Burnaway, 928 Ponce De Leon Avenue NE, Atlanta, GA (2026)

05/12/2026

For Burnaway’s SCHOOLHOUSE theme feature, Jackson Markovic () examines cultural difference and depictions of archetypal Southern art in the 2005 film “Junebug”.

“In the film, Johnsten’s brief immersion into Winston-Salem through her new husband’s family commands most of the plot as the dealer of “visionary art” visits the American South for the first time. The paintings as props are also subject to their own complexity, created by artist Ann Wood under the direction of Morrison. Cultural differences are unveiled and challenged through narrative, yet the differences incite reverence and fascination.”

Click the link in our profile to the read more.

We will also be hosting a screening of the film at the Plaza Theatre () on June 2 at 7:30PM. Event details can also be found through the link in our profile!
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1. David Wark’s front yard in Junebug, dir. Phil Morrison, 2005. Image courtesy of Filmgrab, © Epoch Films (). 2. Madeleine Johnsten visiting David Wark’s home in Junebug, dir. Phil Morrison, 2005. Image courtesy of Filmgrab, © Epoch Films.

05/07/2026

We’re excited to announce that poet and professor Nikky Finney will be our second 2026 Art Writing Incubator speaker on Saturday, July 18! Learn more about Nikky Finney below.

Just a reminder that AWrI applications are due next Friday, May 15 at 11:59 PM EST. Application and information can be found at the link in bio!
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Photo by Forrest Clonts.
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Renowned poet and professor Nikky Finney has spent her career illuminating the Southern cultural and political heritage of Black people in ways that resonate throughout the country and world. Her ongoing legacy of poignant expression, indomitable truth, and devotion to social justice has enriched the country and world.

Finney’s love of writing and poetry began during her childhood in South Carolina. Born in Conway, SC. She is the daughter of Ernest A. Finney, Jr. and Frances Davenport Finney. She began taking notes on the world when she was just a girl growing up in South Carolina. She further heeded this calling by earning her bachelor’s degree in English Literature at Talladega College in 1979. The influence of the Civil Rights and Black Arts Movements, and her parents’ social activism led her to pursue additional education in African American Studies at Atlanta University. In her career of more than 30 years, Finney has written six books and hundreds of poems and essays that explore and confront the experiences that have shaped life in the South for herself and countless other African Americans. Her most recent book, “Love Child’s Hotbed of Occasional Poetry” (Northwestern University Press, 2020) is an enduring love song to her father and 400 years of African American fight and ingenuity. (Continued in comments)

05/06/2026

Book//Zine, Burnaway’s annual art book and zine fair, is returning to Goat Farm () on Saturday, October 24th, 2026.

Calling all independent publishers, small presses, makers, and book artists—exhibitor applications for Book//Zine 002 are open through Monday, June 8th at 11:59PM EST.

Information about B//Z002 and the exhibitor application can be found at the link in bio.

05/05/2026

Samantha Oleschuk () reviews Dynai White Hawk’s () LISTEN, an eight-channel video installation that asks a deceptively simple question: “How many languages can you identify by sound?”

“Approaching a screen brings its speaker and their voice into focus; step away, and the language dissolves again into a distant murmur. The installation makes the body part of the listening process. To hear, one must choose to move closer.”

Click the link in our profile to read the full review.
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1. Dyani White Hawk, Razelle Benally, “LISTEN” (still), 2020. MP4 Eight-channel HD video with sound, edition 1/5. Collection of the Nasher Museum of Art at Duke University, Durham, NC. Museum purchase with funds provided by Marjorie (P’16, P’19, P’19) and Michael Levine (B.S.’84, P’16, P’19, P’19) and Benjamin Wiener, 2024.8.1. ©Dyani White Hawk. Image courtesy of the Artist, Bockley Gallery, and Various Small Fires. 2. Installation view, “Dyani White Hawk: LISTEN” at the Nasher Museum of Art at Duke University. Images courtesy of the Nasher Museum of Art at Duke University. 3. Installation view, “Dyani White Hawk: LISTEN” at the Nasher Museum of Art at Duke University. Images courtesy of the Nasher Museum of Art at Duke University.

04/29/2026

Philip Kelleher-Rios reviews the collaborative, embodied qualities of Raheleh Filsoofi ()’s “Deep Listening” and Raheleh Filsoofi and Reza Filsoofi ()’s “Listening: The Fourth String” at the Ismaili Center, Houston ().

“Perhaps most compellingly, the performance offered a balance between moments of harmony and dissonance. Sections of the music followed semi-regular structures—this was perhaps most notable when the music aligned with Reza’s vocals. Other sections were intentionally discordant—repetitions were abandoned and one after another new arrangements were delivered.”

Read more from the review at the link in bio!
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1. Raheleh Filsoofi, Reza Filsoofi, and Gabriel Martinez activate the “ShahTár” (شهتار) during their performance “Listening: The Fourth String,” Ismaili Center, April 11, 2026. Photography by Ali Khoja, courtesy of Ismaili Center. 2. Installation view of Raheleh Filsoofi and Reza Filsoofi’s “ShahTár” (شهتار), Ismaili Center, 2025-2026. Photograph by Ali Ahad Dhukka, courtesy of Ismaili Center. 3. Raheleh Filsoofi, Reza Filsoofi, and audience members performing during “Listening: The Fourth String” at the Ismaili Center’s black box theater, April 11, 2026. Photograph by Azhmeer Jesani, courtesy of Ismaili Center.

04/28/2026

Natalie Willis Whylly () situates diaspora-based textile artist Gio Swaby’s () Black feminist portraiture in its original Bahamian context.

“Her portraiture, a self-proclaimed “love letter to Black women”, transmutes the weight of body politics, history, fabric, and lived experience, to become tender lines drawn through the eye of a needle.”

Click the link in our profile to read more.
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1. Gio Swaby, “Hi-Vis 5” (2025), Gio Swaby, thread and fabric sewn on canvas, 28 x 24 x 1 in. Self-portrait of the artist. Photo credit: Jeff McLane. Image courtesy of the artist and Vielmetter Los Angeles. 2. Installation view of Gio Swaby’s 2025 solo show, “How We Go”, at Vielmetter Los Angeles. Photo credit: Jeff McLane. Image courtesy of the artist and Vielmetter Los Angeles. 3. Gio Swaby, “As We Are: Ashante” (2025) thread and fabric sewn on canvas, 78 x 45 x 1.5 in. Photo credit: Jeff McLane. Image courtesy of the artist and Vielmetter Los Angeles.

04/27/2026

We’re excited to announce that curator and writer Marina Reyes Franco (.visitoreconomy) will be our first 2026 Art Writing Incubator speaker on July 11!

Just a reminder that AWrI applications are due on Friday, May 15; application and information can be found at the link in bio!
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Marina Reyes Franco is an independent curator and writer based in Puerto Rico. She was previously the Curator at the Museo de Arte Contemporáneo de Puerto Rico (MAC). She received a BA in Art History from the University of Puerto Rico and an M.A. in Argentine and Latin American Art History at IDAES-UNSAM in Buenos Aires, Argentina. In 2010, she co-founded La Ene, an itinerant museum and collection. Projects at MAC include “MAR ADENTRO”, “Sunlight on the Sea Floor” (an ICI traveling exhibition co-curated with Paula Naughton), “Puerto Rico Negrx” (co-curated with María Elena Ortiz), “Liberar la luz (Liberating Light)“, “Foreign in a Domestic Sense”, and “Tropical Is Political: Caribbean Art Under the Visitor Economy Regime” (in collaboration with Americas Society) and “El momento del yagrumo”, as well as artistic commissions by Daniel Lind Ramos, Sofía Córdova, Tony Cruz Pabón, Julianny Ariza, Ulrik López Medel, and Eliazar Ortiz Roa. As an independent curator, she developed Resisting Paradise, at Publica, San Juan and Fonderie Darling, Montreal; Watch your step / Mind your head, ifa-Galerie Berlin; The 2nd Grand Tropical Biennial in Loiza, Puerto Rico; Caliban, MAC in San Juan; C32: Sucursal, MALBA in Buenos Aires, and numerous exhibitions at La Ene. As curator and researcher, she is dedicated to creating exhibitions and leading collaborative projects that establish aesthetic relations between artists, history, and culture, often highlighting underrepresented histories. She has focused on the work of Esteban Valdés, artistic and literary manifestations on the frontier of political action, and the impact of tourism in cultural production in the Caribbean. She is an alumna of ICI’s Curatorial Intensive and the Center for Curatorial Leadership.
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Photo by Argenis Apolinario () and courtesy of Marina Reyes Franco.

04/24/2026

Isabella Marie Garcia () analyzes privilege and representation as they relate to depictions of Lucumí and Abakuá spirituality in Cuban art and within Miami museum exhibitions featuring the work of Belkis Ayón and Elliot & Erick Jiménez ().

“Like the royal velvet curtains that drape the exhibition walls, real and makeshift, El Monte was a stage in which to perform an outsider-looking-in aesthetic body of work that was akin to an editorial assignment but this time, extracted from the faith of a closed loved one and distilled across time and distance from the root. Ayón’s own distance to the Abakuá was never a hindrance to creating a work that was removed of colonial art references and lived experience, excelling instead at imagining without pretense.”

Read more from the feature at the link in bio.
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1. Elliot & Erick Jiménez, “Ibejí Altar”, 2025, archival pigment prints on canvas, crystals, Harvey Probber walnut console with custom granite top, Noel Rabior nineteenth-century bronze ashtrays, antique brass hand k***s, and brass candle holders with candles, 29 x 33 x 13 inches wooden base; 1 1/2 x 33 x 13 inches granite top; 60 x 33 inches arched canvas piece. Photograph by Zachary Barber and image courtesy of Pérez Art Museum Miami. 2. Belkis Ayón, “My Vernicle o tu amor me condena [My Vernicle or Your Love Condemns Me]“, 1998, collagraph; collection of Ariel and Daphna Bentata. Photograph by Oriol Tarridas and image courtesy of Belkis Ayón Estate, David Castillo, and Museum of Art & Design at Miami Dade College, Miami. 3. Elliot & Erick Jiménez, “El pequeño gigante (The Little Giant)“, 2025, archival pigment print on canvas, installed in nineteenth-century French tabernacle with candle, 54 x 34 x 16 inches. Photograph by Zachary Barber and image courtesy of Pérez Art Museum Miami.

04/23/2026

Burnaway takes a close look at “Silvia Heyden: Weaving Notes & Nature” at the Nasher Museum of Art at Duke University (), Durham.

“‘Silvia Heyden: Weaving Notes & Nature’ features several works originally shown in her first Duke exhibition 54 years ago, alongside key experimental pieces from the 1960s and 70s. The exhibition traces the evolution of Heyden’s bold techniques while honoring the lasting impact of the Durham community on her practice. Today, her tapestries continue to resonate—each thread a quiet expression of hope and a belief in the power of music and nature to inspire and transform.” - from the exhibition text

“Silvia Heyden: Weaving Notes & Nature” is on view at the Nasher Museum of Art at Duke University, Durham through June 7, 2026.
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1 Silvia Heyden, “Translucent”, early 1970s; linen, 48 × 43 inches; collection of the Nasher Museum of Art at Duke University. © Silvia Heyden Estate. Photo by Peter Paul Goeffreon.2. Installation view of “Silvia Heyden: Weaving Notes & Nature” at the Nasher Museum of Art at Duke University, Durham. Images courtesy of the Nasher Museum of Art at Duke University. 3. Silvia Heyden, “Study for Fleur d’Afrique”, 1960; wash, crayon on tissue paper, 6 1/8 x 9 7/8 inches; collection of the Nasher Museum of Art at Duke University. © Silvia Heyden Estate. Photo by Brian Quinby.

04/23/2026

We brought our new reader “MYTH” to ’s after-dark arts event illumine & paired installations with MYTH’s themes of GHOST, SIREN, and TRICKSTER! Swipe to see which ones we chose!

Thanks to all who showed out for our “MYTH” reader release at Oakland Cemetery last night. Come back later this week to catch the second weekend of illumine - tickets can be found at the link in bio.
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When the sun goes down, historic Oakland Cemetery lights up for illumine, Oakland Cemetery’s annual after-dark arts event. After dark, the night reveals light-centered interactive and immersive art in a “gallery space” unlike any in Atlanta.

Grab your illumine tickets at the link in bio! 🕯️🌸

illumine is a fundraiser and your ticket purchase supports Historic Oakland Foundation’s mission to continue preserving, restoring, and beautifying historic Oakland Cemetery for all to enjoy.

04/22/2026

Excerpts from the “MYTH” Editor’s Letter by Courtney McClellan (), Burnaway’s Editor and Artistic Director. The full letter can be found in “MYTH”, our new print reader, available on our shop. For those in Atlanta, join us tonight from 6:30-8:30PM at Oakland Cemetery for our Atlanta reader release party. RSVP at the link in bio.

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