Standing in a gallery space, photographer Sheila Pree Bright is taking in what she calls "moments of meditation."
These moments come in the form of images captured last year with her Leica camera.
There's Falcons fans tailgating, an image of a man barbecuing ribs and wings on a charcoal grill. Another shot shows an Atlanta Hawks fan getting his hair cut at the Swag Shop in State Farm Arena.
Her eyes fixate on the image of an Atlanta United supporter marching before a match against Toronto FC in August 2025. He's got a huge grin, wearing snow goggles and a white headband, using both hands to form an "A." Behind him, a scarf bears the text: "Black history is Atlanta history."
"I think this body of work, even though it's fandom, it's about us," says the Atlanta-based artist known for her series "#1960Now," "Suburbia," "Plastic Bodies," "Young Americans" and "Invisible Empire."
The 59-year-old's work has explored conceptual and documentary spaces. She's documented Black life across hip-hop culture, farming and social demonstrations via candid and portrait photography. She's followed Black Lives Matter protests, has work in the National Museum of African American History and High Museum of Art.
"Footwork: Where We Gather" is a combination of new works in visual conversation with classic images from veteran sports photographer Walter Iooss on display in the John Howett Works on Paper Gallery at the Michael C. Carlos Museum of Emory University. On display through July 19, "Where We Gather" looks at the sense of belonging and community that comes with pro sports.
