"from within, so together at Swan Coach House Gallery, Atlanta"

Heather Bird Harris

October 14, 2025

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"Fittingly, Kauschinger drew the exhibition’s title from theoretical physicist Karen Barad’s new materialist concept of intraaction, in which physical bodies are not required for one entity to impact another.[1] The curation reveals how beings across time and space are transformed by a dynamic exchange of entangled agency.

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Together, Bozorgi and Rome-Taylor’s alternative image-making intentionally resists legibility as a form of plausible deniability, a smart tactic in an era of sloppy, Ctrl+F surveillance by fascist states. In doing so, their work extends photography beyond documentation to engage a methodology of social diffraction, bending light around obstacles that Barad describes as having the power to “creatively repattern world-making practices with an eye to our indebtedness to the past and the future.”

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"Prospect.6: The Future Is Present, The Harbinger is Home"

Text / Heather Bird Harris

Spring 2025

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"Perhaps in answer to activist Grace Lee Boggs’ question “What time is it on the clock of the world?” Lash and Patterson curated the three final performances of opening weekend to lead viewers through a narrative arc of collapse and renewal aligned with the position of the sun. This zoomed-out temporal perspective mirrored the conceptual framework of the triennial, suggesting history’s cyclical nature and lambasting the imperial systems that have destabilized our present and led to an uncertain future. It’s possible that each work in Prospect.6 can be situated within these dimensions of decline, afterlife, and rebirth to offer insights into how we might move through what happens next. Let’s begin with dusk..."

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"Zora J. Murff: Documenting the Shadow Empire"

Interview / Heather Bird Harris

Fall 2024 Issue

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"In fall 2023, Zora J. Murff gave a lecture at Georgia State University (GSU) on antiracist pedagogy. He drew parallels between his own abolitionist teaching praxis to specific Black Panther Party strategies. He also discussed how he survives as a Black artist and how he helps his students survive within predominantly White institutions (PWIs) by building an island for his students, by using self-evaluation instead of hierarchical grading, and by focusing on relationships and radical transparency.

 

This fall, I’m teaching my first college course at GSU, which builds upon the advice Murff shared a year earlier, including the use of self-evaluation and rhizomatic learning structures. This conversation is likewise geared toward the potential ripple effects of sharing practical resistance tools, how to work with ethical clarity within academia and the art world, and how to build spaces for community support."

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"Review: ‘Encounters’ at Johnson Lowe Gallery invites slow looking in a fast world" 
Heather Bird Harris

October 24, 2025

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"Tending Earthseeds: Dianna Settles’ Invitations to a Revolution"
How one southern artist is responding to the polycrisis predicted in Octavia Butler’s parables through a body of work that echoes revolutionary painting traditions.
Heather Bird Harris

Fall/Winter 2025

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