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Additional Artworks

From Fulton County Public Art Program

  1. King and Queen, a Strategic Bridge by Allen Peterson, Image 8.

    Allen Peterson

    King and Queen, a Strategic Bridge, 2024

    Weathering steel, historic bridge steel, industrial paint and primer

    100 in (254.0 cm)

  2. Lantern Parade-2 by Maria Artemis, Image 4.

    Maria Artemis

    Lantern Parade-2, 2017

    Photo print on metallic media

    14 x 21 in (35.56 x 53.34 cm)

  3. Kopanong (Caversham - Personal Vocabulary) by Colbert Mashile, Image 2.

    Colbert Mashile

    Kopanong (Caversham - Personal Vocabulary), 2005

    Screenprint

    28 x 14 in (71.12 x 35.56 cm)

  4. LaStreetDay at the Beach VII by Waldo Vinces, Image 1.

    Waldo Vinces

    LaStreetDay at the Beach VII, 2004

    Mixed Media on Paper

    30 x 22 in (76.2 x 55.88 cm)

  5. Kungenzeka (It's Possible) (Caversham - Journey) by Lisa Tuttle, Image 1.

    Lisa Tuttle

    Kungenzeka (It's Possible) (Caversham - Journey), 2002

    Screenprint

    32.68 x 27.56 in (83.01 x 70.0 cm)

  6. Tonya Harrison

    Landscape, 1997

    12 x 16 in (30.48 x 40.64 cm)

  7. Lapis #2 by Heather Stevens Weese, Image 1.

    Heather Stevens Weese

    Lapis #2

    Mixed media on canvas

    26 x 33 x 2.5 in (66.04 x 83.82 x 6.35 cm)

  8. LaStreetDay at the Beach VI by Waldo Vinces, Image 1.

    Waldo Vinces

    LaStreetDay at the Beach VI

    Mixed Media on Paper

    30 x 22 in (76.2 x 55.88 cm)

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About the artist

Peter E. Clarke

South African

d. 2014

In a career spanning six decades, artist, poet, and activist Peter Clarke produced paintings, drawings, and prints that depicted the everyday lives and social and political struggles of South Africa’s marginalized communities under Apartheid. His work has been exhibited in South Africa and abroad; in 2011, he was the subject of a career retrospective at the Standard Bank Gallery in Johannesburg and the Iziko South African National Gallery, Cape Town. Clarke briefly studied at the Michaelis School of Fine Art at the University of Cape Town, but as a so-called “colored” student (the category assigned Black students at the time), he was not allowed to enroll full-time under South Africa’s racial laws. He continued his studies at the Rijksakademie in Amsterdam and the Atelier Nord in Oslo. Clarke’s flattened, angular style drew influence from Mexican muralism, German Expressionism, and Japanese woodcuts, while his interest in foregrounding African heritage and Black contemporary life welcomes comparisons to African American artists like Romare Bearden and Jacob Lawrence.