Almost without exception, articles featuring the work of visual artists require our editors to make choices about which art to bring to readers and which art to leave on the proverbial cutting room floor. We always wish we had more room. Below are 10 images we wish we could have included in the articles that originally featured these artists.
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Ayana Ross’ Seed for the Sower didn’t fit into How MOCA GA’s Working Artist Project judge made her choices, a story too short for all the great art available.
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Bojana Ginn’s work from Solar Bodies didn’t make it into Bojana Ginn re-invents the future at a Georgia Tech lab. There was just too much great (and fantastical) work.
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Stephen Thorpe’s Primordial Realm was edged out by other pristine works in Stephen Thorpe’s pristine dreams at Wolfgang Gallery.
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Shanequa Gay’s Gateway to the South was sacrificed for the many other great works shown in Shanequa Gay reflects on art in the South at Jackson Fine Art.
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Amanda Grae Platner’s Hold was left out of Amanda Grae Platner reveals personal enigmas at Echo Contemporary. It could have had its own article.
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Jinjin Li’s Always Together was cut from Jinjin Li captures fleeting friendships in a temporary place, which already had more images than could comfortably fit in the article.
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This detail from Steven L. Anderson’s 116 Years was a great way to look closely at the painter’s work but didn’t fit into Kai Lin Art tells five artists’ stories.
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Making decisions with regard to a great group show can feel impossible, which is why leaving Sean Mulkey’s Life Break: My Ticket Out out of In ‘Hold the Line’ at ArtsXchange, Black men speak on their own terms was such a tough choice.
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Navin Norling’s Freebird (Free as a Bird) was one of dozens of great works we had to sacrifice from Atlanta’s global moment: Highlights from Art Week, Art Fair and more.
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This photo of Sol LeWitt’s 54 Columns before its renovation, taken by Joe Dreher, captured both the look of the former site and the celebration of life held for Alex Dreher as chronicled in How a facelift has made ’54 Columns’ easy to love.
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