Gates E-1 to E-4

“Bird in the Hand”
Kerry Moore

Moore’s sculpture represents a literal one-quarter scale replica of the Wright Flyer designed by Orville and Wilbur Wright. The piece was created with exacting detail and consummate craftsmanship, bringing to mind the intersection of art, aviation, science, history and human discovery. The plane has been placed in a house-like structure as if it were caged or held safely, depending on the viewer’s perspective. On the gates’ lower walls passengers will find other two-dimensional pieces by Moore that explore the same themes.

“Let each man pass his days in that endeavor wherein his gift is greatest”
John Salvest

Two large collages composed entirely of business cards can be found on the south end of Concourse E. For these pieces Salvest tapped into this uniquely human way of greeting strangers and exchanging identifying information. On one side he has used colored business cards to send a message in the form of a quotation by Propertius. On the other side are the five vowels in the Latin alphabet. Through both installations he is celebrating work and a purposeful life for man-kind through employment and language alike.

Gates E-5

“Sojourners”
By Amalia Amaki

This contemporary version of a quilt utilizes images from photographs of regular people and celebrities. Amaki embellished the surface with buttons, creating a rich, decorative pattern that frames the blue-toned photographic negatives. On the lower walls of the gate, additional pieces by Amaki were installed in 1999. These smaller works enhance her installation by giving viewers the chance to examine her meticulous assemblages more intimately.

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Gate E-6

“Journey”
By Rocio Rodriguez

“Journey” is a series of luminous abstract paintings. They express ideas of time, passage, transience and movement. Rodriguez’s work is luminous with images that appear and disappear, alluding to a sense of constant change.

Gate E-7

“Ribbons, 1996”
By Cynthia Knapp

Gate E-7 features brightly colored linear shapes that dance and play throughout the space and the skylight. Through this piece the architecture becomes activated and the “Ribbons” form a metaphor for movement, flow, flight and travel.

Gate E-8

“Flight Ceiling Dance”
By Alonzo Davis

In this exciting artwork, Davis employed shapes of neon, painted and wrapped poles, and aviation-themed murals to activate the skylights. Through his use of light and color the artist was able to parallel the adventure and fun of travel for the viewer.

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Gate E-9

“A Guide to Juke”
By Lynn Linnemeier and Sheila Turner

A unique aspect of Southern musical culture has been captured by the artists commissioned for E-9. Linnemeier and Turner traveled through the South visiting juke houses documenting their nuances. They then created this mixed media installation telling the history of Juke while celebrating specific places. The result is a true Southern experience for passengers waiting for their flight.

Gate E-10

“Magic Hours”
By Virginia Derryberry

The 16 brightly colored paintings by Derryberry depict serene utopian landscapes. The pictures offer a peaceful retreat from the Airport’s fast pace. With power of pure color and simplicity, the artist has captured the beauty of those last golden hours before sundown when shadows are long and the day is winding down.

Gate E-11

“The Navigation Project”
By Vicki Ragan

The study of space, the history of science, and life’s place in the universe is often contemplated by thinkers and artists. This is the subject of Ragan’s installation on Gate E-11. The globe on the center beam shows Copernicus’ model of the heavens that dislodged the Earth from the center of the universe and replaced it with the sun, forever changing the face of human understanding. This combined with Ragan’s elegant photographic collages ignite and celebrate curiosity and exploration for viewers. Along the lower walls of the gate viewers can find additional images from the series that allow for a closer examination of Ragan’s work.

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Gate E-12

“Takin’ Off”
By Ron Lee

The installation in the E-11 skylights represents a retrospective of photographs by the artist. Lee selected samples from 15 years of photography focusing on portraiture. He included a variety of people, including images of Georgia artists, and had them printed on leather.

To complement Lee’s installation, a series of photographs was selected from the Airport Art Program’s direct purchase collection for the lower walls of the gate. Here is a list of the artists and titles on display.

Corrine Adams, “Emergence”
Geoffrey Aronson, “Chroma Nocturna” Series
Beverly Buchanan, “Ms. Mary Lou Fucron's House (Alone)”
Lucinda Bunnen, “Africa Dunes With Elephant Foot”
Trey Cambern, “Delta DC-3S Ship 41”
Albert Chong, “Aunt Winnie, 1995, Stony Hill Jamaica” (pictured)
Peter Essick, “Tracy Arm Forest Terror Wilderness - Tongass National Forest Alaska”
Jill Larson, “The Grace Project” Series
Lynn Linnemeier, “Rendezvous With Time No. 2”
Carl Martin, “Men of Georgia”
Renee Moog, My Sister Aistata Ly
Tracey Schmidt, “Ahnawhake–Cherokee”
John Stewart, “Opium”
Craig Tanner, From the “Walk Through Georgia” Series

Gate E-14

“Atlanta and Sunday, May 12, 1996 - 4:23 P.M.”
By Michael Ehlbeck

Two incredible large scale etchings depicting Atlanta’s vast downtown are located at this gate. Elhbeck’s images are dramatic not only because of the expansive bird’s-eye view but also because of the inordinate amount of detail and care he put into the pieces. The surfaces are elaborate with reflective surfaces and isolated pockets of activity capturing the exact time and place he states in the title.

To further impress the viewers at Gate E-12, the Art Program purchased and installed the original zinc plates Ehlbeck created to make the prints. Next to these plates one can find an informative panel describing the process of intaglio.

Gate E-15

“Kudzu Frieze”
By Dana Mouton Cibulski

“Kudzu Frieze” is an eight-panel painting of kudzu-covered trees and birds in flight. The pieces speak to themes related to the South and aviation. Cibulski attracts the viewers’ attention upward toward the birds circling in flight, creating a mood that is both light and airy.

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Gate E-16

“Corncorde”
By Craig Nutt

At Gate E-16 is probably the largest flying ear of corn you will ever see. From Nutt’s “Flying Vegetable” series, the design was inspired by jetliners. With its wings swept back, leaping into flight the corn is propelling upward to cruising altitude. This humorous work was hand-carved by Nutt from wood and painted to capture the details of this indigenous American crop.

To accompany the flying corn, Nutt created an air traffic control tower. Nothing is more appropriate to guide the “Corncorde” on its journey than a tower composed of a giant carrot and motorized spinning butter bean also made out of carved and painted wood.

Gate E-17

“Southern Trinities”
By Marilyn Suriani

Suriani’s work on E-17 features photographs she took during the 17 years prior to this installation. She selected images from several series that focused on interesting people and places in Atlanta. Suriani had the photographs enlarged onto watercolor paper and then applied color and various collage elements to select areas within each work.

Gate E-18

“Flying Machines”
By Charles David Hubbard

For his gate, Hubbard created four fantasy flying machines made from recycled machines and other usually discarded materials. Everything from typewriter parts to window shades, from pizza pans to aerosol cans provide the inner workings of these amazing aircraft. Imagination truly takes flight with Hubbard’s use of materials and precision design.

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Gate E-26

"Common Dance"
By Hoang Van Bui

Bui’s large-scale abstraction is an elegant stainless steel work designed to suggest movement and the internal change that comes with migration. The inverted point symbolizes a “break” in one’s cultural make-up when trying to accept and acclimate to a new place and way of living. Thematically, the artwork relates to the emotional and cultural connections that bind and separate all people.

Gate E-27

“Out of Many, One”
By Sammie Nicely

“Out of Many, One” features 20 masks made out of ceramic tile, hand-built ceramic and found objects. In the spirit of many of the South’s folk art traditions, Nicely’s masks evoke a connection to the earth, resourcefulness in use of materials and honesty in the way they are assembled.

Gate E-28

“RE: E 28”
By Joe Walters

The animal sculptures found on E-28 represent the myriad species indigenous to the state of Georgia. Walters’ installation is based on his observations of animal form and gesture while making a subtle statement about environmental balance. The pieces are playful while still resembling something out of natural history, bringing to mind the fragility of humanity’s coexistence with other creatures roaming the Earth.

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Gate E-29

“Dome and Wheels”
By Elizabeth Barton

Barton’s two hand-made quilts were created from hand-dyed, hand-painted, commercial and reclaimed textiles. Both works have architectural designs and are very expressive in their use of color, light and depth.

On the lower walls of this gate you will find another work by Barton and a collection of quilts by some of the country’s best artists. These allow viewer’s to enjoy the nuances of quilt making more closely as they admire Barton’s bright installations in the sky light above. The artists and their pieces are listed here.

Elizabeth Barton, “Windows: XIV: Guildhall”
Jane Burch Cochran, “All As It Should Be”
Adrienne Cruz, “Mixed Blessings”
Patricia Malrcher, “Tyger, Tyger”
Winnie McQueen
Sandra Sider, “Water Wheels” (pictured)
Pamela Studstill, “Untitled”

Gate E-30

“Southern Icons of the 20th Century”
By Joni Mabe

In a true expression of Southern kitsch, Mabe has created a unique tribute to personalities from the South who contributed their talents and lives toward the betterment of mankind. Mabe’s unconventional approach to art-making is evident in her use and selection of materials. It is hard not to love the use of the scalloped tires as framing devices for her altar-like installations.

In 1999, the Art Program commissioned additional pieces to go with Mabe’s alters. Viewer’s can now admire southern heroes in their full glittery glory along the lower walls of the gate. The portraits are of Robert Johnson, Margaret Mitchell, Dale Earnhardt, Johnny Mize, and Eudora Welty.

Gate E-31

“Travelers”
By Larry Walker

Located both in the sky light and along the lower walls “Travelers” depicts the activities and movements of passengers in an airport environment, momentarily frozen in time. Walker’s close color pallet, composition and expressive painting technique enable the multi-panel artwork to be enjoyed as a unified whole while it harmoniously compliments the architecture. The cut out figures on the wall accurately capture the gestalt of people traveling and waiting for their flight. Later small framed gestural sketches were added to the lower walls of the Gate giving viewers a rare glimpse into the process of creating such an artwork.

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Gate E-32

“Until We Meet Again”
By Linda Kroff and Aida Saul

For this installation the artists used historical images of Atlanta places, people and events in combination with words of farewell in various languages from around the world. Kroff and Saul extended a personal message to Atlanta’s world visitors while offering them a glimpse of the City’s past. On the lower walls the artists have placed smaller works that include a written history about each photograph used in the larger mural.

Gate E-33 to Gate E-36

“Green Flash”
By Thomas Sayre

Sayre’s monumental work is comprised of three large columns at the end of the north corridor. A red column is divided in the middle by a space that represents the equator. Above and below the line are the 24 time zones with cities from all around the world. They are shown in light of their corresponding relationship to Atlanta’s time. The other two columns are meant to represent day and night for the viewers, making time and travel both powerful and solid for the viewer by creating totemic forms to admire.

“Latitudes and Legends”
By Gregor Turk

“Latitudes and Legends” was added to the north end of E in 1999. Turk created sculptures that literally encompass the world. The largest piece, an 86-foot ceramic tile relief, forms a narrow map of the globe between the 30th and 35th parallels. Those latitudes are roughly Georgia’s north and south borders. Atlanta appears twice on either end of the map as it runs through all of the 27 countries found in between. Adjacent to the massive map are smaller ceramic tablets depicting 18 major global cities along the same narrow band. On the other side of the concourse are 64 small clay pieces derived from map symbols. Removed from their context of a legend, the symbols become ambiguous and iconic. Overall, Turk’s piece simultaneously explores the vastness of our planet and the peaceful commonalities held within when our location is distilled into anonymous forms and shapes.

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Other Installations on E

“Saints”
By Radcliffe Bailey

Located on the curved wall above the escalators leading to the APM from E is the largest site-specific installation on the concourse. “Saints” is a mixed media painting that explores the theme of migration. The artist incorporated images from old photographs, objects symbolic of power, and text that expresses aspects of African-American culture. The resulting art transcends space and time. It was installed in 1996.

“Quilted Passages”
By Lillian Blades

This lovely assemblage piece is located near the elevators on the boarding level of E that lead to the APM. The piece was inspired by passages and journeys that a person makes in their physical and spiritual life. Blades wanted to translate the collective conscious of those who came before us by visually representing the wisdom they left behind. She created this quilted tapestry from found objects and small paintings that form little niches of mystery and discovery for its viewer. This piece was commissioned in 2004.

“Ladies in Waiting”
By Karen Beall

This piece was commissioned for the apron level of Concourse E in 2002 for just outside the Immigrations Corridor. The artist created a group of bronze sculptures modeled after tropical pitcher plants. The shapes are meant to invoke a number of things for the viewer — from a chorus of singers to maidens waiting for their suitors. Beall finds the forms from this carnivorous plant intriguing and elegant, exploring them over and over in her art. The Art Program is pleased to add these delicate forms to its collection.

“Clock- Arrivals Lobby”
By Arturo Sandoval and Aaron Schroeder

In 1996, these two artists from Kentucky and Ohio respectively created a one-of-a-kind installation for the Arrivals Lobby just beyond the main escalators. The mixed media painting by Sandoval combines geometric and biomorphic designs that reference aerial images of land patterns or formations on the Earth as viewed from space. Ten metallic moons are placed throughout the composition referring to humankind’s process of keeping time in relationship to lunar movement and the patterns of stars. The two-part sculptural clock created by Schroeder has six layers. It is composed of steel, Fresnel lenses, motorized parts and timepieces. The abstract design is based on navigational instruments and the laws of space, science and time.

“Olympic Youth Art Project”
By middle school students from Atlanta
Artist mentors: Amalia Amaki, Georgette Baker, Marquetta
Bell-Johnson, and Mona Waterhouse

In 1996, the four professional artist mentors were matched with students from eight local middle schools. Each artist worked at two of the school to create innovative spins on quilts designed to commemorate the Centennial Olympic Games. Each of the four resulting works utilizes the specialty of the artist mentor and the talents of the students they guided. These are currently on display on the corridor leading from the food court to the east wing of E.

East Wing Smoking Room Installation

A permanent installation of ceramic artworks is located in the smoking lounge on the eastern wing of Concourse E in 1996. This exhibit livens up a space that is typically neglected. As a result, the environment is more pleasant for its visitors as they take a quick break.

Works include:

Wesley Andregg, “Mask Man”
Wesley Andregg, “Scuba Man”
Wesley Andregg, “Chemical Man”
James R. Few, “Limb Vessel”
James R. Few, “Bulbs”
James R. Few, “Limb Vessel (2)”
Kay Hwang, “Red Boxes”
Pamela Ross, “Wren and Bamboo”
Denise Tombro, “Heart”
Kerry Wooten, “Untitled”

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