works are in the public collections of The Los Angeles County Museum of Art, The Hammer Museum, Los Angeles, The High Museum of Art, Atlanta, and The Portland Museum of Art, Portland, OR amongst others.

Mitchell Wright

Mitchell Wright uses layer upon layer of flat colored acrylic medium to make his paintings. In the finished pieces, there is a subtle 3D relief that creates actual light and shadow and disrupts the 2D perceptual tricks often used in op art. The paintings are lightly anchored to the real: folds that hint at an unmade sheet where someone once lay or a ripple on a wall from a science fiction horror movie. In other more dizzying paintings, the optical experience is reminiscent of staring at static or a magic eye.

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