Johnson Lowe Gallery

Johnson Lowe Gallery Johnson Lowe is a contemporary art gallery based in Atlanta, GA.

In A Soft Order of Things, Gommaar Gilliams stages a vivid, almost dreamlike encounter between animal forms and painterl...
05/12/2026

In A Soft Order of Things, Gommaar Gilliams stages a vivid, almost dreamlike encounter between animal forms and painterly matter. Densely painted on the canvas are blue and yellow hounds circling a central, vessel-like form. The greyhounds standing elongated, alert, and stylized carry a lineage that extends beyond the canvas. The image of the greyhound shows prominently in medieval decorative programs such as the tiled stone floors of Sainte-Chapelle in Paris, where paired hounds are embedded within ornate, repeating patterns. In both contexts, the figures signal loyalty, vigilance, and courtly refinement, yet Gilliams loosens their symbolic clarity through a restless surface of drips, abrasions, and layered revisions.

Sky Atlas, a solo exhibition by Belgian artist Gommaar Gilliams, is on view through June 27th.

Gommaar Gilliams ()
A Soft Order of Things, 2025
Oil, Oil Stick, Acrylic on Painted and Stitched Fabrics
78.75x59 in

04/28/2026

Belgian artist Gommaar Gilliams’ recent film, A Spark and a Blanket, opens a window into the artist’s practice. In collaboration with Gallery Sofie Van de Velde (), Gilliams visits his work in exhibitions around the world while he discusses his process.

Sky Atlas, a solo exhibition by Gommaar Gilliams at Johnson Lowe Gallery, is on view through June 27. To view the full video, visit the link in our bio.

A film by Steve Brouwers ()
All works by Gommaar Gilliams courtesy of Gallery Sofie Van de Velde

04/13/2026

Join us Friday, April 17 at 6:00 p.m. for a live performance by Spelman’s Department of Dance Performance and Choreography, choreographed by Artistic Director and Choreographer T. Lang. As a part of their Performance Repertory course, this special event will be in response to the sculptures in Richard Dial’s American Idols. The performance will begin promptly at 7:00 p.m. and will last approximately thirty minutes.

American Idols, an exhibition of sculptures by Richard Dial spanning 2006–2025, is on view through June 27. Richard Dial is famously reluctant to explain his work—and in this exhibition spanning 21 years of his practice. They hold an undeniable aesthetic force. His chairs look drawn on paper rather than bent and welded from steel. Dial’s metalwork mimics the gesture of a pencil line. To make metal behave like a quick mark on paper requires not just skill but a particular kind of confidence, an assurance that the material will follow where the idea leads. It’s a confidence earned over more than four decades of relentless experimentation matured into a sophisticated ingenuity often attributed to his academically trained contemporaries. Dial is an artist that is constantly refining his craft, and pushing the limits of his materials, the result of which is a visual language indebted to his southern roots yet entirely his own.

03/20/2026

Navin Norling and independent curator Karen Comer Lowe recently came together for a walkthrough of Dangerous Games, offering an in-depth artist talk inside the exhibition.

This preview is a glimpse of that conversation—join us Tuesday for the full video release. Dangerous Games, a solo exhibition of recent works by Navin Norling, remains on view through March 28.

02/25/2026

This Friday, February 27th between 6:00 - 8:00 PM Sam Glankoff’s () solo exhibition ‘Inventing an Image’ opens at Johnson Lowe Gallery.

The works gathered in Inventing an Image make visible the vocabulary Glankoff forged through a sustained engagement with ancient writing systems and East Asian brush traditions, where drawing and writing share a common origin. Thick, matte blacks advance across fields of muted blue, earthen red, and chalked white, forming shapes that read at once as bodies and as characters. Limbs hinge at abrupt angles; torsos compress into block-like masses; heads flatten into discs or dissolve into ovoid silhouettes. The figure is translated and distorted until it functions less as anatomy than as sign and signal.

Join us this Friday for the opening reception. Address: 764 Miami Circle, Suite 210. Atlanta, GA.

02/24/2026

Navin Norling’s ‘Dangerous Games’ opens this Friday, February 27th from 6:00 - 8:00 PM.

“Working with found materials such as old windows, scrap wood, metal, lace, and everyday objects, Norling builds layered works that reference American iconography while questioning the narratives attached to it. His use of salvaged materials connects the work to folk traditions and to street art, which he understands as a contemporary form of folk expression. Familiar surfaces and objects create an entry point, disarming the viewer through nostalgia and material recognition before revealing more complex and troubling histories beneath.”

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Join us this Friday for the opening reception. Address: 764 Miami Circle, Suite 210. Atlanta, GA.

In the Backroom: Requiem for a Princess by Nevada Born, New York based artist Michael David; (B. 1957) Michael David is ...
01/05/2026

In the Backroom: Requiem for a Princess by Nevada Born, New York based artist Michael David; (B. 1957)

Michael David is best known for his use of encaustic, a technique that incorporates heated beeswax and pigment. Considered an inheritor of Abstract Expressionism, David’s abstract work primarily centers on the use of a densely layered surface to facilitate a direct and immediate spiritual experience.

The work is informed by the vast floral tributes that filled Kensington Palace and carpeted the city of London following Lady Diana’s death in 1997. An unprecedented public response—estimated at 10–15,000 tons of flowers—transformed the city into a temporary field of mourning.

In Requiem for a Princess, hundreds of roses encircle a wedding gown— all sealed in wax. The dress, a pristine, one of a kind Zang Toi design, is preserved beneath a pale, waxen coating rather than pigment. Much of the garment remains uncolored, allowing its structure to emerge: folds press forward, seams surface, and the physical memory of the body that once inhabited it becomes visible. Each crease carries what was fleeting and now endures. The roses, frozen in time, gather in dense constellations that recall the weight and accumulation of countless bouquets—grief made material, held in suspension.

Michael David lives and works in New York. He has exhibited most recently with solo exhibitions at Private Public Gallery, Hudson (2025) and Johnson Lowe Gallery, Atlanta (2024). David’s work is held in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Brooklyn Museum, and the Jewish Museum (New York and Berlin); Los Angeles County Museum of Art and Museum of Contemporary Art (Los Angeles); Margulies Collection and Rubell Family Collection (Miami); Houston Museum of Contemporary Art (Houston); Denver Museum of Contemporary Art (Denver); and the Edward Albee Foundation (Montauk, NY); among others.

Michael David ()
Requiem for a Princess, 2006
Roses and wedding gown encased in wax and oil pigment
58 x 91 in.

We are pleased to announce the return of Rush Baker IV to our 2026 exhibition program. Following his participation in th...
01/02/2026

We are pleased to announce the return of Rush Baker IV to our 2026 exhibition program.

Following his participation in the group exhibition Encounters, we welcome him back with a focused presentation of new work. Rush Baker IV (b. 1987, Washington, D.C.) is an American painter and Assistant Professor of Painting & Drawing at the School of the Art Institute of Chicago (SAIC), where he is on a tenure-track faculty appointment. He has exhibited nationally and internationally, including solo exhibitions at Future Gallery (Berlin), Scaramouche Gallery (New York), and HEMPHILL Artworks (Washington, D.C.). His work is represented in institutional collections such as The Phillips Collection, which recently acquired View from Charleston Harbor through the Contemporaries Acquisition Fund. Baker’s painting practice engages questions of abstraction, memory, and sociopolitical narrative through layered material processes and textural complexity.

Later in the year, Encounters assembled a broad selection of artists whose works engage with mapping, ritual, abstractio...
12/31/2025

Later in the year, Encounters assembled a broad selection of artists whose works engage with mapping, ritual, abstraction, identity formation, and the poetics of surface. Rather than functioning as a thematic survey, the exhibition illustrated the range of practices shaping the gallery’s roster and contemporary discourse more broadly.

The fall exhibition Voyager, the gallery’s presentation of works by Todd Murphy, continued the ongoing reassessment of the artist’s late oeuvre, underscoring his preoccupation with myth, anonymity, and the construction of symbolic imagery.

Collectively, the 2025 program emphasized clarity of vision across varied studio methodologies and foregrounded artists who are expanding the vocabulary of contemporary art through material rigor, conceptual focus, and an acute sense of visual intelligence.

Encounters:
Ben Steele ()
Chip Moody (.moody)
Daniel Byrd ()
Jamele Wright Sr. ()
Judy Pfaff (.pfaff)
Kathryn Kampovsky (.kampovsky)
Letha Wilson (.wilson)
Michael David ()
Rashaad Newsome ()
Sergio Suárez (.suarez)
Rush Baker IV ()
Sam Gilliam

Mid-year exhibitions emphasized process-driven and research-based practices. Jodi Hays: To Harden and Heal () explored t...
12/31/2025

Mid-year exhibitions emphasized process-driven and research-based practices.

Jodi Hays: To Harden and Heal () explored the intersections of architecture, labor, and memory through a vocabulary of distilled forms. Though the works are grounded in Southern material culture, they push outward, refusing nostalgia or regional cliché. These pieces speak a global language of abstraction, but with an unmistakable accent—drawling, inventive, and unshy about color or surface.

Phuong Nguyen: She is an Object of Beauty () expanded the gallery’s engagement with figurative discourse, presenting paintings that merge personal narrative with broader questions of inheritance, gender, and representation. Nguyen constructs a world that is disjointed and haunted—where objects function as bodies and bodies, at times, feel like memories.

Paula Henderson: Structure and Stricture (), a two-decade survey, brought forward a body of work that examines spatial tension, concealment, and the emotional architecture of lived experience. The exhibition clarified Henderson’s sustained engagement with material density, palette, and compressed forms.

Address

764 Miami Circle NE, Suite 210
Atlanta, GA
30324

Opening Hours

Tuesday 10am - 5:30pm
Wednesday 10am - 5:30pm
Thursday 10am - 5:30pm
Friday 10am - 5:30pm
Saturday 11am - 5:30pm

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+14043528114

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