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Tag: High Museum of Art

  • A Collector’s Guide to Non-Cash Museum Donations

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    Crypto philanthropy is emerging as a meaningful funding stream, particularly among younger and wealthier donor demographics. Photo by Nikolas Kokovlis/NurPhoto via Getty Images

    In the past year, the Toledo Museum of Art received several dozen works on paper by the Pop artist Marisol, a series of black-and-white photographs by Brett Weston, two sculptures by Roxy Paine, a painting by Richard Diebenkorn, four sculptural works by Martin Puryear and a linoleum-cut print by Kara Walker, among other artworks. Most donations to the museum, of course, came in the form of cash—such as the gift from one local family that funded free parking for visitors for 10 years—but not all. Other gifts included shares in startup businesses (a pharmaceutical and a tech company among them), an estate and cryptocurrencies such as Bitcoin, Ethereum, Litecoin, Solana, and others.

    “There is a lot of flexibility in the kinds of donations we will accept,” Adam Levine, the museum’s director, told Observer. The museum’s board determines the types of gifts the institution will accept, and it becomes the development department’s job to figure out what to do with donations that aren’t artworks or cash. “We don’t have people on staff with expertise in real estate and crypto and startup companies,” he said, adding that the museum can “accept a variety of things, generally liquidating them immediately.”

    The estate, for instance, was turned over to realtors who sold the house and property for $800,000, while the crypto was deposited in an account at The Giving Block, a Pennsylvania-based platform that helps nonprofits convert cryptocurrency donations into usable cash. The Toledo Museum of Art began accepting crypto in 2023, with donations amounting to more than $100,000 in 2025, “and that amount has been growing every year,” Levine said.

    A growing percentage of gifts to museums arrive in the form of “real estate, pension plans, life insurance payouts, boats, cars, crypto—you name it,” said Ken Cerini, managing partner of Cerini & Associates, which helps not-for-profit groups value and make use of non-cash donations. “I tell people who want to donate crypto to a nonprofit to reach out to the organization to see if they will take it. Most organizations will find a way to make it happen, particularly if it will be a sizeable donation.”

    Among high-profile museums that accept non-cash donations are the Metropolitan Museum of Art, which accepts cryptocurrency; the Museum of Modern Art in New York City, which accepts appreciated securities; and the Philadelphia Museum of Art, which accepts real estate. All three, along with others such as the Guggenheim, accept donations of stock.

    The High Museum of Art in Atlanta, according to a spokesperson, accepts stock (“several times each month”) and real estate (“that’s a bit more rare”), as well as wine donations from winemakers for its annual wine auction. “But at this time we don’t accept Bitcoin,” the spokesperson added. As one might expect, the online-only Museum of Crypto Art does.

    Receiving a crypto or other non-cash donation requires more than simply deciding to accept it. The Giving Block, a crypto fundraising platform, works with close to 30 museums and cultural institutions across the U.S., including the Smithsonian Institution and the Los Angeles County Museum of Art. Over $1.2 million in crypto was donated to museums and cultural institutions in 2025—a nearly 50 percent increase from 2024. “When a crypto donation is received, we instantly convert the crypto to U.S. dollars to capture the full donation value and then send the U.S. dollars directly to the organization’s bank account,” a spokesperson told Observer. Unsurprisingly, crypto donors tend to “skew younger than traditional major donors”—millennials and younger Gen X—“but they also tend to be meaningfully wealthier than the average online donor.”

    Making non-cash gifts offers tax benefits to donors, Cerini said, noting that “with the uptick in the stock market and cryptocurrencies realizing significant gains, there is real value in the donation of these assets, as donors get the benefit of a charitable contribution for the fair market value of the asset” without having to sell it and incur capital gains tax.

    Chris Haydon, founder of Crypto Appraisal Pro, which provides IRS-compliant appraisals for cryptocurrency donations, stated that more than 70 percent of the top charities in the U.S., as ranked by Forbes, accept cryptocurrency donations. “That’s up from just 12 percent in 2020.” Donations of crypto have more than tripled in the past year, driven by the fact that cryptocurrencies have “created enormous wealth. Bitcoin alone has gone from under $1,000 in 2017 to over $90,000 today. Early holders are sitting on massive unrealized gains.” He added that “five years ago, accepting crypto was a novelty. Today, for major charities, universities and hospitals, it’s becoming standard practice.”

    As with any other non-cash charitable donation—such as artwork or an antique—donors may receive a tax deduction (usually 30 percent of the item’s fair market value) if the asset has been held for more than one year, with the value assessed at the time of the gift. According to IRS rules, if the charitable contribution deduction claimed exceeds $5,000, a qualified appraisal is required.

    Finding an appraiser with crypto expertise who is qualified to submit an IRS-compliant valuation is not easy. None of the members of the two largest appraiser associations—the Appraisers Association of America and the American Society of Appraisers—list crypto as a specialty. While some nonprofit staff may suggest a name, most follow Adam Levine’s policy: “We don’t recommend appraisers for art or crypto or anything. That’s something for the donors to take care of… we don’t want to get embroiled with the IRS.”

    Linda Selvin, executive director of the Appraisers Association of America, recommends seeking out individuals identified as “business appraisers” to conduct qualified crypto appraisals. Some companies that offer appraisal services for non-cash assets include Charitable Solutions, Havenwood Holdings, AppraiseItNow.com and Sickler, Tarpey & Associates. Platforms that enable crypto donations—such as The Giving Block, Dechomai and Fidelity—can also provide recommendations. Appraisal fees vary with the value of the gift: Randy Tarpey, a CPA and partner at Sickler, Tarpey & Associates, charges $120 for donations in the $5,000 range and $995 for donations above $500,000. Joe Kattan, owner of AppraiseItNow.com, said his fees range from $400 to $2,000.

    Perhaps one of the defining features of crypto is its volatility, rising and falling in value rapidly since—unlike the U.S. dollar—it is not pegged to other currencies or backed by a central bank. Still, Haydon argued, “crypto is easier to appraise than art or collectibles. With a Picasso or a rare antique, you’re making subjective judgments about condition, provenance and comparable sales that may be years apart. With Bitcoin or Ethereum, you have transparent, real-time pricing market data across multiple exchanges, 24 hours a day. The asset’s value at any given moment is publicly verifiable.” CNBC provides daily pricing data for Bitcoin, Ethereum and other cryptocurrencies; no one can tell you what that Picasso is worth today versus tomorrow.

    More for art collectors

    A Collector’s Guide to Non-Cash Museum Donations

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    Daniel Grant

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  • High Museum reimagines African galleries with new focus on women’s ceramic traditions

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    The High Museum of Art has reopened its African art galleries with a new installation centered on women’s ceramic traditions, a medium that curator Lauren Tate Baeza describes as both physically intimate and historically overlooked within museum collections.

    The gallery, which previously focused on masquerade arts, now elevates ceramics in a permanent rotation that acknowledges the centuries-old labor, knowledge, and cultural continuity embedded in clay-based practices across Africa.

    The gallery, which previously focused on masquerade arts, now elevates ceramics in a permanent rotation that acknowledges the centuries-old labor, knowledge, and cultural continuity embedded in clay-based practices across Africa. Photo by Noah Washington/The Atlanta Voice

    Baeza, the Fred and Rita Richman Curator of African Art, said the shift reflects both a curatorial responsibility and an opportunity to expand how the museum presents Africa’s creative histories. “I think it is important for galleries to not be static,” she said. “It is changing because I am a new curator here.” She noted that the previous curator held the role for nearly nineteen years, leaving her with a broad foundation and a large collection to reintroduce to the public in new ways.

    Ceramics, she said, offered a rare chance to highlight both geographic diversity and women’s craftsmanship. “We had Eastern, Southern, Northern, and Sahelian works,” Baeza explained. “We had all this diversity of making across the vastness that is Africa.” She added that the museum’s ceramic holdings include antiquities in addition to traditional and modern works, creating a timeline not seen in other parts of the collection.

    The installation places strong emphasis on women’s embodied labor. “These works are imbued with the labor physically, with the sweat and the fingerprints and the breath of the women that work on them,” Baeza said during a tour of the gallery. She described the process of creating vessels as “a laborious choreography of co-creation,” reflecting the ways women have shaped clay into functional and ceremonial forms for generations.

    This focus also responds to gaps uncovered during institutional research. Baeza explained that while working with students and fellows to study artist guilds, nearly all the documented traditions centered men. “We just kept coming up against men’s artist guilds over and over and over again,” she said. Ceramics offered a corrective approach. “This was an opportunity for us to celebrate women’s craft tradition,” she said.

    Since joining the museum in 2020, Baeza has expanded the ceramics collection with multiple works now on display. One of the most recent acquisitions arrived in April after years of study, with the addition of Ngozi-Omeje Zema’s ceramic work, Togetherness, 2022.  “We had been looking at it for years,” she said. “The board voted to acquire it in April, and she assembled it in September.”

    The installation also highlights contemporary artists whose work draws from traditional techniques, including Zema, who spent a full week at the High creating the largest sculpture in her Boundless Vessels series.

    The reinstallation is the first phase of a broader transformation of the African galleries. Baeza revealed that the museum is planning a dedicated space for Nigerian visual culture, tentatively set for 2026. “This is a really great opportunity for us to serve those aspects of our community,” she said, noting Atlanta’s large Nigerian population. “African history is world history, and giving people the opportunity to learn and expand beyond what they immediately know is something that museums should obligate themselves to do.”

    Baeza said she hopes visitors return often as new rotations unfold. “This is the first step of two,” she said. “We will be further realizing a new orientation for the African galleries.”

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    Noah Washington

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  • High Museum to Host U.S. Debut of Viktor & Rolf: Fashion Statements

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    This fall, the High Museum of Art is turning fashion into fine art with the U.S. debut of “Viktor&Rolf: Fashion Statements,” a bold and imaginative exhibition featuring more than 100 avant-garde designs by the Dutch couture duo. Opening Oct. 10, 2025, and running through Feb. 8, 2026, the show transforms the museum’s galleries into a runway of surrealism, storytelling, and craftsmanship.

    For Atlanta tastemakers and art lovers alike, the exhibition is a true spectacle. The show highlights three decades of work by Viktor Horsting and Rolf Snoeren, featuring everything from their sculptural gowns to theatrical installations that blur the line between fashion and fantasy.

    Photoby Noah Washington/The Atlanta Voice

    During Thursday’s media preview, local influencer and longtime High Museum collaborator Berto Horne said the exhibition stands out among the museum’s most impressive showcases: “This is going to be one of the most impressive exhibitions that we’ve had here,” Horne said.  Horne, who has partnered with the High since 2017, said he values how exhibitions like Fashion Statements bring people together while expanding Atlanta’s creative dialogue. “I’ve worked at the High as an influencer since 2017,” he said. “They’ve been great partners of mine, and I love coming out to these media tours so that we can connect with the people, but also learn about what’s going on in the art space. I just enjoy learning each time I come here.”

    Among those taking in the couture spectacle was Gibron Whitney Shepard, a Savannah College of Art & Design (SCAD) MFA student and designer recognized by the Council of Fashion Designers of America (CFDA) and known for his costume work on Beyoncé’s “Mood Forever” music video, “I’ve been following Viktor and Rolf for a very long time, and it’s incredible to see it up close and personal and not just through a screen,” Shepard said. “It’s one of those things you really want to touch, and you have to control yourself not to touch the things, because it’s very surreal. Some of the pieces are incredibly surreal.”

    When asked how the exhibition inspired his own creative work, Shepard said it reminded him of the importance of pursuing artistic obsession.“I think how it inspires me is just the idea to pursue the thing that drives you crazy,  the thing that drives you mad,” he said. “I think Viktor and Rolf do an incredible job, even as many times as the feminine form has been re-imagined, they do an amazing job at kind of pushing that even further. So it really challenges you to think beyond what you know is possible.”

    Exhibition curator Thierry-Maxime Loriot, who previously organized major fashion retrospectives on Jean Paul Gaultier and Thierry Mugler, said the show’s message transcends geography. “Beyond the Atlanta culture, I think it’s a global message,” Loriot said. “The exhibition is about humanity, about a strong social message, about humor, diversity, irony, and creativity. And I think it’s very important for the young generation to understand that you don’t have to follow the trends,  you can initiate them. You can think outside of the box. Even if you’re not coming from a glamorous background, you can do anything if you just dream about it and work hard to do it.”

    He added that Atlanta’s growing appreciation for art and style makes it an ideal home for the exhibition, “I’ve seen that there’s a lot of elegant people who really enjoy dressing up,” Loriot said. “There’s a real sense of elegance and pride, which I think is quite important.”

    The exhibition will run through Feb. 8, 2026, at the High Museum of Art’s Wieland Pavilion.

    “It’s definitely whimsical, it’s imaginative, and it’s real,” Horne said. “It’s wearable art that makes you believe again.”

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    Noah Washington

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  • At the High, Kim Chong Hak Shows It’s Not What You Say, It’s How You Say It

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    Kim Chong Hak, Fall, 1980. Watercolor on hanji paper. Courtesy of the artist and the Kim Chong Hak Foundation. Photo by Kim Tang- Sae. © Kim Chong Hak

    Spring, summer, autumn, winter—few things are more fundamental to how we mark the passage of time. A perennial subject of both casual conversation and art-making, this cycle takes center stage in the exhibition “Kim Chong Hak: Painter of Seoraksan” at Atlanta’s High Museum of Art. On the surface, it appears as a simple journey through the calendar, yet beneath lies something more—the fusion of Korean Dansaekhwa painting and American abstract expressionism. By using a familiar narrative while filtering it through a hybrid style rooted in lived experience, Hak demonstrates that meaning lies less in what you say than in how you say it.

    Hak was born in Korea, where he grew up and began his artistic career. Coming of age in the 1960s meant grappling with identity and nationhood in a post-war landscape, struggles that shaped the movement known as Dansaekhwa. This abstract, non-objective practice, though not wholly representative of Hak’s influences, dominated Korean painting at the time and provides crucial context for his development.

    A painting of summer features a dense tangle of green and red vines climbing over a dark hill, with a bright white sun set against a turquoise sky.A painting of summer features a dense tangle of green and red vines climbing over a dark hill, with a bright white sun set against a turquoise sky.
    Kim Chong Hak, Moon, 2013. Acrylic on canvas. Courtesy of the artist and the Kim Chong Hak Foundation. Photo by Kim Tang- Sae. © Kim Chong Hak

    Dansaekhwa, often translated as “monochrome painting,” is defined by physical engagement with material, deceptive simplicity, and destabilizing contrasts. Its influence emerges most clearly in Hak’s winter works. Untitled (Winter) (2017) depicts a forest stripped of its foliage, the ground blanketed in snow. Only bare trunks and branches remain, save for two birds perched on a branch in the foreground. At first glance, the canvas seems nearly all white, but closer inspection reveals a spectrum of grays—from ash to slate—layered into the surface. Thick slabs of paint have been built up and sculpted with a brush, giving the scene a dense materiality. Step back again and the landscape no longer appears void but alive with presence. What seems at first a quiet winter scene becomes instead a meditation on Dansaekhwa’s influence on Hak’s style.

    An abstract winter landscape painting shows a snowy forest with bare trees, thick textured white and gray paint, and two small birds perched on a branch in the foreground.An abstract winter landscape painting shows a snowy forest with bare trees, thick textured white and gray paint, and two small birds perched on a branch in the foreground.
    Kim Chong Hak, Untitled (Winter), 2017. Acrylic on canvas. Courtesy of the artist and the Kim Chong Hak Foundation. Photo by Kim Tang- Sae. © Kim Chong Hak

    In 1977, Hak moved to New York, where he encountered neo-expressionists such as Julian Schnabel and Anselm Kiefer, along with the legacy of Abstract Expressionism. Characterized by intuitive mark-making and non-objective compositions that cover the canvas edge to edge—so-called “all-over paintings”—this movement was embodied by figures like Jackson Pollock and Franz Kline. Its impact is clearest in Hak’s summer paintings. Green Shades and Fragrant Plants (1998) presents a bed of flowers—sunflowers, peonies, lilies—all bursting upward from an emerald ground to fill the surface without pause. While recognizably a summer scene with its dense greenery and saturated hues, the lack of horizon or pictorial depth flattens the canvas into a single, enveloping plane. As with Untitled (Winter), the true subject is not the image itself but Hak’s painterly practice.

    What is most striking is how approachable these works remain. The collision of Dansaekhwa’s rigor with Abstract Expressionism’s abandon might have produced chaotic, unruly canvases. Instead, Hak distills these competing forces into the simple frame of the seasons. Though the stylistic influences are distinct, they never overwhelm; balance and clarity prevail. The exhibition offers a dual entry point: first, the comforting familiarity of seasonal change, and second, the conceptual interplay of styles. One may view it as a lyrical stroll through the year, but these works resist categorization. They are not conventional landscapes but something far more compelling.

    “Kim Chong Hak: Painter of Seoraksan” is at the High Museum of Art through November 2, 2025.

    An abstract depiction of a lush forest floor shows scattered green plants, pink flowers, and dark stems layered in a watery, blended composition of greens, blues, and blacks.An abstract depiction of a lush forest floor shows scattered green plants, pink flowers, and dark stems layered in a watery, blended composition of greens, blues, and blacks.
    Kim Chong Hak, Forest, 1987. Acrylic on cotton. Courtesy of the artist and the Kim Chong Hak Foundation. Photo by Kim Tang- Sae. © Kim Chong Hak

    More exhibition reviews

    At the High, Kim Chong Hak Shows It’s Not What You Say, It’s How You Say It

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    Leia Genis

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  • ‘Giants: Art from Alicia Keys & Swizz Beats Collection brings Black artistic legacy to Atlanta

    ‘Giants: Art from Alicia Keys & Swizz Beats Collection brings Black artistic legacy to Atlanta

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    Alicia Keys and Swizz Beats at the opening of Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys, which took place at the High Museum of Art on Friday, Sept. 13.  Photo by Kerri Phox/The Atlanta Voice

    “This collection is your collection. This is everyone in here’s collection. The Dean Collection is your collection” said Kasseem Daoud Dean, record producer, rapper, and DJ, who is more commonly known as Swizz Beatz. The opening of Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys took place at the High Museum of Art on Friday, Sept. 13. 

    Dean’s statement encapsulates the essence of the exhibition—a celebration of Black art, culture, and legacy. Giants, which runs from September 14, 2024, through January 19, 2025, is the first major presentation of the Dean Collection in the south. There is a hope that the collection will leave a lasting mark on the region, according to Dean.

    Friday the 13th, often considered a day of superstition, instead marked a historic moment for Atlanta as Swizz Beatz (whose birthday also fell on this day) and his wife, the Grammy award-winning artist Alicia Augello Cook, or as she is professionally known, Alicia Keys, visited the city to kick off their collection’s first stop on a national tour. The exhibition offers a focused selection of works by Black diasporic artists, ranging from 20th-century icons such as Nick Cave and Gordon Parks to contemporary innovators like Amy Sherald and Deana Lawson.

    Photo by Kerri Phox/The Atlanta Voice

    The collection, curated by the Brooklyn Museum, represents 10 percent of the Deans’ entire holdings, and includes 115 objects, 98 of which are major artworks. Through this exhibition, the Deans seek to trace the evolution of their collection and highlight the social impact of Black artists on the global art scene. Thematically, the artworks tackle issues of societal relevance, monumentality, and the ongoing influence of Black artists on art history.

    In an interview with The Atlanta Voice, Alicia Keys illuminated the deeply personal significance of preserving and promoting Black art. “It’s bigger than transactional. It’s bigger than just one moment,” Keys said, speaking to the sense of purpose that drives their mission. Emphasizing the importance of breaking down institutional barriers, particularly those that historically have excluded Black artists, Keys hopes that the exhibition will spark a sense of empowerment. “We belong everywhere,” Keys declared. “We really created everything. It’s a beautiful celebration of that power. You feel it when you walk in this room.”

    Photo by Kerri Phox/The Atlanta Voice

    This celebration of Black culture and creativity is central to the Dean Collection, which, according to Keys, was built with more than just a collector’s eye. She explained that the relationship between artists, whether musical or visual, is born from shared experiences and emotions. “You feel their pain, their passion, their story, their vision,” Keys said, describing the connection she feels with the art. Drawing parallels between her music-making process and curating the collection, she spoke about the emotional and spiritual resonance that both mediums evoke.

    The exhibition not only features paintings, sculptures, and photographs but also includes non-traditional art objects that offer insight into the Deans’ diverse interests. Visitors will find musical instruments, albums, and even BMX bikes that the couple has collected over the years. This incorporation of personal memorabilia gives the exhibit a unique texture, blending cultural objects with fine art to create a holistic view of the Deans’ lives as collectors and creatives.

    Kimberli Gant, the curator of modern and contemporary art at the Brooklyn Museum. Photo by Kerri Phox/The Atlanta Voice

    Kimberli Gant, the curator of modern and contemporary art at the Brooklyn Museum, emphasized the significance of bringing Giants to Atlanta, a city that has long been a hub for Black culture. She pointed out that while the Dean Collection includes artists from various cultural backgrounds, this exhibition focuses on showcasing Black artists who have been historically underrepresented in major galleries. Gant explained, “This becomes an expansive presentation of art history that often is not taught in the giant catalogs that we get when we’re studying in school.” By presenting works by both established and emerging Black artists, Giants aims to fill gaps in mainstream narratives and offer new perspectives.

    Gant hopes that the exhibition will resonate with local audiences in Atlanta, a city with a rich history of art, music, and activism. She expressed her desire for visitors to feel a sense of recognition and belonging when they see the works on display, regardless of their background. “I want visitors to come in and see themselves,” Gant said. “Whether or not you are Black, this is about human expression.”

    Photo by Kerri Phox/The Atlanta Voice

    The exhibition is as much a cultural statement as it is an artistic one. Swizz Beatz reflected on the challenges of building such a collection, explaining that it wasn’t just about acquiring the pieces. “A lot of works you see there, we had to fight to get those pieces, not because we couldn’t afford them, it’s because they weren’t used to us buying works on this type of level,” Swizz Beatz shared. For the Deans, the collection represents a way to reclaim space within the art world for Black creators. “We felt like, no, what is it going to do? Just sit in storage? Hang on our walls?” Swizz Beatz stated. Instead, they chose to share the collection with the world—and more importantly, their community.

    Whether through the lens of music, visual art, or personal expression, Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys serves as a powerful reminder of the importance of representation and the enduring legacy of Black creativity.

    In Gant’s words, “This is an expansive presentation of art history,” one that invites all who attend to find something meaningful and perhaps even transformative.

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    Noah Washington

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  • A Hot Night in Atlanta: Inside the High Museum’s Driskell Gala and Afterparty

    A Hot Night in Atlanta: Inside the High Museum’s Driskell Gala and Afterparty

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    The Guggenheim’s Naomi Beckwith with Director of the High Museum of Art Rand Suffolk. All photos by Rafterman / Courtesy of The High Museum of Art

    Several events are billed as the “Met Gala of the South,” among them the High Museum of Art’s David C. Driskell Prize Gala, which on April 26 brought more than 250 artists, curators, musicians, designers and art aficionados to the institution for a black tie evening of red carpet mingling, dinner, dancing and celebration.

    The annual event honors the winner of the Driskell Prize in African American Art and Art History—the first award in the country to recognize the contributions to contemporary art by Black artists and scholars. This year’s prize went to Naomi Beckwith, who became the Guggenheim’s first Black deputy director and chief curator in 2021. Since then, she has made significant contributions to the field of African American art with her scholarship on Black identity in contemporary art and her work amplifying the work of African American artists. J. Tomilson Hill, chairman of the Guggenheim’s board, has called her a “catalytic thinker.”

    As always, the gala attracted Atlanta’s see-and-be-seen set who rubbed elbows with art world insiders like curator Valerie Cassel Oliver, Nickol Hackett of the Joyce Foundation, HGTV’s Mike Jackson, futurist and designer El Lewis, stylist Jerrimiah James, artist Charly Palmer, Tanya Sam of The Real Housewives of Atlanta, HGTV’s Egypt Sherrod and artist Tyler Mitchell (who will have a solo exhibition at the High Museum this June). Sergio Hudson, winner of Bravo TV’s “Styled to Rock” and best known for dressing Vice President Kamala Harris and former First Lady Michelle Obama, dressed several of the gala’s attendees.

    DJ Princess Cut and Mike “Killer Mike” Render getting the gala afterparty started. All photos by Rafterman / Courtesy of The High Museum of Art

    This was the first Driskell Gala with an official afterparty, helmed by DJ Princess Cut and the Grammy-winning DJ Drama. Before the evening’s end, rapper and activist Killer Mike jumped up to take the tables for a spin.

    Cristal Steverson and Sergio Hudson

    Cristal Steverson, Sergio Hudson. All photos by Rafterman / Courtesy of The High Museum of Art

    Scott Uzzell and Sunda Uzzell

    Scott Uzzell, Sunda Uzzell. All photos by Rafterman / Courtesy of The High Museum of Art

    Tyler Mitchell

    Tyler Mitchell. Photo by Rafterman / Courtesy of The High Museum of Art

    Karen Comer-Lowe and Leslie Parks Bailey

    Karen Comer-Lowe, Leslie Parks Bailey. All photos by Rafterman / Courtesy of The High Museum of Art

    El Lewis and Leslie Parks Bailey

    El Lewis, Leslie Parks Bailey. All photos by Rafterman / Courtesy of The High Museum of Art

    Eva Marcille and Jason Halliburton

    Eva Marcille, Jason Halliburton. All photos by Rafterman / Courtesy of The High Museum of Art

    Monique Meloche and Ebony Patterson

    Monique Meloche, Ebony Patterson. All photos by Rafterman / Courtesy of The High Museum of Art

    Tanya Sam

    Tanya Sam. All photos by Rafterman / Courtesy of The High Museum of Art

    Charlene Crusoe-Ingram and Earnest Ingram

    Charlene Crusoe-Ingram, Earnest Ingram. All photos by Rafterman / Courtesy of The High Museum of Art

    Nikki Crump, Sunda Uzzell, Naomi Beckwith, Charlene Crusoe-Ingram, Robyn Wallace, Louise Sams

    Nikki Crump, Sunda Uzzell, Naomi Beckwith, Charlene Crusoe-Ingram, Robyn Wallace, Louise Sams. All photos by Rafterman / Courtesy of The High Museum of Art

    Kent Kelley and Tamara Kelley

    Kent Kelley, Tamara Kelley. All photos by Rafterman / Courtesy of The High Museum of Art

    A Hot Night in Atlanta: Inside the High Museum’s Driskell Gala and Afterparty

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    Christa Terry

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