White Columns Online #36:
tales from the cul-de-sac
curated by Anna Akpele
Francisco Javier Ramirez
American Dreams, 2022
Mixed media; photo transfer, acrylic paint, vinyl print, laser print, color pencil
Dimensions variable
Alyssia White
This Bitter Earth, 2024
Glass, mirror, lead solder, found images, wood frame
14 1/2 × 11 1/2 in.
Amy Ritter
Montray Heights 2, 2020
Photographic Xerox print mounted to OSB plywood panel
41.5 × 69.5 × .5 in.
Sam Tomas Margevicius
Plato’s Cave, 2023
Silver gelatin print, museum board, museum glass, white maple frame
20 × 16 × 1.5 in.
Sam Tomas Margevicius
The Design & Destruction that Caused the Cosmos (A Paradise of Picnic Tables), 2023
Silver gelatin prints, museum acrylic, galvanized steel carriage bolts, pine wood frame
15 × 22 × 1.75 in.
Francisco Javier Ramirez
[broken heart], 2025
Risograph book, 48 pages, soft cover, saddle-stitch binding
6 × 9 in.
Takming Chuang
Tight Fist, 2025
Artist’s c-print from color negative, c. 2000, unfired clay, plastic bag
5.75 × 9.3 × 5 inches
Morgan Ritter
BUGINVENTORYX: Map of time and space through objects in my bedroom, 2024
Colored pencil on paper
15 × 11 in.
Jill Adler
Fruit of His Room, 2022
Screenprint on artist’s handmade paper (made of cotton shirt fiber) with screenprinted handmade paper tag
12.5 × 20.5 × .5 in.
Jill Adler
Change From the Kitchen Table, 2025
Screenprints on handmade flax paper
Dimensions variable
Takming Chuang
My Briefcase, 2025
Artist’s c-prints from color negatives, c. 2002, unfired clay, plastic bag
4.5 × 15 × 8 in.
Amy Ritter
Birch Meadows 1, 2020
Photographic Xerox print mounted to OSB plywood panel
58.5 × 93.5 × .5 in.
Rosalie Smith
One piece at a time, 2022
Everything
Nearly car sized
Morgan Ritter
BUGINVENTORYX SPECIAL DISPLAY: Blueprint Storage Rack 3, 2024
Drawings clipped to clamped pinch-pleated curtains from faith-based resale store on blueprint storage rack
64 × 64 × 27 in.
Rosalie Smith
My Mother’s Last Garden, 2019
Resin, mortar, cement, flowers collected from bouquets sent to the artist’s mother when diagnosed with terminal cancer, through her death
Dimensions variable
Jill Adler
Two L’s, Two T’s, No Middle Name, 2023
Double-sided screenprint on artist’s handmade cotton paper
4.25 × 9.5 in.
Curatorial Statement
tales from the cul-de-sac is an exploration into past realities. a loose mapping of memory. a familiar place that keeps shifting. a cul-de-sac not as an end, but as a return.
rather than presenting a single narrative, tales from the cul-de-sac gathers moments loosely, like stories shared between neighbors or remembered years later. what emerges is a body of work shaped by reflection, recognition, and the ongoing process of making sense of who we were and who we are still becoming.
Anna Akpele is a curator and arts administrator based in Atlanta, Georgia. She holds a BFA in Graphic Design from the Savannah College of Art and Design and has curated exhibitions for spaces like Atlanta Contemporary, Swan Coach House Gallery and The Gallery by Wish. Her curatorial initiative, elsewhere, which examines collaborative and reciprocal models between artists and curators, has been supported by the Nexus Fund, A&E Atlanta, and Idea Capital. In addition to her independent practice, Akpele serves on the team at Dashboard, a creative nonprofit committed to presenting transformative arts experiences in public and nontraditional spaces.
This exhibition is the thirty-sixth in a series of online exhibitions curated exclusively from White Columns’ Curated Artist Registry.
Francisco Javier Ramirez, American Dreams, 2022. Mixed media; photo transfer, acrylic paint, vinyl print, laser print, color pencil, Dimensions variable.
Alyssia White, This Bitter Earth, 2024. Glass, mirror, lead solder, found images, wood frame, 14 1/2 × 11 1/2 in.
Amy Ritter, Montray Heights 2, 2020. Photographic Xerox print mounted to OSB plywood panel, 41.5 × 69.5 × .5 in.
Sam Tomas Margevicius, Plato’s Cave, 2023. Silver gelatin print, museum board, museum glass, white maple frame, 20 × 16 × 1.5 in.
Sam Tomas Margevicius, The Design & Destruction that Caused the Cosmos (A Paradise of Picnic Tables), 2023. Silver gelatin prints, museum acrylic, galvanized steel carriage bolts, pine wood frame, 15 × 22 × 1.75 in.
Francisco Javier Ramirez, [broken heart], 2025. Risograph book, 48 pages, soft cover, saddle-stitch binding, 6 × 9 in.
Takming Chuang, Tight Fist, 2025. Artist’s c-print from color negative, c. 2000, unfired clay, plastic bag,
5.75 × 9.3 × 5 in.
Morgan Ritter, BUGINVENTORYX: Map of time and space through objects in my bedroom, 2024. Colored pencil on paper, 15 × 11 in.
Jill Adler, Fruit of His Room, 2022. Screenprint on artist’s handmade paper (made of cotton shirt fiber) with screenprinted handmade paper tag, 12.5 × 20.5 × .5 in.
Jill Adler, Change From the Kitchen Table, 2025. Screenprints on handmade flax paper, Dimensions variable.
Takming Chuang, My Briefcase, 2025. Artist’s c-prints from color negatives, c. 2002, unfired clay, plastic bag, 4.5 × 15 × 8 in.
Amy Ritter, Birch Meadows 1, 2020.
Photographic Xerox print mounted to OSB plywood panel, 58.5 × 93.5 × .5 in.
Rosalie Smith, One piece at a time, 2022. Everything, Nearly car sized.
Morgan Ritter, BUGINVENTORYX SPECIAL DISPLAY: Blueprint Storage Rack 3, 2024. Drawings clipped to clamped pinch-pleated curtains from faith-based resale store on blueprint storage rack, 64 × 64 × 27 in.
Rosalie Smith, My Mother’s Last Garden, 2019. Resin, mortar, cement, flowers collected from bouquets sent to the artist’s mother when diagnosed with terminal cancer, through her death, Dimensions variable.
Jill Adler, Two L’s, Two T’s, No Middle Name, 2023, Double-sided screenprint on artist’s handmade cotton paper, 4.25 × 9.5 in.
