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Tafawa, born Arthur Hicks, in Bessemer, Alabama, in 1947, is an exceptionally talented, highly skilled photographer, printer, and custom picture framer. He was raised in Buffalo, New York, attended public schools there, and was drafted into the U. S. Army at age 18. Upon completion of military service, he returned to Buffalo and earned the Bachelor of Arts degree in Psychology and African Studies from Buffalo State College. While a sophomore in college, Tafawa’s wife gave him his first camera, and he immediately began to develop his keen eye for photographing people. His creative instincts around photographing, printing, exhibiting and preserving African and African American imagery continue to evolve. For nearly two decades, Tafawa and his wife have lived in Metro Atlanta. "As a photographer, presenting myself as an artist has always been a challenge. With the camera I capture images that present themselves to me wherever I am in the world. In the sense that all art is an expression of creative Spirit, presenting itself as inspiration through each of us, I am an artist using the camera as creative expression. In the words of photographer Minor White, 'Spirit always stands still long enough for the photographer it has chosen'." 11 Questions with Tafawa 1.What is the best part about being an artist/organizer? The best part of being a Photographer/artist are the Journeys that I have taken, to the different parts of Africa, the photos I have taken, the memories that they hold and the opportunity it gives me to share my vision of the world as I see it. 2. What is the most difficult part? Being Still to explore and digitize my photo archives that span 50+ years. 3. Favorite medium? Favorite way to engage with your community? Photography 4. Whose work do you most admire Kathleen Atkins Wilson-Painter Ansel Adams-Photographer Chester Higgins-Photographer 5. Describe your idea of artistic success. Belonging to an artistic community, having the resources and time to continue the creative Journey 6. What is the one question you wish people would stop asking you? Don't have one. 7. What is the one thing you wish people would ask? Don’t have one. 8. Tea or coffee? Tea. 9. Top three tunes to inspire creativity? John Coltrane My favorite things Grover Washington Jr. Masterpiece Leon Thomas The Creator Has A Master Plan . 10. What projects are you currently working on? Establishing my Studio at the Arts Xchange Cataloging the works of Baba Atu the Sculpture Print and exhibit works from my archives provide printing service for artist desiring to have prints made from there paintings Digitizing selected works from my archives. 11. If you could pass along one message to the rest of the world right now, what would you say? Stand in Peace, Stay Strong This to Shall Pass. To connect with Tafawa or follow his work, please visit him at Email: Tafawa@gmail.com

BLACK LIVES MATTER. BLACK ART MATTERS. For the past 37 years the ArtsXchange has stood in solidarity with national and international movements to end systemic racism.  This includes speaking out against injustices and their harmful effects in our communities and beyond that degrade and harm black, indigenous, and people of color. We feel the insurmountable pain of centuries of violence that has converged at this pivotal moment in our nation’s history.  The ongoing loss of black lives has reached a critical point when all responsible persons must act against blatant racism.  We cannot stand silent in this moment.  The ArtsXchange’s mission is to use the arts as a means by which all cultures can come to a truer understanding of themselves and others. Black art in all disciplines is relevant to our entire nation.  By providing a venue and studio space for artists and non-profits, The ArtsXchange supports arts that are uplifting and that build bridges between the cultures of Africa, the Caribbean, and the Americas.  To appreciate the complexity and beauty of black lives, you must witness and appreciate the wealth of black art that speaks to our experiences and dreams, our hopes, and prayers. We join with all people committed to moving our nation in the direction of achieving freedom, dignity, and equality for all people.  These interconnected cornerstones of humanity are the foundation for creative expression, community building, and empowerment.  To continue our commitment, we announce the following two art and social justice initiatives: The Ebon Dooley Arts & Justice Conversations The Ebon Dooley Arts & Justice Awards, established in 2018, recognizes individuals and organizations that work to improve the lives and future of their communities. In that spirit, we will host a series of conversations with Art & Social Justice Honorees along with other engaged social justice activists each Friday through the end of this summer. Icons of Art & Social Justice: A Mural Project The ArtsXchange will commission four murals for our building in East Point. We are looking for images and words that not only capture this moment of pain while celebrating the incredible outpouring of unity of spirit committed to ending racism, but that celebrates ideals that uplift community and promote growth in humanity, spirit, and change. The focus is not only in the United States, but globally as well. We invite visual artists and/or writers, as individuals or in collaborative teams, to submit their ideas. Submission Deadline July 16th, 2020. The ArtsXchange will kick off our First Saturday Open Air Artisan Marketplace series. This event is free to the public with artist vendors, food trucks, door prizes, yoga, live performances, and DIY arts and craft station. Feel free to bring your lawn chair and face mask. Vendor tents will be set up in the back parking lot. To ensure the health and safety of our volunteers and guests, we will adhere to the COVID-19 CDC guidelines and will be practicing social distancing and contact less payments. RSVP Be sure to stay connected with us and check out our Virtual Programming. The ArtsXchange thrives on the support and generosity of thoughtful donors like you. Your contribution to the ArtsXchange will help advance our legacy of providing access to avenues of production for emerging and professional artists, in addition to studio and performance space for multi-ethnic and multi-disciplinary artists in our cultural community. DONATE TODAY

Rayfield Lewis II was born in Savannah, Georgia and raised in Athens, Georgia. He came to Atlanta for the first time in 1997 for college at Clark Atlanta University. "My dream has always been to own an art firm, even before knowing what an art firm was. I had an idea and the best word I had for it was an “Art Firm”. I have always loved art, and feel like my talent is one, to get the art in front of people, and two, to bring artists together for the ultimate creative collaborations. For that to happen, I must have a place that artists can come to collaborate and work together. This place would also offer management for the artist involved. And collectively everyone would fall under the same umbrella to ensure that we touch all genres of art, but still have the ability to be independent. My studio space at the AtrsXchange is my first shot at bringing this idea to life and seeing what that looks like. I humbly call myself a visionary. That is the best way that I can describe myself as an artist. As far as being a yogi and a teacher, more than I can say that I believe in a specific religion or God, I believe with my whole heart in being in the moment. I was introduced to yoga during a very trying time in my life, and was dealing with depression. Through breathing and eventually the physical postures, I learned to accept where I was at that point in my life. I now live my life this way. This gift was given to me, and to honor the gift I must share it with the people." 11 Questions with Rayfield Lewis 1.What is the best part about being an artist/organizer? Being that singing is not a gift of mine, being able to work with someone who does have the gift of singing and help them produce work, I have found to be equally gratifying. I'm like that with all types of art. I love to see people with creative gifts create. Being able to be intimately involved with the process is a privilege. 2. What is the most difficult part? Opportunities come my way constantly, often times more than I can handle. Often times, opportunities come my way that either I don't have the knowledge for, or capacity to fulfill. This is a huge reason I'm so excited and committed to the ArtsXchange...because until I gain the knowledge and capacity to fulfill the projects, I feel that the ArtsXchange can help guide me and educate me. 3. Favorite medium? Favorite way to engage with your community? I'm in love with passion, any time I see an artist being passionate towards their work it moves me, regardless of the medium. At the moment I am really into art exhibit openings. That style of presenting art to a small intimate crowd, with the ability to interact with the artist in a cozy environment is key. 4. Whose work do you most admire Andre 3000. His words, style, vulnerability, courage, all of it. A major influence on how I see art. 5. Describe your idea of artistic success. What I'm doing right now is success to me. Having a space for artist to create is more than I can ask for, especially knowing how difficult it is for artist to find space to work. Plus I try to spend the least amount of time possible in the future, I try and fall in love with the journey. So yeah, being able to be on the journey and continuing the journey is success to me. 6. What is the one question you wish people would stop asking you? If I know a particular artist. 7. What is the one thing you wish people would ask? When do you want to start? 8. Tea or coffee? Tea without a doubt. 9. Top three tunes to inspire creativity? Funkadelic : Maggot Brain James Brown : The Big Payback Outkast : Git up, Git out 10. What projects are you currently working on? Ahad Pace and Thom Bess art exhibit Cornerstone Collective art exhibit Victor Jackson Music showcase Kipp schools South Art Mural 2nd Chance MS art curriculum 11. If you could pass along one message to the rest of the world right now, what would you say? We all we got, the sooner we realize that, the better off we all will be. We can only have World Peace if all of us believe it is possible. To connect with Ray or follow his work, please visit him at IG: https://www.instagram.com/kingraylew/ FB: https://www.sugacanesyrup.com/ Twitter: https://twitter.com/kingraylew Website: https://www.facebook.com/rayfield.lewis

Lisa Tuttle is an artist, curator, arts advocate, educator and writer. Her work is interdisciplinary, lens-based and mixed mediums. Lisa's artworks are in the collections of the Museum of Contemporary Art of Georgia, Hartsfield Jackson Atlanta International Airport, Federal Reserve Bank-Atlanta, and numerous private collections. A former lead administrator with the Fulton County Public Art Program and gallery director for both Nexus Contemporary Art Center (now Atlanta Contemporary) and the Atlanta College of Art, Lisa was also the Visual Arts Director for The Arts Festival of Atlanta, where she oversaw NEA-funded site work projects, and curated temporary exhibitions of contemporary art. In 2019, she established Lisa Tuttle Studio at the ArtsXchange, where she is working daily as a full-time artist and part-time curatorial and public art consultant. Photo Credit - Shawn Dowdell Photography 10 Questions with Lisa Tuttle 1)What is the best part about being an artist? It’s an adventure in ideas and never boring. After encouragement from a painting professor in college, I realized that art-making would bring together all of my diverse interests and passions, be they philosophical, political or personal. 2) What is the most difficult part? Sustaining an income. 3) Favorite medium? Right now, I am enamored with silkscreen and printmaking. It was a growing epiphany to realize that I can “paint” and layer imagery in a new way with photographs and drawings. I also have undertaken a series of ideas for “artist-initiated” public art projects, such as installing surrender flags on Confederate monuments, or inscribing poetry into civic spaces and the public imagination. Stay tuned! 4) Whose work do you most admire? Louise Bourgeois, Rick Lowe, Sophie Calle, Ann Hamilton, Gerhardt Richter, Kara Walker, Adrian Piper, and countless Atlanta friends and colleagues…that I’d hate to list because I’d leave someone out! ….My earliest loves were Marcel Duchamp, Kandinsky and Eva Hesse. Les yeux, les pensées, 2019. Archival inkjet print on Hannemuhle paper 5) Describe your idea of artistic success - That feeling of deep satisfaction and personal pride that happens when you can look at a finished piece or exhibition, and feel you have found the “beautiful idea”. Nothing can be more gratifying than to find that you have connected with the spirit in a profound way. 6) What is the one question you wish people would stop asking you? “Oh you’re an artist? Do you work in oils or acrylic?” 7) What is the one thing you wish people would ask? "When can I visit your studio and collect some of your work? Do you undertake commissions?" 8) Tea or coffee? Tea. Reverie, 2019. Silkscreen on paper 9) Top three tunes that inspire your creativity? Depends on the day. If I really want to concentrate, I play a Phillip Glass playlist; if I need to get going and lift my spirits, it’s an Alabama Shakes, Billie Holliday, Emmie Lou Harris, or Indigo Girls playlist. Also, kinda digging the James Bay algorithm. (oops, more than 3!) 10) If you could pass along one message to the rest of the world right now, what would you say? With courage, all things are possible. Proposal for Stone Mountain, 2019. Digital photograph on fabric To connect with Lisa or follow her work, please visit her at: Email: artistlisatuttle@gmail.com www.linkedin.com/in/lisatuttlestudio FB: https://www.facebook.com/lisa.tuttle.artist IG: https://www.instagram.com/artistlisatuttle/

Theresa Davis is an educator, storyteller, poet, author, poetry slam champion and the host of the award winning open mic Java Speaks. She is also the Literary Director at the ArtsXchange, and has performed on stages across the nation as a poet and keynote speaker. A classroom teacher for over 30 years, specializing in cross curricular education, Theresa continues her passion for education as a teaching artist. As a slam poet, Theresa has competed individually and on teams for over a decade and in 2011 won the Women of the World Poetry Slam. In May 2013, her first full collection of poems entitled “After This We Go Dark” was published by Sibling Rivalry Press. “After This We Go Dark” became an American Library Association Honoree, and the book can now be checked out in local and college libraries around the world. Her latest poetry collection “Drowned: A Mermaid’s Manifesto”, released with Sibling Rivalry Press, in fall of 2016 received the award“Ten Books All Georgians Should Read”. In addition to being a teaching artist and outreach poetry coordinator for Georgia Tech for 6 years, Theresa hosts and participates in many of the lit events around Atlanta. Her one-woman show “Then They’ll Tell You it’s all in Your Head” Made its debut as a part of 7 Stages Home Brew series in fall of 2017. January 2019, Theresa became the Literary Events Coordinator and The Charles “Jikki” Riley Memorial Library, facilitator for The Arts Exchange. Theresa is currently working on her third collection of poetry "Dirt" due for publication 2021-2022 11 Questions with Theresa Davis 1.What is the best part about being an artist/organizer? The best part of being an artist for me, is connecting with the audience and finding the places our individual narratives overlap. As an organizer and show producer, building community with fellow creatives and making space for marginalized communities. 2.What is the most difficult part? When things don't go as I envision them, I tend to bear the brunt of the disappointment. I take it personally and struggle with delegating responsibility. Much of what I do as a producer, depends on the venue the production takes place in, building a relationship and promoting are key. When a venue doesn't have faith in the project or full disclosure about their involvement, it can make for a difficult time. 3.Favorite medium? Favorite way to engage with your community? I really enjoy working with students, in classrooms or community centers, developing writing skills through poetry and creative writing. Slam poetry was the vehicle that opened my heart to a connected love of poetry, and any opportunity to share that journey appeals to me. 4. Whose work do you most admire? I read a lot, and am a fan of many artists. It's really hard to pin down just one. Lorde, Neruda and Trethewey are a few of the poets whose work I read frequently. On Tour with Rising Appalachia 5. Describe your idea of artistic success. For a long time, my idea of success was having my books in libraries. Now that that has happened, I have had to raise the bar. I think true success is accomplishing one goal that leads you to the next, and you never stop creating the next idea or project. It's important that you don't limit yourself or your possibilities. 6. What is the one question you wish people would stop asking you? If they can touch my hair. The answer is, NO. 7. What is the one thing you wish people would ask? I am asked a lot of good questions and have mentored many young artists. I always encourage them to set boundaries, and avoid emotional labor that is not healthy for them, as they share their hearts and souls. I am not an expert and boundaries, but I am working on it every day. 8.Tea or coffee? I drink a lot of coffee. 9. Top three tunes that inspire your creativity? I am more a background noise artist. If I listen to music it's usually classical or a soundscape, lyrics distract me when I'm writing. 10. What projects are you currently working on? I am finishing my third manuscript "Dirt" and working on a collection of poems for children. I had a fourth grader tell me that if I wrote a book of poems for children, I would have all of her allowance. I think I want all of her allowance. 11. If you could pass along one message to the rest of the world right now, what would you say? Be easy with yourself and others. There are difficult times ahead and our humanity and collective communities are the things that can save the day. Let's work to save the day. To connect with Theresa or follow her work, please visit her at Website: https://rockstarpoet.wixsite.com/theresadavis IG: @shepiratepoet FB: https://www.facebook.com/rockstarpoet/ Twitter: @piraterockstar YouTube: (Sista Seuss) https://www.youtube.com/channel/UCL0FKSQZKJxiAsQI2-M87rQ

Press Release Southeast Community Cultural Center d/b/a The ArtsXchange Black History Program Atlanta, Georgia, Saturday, February 22, 2020: The United Nations General Assembly proclaimed 2015 – 2024 as the International Decade of People of African Descent. This proclamation was made because the people of the African diaspora and their human rights should be protected and promoted. During the month of February, we celebrate and honor the contributions that people of African descent have made to this Nation. In 2020 the ArtsXchange will celebrate the multiplicity of what it means to be African. As a part of this celebration, ArtsXchange will be hosting the following events for Black History Month: ATL BLACK HISTORY FILM FESTIVAL: Presented by Commissioner Marvin Arrington Jr, Fulton Films, Friends of Wolf Creek, and Urban Film Review 12pm until 5pm | Ebon Dooley Community Room Films Screenings: Slavery by Another Name and Dark Girls RSVP BLACK HISTORY MARKET PLACE 3pm until 9pm | Studio #104 Vendor spots are $50. Apply by Thursday, February 20th Vendor application ARTSXCHANGE BLACK HISTORY CELEBRATION: A celebration and inspirational offering of global black, indigenous greatness that has shaped the world. 7pm until 9pm | Paul Robeson Theatre Roots of Glory, Honoring the Ancestors curated by Corinthia Jenkins & Carolyn Renée Morris Global Heart Beat curated by Sista Shaman Word Sound Power by Theresa Davis A Seat at the Feet curated by Vanessa Manley Unforgettable Dream Makers and Earth Shakers, curated by Kenneth Zakee RSVP Visit our website for more details. www.artsxchange.org

The Summer Arts Enrichment Institute and the LEGACY OF Youth Programming AT the Arts Exchange One of the founding pillars of the Arts Exchange that made it an accessible and inclusive center for community and the arts was its wealth of youth programming, as exemplified by the 8-week Summer Arts Enrichment Institute of the 1980s and 90s. An affordable, multidisciplinary summer day camp for children 5 to 15, the Institute offered families of all backgrounds the opportunity to provide their children quality, artist-taught arts enrichment, recreation, education, and life skills. The first institute was conceived in 1985 by board member Alice Lovelace, who designed and directed the comprehensive experience assisted by professional artists, many with studios at the Arts Exchange. After Alice became executive director in 1986, she continued to design the summer experience, AND turned to Theresa Davis to manage the day-to-day operations of the Institute. Theresa created programming that ranged from poetry, gardening, arts and crafts, film criticism, and theater. She filled whatever roles were necessary to run the camp and give every child a quality experience. “The kids enjoyed themselves,” She Remembers, “...They showed up eager and ready to do things, and you didn’t really have to convince them. They were just there for it… and it helps that many of the kids were children of artists, so they had an appreciation for art, quality of people’s time, and personal responsibility.” - Theresa Davis Students numbered near 100, with children from diverse backgrounds. Some were children of artists, government officials, lawyers, and doctors; but an equal number came from the community surrounding the Arts Exchange, or from programs like Families First. Each year the staff was supplemented by 10 youth workers provided by the City of Atlanta. Each student was assigned a teacher-mentor and received special time and arts instruction. Some workers shadowed and supported the administrative staff as well. The Institute provided an inexpensive and affordable option for families, making it a vital asset to the community at large; it gave children from diverse backgrounds the opportunity to interact, develop their creative minds, explore the arts, and have fun in a safe environment while school was out. The programming was diverse and interdisciplinary, and played a role in the future development of many young artists’ careers. One year, students were inspired by Davis’ film criticism class, and decided to put together a production of the 1980s comedy/horror musical, Little Shop of Horrors. Arts Exchange board member Logan Kearse built the play’s famously mischievous talking plant, Audrey II, and Jahi Kearse, Logan’s son, played the story’s protagonist, the absent minded floral shop attendant Seymour. The production was just one of the many instances where students got the chance to explore and study hands-on storytelling, character development, and performance. Several of the Institute’s students, including Jahi, went on to continue their theater and dance training at Freddie Hendricks’ Youth Ensemble of Atlanta, and have continued to flourish with careers in the theater arts. Jahi’s gone on to Broadway and beyond, starring in musicals like “Holler If Ya Hear Me” and “Baby It’s You!”. He most recently played Dr. King in the touring show “I Have A Dream”. “It was pretty awesome.” Davis remembers. “[The kids] felt really accomplished, and it’s really cool that a lot of those kids that were part of that process ended up being singers and dancers in musical theater and social justice theater.” Each year, the Institute took a critical deep dive, exploring specific cultures through all manner of disciplines. One summer, the focus was South Africa, which meant the students learned the Boot Dance of the country’s miners, painted images of hope for the African continent, and wrote poems inspired by all they were learning. It was 1987 and Apartheid ruled in South Africa, so the program also incorporated discussions on the oppressive system, inequality, and social justice. In addition to an exhibit of their art, and a performance that included various South African dances, students created a chapbook of poetry entitled ‘Soaring on the Wings of Freedom’. In 1987, the Institute’s staff included Rebecca Williams teaching drama and dance. A professional actor in her own right, Williams went on to play a classic role in the Academy Award-winning epic film Forrest Gump (1994). In one of the film’s most iconic scenes, with the famous line, “Life is like a box of chocolates…”, Williams plays the young, tired nurse waiting at the bus stop bench with Tom Hanks’ titular character Forrest Gump, who famously regales her with his life story. Williams passed away a few years later, but her impact on the lives of the children she taught and her fellow teachers like Theresa was broad-reaching and visceral. Recently, Forrest Gump was selected for preservation by the Library of Congress as "culturally, historically, or aesthetically significant", and Rebecca’s legacy is planted there, as well. Another fellow Arts Exchange founder, poet and activist Ebon Dooley, had two children enrolled in the summer program. His daughters Teressa Hale-Mathurin and Anita Hale were among the children who benefited from the Summer Institute. TERESSA found herself immersed in the arts from a young age because of places like the Neighborhood Arts Center and the Arts Exchange. She attended the Institute between the ages of 5 and 10, where she took her first classes in theater and dance. She herself has gone on to incorporate the arts in her work today as a behavioral health specialist, helping clients of all ages and backgrounds reach better mental health and successful lives. As Teressa explains: “It’s about paying it forward…you have the youth that come up in [the arts] — they benefit from it: they take it with them, and they create, and they become these awesome adults, and they pass it along to the next generation…You know, the kids are our future leaders, so it definitely is needed and will impact them, so that they can be the best that they can be in whatever it is that they decide to do in life.” As we move on to the next chapter in the Arts Exchange’s history in East Point, one can only imagine what the programming might look like in this new space and this new era. Given the legacy of our past, it is sure to be unique and life-changing for adults and children.

When looking at the old Arts Exchange campus in Grant Park, you couldn't help but notice a great presence on the grounds below the front of the building: What most recently resembled Indian mounds of the American plains was once a giant earthen amphitheater where performances were viewed. The Structure itself was a piece of art people could interact with: A sculpture made of 250 tons of earth, in the shape of a person with arms outstretched. Donna Pickens, an artist and educator who worked at the Arts Exchange for many years, put it there. Donna Pickens moved to Grant Park in 1983, a year before the Arts Exchange opened, and she got her own studio at the Arts Exchange in 1985, a year before she started her master in Fine Arts in sculpture at Georgia State University. She taught ceramics and sculpture classes for both children and adults during most of her tenure at the Arts Exchange, which was vital to supporting herself and her community as a she paid for her degree and developed as an artist and educator. STUDENT-TEACHER-ARTIST “I’ve really always been an educator as well as an artist…one of my loves is to teach…so [the Arts Exchange] allowed me to teach people in the neighborhood, to do some art camps, and get a lot of other people inspired by art, so that was great.” “I was teaching classes [at the Arts Exchange] pretty much from the time I moved in until the time I left – and that helped me a lot…It was very affordable—I don't even remember how much it was, but it was a great space for someone to work—like me, you know, starting out…I was having to pay for school, so I really couldn’t afford much, but living in the neighborhood, it was super. We were just a couple of streets over, so it really wasn’t hard for me to get over there.”Donna was one of several Georgia State students with studios at the Arts Exchange at the time. With a place to work, teach, and meet other artists, the ground was ripe for creation and collaboration. “[The Arts Exchange] was an affordable place for us, and as a result, it gave us a way to get together, and talk, and come up with these ideas, and collaborate…It was sort of a breeding ground for innovators…for people who just had these far-out ideas…you know, artists that were just very creative and wanted to make an impact on the community, and to help other artists…and it was a space where you could work with a number of different artists of different backgrounds, races, and create. So I think it was really an invaluable source of inspiration for the community…and I’m sure a lot of people would say that who had spaces there. It was great."“I think that one of the things I loved about the Arts Exchange is that it was racially integrated. It was a workspace where you had artist of different backgrounds and races working together, and that was really great … it was a great mix of people.” PRIMA MATER Among the many works she did at the Arts Exchange, one of her greatest—and by far her largest—was the 250-ton rammed earth sculpture Prima Mater (1990), a functional piece that served as an amphitheater for a symposium on religion, humanity, and identity entitled, “Rethinking the Sacred Image”. She served as a producer on the interdisciplinary project: the symposium included an open forum at the Robeson Theater with religious scholars from across the country, an exhibit in the Sinclair Gallery by colleague Thomasine Bradford, and two performance pieces played out on the stage of Prima Mater itself. At 5 feet high and 48 feet in diameter, Prima Mater remained on the grounds in front of the Arts Exchange and continued to be used as a performance space for years to come. Donna describes the sculpture: “It was an image of a new person coming out of the earth…it was called Prima Mater, which means first mother, so it was honoring a time when God was not just seen as male—God was female for thousands and thousands of years…and then it changed to male. So the idea was that it would be…a new person coming, rising from the earth, and it was in the form of a person, and the audience sat in the arms…like risers.” “The image for this came from a very vivid dream I had about a Native American healing ceremony during which this image was being made in the earth, and I first created a smaller version of this in an exhibition at the old Inman Park School, in the basement there. Prima Mater was also created to honor the earth, as in Native American cultures; hence the name meaning “first mother” or earth mother. In addition to the two performances in the space, there were a number of other ones over the years by different dance groups.” The creation of Prima Mater and its corresponding performance pieces was a herculean feat, not accomplished without help. Donna worked with fellow Arts Exchange artist and Georgia State classmate Thomasine Bradford to raise money for the project; they acquired funding from the National Endowment for the Arts, the Fulton County Arts Council, the CITY OF ATLANTA Bureau of Cultural Affairs, the Georgia Council of the Arts, and several private foundations. To create Prima Mater, Donna brought in rammed earth expert Steve Midgett of North Carolina; and for the performances, she hired choreographer Ron Frazier and composer Sandy Corley to put together the dance and musical elements. A giant speaker system was mounted to the amphitheater to create the sensation that the piece was alive, and over 100 volunteers were enlisted to help bring the project to life. In order to get the 250 tons of dirt for the project—a special kind mixed with sand—Donna made a deal with the Motocross event that was happening downtown at the time: they were using this type of earth as track for the dirt bikes, and when they were done, she could take it for free—but she had to move it herself, and she had to do it that night. she hired several dump trucks to do the job, and accompanied the trucks on the journey. Due to unforeseen circumstances, however, she had to improvise what to do with the earth once she got it. As she remembers: “My most favorite memory of this is when I had to get this dirt…[the trucks] were supposed to come in to a side entrance to dump the dirt in the field [at the Arts Exchange]…but at the last minute, that was closed off because of some construction…So when we got there with the dump trucks, they had to dump it [directly] in front of the Arts Exchange: 250 tons, up by the building, not down in the lower field…And this happened at—I don’t know, maybe 10 o’clock at night…I’m riding in a dump truck with somebody, and decide that we’ve got to dump this, because there’s no other thing we can do (laughs)…I call Alice Lovelace [then-executive director of the Arts Exchange] and tell her…here’s this huge mound of dirt that’s dumped in front of the Arts Exchange, that I’ve got to somehow move down to the lower field right away…So you can imagine, Alice was a real trooper to believe that I would get that thing over in the right place soon, and not block the doors…(laughs) But anyway…I was able to get a backhoe to come in and…push it over into the lower field where it could be used for the sculpture.” In addition to the physical undertaking required, the financial one was great as well. “It’s kind of hard to believe we did all that now (laughs) because we were in school the whole time, too…I mean, it was a big budget…and unfortunately…we didn’t have enough money to finish it…” Unfortunately, due to a lack of funds, she and her team were unable to purchase a protective layer of stucco that could preserve Prima Mater for a longer time. After some decades, the piece has lost much of its original shape; but the memory of the project and what it signified still stands. In addition to Prima Mater, “Rethinking,” and her work at the Arts Exchange, Donna participated in and helped organize art shows across Atlanta, including the storied Mattress Factory shows of the 1980s and 1990s with fellow Arts Exchange resident Jack Sinclair. Donna maintained her studio at the Arts Exchange for nearly 10 years. TODAY Since the early 2000s, Donna has lived in Montgomery, Alabama, where she worked for 13 years as Assistant Curator of Education at the Montgomery Museum of Modern Art. She recently retired, and now works part-time with the Alabama Arts Alliance, providing teachers across the state with workshops and curricula to encourage and integrate art in the classroom. She also enjoys doing her own artwork, including ceramics and a newfound love for encaustics. She plans to attend the ribbon-cutting ceremony for the new ArtsXchange in East Point this June.

It’s a done deal!! We have completed the sale of the Kalb Street property. There is a lot of history in this building. Do you remember the first ROOTS festival? The summer of enrichment camp? The annual Kwanaa celebrations? Did you know there was a recording studio in the building run by Joe Jennings? Or that Terri Axam housed Total Dance at the ARTS EXCHANGE for years? And who could forget Sheria Enahora and Tabala Martial Arts. Eddie Billups followed me as Executive Director and brought in Freddie Hendricks and the Robeson Theatre they founded youth ensemble of Atlanta. We have lots of memories and many reasons to celebrate.

Photographer Jim Alexander is nationally recognized for his award-winning documentary photography. Alexander has documented important moments and events from KKK rallies in Forsyth County to an up-close and personal photo of Dizzy Gillespie at the Atlanta Jazz Festival. Since the 1960s, he has had over 60 solo exhibits featuring his photographs highlighting black culture and human rights. Jim Alexander’s work has been featured in the Smithsonian American Art Museum, the Smithsonian National Museum of African American History and Culture, the Museum of Contemporary Art (MOCA) Georgia, Emory University, Hartsfield-Jackson International Airport, and more. His photo of artist Romare Bearden on the steps of Atlanta’s Neighborhood Arts Center (NAC) in 1978, Romare at the NAC, was featured in the exhibit "Romare Bearden: A Black Odyssey" at the Michael C. Carlos Museum at Emory University in 2013, and with your help, we can make the ArtsXchange the permanent home of Romare at the NAC. In 1977, Jim was photographer-in-residence at the Neighborhood Arts Center. When the building closed, he joined other artists from the NAC who transplanted their studios to the ArtsXchange in 1984. When the property was sold in July 2017, Jim had to pack up three decades of work and memories. Moving out took two weeks of packing and hauling. The last thing to leave was this photograph—Romare at the NAC—six feet tall, four feet wide, and miles deep in history. According to Jim, “Romare at the NAC is one of my most popular photographs”: “I captured this shot as artist Romare Bearden, along with his wife Nanette Bearden, writer Jim Lee, Kerry Price, and artist/NAC Director John Riddle were descending the stairs, leaving the Neighborhood Arts Center after the Beardens paid a visit to the studio artists and staff in 1978. The little girl on the steps is the daughter of one of the childcare workers at the daycare center on the lower level of the facility. The visit was facilitated by Dr. Michael Lomax." A painter, collagist, writer, and more, Romare Bearden (1911-1988) was a patron of the Neighborhood Arts Center and a legend in the history of black art in the 20th century. Bearden’s work has had a tremendous impact on black art and identity, influencing the work of artists of all stripes, from playwright August Wilson to hip hop band The Roots, and more. As a Friend of the ArtsXchange, Priscilla Smith talked about why this purchase was important to her. She sees the Neighborhood Arts Center (NAC) as the ArtsXchange’s grandmother: “The NAC was a converted school building that made space for and gave support to a whole community of established and emerging artists, their audiences, and neighbors. Artists taught classes; children spent afternoons and summers learning and creating in the same place their adult mentors were making work; folks shared ideas, discussed theories, made plans, and carried out actions.” The ArtsXchange campus at Kalb Street continued that lineage from the 1980s into the 21st century, and now, the new ArtsXchange in East Point “promises to extend that rich tradition.” “Displaying this photograph will inspire,” she adds. “It will keep the history of the Neighborhood Arts Center alive and throw in a little art history to boot. We are asking people to donate to the fund to acquire and mount the photo in the entrance to our East Point home. It will be the first acquisition,” explains Smith. 2018 will mark the 40th anniversary of Romare at the NAC. To honor this, the photo is being purchased by a group of Friends of the ArtsXchange. The goal is $1,300. Thanks to members of Atlanta-based Alternate ROOTS and others on the Sankofa Bus Tour, $300 has been raised. Only $1,000 to go! Donations will pay for the purchase of the famous photo, framing, and installation in a place of honor for public view in the East Point location when it opens in mid-2018. DONATE HERE 100% of your donation is tax-deductible. For assistance or for alternative ways to donate, email info@artsxchange.org