Select Press and Media Interactions. 


2016

Mar 28, 2016 - Review: #BuyNathanSharratt vs. #StealNathanSharratt — art as action and reaction - ArtsATL by Angela Bortone

"In his attempt to “excavate the liminal space between the artist as a unique individual, and the artist as a branded commodity,” he fails to communicate much more than self-aggrandizement and his own business interests."


April 5, 2016 - Feature: Three Takes on Nathan Sharratt-gate by BURNAWAY Staff

"The shameless dickishness and unapologetic shilling of the character he plays in the context of 'Buy Nathan Sharratt' thus seems sadly familiar and ineluctably American. Now it’s up to his fellow artists to recognize aspects of their problematic selves in this disco-ball of a show’s razor-edged facets." Ed Hall


"Typically, those who have seen it as their prerogative to remove errant work from exhibitions have claimed their actions are justified by some long-standing historical wrong or broad societal problem. Taking an artist’s work from a gallery is still a terrible means of engaging with the art even if the historical wrong used to justify it is genuine. Moreover, real oppression and historical suffering can easily be belittled if they’re used to justify petty or self-aggrandizing acts." Andrew Alexander


"The show 'BuyNathanSharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University,' at GSU’s Welch Gallery was an opulently ironic thesis exhibition for which the titular artist absorbed all the political nonsense of both the art world and academia and regurgitated it in a performative display in which every single detail pokes fun at institutional bullshit." Matthew Terrell


April 13, 2016 - Q & A :Nathan Sharratt Talks by Matthew Terrell 

"The most interesting part of this entire story is how it plays out like a meta-reality novel taking place in real life, online, and in the gallery. Every aspect of Nathan Sharratt’s show reflected the institutional absurdity of being a contemporary artist — even the takedown critique of the show by Lumumba reflects the absurd aspects of Internet vigilantism. I doubt this experience will hurt Nathan Sharratt’s career very much, because it seems like his work forces people to respond in a way that is quite novel. This whole thing is just a pissing contest in the wind, and when it’s over nobody’s going to be the winner."

2015

March 2, 2015 - Feature: HLN Commissions Data-driven Artworks for CNN Center - Burnaway.org by Matthew Terrell 

"The piece #nicehashtag by Nathan Sharratt completely nails the concept of 'data driven' artwork, and is an excellent example of how art can transform conceptual into representational."


September 9, 2015 - Feature: 5 x 7: Michi, Lucha, Nathan, Katie, and Pete by BURNAWAY Staff


January 14, 2015 - Take a tour of HLN's data-driven art installations - HLN give a tour of commissioned installations


2014

April 9, 2014 - Q & A with artist Nathan Sharratt - CommonCreativeATL by Taylor Green

"[A]rtist Nathan Sharratt embodies some of the most useful and powerful qualities of a transformative contemporary artist, the traditional breaker of those chains of perception. His work tackles questions of inner and displayed identity and its maintenance, the gaps between biological reality and societal expectation, the role of the artist-critic and the citizen in a digital, censored, and cross-media world, and most of the other questions your mom warned you to leave under the rug."


March 5, 2014 - Nathan Sharratt Translates at The Contemporary - WABE NPR Segment by Myke Johns


February 17, 2014 - Lost In Translation at the Atlanta Contemporary - BURNAWAY by Sherri Caudell

"After reading Mary Shelley’s Frankenstein, Sharratt was inspired to view his studio as a laboratory of sorts, to try to create “new information systems” using 3-D modeling software and inkjet plotters. What’s presented, however, is a huge selfie of the artist, Bathroom Selfie In Sugar and Spice and Also Ants, a composition of paper strips and pixel-like candy dots that could possibly be the next design for an Urban Outfitters T-shirt. My interest was not piqued by any technological savvy, such as a 3D print of a hand on the floor, or by the inclusion of text from Shelley’s book, which was applied to the wall but then obscured by unintelligible vinyl lettering and Sharratt’s own scrawl. I was told that this installation would be ever-changing, with the artist adding and taking away pieces throughout the show’s run."


February 3, 2014 - Review: Eight artists, in the Contemporary’s “Coloring” and “In Translation,” take a multitude of creative paths - ArtsATL by Dinah McClintock

"Mary Shelley’s 1816 novel Frankenstein provided Nathan Sharratt with a model for the artist’s studio as a laboratory and the artist as “creator.” [...] this work translates potential, and choices that we make as we go through our lives, into tangible creations."

Listen to an audio statement by Sharratt here.


January 29, 2014 - unmonumentATL: Nathan Sharratt - BURNAWAY by Nathan Sharratt


2013

October 4, 2013 - Artists Create NeverWet Graffiti That Can Only Be Seen in the Rain, Advertising won't be far behind - AdWeek by David Kiefaber


September 20, 2013 - You Can Only See This Amazing Invisible Graffiti When It Rains - The Atlantic: CityLab by Jennie Xie

"Atlanta-based artist Nathan Sharratt had been exploring the idea of rain drawings ever since he saw a video about superhydrophobic coatings over a year ago."


September 19, 2013 - Magical NeverWet Street Art Only Appears When It Rains - Gizmodo by Adam Clark Estes


January 4, 2013 - The year in review: Our critics’ picks for best Atlanta art exhibits of 2012 - ArtsATL by Lilly Lampe

"'Come Inside Me.' Nathan Sharratt took over a vacant house near Turner Field to explore ideas of family and the home in ways that were deeply personal, provocative and often perverse. The combination was unusually political and conceptual for Atlanta. Showcasing a young new artist in this fashion proved that Beth Malone and Courtney Hammond of Dashboard Co-op are curators to watch. I’m excited to see more of Dashboard Co-op’s work in 2013, as well as continued in-depth explorations of concept by Sharratt. L.L."


2012

December 28, 2012 - Smorgasbord of art reflects Kai Lin Gallery’s far-ranging tastes - The Atlanta Journal-Constitution by Felicia Feaster

"[...]the more conceptually minded artist Nathan Sharratt licks his chops over snarky visual jokes like crafting the “poetry” of Sir Mix-a-Lot’s hip hop lyrics into a sensuous spinal column in keeping with the musician’s song “Baby Got Back.”


December 20, 2012 - 2012 Arts Year in Review: Creativity, ambition trumped economy in season of astonishing shows - The Atlanta Journal-Constitution by Felicia Feaster

"Established galleries hung tight in a tough economic climate, but plenty of independent curatorial ventures such as Dashboard Co-Op continued to stage inventive, provocative shows in unusual spaces, including Nathan Sharratt’s navel-gazing solo show about his own life installed in a Peoplestown shotgun house."


December, 2012 - The Atlantan Arts & Power Issue - "Dealer's Choice" by Kate Abney, page 77

Selected as an artist to watch in 2013 by gallerist Barbara Archer

"High Style - The High Museum itself recently acquired one of Nathan Sharratt's conceptual, extended-media works. The artist plays with pop culture and textuality, while addressing self-exploration and reflection that is "both profound and vulnerable," says Archer. The museum acquired two of Sharratt's works earlier this year."


September 2012 - Best of Atlanta 2012 - Creative Loafing Atlanta

Best Local Trend In The Arts: Immersive Art Exhibits

Dashboard Co-Op, Beep Beep Gallery, Get This! Gallery

"Dashboard Co-op curated Nathan Sharratt's Come. Inside Me., a compelling performance-based installation about family, home, sense memory, and the circle of life. [...] the risk-taking paid off to create some of the year's most spectacular and transportive experiences."


July 25, 2012 - Nathan Sharratt says Come Inside. Me. - Creative Loafing Atlanta by Debbie Michaud

"Come Inside. Me. offers a transportive experience, as if stepping through the wardrobe into a kind of American working-class Narnia."


July 20, 2012 - Review: Nathan Sharratt takes over a house to pay homage to his family, “warts and all” - ArtsATL by Stephanie Cash

"Like A.A. Bronson’s haunting portrait of an emaciated Felix Partz taken a few hours after he died of AIDS, the video is heart-rending (and arguably a bit exploitative), discomforting in its familiarity for some of us and serving as a memento mori for all of us."


July 13, 2012 - Review: Engaging “Talent Loves Company” brings together work by 50 emerging Atlanta artists - ArtsATL by Stephanie Cash

"Some artists had more than one cheerleader, such as Nathan Sharratt, who was recommended by both the ubiquitous Louis Corrigan, founder of Possible Futures and Flux Projects, and Romy Aura Maloon of Dashboard Co-Op [edit: also Michael Rooks, Wieland Family Curator of Modern and Contemporary Art, High Museum of Art]. Sharratt’s four portrait drawings are copies of local artist Nikita Gale’s copies of drawings by Andy Warhol."


February 2, 2012 - Be a blood brother with Nathan Sharratt by Wyatt Williams - Creative Loafing Atlanta


January 20, 2012 - Pangea at Beep Beep Gallery Calls for a New Generation of Arts Critics by Jerry Cullum - Burnaway

"Nathan Sharratt’s twenty-first-century update of 1980s text-based postmodern irony seemingly makes him the odd man out in this exhibition, except insofar as his quotations reproduced in stainless-steel plaques reveal the underlying patterns of contemporary media and the kinds of condensed confessions we have come to expect as the headlines on tabloids or the crawl on daytime TV shows."


2011

September 7, 2011 - Nathan Sharratt Wants To Be Your Blood Brother At Elevate by Casey Lynch - Burnaway

"[...]the best art requires that an artist put his or her desires into the work, giving the viewer a rest from the gaze by revealing that the artist is vulnerable as well. Art that is created this way presents an image that shows itself as such. In understanding that the image is a veil to be looked beyond, we are relieved, feeling that we have seen something more real. We, in turn, also feel more real. In Be My Blood Brother, this scenario plays out perfectly."


2009

May 11, 2009 - Photo Tour: A Series of Controlled Environments by Ben Grad - Burnaway


Interviews:

December 7, 2012 - Spotlight On: Nathan Sharratt by Envelope Atlanta


July 26, 2012 - Dashboard Co-op Brings Art to Unexpected Spaces - WABE NPR interview by Kate Sweeny"

WABE’s Kate Sweeney paid a visit to Dashboard Co-op’s most recent show [Come Inside. Me. by Nathan Sharratt] to take a look."


August 2011 - Dashboard Co-Op Interview by Beth Malone


October 4, 2011 - AM1690 ARTSpeak: Dashboard Co-Op's Edgewood Art Walk with Nathan Sharratt and Henry Detweiler by Jeremy Abernathy

Episode 38: Jeremy Abernathy speaks with artists Nathan Sharratt and Henry Detweiler about Dashboard Co-op‘s Ground Floor, a one-night art stroll and exhibition of eight artists[...]


Miscellaneous: 

Bioshock 2 Big Sister Costume Project Bleep Bloop Interview at Georgia Aquarium by College Humor


Bibliography


Thesis 

Master of Fine Arts, Georgia State University - Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University / July, 2016


ArtsATL
Last chance: Katherine Behar meditates on tangled relationship to technology in “E-waste” at Eyedrum by Nathan Sharratt / April 30, 2015

Review: Ambitious, multimedia “Pause” keeps eye and mind moving, at Zuckerman Museum by Nathan Sharratt / April 15, 2015


BURNAWAY

Art Review: ATLBNL: A Crowdsourced Review by Various authors / September 20, 2016

unmonumentATL: Nathan Sharratt by Nathan Sharratt / January 29, 2014

© 2015 Nathan Sharratt
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