Eric Mack

CV:

2009

  • Appalachian State University
    Turchin Center for the Arts

    Boone, NC National Juried
    Exhibition Juror:
    Jeffery Grove, Curator of Contemporary Art,
    High Museum, Atlanta, Ga

2008

  • “Magnified Moons”
    Flanders Gallery
    Raleigh Durham, NC (solo)

  • Composites: “postrealitynow”
    Hartsfield-Jackson Atlanta International Airport
    Atlanta, Ga. (solo public art exhibition)

2006

  • Beyond Hip Hop
    Tilford Art Group (group show)
    Los Angeles, CA

2005

  • 5X5
    Wertz Contemporary (group show)
    Atlanta, GA
  • MX80
    The Brecht Forum Gallery (group show)
    New York, NY.
  • "Abstraction and Empathy"
    Fay Gold Gallery, Atlanta, GA
    Curated by: Christian Rattlemeyer, Artists Space, New York, NY
  • Scope New York Annual Art Fair
    represented by Fay Gold Gallery
    Flatotel, New York, NY.


2004

  • New Power Generation: Georgia
    Tubman Museum, (group)
    Macon, GA
  • Seasonal Group Exhibition
    Sande Webster Gallery
    Philadelphia, PA
  • Blacstraction (group)
    Tilford Art Group
    Los Angeles, CA
  • 8th Annual National Black Fine Art Show
    New York, NY
    Represented by: Sande Webster Gallery
  • Digital Emotions
    Fay Gold Gallery
    Atlanta, Ga


2003

  • Paintings In Rhythm
    Roy C. Moore Gallery
    Gainsville, GA
  • SUMMER JAM @ SATELLITE
    CURATED BY FRANKLIN SIRMANS
    SATELLITE, Manhattan, NY 10012 (group)
  • 2003 Armory Show
    NYC, NY
    Fay Gold Gallery (group)
  • "Unrandom Acts of Terror"
    City Gallery East, Atlanta, GA
    (group)
  • "On Common Ground"
    Millenium Arts, Washington, DC
    (group)
  • "Looks Good on Paper II"
    Spruill Arts Center, Atlanta, GA
    (group)
  • March 2003 Atlanta Contemporary Biennial
    Atlanta, GA
    Juror: Franklin Sirmans. (group)
  • March "Melodic Menu"
    Bank of America

    Atlanta, GA (solo)
  • February "Impregnable Direction"
    Rush Arts Gallery

    New York, NY (group)
  • January, National Black Fine Art Fair
    Sande Webster Gallery
    of Philadelphia, PA
    Puck Building - New York, NY

2002

  • November "Small Things Mean Alot"
    Swan Coach House

    Atlanta, GA
  • October "Crossing Over"
    City Gallery East

    Atlanta, GA
  • July "Ties That Bind: Collecting the Untold Story"
    Atlanta College of Art & National Black Arts Festival
    Woodruff Arts Center

    Atlanta, GA
  • July, Seasonal Group Exhibition
    Fay Gold Gallery

    Atlanta, GA
  • March "Shape, Pallete & Roll"
    Ascension Gallery

    Washington, DC
  • January " New Power Generation "
    Curated by Danny Simmons

    Hampton University, VA
    (Juried)

2001

  • November " 33rd Annual Juried Exhibition "
    African American Museum of Dallas at Fairpark.

    Dallas, TX
    (juried)
  • July " Collective, curated by Temme Barkin-Leeds "
    Suntrust Plaza Atlanta, GA
    (invitational)
  • July " Cymatics: The study of pattern evoked by sound "
    Beverly Libby Gallery, Atlanta, GA
    (solo)
  • April " Beyond and Behind the Mask "
    Pittsburgh, PA.
    (juried)
  • March " Sequential Rhythms "
    Group Exhibition, Eleven50 Atlanta, GA
    (invitational)
  • February " Celebration of Gallery Artists "
    Beverly Libby Gallery, Atlanta,GA
    (invitational)
  • January " Periodic Pulsations "
    Youngblood Gallery, Atlanta, GA
    (solo show)

2000

  • November " Visual Audios "
    Auburn Research Library, Atlanta, GA
    (solo show)
  • November " Emerging Atlanta Artists "
    Morris Brown College, Atlanta, GA
    (invitational)
  • October " Group Exhibition "
    Mayor Gallery Program, City Hall, Atlanta, GA
    (invitational)

1999

  • December " Seasonal Group Exhibition "
    Hammonds House, Atlanta, GA
    (invitational)
  • June " Moja Arts Festiva l"
    Old Slave Mart Museum Charleston, SC
    (juried)
  • September " Montreux Atlanta Music Festival "
    Bureau of Cultural Affairs, Atlanta, GA
    (signature Artist)
  • March " Collaborative Perspectives "
    Midtown Museum, Houston TX
    (invitational)
  • 1998, October " Tribal Funk "
    Gallery DOMO, Atlanta, GA
    (solo)
  • 1997, August " Out True Collective Face"
    Macmillan Law Library, Emory University, Atlanta, GA
    (invitational)


Education

  • 1994-1998
    The Atlanta College of Art
    BFA, Illustration


Instructional Experience

  • 2000, June ArtsCool
    Mentor Artists Program
    Bureau of Cultural Affairs

Internship

  • 2001, September- November
    The Contemporary.
    Assistant Gallery Director
    Atlanta, GA


Public Collection

  • ING Bench Project
    Fundraising Project sposored in part by the Atlanta College of Art
  • 2000, July " All Star Baseball Project "
    Pepsi-Cola
  • 1999, August
    City Hall East, Cultural Affairs Office

Private Collections

  • Anthony Hopkins, Thomas & Hall Fine Art, Dallas, TX.
  • Anthony Liggans, Atlanta, GA.
  • Bill and Peg Balzer, Rialto Theatre, Atlanta, GA.
  • Cheryl Flowers, Atlanta, GA.
  • Carl Christian, Atlanta, GA.
  • Christian Rattemayer, Curator of Artists Space, NY,NY.
  • Eddie Grandeson, Director of Visual Arts-Bureau of Cultural Affairs, Atlanta, GA.
  • Franklin Sirmans, Curator/Writer, NY,NY.
  • Gregor Turk, Artist, Atlanta, GA.
  • Freddie Styles, Gallery Director-Bureau of Cultural Affairs, Atlanta, GA.
  • Gregory Baranco, Automobile Dealership Owner, Atlanta, GA.
  • Joanna Genser, Accountant Firm, Atlanta, GA.
  • Herbert Charles, Professor - Morehouse College, Atlanta, GA.
  • Juanita Boyd Hardy, Director - Millenium Arts, Washington, DC.
  • Kerry Davis, Atlanta, GA.
  • Nicole Barnes- Hickson, Carson, CA.
  • Pam Alexander, Board member-High Museum of Art, Atlanta, GA.
  • Robert Brawner, Atlanta, GA.
  • Sarah Gross, Manhatten, NY.
  • Marcus Smith, Houston, TX.
  • Felicia Fester, Critic - Creative Loafing Magazine, Atlanta, GA.

Corporate Collections

  • King & Spalding Law Firm, Atlanta, GA.
  • ING Investments, Atlanta, GA.
  • Atlanta Gas Ligth, Atlanta, GA.
  • Heath Gallery.
  • Trinity Academy, Atlanta, GA.
  • Baranco Acura, Atlanta, GA.

Commissioned Work

  • ING Investments
  • Pepsi-cola, Co.
  • Turner Field/Atlanta Braves
  • Bureau of Cultural Affairs
  • Michael Tate Real Estate Properties


Published Material

  • 2006
    The international Review of African American Art
    Hampton University Press, Hampton, VA
    Vol. 20, Num 2, page 14
  • 2005
    Creative Loafing
    "Five Works By Five Artists ", Felicia Feaster
    October6-Ocober12 - page 51
  • 2005
    The international Review of African American Art
    Hampton University Press, Hampton, VA
    Vol. 19, Num 4, page 24
  • 2004
    Upscale Magazine
    "young Guns", Kendra Story
  • 2003
    Sculpture Magazine - Jan/Feb
    "Impregnable Direction", Franklin Sirmans
  • 2003
    AJC
    "He went from Clippers to Canvas", Cathy Fox
  • 2003
    Atlanta Magazine - Sept
    Scene, Debra Hunter
  • 2003
    Creative Loafing
    "A Study in Abstraction", Felicia Feaster
  • 2003
    Gallery Guide - Nov-Dec
    Profile Interview
  • 2002
    Creative Loafing
    "For Arts Sake" (review), Felicia Feaster
  • 2001
    A Role Call:
    A Generational Anthology of African American Literary and Visual Art
    Tony Medina
  • 2001
    AJC - Nov 2001
    "Patterns Critical to Mack's Mix"
    Jerry Cullum
  • 1999, February
    Blue Milk Magazine, Cover Artist.
  • 1998, March- November
    Blue Milk Magazine, Various images.

Statement:

Form communicates emotion.

Pattern transmits expression.

Rhythm is the basis of our visual world, from the windows and tile arrangements found in our homes, to the composition of plant life and oceanic creatures. Most every form of matter that we acknowledge throughout our daily lives posses the evidence of rhythmic life.

Rhythm structures tone and sound. It gives shape to speech, melody, dance, poetry, and the human body. Without rhythm light, sound, and other forms could not be differentiated from one another as it is their frequency or rhythmic waveforms that define them.

While exploring and exposing various subject matter, my goal is to recognize how shape, form, and pattern are primary in our daily outlook.

The works created can be described as visual sheet music. Blocks and angles of color brushed and smudged across random perimeters of various medium. Broken and solid line work split and gel together the variety of hue and shape. Found within the core of the work are the cultural references, signs of technological advances, schematical diagrams, component dials and switches are all included for their fundamental form. Most of them are basic circles, squares, and triangles. When these ideas are put together it creates a piece of music that is seen instead of heard. The rhythm of life is inhaled and exhaled with each day that is given to us.

By realizing the fundamentals of our daily visual experiences, individuals can relate and appreciate the role that rhythm plays in our lives.