Interview by Elin Spring
By her own reckoning, Arnika Dawkins “is passionate about connecting collectors to artwork that is significant, inspiring and provocative.” But she is so much more than that. Arnika Dawkins Gallery opened its doors in 2012 in a historic cottage in the thriving Cascade neighborhood of Atlanta, Georgia, and remains one of the few photography galleries in the country owned by a woman of color. Addressing a lamentable omission, Dawkins champions images by African Americans and of African Americans. The Griffin Museum recognized Dawkins’ energetic contributions to the photographic community in 2020 with its Rising Star FOCUS Award. We are excited to share our recent conversation with Arnika Dawkins about her career trajectory, her views on photography today, and her role as guest juror for the Griffin Museum’s 27th Annual Exhibition.
Arnika Dawkins, Owner of Arnika Dawkins Gallery in Atlanta, Georgia (courtesy photo).
How did you become interested in photography? Was there a particular inspiration or experience that led you into it?
I’ve always been a “creative.” I’ve always enjoyed the pursuit of making. From a very young age, growing up in Florida, I saw the women around me – my mother and both of my grandmothers – making things, whether it was macramé, sewing, or ceramics, and I wanted to be like them. Making things brought me a great sense of accomplishment and gratification.
“Grandma and Arnika” courtesy photo.
I became intently interested in photography when I first became a mother. My little ones were my muses; I enjoyed placing them in countless poses and cute scenarios waiting for the perfect snap. Later, I found myself attending weddings and other family events, harboring a strong urge to compose a shot or even assist the photographer in arranging the group! I’m a visual person and see the world in pictures, so that naturally developed into my keen interest in photography.
Arnika Dawkins’ portrait of her children Brandon and Morgan.
Arnika Dawkins’ portrait of her daughter, Paige.
Although I had a corporate America background which evolved into being a stay-at-home mom and volunteer, I gave myself permission to pursue something that I was passionate about and decided to further my education in photography. I attended the Savannah College of Art and Design in Atlanta and fell even more in love with the medium. After receiving my master’s degree, I knew that I had a few options and went through the process of determining what I was going to do with my newly minted degree: be a photographer, work at a gallery, or own a gallery. Working at a local fine art photography gallery, I became mesmerized by talking with collectors and witnessing the process of them building collections, as well as being a bit starstruck talking to the photographers that the gallery represented. I was hooked!
Arnika Dawkins with colleagues at Savannah College of Art and Design (SCAD) Museum.
How do you think your background as a Black woman influences your sensibilities, preferences, and approach to photography?
My aesthetic has a lot to do with my way of collecting art. My husband and I started collecting in the early 1990s while we were living just outside of Manhattan. We would go to galleries and museums in the city, and it’s where we honed our tastes. We were interested in work that spoke to us and reflected our interests. This philosophical approach has extended into how I navigate my gallery’s programming choices and visual aesthetic. I am looking for work that engages my heart and mind and is visually pleasing; this visual gymnastics is very rewarding.
Arnika Dawkins planning an exhibit at her gallery.
Arnika Dawkins Gallery, 4600 Cascade Road, Atlanta, Georgia.
What motivated you to open your own gallery rather than working in someone else’s? What do you see as your special role in the Atlanta photographic community?
I saw a need in the fine art world for imagery of people that looked like me. I am passionate about exposing people to the joys of collecting art and building collections that they can enjoy at home or in their work environment. I wanted to work with people starting to build their collections or desirous of adding to their art collections. This process is endlessly captivating to me. Working with clients, I learn more about them by what they choose to acquire and find that it complements my fascination with the creative and conceptual paths that my artists pursue.
Arnika Dawkins behind the lens at the opening reception for Dreaming Identities, an exhibition that Deborah Willis curated for her gallery during the Atlanta Celebrates Photography Festival in 2013.
Arnika Dawkins with Gallery Director Rebecca Morgan and artist Ervin A. Johnson at the opening reception for his solo show #InHonor Variations, on view during the 2019 Atlanta Celebrates Photography Festival.
Atlanta is such a photography town! Annually, the city’s art galleries, institutions, and organizations participate in the Atlanta Celebrates Photography Festival, the largest photo festival of its kind in the nation. I am gratified that Arnika Dawkins Gallery contributes to such a robust community and see the gallery’s role as supporting artists, both locally and nationally.
Arnika Dawkins with gallery staff in 2020.
Please describe an ideal day for you. Is there a particular activity from which you derive the most joy and satisfaction?
I pinch myself that I get to do this, that the artists trust me to show their work to a broader audience and that the collectors value my aesthetic and conceptual choices. No two days are quite the same, but it is always a thrill to focus on photography, the medium of our time! With the billions of images flying across the world every few seconds, I relish the opportunity to pause and reflect on the concepts that our photographers are exploring and the visual dialogue that occurs. I derive great joy from engaging my eyes, heart, and mind when looking at work, feeling something by viewing it, making plans to show work, and interacting with our clients. As you might imagine in running a commercial art gallery, an exciting part of the day is selling work and building collections!
Installation view of Arnika Dawkins Gallery during an exhibition of work by Ervin A. Johnson.
Do you think that juried shows like the Griffin Annual Juried Exhibition are the best way for an emerging photographer to be recognized today?
Absolutely! Juried exhibitions like the Griffin’s are an excellent way for emerging photographers to be recognized for their artistic endeavors, allowing artists to show their work, build their exhibition history, and to network with others in the art world.
“An Offering” 2020, by Tokie Taylor, the 2021 Arthur Griffin Legacy Award winner.
At once wise and innocent, Tokie Taylor’s An Offering possesses nuanced layers that symbolically represent beauty, youth and hope for a better future.
“Rayanne’s Dream” 2013, by Ralph Mercer, the 2021 Griffin Award winner.
Rayanne’s Dream by Ralph Mercer is a stunning portrait that conveys ethereal beauty and transports us to a quiet and pensive place.
How do you think the photographers you selected for the 2021 Griffin Annual Juried Exhibition fulfilled your vision for the show?
I titled this exhibition Beauty as Refuge. In it, I envisioned a visual refuge from the current volatile times we live in, the global pandemic, and suffering. This exhibition provides a chorus of images that come together to provide the respite that we need to reflect, to consume striking beauty amid the hectic and frenetic world. In considering the compilation of submissions, I experienced a visual dialog that took me on a journey—a journey of humanity, a microcosm of our place in the world. The images I selected exude beauty, strength, and an acknowledgment that we were here, while asking how we fit in the world, in the environment, and with each other. Together, they reinforce the view that we can find beauty in the unexpected and find solace in our hope for the future. The Award winners and Honorable Mentions visualized these ideas in especially resonant ways for me.
“Part of You” 2018, by Olga Merrill, Honorable Mention.
I was drawn to the texture and tone of Olga Merrill’s Part of You, conveying masculine beauty in a subtle yet powerful way.
“Water Like Ballerinas 04” 2017, by Nadine Levin, Honorable Mention.
The dynamic beauty of Nadine Levin’s Water Like Ballerina 04 expresses the interesting juxtaposition of a ‘reflection’ of ourselves in youthful beauty a bit obscured by the texture of image capture; we are faced with a metaphorical dance of life.
“Wall of Windows” 2021, by Steven Edson, Honorable Mention.
Steven Edson’s Wall of Windows, an excellent choice for Beauty as Refuge, conjures tranquil beauty and a moment to pause in our hectic and often time frenetic world, with the pensive figure facing the world and an uncertain future.
“Through the Mist” 2020, by Donna Tramontozzi, Honorable Mention.
The fantastical image Through the Mist by Donna Tramontozzi conjures a place for us to imagine with wild abandon, in a composition that visually engages on many levels.
“Iaritza and the Porcelain Berries” 2021, by Meg Birnbaum, Honorable Mention.
Iaritza and the Porcelain Berries by Meg Birnbaum offers a refuge in lush beauty, its greens symbolizing personal growth, renewal and immortality.
What qualities in a photographer and their work attract your interest? What advice about gallery representation would you give to an emerging photographer today?
What I show at the gallery is work that I would collect, work that moves me and engages my mind, heart and eyes. Provided that the work is technically proficient, artistically sound, and conceptually astute, I am attracted to artists who are professional about the business of their work. That means having a strong commitment to their craft along with a dedication to conveying the intention behind their work so that it engages the viewer in a visual dialog when they are not there in person to discuss it.
Arnika Dawkins at AIPAD The Photography Show in NYC, 2018.
I advise emerging artists to network in the fine art world to find the audience for their work. There are so many who see the word “gallery” and seek representation and, as an artist myself, I understand that compulsion. I would, however, urge emerging photographers to do their homework and due diligence, to research and fully understand what the gallery’s submission policy is, resist cold calling, participate in juried competitions, attend portfolio reviews, engage with local arts institutions, and develop their work until it is “cooked.”
Feature Image: Arnika Dawkins with Ervin A. Jonson and guests at his exhibition #InHonor Monoliths in 2019.
In this highly polarized cultural moment, what about photography do you find most inspiring?
I am inspired by what it is the artist has to say with their work, and why it is they would expect anyone to stop and look at it. I am excited by work being created today that will be a reflection on our time in the future, a visual commentary on society. I believe that artists possess an elevated level of sensitivity and am fascinated by the ways they train their lens on subjects to impart fresh perspectives.
To read our review of the Griffin Museum’s 27th Annual Juried Exhibition, go to: https://www.whatwillyouremember.com/beauty-as-refuge-27th-juried-exhibition-at-the-griffin-museum-of-photography-winchester-ma/
To learn more about Arnika Dawkins Gallery, go to: https://adawkinsgallery.com/the-gallery/
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