Contemporary galleries – Balazo Gallery http://balazogallery.com/ Sat, 15 Jan 2022 06:20:10 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://balazogallery.com/wp-content/uploads/2021/06/cropped-icon-32x32.png Contemporary galleries – Balazo Gallery http://balazogallery.com/ 32 32 The Eiteljorg Museum will show Native American art in a new way https://balazogallery.com/the-eiteljorg-museum-will-show-native-american-art-in-a-new-way/ Sat, 15 Jan 2022 05:19:01 +0000 https://balazogallery.com/the-eiteljorg-museum-will-show-native-american-art-in-a-new-way/ INDIANAPOLIS (AP) — The renovated Native American galleries at the Eiteljorg Museum will feature works spanning more than 170 years when they reopen in June. But visitors will not start at the beginning, middle or even end of this period. Instead, they will be greeted by works of art with stories that merge past, present and future.

Hannah Claus’s “Song of Water: peemitanaahkwahki sakaahkweelo,” for example, encapsulates the origin story of Miami residents in a work she created as a 2019 Contemporary Art Fellow at the Eiteljorg. She took photos around their native lands in the Mississinewa and Wabash river regions between Marion, Peru and Wabash.


In doing so, Claus, who is a member of the Bay of Quinte Mohawk First Nation, explored the history of how the Miamis first arrived from the water in what is now northern Indiana and from southern Michigan to grab tree branches and pull themselves. on the ground to walk. Digital images printed on acetate film in the form of discs will delicately hang from wires attached to the ceiling, reflecting the story and sound waves of a song written about it.

“water song” will be an introduction to approximately 300 works of art, with more cycles in the installation over time, that will tell the story of tribes from across North America through a thematic presentation that centers the Indigenous cultural values ​​in the galleries.

“Indigenous art is on this continuum that what’s considered older or traditional and what’s newer or contemporary – it’s all Indigenous art and they inform each other,” Dorene said. Red Cloud, Associate Curator of Native American Art.

The play will also be held amid spoken greetings from the Great Lakes tribes and written acknowledgment from the peoples – including the Miami, Potawatomi, Delaware, Shawnee, Peoria and Kickapoo – who are the original inhabitants of the land where now stands. the museum.

The rebuilt Native American galleries are part of Eiteljorg’s larger 2021 project, a $55 million fundraising campaign that will add to its endowment and redesign the galleries and event space. Residents of this region are particularly interested in spotlighting the Indigenous peoples of the Great Lakes, which are growing after the museum acquired a significant collection of their art in 2019.

“It’s really a transformation for the museum. We went for 30 years in a certain mode, and now we look at art differently and present it to the public very differently,” said President and CEO John Vanausdall. “It’s going to be so different and I think it’s a lot more contemporary and inviting for today.”

Prior to the renovation, Native American art sat in large wooden boxes, categorized according to its geography into categories including Forests, Plains, Great Basin, and Desert Southwest. The floor plan was largely the same as it had been since 1989, when the Eiteljorg opened.

Together with its Native American National Advisory Council, the Eiteljorg has developed a new vision for galleries that is organized around the themes of relationship, continuity and innovation, which are important in Indigenous cultures.

The works of art – which include jewelry, pottery, prints, portraits, ribbons and beads – will be displayed in display cases that open up the space considerably.

“One of the biggest changes from the old exhibition to the reinstallation is to look at art through these three major themes, because before that we took – as many other museums did – an anthropological look at art, people and cultures and really categorizing people by geographic area. So you had people from the plains, people from the southwest,” said Elisa Phelps, vice president and chief curator.

“It’s really a non-Indigenous perspective on art, cultures and people.”

The theme of relationship explores connections with spirits, animals, plants, families, communities and nations. Red Cloud said the creation or origin of stories of indigenous peoples will be part of this section. Mesa Verde National Park in Colorado and Cahokia Mounds, which lies just east of St. Louis, are among the ancestral places of today’s tribes but not properly recognized as such, a- she declared.

“Indigenous peoples have lived in North America for thousands of years. And when European settlers came to America, they saw these mounds and other places and didn’t recognize the living indigenous people there,” Red Cloud said. “If you speak with indigenous people who are descended from these areas, they will say to you, ‘Oh, these are our parents, these are our ancestors. “”

Continuation celebrates indigenous practices and observances that thrive despite assimilation efforts, while exploring forced displacement and resettlement and schools intended to rid children of their culture. Finally, innovation includes the entrepreneurial spirit of Aboriginal artists in the creation and sale of their work.

About 15% of the galleries’ artwork will come from the collection the Eiteljorg previously acquired from art dealer Richard Pohrt Jr. The objects, which were created by the Indigenous peoples of the Great Lakes in the mid-19th and in the early 20th century, provide a broader understanding of Indiana’s past and present.

Pohrt’s new art adds a lot of diverse work to the museum’s existing Great Lakes collection, which was previously small compared to others, according to public relations manager Bryan Corbin. The Eiteljorg had exhibited some of these works from Miami, Delaware and Potawatomi in “Mitohseenionki: The People’s Place” since 2002. Now some of these objects will be in the reconstructed galleries.

Other Miami and Potawatomi artwork that has previously been on display in the galleries has been loaned out and returned after nearly 20 years on display.

This section of the resettlement will focus on the tribes’ ties to the Great Lakes as well as contemporary environmental issues, such as pipelines in the region and the return of seed varieties to their place of origin in Indigenous communities.

Artwork by people from the Great Lakes and surrounding areas will be spread across the relocated galleries and specifically highlighted in the Connected By Water room. With a dark ceiling and walls, artwork like textiles and moccasins will be inside lighted boxes.

“You’ll be in this jewelry box-like setting,” Phelps said.

Given the sensitivity of many works to light, the art will rotate, which will help the museum display more than 400 objects from the Pohrt collection, Phelps said.

The artistry and skills of the tribes will be evident, and Red Cloud said the exhibit provides an opportunity to teach their spiritual beliefs through images used in the works, such as those of thunderbirds and subterranean panthers. marines. Once again, past and present will unite through works like an early 20th century shoulder bag with floral beads, an art form that continues.

On “shoulder bags, you will see a lot of floral patterns – floral and plant. They are based on the knowledge of plants that people have, you know, what kinds of plants are beneficial to use for medicine or for eating,” Red Cloud said, “Floral beadwork is something you can only find in the Great Lakes region, and artists are still doing it today.”

Gallery construction is underway as the Eiteljorg enters the final fundraising phase of the 2021 project. In October, the museum announced its goal of raising more than $6 million by May after receiving nearly of $49 million during the private phase which began in 2016. Some of the money – $40 million – will be added to its endowment. The remaining $15 million will go to his fundraising campaign.

In addition to Native American galleries, the latter includes the reconstruction of Western art galleries, which reopened in 2018; the renovation of the Nina Mason Pulliam Education Center, which reopened in November; and the future expansion of the Allen Whitehill Clowes Sculpture Court event space. Corbin said the museum has so far achieved more than 90% of its overall goal.

Audio descriptions, digital tools, information easily visible to people in wheelchairs and special lighting for the visually impaired will make the galleries more accessible. Visitors will also be able to touch certain parts of the exhibits.

Additions include videos of Indigenous artists explaining their work. These voices are key to telling the stories of the art and the people behind it, Phelps said. Even amid painful situations endured throughout the history of Indigenous peoples, Red Cloud said the galleries will show the perseverance and joy of their cultures.

“People are still culturally alive and viable, as evidenced by art,” she said. “Art practices continue and evolve, and that’s where we come to innovation and where we really celebrate Indigenous art and its diversity.

Source: The Indianapolis Star

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Prospect New Orleans: Carpetbagging the Crescent City https://balazogallery.com/prospect-new-orleans-carpetbagging-the-crescent-city/ Tue, 11 Jan 2022 14:20:28 +0000 https://balazogallery.com/prospect-new-orleans-carpetbagging-the-crescent-city/

When Hurricane Katrina hit New Orleans in 2005, it killed more than 1,800 people and wreaked havoc to the tune of $ 155 billion. The storm has also ripped the scabs from America’s historic wounds to expose dire inequalities. Since then, the infamous Louisiana Superdome – where up to 30,000 residents were forced to shelter for days in appalling conditions – has been renamed by Mercedes-Benz, then Caesars Entertainment; gentrification is rapidly taking hold in the traditionally working-class neighborhoods of Bywater and Tremé (although potholes remain empty and schools closed long before Katrina); and the decimated Lower Ninth Ward lies fallow, its overgrown grounds mired in paperwork as much as in vines. Many deed holders are nowhere to be found, and where the owners prefer not to undergo due process, they sell to the city for a pittance. So hard not to feel the beards in the title of the local art triennial, launched shortly after Katrina in 2008: Prospect. A signal of hope, yes, but also a word to survey real estate and financial speculation. Is Crescent City increasing or decreasing? And who will emerge victorious?

Beverley Buchanan, No door, no window, 1988, wood, sheet metal and acrylic, 37 × 23 × 19 cm. Courtesy of: © Prospect New Orleans; photograph: Jonathan Traviesa

As artistic booster blockbusters proliferate around the world, Prospect could be unique in naming tourism as an explicit goal in an attempt to boost the city’s economy. The Prospect website indicates that each edition attracts 100,000 visitors and generates US $ 10 million in “economic impact”, of which “US $ 800,000 in municipal and state tax revenues.” (For comparison, the tourism industry as a whole brings in US $ 10.5 billion a year to New Orleans.) However, if stopping by Venice for the Biennale is one thing, washing up with a sculpture in the Lower Ninth Ward before retreating to one of the country’s other two countries. ribs is quite another. As a result, in Prospect, the usual guilt that arises from the “parachuting” of artists for a group show is particularly palpable. To be fair, many have made efforts to improve the lives of NOLA residents in more tangible ways than art permits. For example, according to the Prospect.5 website, Houston-based artist Adriana Corral dropped her original proposal to “work directly with the communities” affected by Hurricane Ida – the Gulf Coast’s most recent mega-storm – in presumably channeling its order costs directly to the base.

With the lessons learned from Prospect. 1 (Art Director Dan Cameron’s original roster of world-class talent was duly criticized for including only 11 out of 80 Louisiana-based artists), subsequent editions have all winked. eye to local spaces and “satellite” broadcasts. In this regard, the runted Prospect.1.5 – a city-wide celebration imagined to bridge the gap between Prospect.1 and Prospect.2 by Cameron, who has largely outsourced curation to galleries and collectives. premises – was a surprising success. Likewise, Franklin Sirmans and Trevor Schoonmaker, who respectively took the reins of Prospect.3 and Prospect.4, sought to deepen the Triennale’s relationship with its host city, beyond economic improvement and local signifiers. evident from Mardi Gras and Gothic decline, in an attempt to update Prospect purpose.

Mark Bradford, Mithra, 2008
Marc Bradford, Mithras, 2008, installation view, Lower Ninth Ward, New Orleans. Courtesy of: © the artist and Prospect New Orleans; photograph: John d’Addario

Now, rocked and delayed by COVID-19 and Hurricane Ida, there is Prospect. 5. The show, curated by Naima J. Keith and Diana Nawi, is titled “Yesterday, We Said Tomorrow” and comes with a sense of deferred payment, not to say justice. (Demographics watchers will notice that Prospect.5 is the first female-hosted iteration.) After all, yesterday’s tomorrow is today. The political vector of this edition feels concerned not only by the revival of New Orleans but by the city as a metaphor for the country as a whole. The most pressing issues of the day – conservative backlash, racial justice and climate change – are shown here in bold. The city has been a major port for centuries, collapsing all the time in the Mississippi Delta, which of course means New Orleans was a hub during the slave trade. Today, the city’s class disparity and racial segregation seem to be perfectly pronounced metaphors for the whole of the United States, as the engulfed Lower Ninth Ward has come to represent the plight of vulnerable and weak neighborhoods. returned to a time of wild climate.

Dawoud Bey, 'Canne à sucre I', 2019
Dawoud Bey, Sugar cane I, 2019, gelatin silver print, 1.2 × 1.5 m. Courtesy of: © the artist and Prospect New Orleans; photograph: José Cotto

Good intentions abound, but what can be, for example, Oyster readings (2021), from London duo Cooking Sections (Alon Schwabe and Daniel Fernández Pascual), tells us about the warming seas when punters from the art world at the 2019 Venice Biennale strolled through restaurants awash in slippers for use. unique? At the Ogden Museum of Southern Art, the colorful little houses of the late Beverly Buchanan, built with leftovers and tongue depressors, had more of an impact, especially the stilts Low country house (2010) and the dead end No door, no window (1988). Also at the Ogden Museum, Celeste Dupuy-Spencer’s nightmarish modern history paintings, including one of last year’s attacks on the United States Capitol (Can’t you see that I’m burning, 2021), and the lyrical HD of Daywoud Bey drifts through the plantations of Louisiana (Evergreen, 2021), occupy an equally satisfying ground between sharp curation and hazy formalism. There’s also Kevin Beasley’s plan to buy property in the Ninth Ward, represented at the Contemporary Arts Center by a suite of lush graphite drawings of depopulated lots (The Lower 9th Quarter I – V, all 2021).

Paul Stephen Benjamin 'Sanctuary' 2021
Paul Stephen Benjamin, Sanctuary, 2021, metallic black bricks and light, 4 × 5 m. Courtesy of: © the artist and Prospect New Orleans; photograph: José Cotto

The most encouraging are therefore a handful of projects, both from art stars and regional luminaries, which address the city directly, with interventions specific to sites which seemed less intended to visit enthusiasts like me. only to residents who rub shoulders with them on a daily basis and can guess their context. These include Paul Stephen Benjamin Sanctuary (2021), a black brick and purple neon monument within the precincts of the former living quarters of the Tremé slaves, and Sharon Hayes’ video portraits of New Orleans homosexuals walking through town (If we had had, 2021), housed in a renovated but not rented bar in Bywater – the two quarters of the gentrification cambium zone.

The other savvy trend in Keith and Nawi’s vision is self-reflection: Prospect.5 includes projects from five alumni of Prospect.1. Mark Bradford is back: his effort here is wiser, and perhaps more honest, than Mithras (2008) – his remarkably muted sculptural intervention of a “bow,” consisting of his signature plywood and steel shipping containers, at the site of a former funeral home in the Lower Ninth Ward – though just as globalist and over-brand. During COVID-19 closures, Bradford kept his studio assistants on the payroll and had them mold basketballs into lumpy globes: a grid of 112 of them adorns a wall in the Center for Contemporary Art (Mallus Crates, 2021). Dave McKenzie – who, in his original project for Prospect.1, I’ll be back (2008), vowed to return to New Orleans every year for 10 years – undertook another subtle project, to bury his father’s ashes in a local mausoleum (831-195-G Hope, 2021).

Sharon Hayes,
Sharon Hayes, If we had had, 2021, 7-channel HD color video, variable dimensions. Courtesy of: © the artist and Prospect New Orleans; photograph: José Cotto

Nari Ward’s contribution, in particular, illustrates the change in tone since the first Prospect. This time around he remixed the sound collage he made for P.1 as Battlefield Beacon (2021), a cosmic cacophony of black chants, ragas and affirmations emitted every hour from a mobile searchlight tower of the type typically used by police to monitor residents of low-income areas, converted into loudspeakers. The play did not seem very risky in the closed parking lot of the UNO gallery, softly audible from the street. However, it will move to other sites. More importantly, I was thankfully excluded from the work’s main audience – the New Orleans people, for whom the purring masts injecting daylight into their second-story windows and gasoline fumes in their cobbled streets are a daily reality. Like any well-meaning tourist, I’ll be heading north soon, my bag of rugs a few dollars less, while the city of New Orleans rolls around.

Prospect. 5 is on view through January 23 at various locations in New Orleans, US.

Main picture: Céleste Dupuy-Spencer, Can’t you see that I’m burning, 2021, oil on canvas, 2.2 × 2.2 m. Courtesy of: © the artist and Prospect New Orleans; photograph: Jonathan Traviesa

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The worlds of art and antiques experienced an exceptional period of 12 months https://balazogallery.com/the-worlds-of-art-and-antiques-experienced-an-exceptional-period-of-12-months/ Sun, 09 Jan 2022 16:00:00 +0000 https://balazogallery.com/the-worlds-of-art-and-antiques-experienced-an-exceptional-period-of-12-months/ Will 2022 be as good? This is the burning question at the dawn of an uncertain new year when at least the economic forecasts are favorable. Despite Covid, the world of art, antiques and collectibles had an exceptional 2021 at home and abroad.

With 7.3 billion dollars (6.44 billion euros) and more, Sotheby’s had the best year in its 277-year history last year. This was motivated by the strength and depth of demand and an influx of new collectors. The increase in the number of quality works released to the market has been met by strong demand from new and existing collectors.

Alberto Giacometti’s “Le Nez” sold for 69.24 million euros in New York

In 2021, a record number of bidders joined sales at Sotheby’s, 44% of whom were new to the auction house. New technologies have opened up auctions to everyone everywhere and bidders have responded to a digital experience that has been seamless.

Sotheby’s recorded a record year in Asia, a record year for global sales of modern and contemporary art and a record year for luxury, with watches, wines and spirits, design, and books and manuscripts each peaking. historical records for total annual auctions. Global totals for luxury goods for the first time reached over $ 1 billion.

These sums have been further increased with new categories like streetwear and NFTs, each delivering a new demographic of collectors. A year ago, few of us had heard of non-fungible tokens (NFTs). Now these are big companies.

Willem de Kooning’s “Untitled IV” grossed 16.69 million euros at Sotheby’s in New York in November.

Last March, American artist Beeple (aka Mike Winklemann b.1981) made headlines around the world when an NFT of his work Daily: the first 5,000 days sold for 63.9 million euros. As many as 78% of NFT bidders were new to Sotheby’s and half of them were under 40.

A historical crossover in purchases of physical works was also noted. that of Alberto Giacometti The nose was acquired by Justin Sun, founder of cryptocurrency platform Tron, for € 69.24 million in New York City in November. It came from the Macklowe collection which brought in 597 million euros. It was an amazing collection of contemporary art which also included Untitled IV by Willem de Kooning, who made 16.69 million euros.

At home we have had a historic winter selling Irish art. Winter sales totals at Sotheby’s, Veres, Bonhams, Whyte’s, Morgan O’Driscoll and James Adam have passed the € 12 million mark.

One of a pair of Irish carved gilded wood and gesso side tables dating from 1738, sold for € 168,000 out of a higher estimate of € 50,000
One of a pair of Irish carved gilded wood and gesso side tables dating from 1738, sold for € 168,000 out of a higher estimate of € 50,000

At Whyte’s, Yeats’ estimated most expensive painting ever to be auctioned – the Scream at 1.5 M € -2 M € – sold for 1.74 M € with fees and VAT.

There is no sign yet of the frenzy that set in in 2007 before the economic crash, rather it is described as a market maintaining measured and steady growth.

Among the many memorable home front sales were Fonsie Mealy’s content offering as well as the Howth Castle Library. There was huge international interest in auctioning off the contents of a house that had been in the same family for 800 years.

A pair of Irish carved gilded wood and gesso side tables dating from 1738, which fetched € 168,000 at Howth out of a maximum estimate of € 50,000, was just one of many memorable lots here.

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Coral Springs Museum features works by Puerto Rican artist Luis Garcia-Nerey • Coral Springs Talk https://balazogallery.com/coral-springs-museum-features-works-by-puerto-rican-artist-luis-garcia-nerey-coral-springs-talk/ Sat, 08 Jan 2022 01:35:59 +0000 https://balazogallery.com/coral-springs-museum-features-works-by-puerto-rican-artist-luis-garcia-nerey-coral-springs-talk/

By Sharon Aron Baron

The Coral Springs Museum of Art presents the works of Puerto Rican artist Luis Garcia-Nerey in his new installation “Shifting Lines”.

Now based in Miami, Garcia-Nerey brings together a comprehensive series of abstract paintings.

Much of his three-dimensional work consists of constructed environments that often vividly juxtapose or tell a story, showing the chasms and shifts in perspective that can exist from a lived reality from one person to another. .

Throughout his career, Garcia-Nerey has participated in several major solo and group exhibitions, including at the Institute of Contemporary Art Museum in Miami, the University of Miami, the National Museum of Wildlife Art, the Hunter Museum of American Art, at The Patricia & Phillip Frost Art Museum and Museo de Arte de Caguas MUAC (Caguas Museum of Art).

His work has been exhibited around the world and represented by galleries in Fort Lauderdale, New York, Boston, Park City and Denver.

Garcia-Nerey’s exhibition will be presented on Tuesday January 11 – February 26, 2022. Next, the museum hosts a reception where visitors can ask the artist questions about Thursday January 20 from 5.30 p.m. pm to 8:30 pm

The Coral Springs Art Museum is located inside the Center for the Arts at 2855A Coral Springs Drive.

Coral Springs Museum features works by Puerto Rican artist Luis Garcia-Nerey

Luis Garcia-Nerey

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Author profile

Sharon Aron Baron
Sharon Aron Baron

Editor-in-chief of Talk Media and editor for Coral Springs Talk. CST was established in 2012 to provide information, sights and entertainment to residents of Coral Springs and the rest of South Florida.

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]]> Musicians, artists and filmmakers lead the way in Nigeria https://balazogallery.com/musicians-artists-and-filmmakers-lead-the-way-in-nigeria/ Tue, 04 Jan 2022 14:09:10 +0000 https://balazogallery.com/musicians-artists-and-filmmakers-lead-the-way-in-nigeria/

Nigeria has been the cultural powerhouse of West Africa for decades, but now its creators have started to gain attention on the world stage. Each fall, artists across the country reach a new audience with the five-year-old Art X Lagos Fair and exhibitions abroad, while artists such as Wizkid and Burna Boy pack the Grammys in the United States. United with their contagious afrobeats. Nigeria’s huge film industry, aka Nollywood, is also internationally acclaimed. Here’s a snapshot of the scene right now.

The co-founders of Native magazine

Indigenous / retro Africa

Black Excellence, by Williams Chechet

Williams Chechet / Retro Africa

Art

“Now is a great time to be part of the contemporary art community here,” says Dolly Kola-Balogun, the 27-year-old founder of the Retro Africa gallery in Abuja, the capital of Nigeria. “There is such a spotlight on works produced across the continent and on black art in general. The scene includes names as diverse as pop artist Williams Chechet, whom some call Nigerian Warhol, and the well-established Victor Ehikhamenor. Kola-Balogun is particularly enthusiastic about emerging actors such as Tyna Adebowale, whose works focus on gender issues and queer identity, and self-taught Ken Nwadiogbu, best known for his hyperrealistic paintings. The Art X Lagos fair has played a major role in empowering artists and small galleries in the country. “The only thing that slowed down our ambitions was the lack of creative spaces, but that is changing,” says Kola-Balogun. She hosted her first group show in New York City earlier this year, featuring works by Ehikhamenor, and plans to open a gallery in Miami next year. For those looking to experience the Lagos scene, 23-year-old multidisciplinary artist Chigozie Obi recommends Art Twenty One and A Whitespace. “The first one is massive, which is unusual in Lagos,” she says. “And the latter plays with his conceptual space, repainting and reconstructing it for various projects. I think it helps people to experience more.

Actor-producer-director Kunle Afolayan

Kunle Afolayan / Retro Africa

Movies

Nigerians love to joke around the Lekki-Ikoyi Link Bridge, a landmark in Lagos that makes a mandatory appearance in just about every Nollywood movie set in the city. And there have been many – from Kunle Afolayan’s supernatural thriller The figurine (2009) to the political drama of Kemi Adetiba King of boys (2018). “The energy here makes it a unique place,” says Afolayan. “It’s the kind you find in New York and London. Whenever I shoot a film in Lagos, I tend to look for the tourism potential of this region; when I tour in other African countries, I always look for ways to bridge the cultural divide. Nollywood is the second largest film industry in the world in terms of production, after Indian Bollywood, but it is developing differently. Local studios such as EbonyLife and FilmOne wield greater influence, as Netflix expands its presence, ordering three new Nigerian films in Afolayan and an original series sequel to King of boys from Adetiba. The past year also saw the release of a new generation of young filmmakers determined to expand the Nollywood narrative, including Damilola Orimogunje, who tackled postpartum depression by For Maria Ebun Pataki, and Uyaiedu Ikpe-Etim, whose short Ifé depicts the challenges of a lesbian love affair in the context of today’s Nigeria.

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Here are the art galleries and exhibits to see in Savannah this week. https://balazogallery.com/here-are-the-art-galleries-and-exhibits-to-see-in-savannah-this-week/ Sun, 02 Jan 2022 12:06:30 +0000 https://balazogallery.com/here-are-the-art-galleries-and-exhibits-to-see-in-savannah-this-week/