Photo by Steve Pomberg
Harassment, bromance, seduction—these are just a few of the overlying themes that are highlighted in artist Ann-Marie Manker’s work. Her colorful, vibrant pieces lend themselves to a pleasing visual aesthetic while simultaneously hinting at an aggression and uneasiness that becomes more apparent the longer each work is viewed. Moreover, many of her works seem to take on an elevated purpose—that of recreating situations in which a subject has no control (namely, her inferences to suffering traumatic experiences at the hands of men) and using her art to relinquish power back into her own hands.
The 45-year-old Inman Park dweller moved to Atlanta in 1994 after growing up in Long Beach, Calif., in an attempt, she says, “to get as far away from home as possible,” after getting her BFA at The University of Southern California, Los Angeles. She got her MFA in Drawing and Painting at Georgia State University and now teaches full-time at SCAD Atlanta.
On the heels of her recent Whitespace exhibition, “El Gallo,” which was met with sizable buzz, we talked with the artist about lessons learned from being a woman in the art world, her favorite spots in Atlanta and using art to process pain.
CommonCreativ: When did you decide to pursue art on a serious level?
Ann-Marie Manker: Going back to school to get my MFA at GSU changed everything. Not only did my artwork become the focus, but during this time I helped open and run an alternative art space called ArtSpot. During this period I was thrust into the art community at large: artists, curators, critics, etc., and formed lifelong friendships and working relationships with these people. Upon graduating, I helped form an art collective called Golden Blizzard, which was successful in that we showed at MOCA GA, Youngblood Gallery, Marcia Wood Gallery, The Atlanta Contemporary Art Center and more. The ball was rolling.
Photo by Isadora Pennington
CC: Describe your work in one sentence.
AMM: Psychological narratives that are simultaneously dark and light.
Photo by Steve Pomberg
CC: How did you get into teaching?
AMM: After my BFA, I went back to school to get certified to teach art. I thought teaching art was the best career to constantly be surrounded by art making with time off to make my own work. I love academic environments—the students and faculty are inspiring on a daily basis. I’ve had many teaching positions ranging from middle school to college. I’ve been teaching at SCAD Atlanta for the past 10 years.
CC: Tell me about your latest show at Whitespace, “El Gallo.”
AMM: I have chickens, and after years of observing their behavior, I thought that the rooster (el gallo) would be the perfect metaphor for a cocky, powerful and threatening man. For my narrative, I dove into my past history where I have had a number of traumatic experiences involving male perpetrators. My new drawings were an attempt to face my own personal fears. I created shapeshifting creatures that were an amalgam of man, animal and desert landscape. I went to U of A in Tucson, from 1988-1990, so this place and time set the stage for the new work. On one hand I like the idea of taking a bad experience and turning it into something beautiful, like artwork. If you can’t find the good in the bad, then how do you ever get past trauma or grow as a person? On the other hand, the work could act as a warning for male predation and violence.
Ann-Marie Manker in Tucson, AZ
CC: Since “El Gallo,” what has been inspiring you as of late?
AMM: I want to keep making more work within this theme, but specifically more females slaying “El Gallo.” I’d like to deconstruct the El Gallo figure into parts and pieces of figurative plant matter…a win win for the ladies. The hatchet is my weapon of choice for this narrative or perhaps bare hands.
CC: Several bodies of your work have focused on gender and power dynamics. What’s the biggest lesson you’ve learned as a woman in the art world?
AMM: Never take no for an answer in terms of your career. If there is something that you want to do and know that you are capable of doing, then do it. Even if it means taking the long road to get there. Don’t just talk about doing something—do it.
CC: What do you like about the local arts scene and what do you think could be improved?
AMM: I like that it’s constantly expanding and evolving. With the emergence of various alternative spaces, there are always fresh faces and new work (Mammal Gallery, Low Museum, Kibbee Gallery). One has to keep up with the momentum. I also love how supportive Atlanta artists are with each other’s work and exhibitions. We have a solid art community. I wish however, that Atlanta had better public transportation to connect the art spaces, and we need more money poured into the arts to keep it thriving. The Up Right: Atlanta Nick Cave performance sponsored by FLUX Projects was a great example of what we need more of: bringing contemporary, international, interdisciplinary artists into the city.
CC: Where do you like to hang out in Atlanta?
AMM: The old-school strongholds within the Eastside neighborhoods: Inman Park, Cabbagetown, Grant Park, Poncey-Highland and Old Fourth Ward. All of my favorite hangout galleries have closed as of recent or are about to close. I miss Young Blood Gallery and Get This! Gallery. Beep Beep closes at the end of the year and I’m already mourning the loss. I like to hang out anywhere that I can walk to and not drive.
Photo by Virginia Jackson, Whitespace Gallery
CC: Who are some of your favorite fellow artists in Atlanta?
AMM: ATL expatriate Alex Kvares, Jason Butcher and Brendan Danielsson— they all have mad drawing skills that make me drool. George Long and Mike Stasny put a smile on my face with their enthusiasm for all things creative. I love Tommy Nease’s photography. Stephanie Dowda is so incredibly thoughtful with her words and her work and Amandine Drouet is a ninja with recycled materials. Terry Kearns is everywhere.
CC: What’s next for you?
AMM: I’ll have work in Beep Beep Gallery’s December 5th finale exhibition and work in Whitespace Gallery’s December 11th show. I broke both of my wrists in a bike accident late September, so I’m working on healing my paws at the moment. I see a trip to the Caribbean in my near future as part of my physical therapy, if you know what I mean. Next year I should be back to full speed and will definitely be drawing more figurative amalgams of human, animal and desert landscape and maybe work on another video with my husband Todd Briner.
CC: Why do you make art?
AMM: It’s a curse. I can’t not make art.
See more of Ann-Marie’s artwork on her website and blog.
