Presenting Over Fifty Artists in Venues Throughout the City
Showcasing New Orleans'
Contemporary Art Scene
New Orleans, LA, September 8, 2010—As part of its mission to present and promote the art and artists of New Orleans, U.S. Biennial will present Prospect.1.5 New Orleans, a fifteen-week program of exhibitions, symposiums, and public events taking place November, 6, 2010 through February 19, 2011.
Prospect.1.5 will highlight the contemporary art scene in the city,
with over fifty artists presenting work in thirteen venues throughout
the New Orleans metropolitan area.
Prospect.1.5 will also
serve as a preview to Prospect.2 New Orleans, the next edition of the
international biennial, which will take place October 22, 2011 through
January 29, 2012. Several Prospect.1.5 venues will also host exhibitions
for Prospect.2, and many of the world's most promising and/or
recognized local, national and international artists will be visiting
New Orleans during Prospect.1.5 in advance of developing major new
projects to be premiered at Prospect.2.
Along with artists
born and still working in New Orleans, approximately one-third of
Prospect.1.5's participants are native New Orleanians who have since
moved away, several of whom will be exhibiting in their hometown for the
first time through Prospect.1.5. In addition, the exhibition program
will showcase the latest generation of young artists who have adopted
New Orleans as their home, many moving to the city since Hurricane
Katrina five years ago. With the world's focus once again on the Gulf
region following this summer's devastating oil spill, Prospect.1.5 calls
attention to the significance – and vibrancy – of New Orleans' arts
The Prospect.1.5 programming will kick off on November 6 with a night of openings in the Julia Street gallery district culminating with Tableau Vivant: A Wandering Retrospective, organized
byNew Orleans Airlift.Members of the New Orleans Society for Tableau
Vivant will perform a selection of "tableau vivants," bringing historic
events, popular mythologies, and famous works of art to life atop a
flatbed truck as it travels down the street. The following day, November 7
, visiting artist Jess Nissen will mount a performance that will
encourage community involvement in a sound-based work of art at Wesley
United Methodist Church, a future Prospect.2 venue. The project is the
first in a series organized by the Central City Artist Project to
coincide with Prospect.1.5.
Accompanying the openings of the St. Claude Arts District on November 13, a two-night Open Studios eventwill take place the following weekend, November 13 and 14.
Organized by the Entergy Innovation Center and Open Studio Artist
Collective in collaboration with Prospect New Orleans, artists in the
Marigny, Bywater, and St. Claude neighborhoods will open up their
working spaces for public visits.
Exhibition highlights include Fresh Off the Turnip Truck at
the Louisiana State Museum's Madame John's Legacy, an 18th-century
building in the French Quarter, showcasing the work of eight young
artists who have recently moved to New Orleans. The exhibition will
juxtapose some of the city's newest talents with a historic setting: one
of a handful of Creole buildings remaining in New Orleans. The site
will also serve as a venue for Prospect.2 next year.
The Angola Project,
organized in collaboration with the Mahalia Jackson Center's Early
Childhood & Family Learning Foundation in Central City, takes its
name from Angola State Penitentiary. Artworks by Angola prisoners will
be exhibited alongside those of Prospect New Orleans artists, exploring
themes of hope, reconciliation, and dignity as well as stigma and
violence. A symposium featuring the artists and representatives of the
legal groups The Innocence Project and Resurrection after Exoneration
will accompany the exhibition, along with talks and workshops in
Other Prospect.1.5 collaborations with local educational centers include Everyday Hybrid, an exhibition at Isaac Delgado Fine Art Gallery of Delgado Community College, and A Second of Your Time at
Ken Kirschman Artspace of NOCCA Institute|Riverfront. In conjunction
with local universities, Prospect.1.5 will launch a pilot program, the
Critical Writing Initiative (CWI), introducing critical writing into the
curriculum of arts programs at Loyola University, University of New
Orleans, Dillard University, and Xavier Universities. The CWI will be
expanded during Prospect.2 to additional colleges and universities, as
well as area high schools.
Prospect.1.5 also showcases the
city's growing and vital gallery scene. Several major New Orleans
galleries will open their doors to present Prospect.1.5 exhibitions,
including: Arthur Roger Gallery, Good Children Gallery, Heriard Cimino
Gallery, Jonathan Ferrara Gallery, Lemieux Gallery, M. Francis Gallery,
and Octavia Art Gallery.
Note: A full list of Prospect.1.5 New Orleans exhibitions is available here.
About Prospect New Orleans
in 2008 by Dan Cameron, Prospect New Orleans is the largest biennials
of international contemporary art in the United States. Conceived in the
tradition of the great international biennials, such as the Venice
Biennale and the Bienal de São Paulo, Prospect New Orleansshowcases new
artistic practices from around the world in a setting that is both
historic and culturally unique, and contributes to the revitalization of
New Orleans by spurring tourism and bringing international attention to
the city's vibrant visual arts community.
Orleans is founded on the principle that art engenders social progress.
It is organized by U.S. Biennial, Inc., a 501(c)(3) non-profit art
organization that launched in January 2007 in order to realize
Funding Organizations and Donors
Prospect New Orleans has been made possible by the support of Founding Benefactor Toby Devan Lewis
. Additional funding has been generously provided by the Board of
Directors of U.S. Biennial as well as from foundations, corporations,
domestic and foreign government agencies, and hundreds of individual
donors. Past and present funders include: The Annenberg Foundation,
Lambent Foundation Fund of the Tides Foundation, The Andy Warhol
Foundation for the Visual Arts, The Rockefeller Foundation, The Brown
Foundation, The Prudential Foundation, The RosaMary Foundation,
Bloomberg, Whitney National Bank, Etant Donne, the Heymann Fund,
Iberiabank, Agnes Gund, Virginia Lyons Speed, and The Prospectors Club,
among others. Local support has been provided by the State of Louisiana
Department of Culture, Recreation & Tourism, as well as the New
Orleans Tourism Marketing Corporation, New Orleans Metropolitan
Convention & Visitors Bureau, and the Downtown Development District.
All contributions to U.S. Biennial are tax deductible to the full extent of the law. To
(Jackson, Miss.)…..Back by popular demand, Art by Choice opens at the Mississippi Museum of Art Saturday, August 14, and runs through Sunday, September 12, 2010. Presented in collaboration with the Museum's New Collectors Club, Art by Choice is an exhibition of artworks available for purchase through sale and auction to benefit the Museum.
Members of the Museum staff and the New Collectors Club have gathered a variety of works by artists associated with Mississippi as well as works from galleries in New York, Boston, New Orleans, and Memphis for inclusion in the exhibition. Participating galleries include Arthur Roger Gallery, New Orleans, La.; Childs Gallery, Boston, Mass.; David Lusk Gallery, Memphis, Tenn.; Hirschl & Adler Modern, New York, N. Y.; Jonathan Ferrara Gallery, New Orleans, La.; and Spanierman Gallery, New York, N. Y.
Items for sale include works by national, regional, and local artists. The list includes, among many others, Jere Allen, Vidal Blankenstein, Andrew Bucci, Charles Carraway, Dale Chihuly, Carroll Cloar, Claudia DeMonte, Roland Freeman, Rolland Golden, Simon Gunning, David Lambert, Bertha Lum, Ed McGowin, Greely Myatt, Euphus Ruth, Jr., Shearwater Pottery, Mary Sims, Sidonie Villere, and Carlyle Wolfe. Sale prices start at $100. All of the artwork can be viewed in the Art by Choice exhibition, which will be displayed in The Donna and Jim Barksdale Galleries for Changing Exhibitions.
According to Steven Chevalier, president of the New Collectors Club, Art by Choice offers everyone an opportunity to purchase art. "More than 100 works of art are available that run the gamut in price, subject and medium, including art glass for the first time in many years. I would urge anyone interested in starting an art collection or adding to an established one to consider these pieces."
The night of Saturday, August 28, marks the first opportunity for individuals to buy artwork. Artby Choice Sale and Auction begins with cocktails and hors d'oeuvres at 5:30 p.m. followed by a guided tour of the exhibition at 6:00 p.m., led by the Museum's Deputy Director for Programs, Dan Piersol. The sale opens at 6:30 p.m., with the live auction beginning at 8:00 p.m. in the Museum's Trustmark Grand Hall. The auction features a private, commissioned portrait by Marshall Bouldin III as well as works by Jason Bouldin, William Dunlap, William Hollingsworth, Marie Hull, Fred Mitchell, Leo Blake, Norma Sanders Bourdeaux, Félix Bracquemond, Dale Chihuly, Caroline Compton, Jasmina Danowski, Ke Francis, Philip R. Jackson, Jeffrey Ripple, Euphus Ruth, Jr., and Benton Spruance.
Art by Choice Sale and Auction is open to the public with an admission fee of $50 per person. Reservations are requested by the Museum. Admission fees will also be taken at the door on the evening of the event. To make reservations to attend Art by Choice Sale and Auction, or for more information about the exhibition, sale and auction, call the Museum at 601-960-1515 or 1-800-VIEW ART (843-9278). Information about Art by Choice is also available on the Museum's website at www.msmuseum.org.
After August 28, the artwork in Art by Choice will be available for purchase by appointment during regular Museum hours. The final chance to buy art is Saturday, September 11, 2:00 – 7:00 p.m. Museum staff members are scheduled to be on hand that day to offer information about the art and to transact sales.
The New Collectors Club is a Museum support group which was formed to encourage new collectors and to stimulate interest in art. The group includes individuals who are new to collecting art as well as those who have been collecting for a lifetime. Club membership is open to all Museum members. For more information about the New Collectors Club, contact Beth Batton at 601-960-1515, 1-800-VIEW ART (843-9278), or email at firstname.lastname@example.org.
Entering the heavy glass door of the Steven Kasher Gallery in Chelsea, gallerygoers encountered an odd sense of déjà vu as they saw familiar albeit altered images. Viewers slowly came to understand the contemporary photographs on the wall were reworked, reconfigured and manipulated versions of past pictures.
Introducing “Inspired,” a show dedicated to iconic photographs re-imagined by nearly 50 contemporary photographers. Wednesday evening over 400 people packed into the gallery and overflowed onto 23rd Street to catch a glimpse of opening night.
“We make original thoughts from things in our brains, things we’ve already seen,” said Beth Rudin DeWoody, the curator and creator of the show. “These artists are seeing it in a different way, from a new angle.”
DeWoody contrasted emerging artists with older, more established photographers, purposefully creating an exhibition that toys with a variety of mediums and varies in price.
Ranging from Liz Magic Lazer’s “Faced #8,” a digital C-print inspired by Cindy Sherman’s “Untitled Film Still #21” for $1,100 to Meghan Boody’s “Guard! What Place is This?,” a framed Fujiflex that reinvents Ruth Orkin’s “An American Girl in Italy” for $15,000, each photograph tells a very purposeful story.
“My photograph is a more gothic, romantic version of Orkin’s piece. It’s almost vampiric in the story it tells of a woman lost,” said Boody, looking out behind blue-framed shaded lenses. “Will she make her way or pick the wrong male?”
Appearing in her first show, 20-year-old Chase Koopersmith could barely contain her excitement. Based in Los Angeles, Koopersmith flew out for the opening, her blonde ringlet curls bouncing as she described her feelings on the “Don’t Ask, Don’t Tell” policy, the launching point for one of her two pieces in the show, a photo transfer to wood entitled “Hush, Hush.”
Inspired by Joe Rosenthal’s “Raising the Flag on Iwo Jima, February 1945,” Koopersmith’s piece takes the familiar pose and substitutes four drag queens and a rainbow-colored flag. Staying true to the photographic process, the graduate student used digital technology but introduced another element.
“There was something lacking,” Koopersmith said. “There has to be a human factor. I introduced chance, human flaws. The image didn’t transfer perfectly, but part of it did; that’s the art.”
A common theme strung the pieces together: family. Many of the artists included significant others throughout their work positing them as models, like Boody’s usage of her boyfriend. DeWoody’s daughter was featured, both as an artist and a model in the show. Friends photographed friends, many of whom came to the opening.
Versed in the careers of many of the artists in “Inspired,” Kasher capitalized on his knowledge of these relationships, purposefully hanging the show in a manner to further evoke these emotions.
“I found the emotional center of each piece and made sure the pieces around it supported the emotion,” explained Kasher, who wore tennis shoes, jeans and a tailored black blazer. “It’s a crazy idea, a fun idea. All in all it’s a crazy juxtaposition of fun, freaky moments.”
Other artists featured include Eric Kroll, Alexandra Penney, Lyle Ashton Harris and Erica Lennard.
The show runs until August 13 and can be viewed Tuesday thru Saturday, 11 am – 6 pm.
Last night we went to the VIP reception for Remember the Upstairs Lounge. The West Harlem Art Fund is partnering with No Longer Empty for an exhibition in East Harlem at the Tapestry Building this June. So, we went and got to meet the artist and his gallerist. Talking with the artist was good because we focused on New Orleans and its cultural traditions. I think we learned more about the artist from that intense conversation than the formal talk. I like New Orleans. We talked about Louie Armstrong, the Zulu parades, food and the mix of people there. Great city with many contraditions. And the exhibition spotlighted those contraditions because it's about a gay club that was destroyed by arson and seventy five people died. Very much like Happyland in NYC. One door in and out. But New Orleans is uncomfortable talking about its gay underground scene. Just like it's hard for them to talk about race, poverty and other intolerances. I preferred the recreation of the lounge which actually took me to the place. The larger white box space was more modern and as the curator Dan Cameron shared, it offered a fantasy space to interpret the history that took place. I would strongly suggest if anyone goes to the exhibit, try and meet the artist.
April 14, 2010 (New Orleans, LA) Jonathan Ferrara Gallery is pleased to present new works by artist Paul Villinski in his solo exhibitionGlidepath. The exhibition explores the serene act of flight through a delicate meditation on found objects. Illuminating Villinski's tendency towards the metamorphosis of tattered materials into evocative forms, Glidepath's narrative of flight ebbs and flows from the explosive energy of birds made from LP records through the sinuous streams of blue flashe-painted butterflies crafted from found aluminum cans.
Of his recycled forms, Villinski says "I am drawn to humble, yet evocative materials; in this case, crushed aluminum cans from the streets of New York - every one of them once raised to someone's lips. My process of "recycling" them into images of butterflies is a quiet physical meditation, a yoga of tin snips and files and fingers…they want to gather into a certain shape, or fly off on a particular tangent, and I let them. They function both as marks in these abstract, three-dimensional "paintings," and as actors in curious narratives."
In Glidepath, the energy of flight is harnessed in works like Diaspora, which travels to New Orleans after making its debut in Never Can Say Goodbye, a site-specific installation at the former Tower Records in New York City presented by No Longer Empty. Emanating from hand-crafted boxes made from discarded album covers, over 130 birds radiate outwards, each with its unique identity headed to an unspecified destination. Villinski then revisits his signature form of the butterfly, which embraces a quirky, magic-realist quality that reverberates in their scattered pathways through found objects including an old tank driver's helmet in Wreath, a vintage flight suit in Vessel (for Amelia), a rustic glider instrument panel in Marker, dancing alight through works like On Final (for St. Ex), and pausing for reflection among works like Idyll, an antique French easel awash with butterflies. These ethereal compositions implicitly evoke the lurid beauty of the past and the act of transformation.
Paul Villinski (born York, Maine, 1960) has lived and worked in New York City since 1982. Villinski's work has been included in more than ninety exhibitions, including Prospect.1 Biennial (LA) Rice University Art Gallery (TX, Ballroom Marfa (TX), The Hillwood Art Museum (NY), the Ogunquit Museum of American Art (ME), Carnegie Mellon University (PA), Arkansas State University, the University of Wyoming Art Museum, Wesleyan University and Jonathan Ferrara Gallery (New Orleans) and Morgan Lehman Gallery (NYC). He has been a recipient of a National Endowment for the Arts grant, and has been an Artist-in-Residence at the Millay Colony (NY), the Ucross Foundation (WY), the Djerassi Foundation (CA) and the Villa Montalvo Arts Center (CA). He taught as an Adjunct Lecturer in Art History at the CUNY LaGuardia Community College.
His work is in numerous collections including Fidelity Investments, Microsoft, New Orleans Museum of Art, Progressive Insurance, Virginia Museum of Art and The Museum of Arts and Design. Villinski has been reviewed and featured in numerous publications including ARTnews, Art In America, Artforum, Elle Italy, Metropolitan Home, Traditional Home, Pittsburgh Tribune-Review, Sculpture Magazine, The Art Newspaper, The Houston Chronicle, The International Herald Tribune, The Los Angeles Times, The New York Sun, The New York Times, The Times-Picayune, The Village Voice, The Wall Street Journal, The Washington Post.
Jonathan Ferrara Gallery
Jonathan Ferrara Gallery is a collective environment of creative visions. A commercial gallery with a public conscience. Artist, activist, and entrepreneur Jonathan Ferrara opened the gallery in 1998 to give artists a greater voice. Since its inception, the gallery has focused on cutting edge works by local, national and international artists with a sense of purpose, mission, and message.
The exhibition is on view from April 23 through May 31, 2010 with an opening reception on Saturday May 1st from 6-9pm.
Clear evidence of renewed confidence at VOLTA NY 2010
Mar 31, 2010
VOLTA NY 2010 got off to a blisteringly good start on Thursday , March
4th, with a record registered first-day attendance of 5,000; by Sunday,
March 7th, that figure had risen to almost 20,000, up from last year.
Demonstratively strong sales, which reached over the 3 million dollar
mark by closing, as reported by VOLTA NY's 84 exhibitors, was a keen
reflection of renewed collector confidence in the contemporary
emerging art market.
This year's eclectic new talent at VOLTA
NY has elicited considerable interest, including the salon-style
presentation of Moldavian artist Alexander Tinei (VOGES Gallery,
Frankfurt /Ana Cristea Gallery, NY) with his entire presentation sold
into important private and public collections in both the U.S. and
Europe (prices raged from $7,600 – $12,000). Visitors and
institutions alike—such as the Smart Museum (Chicago) and the Liverpool
Biennial—were stopped in their tracks by Jonathan Ferrara Gallery's (New
Orleans) arresting installation of Skylar Fein's work, two of whose
major pieces, Gun Rack and Black Flag (Marcuse), were promptly
acquisitioned by major private collections for $20,000 and $40,000
The robust spending didn't stop there. By
mid-afternoon of opening day all the Oscar de las Flores drawings at
Katherine Mulherin Contemporary (Toronto/Los Angeles) were sold out
(prices ranged from $5,400 to $18,000), some going to a private
collection in Basel, and Paul Pretzer's disturbing but intriguing
oil paintings at Hamish Morrison Galerie (Berlin) were a sell-out, with
the Rubell family acquiring more for their existing collection; samsøn
(Boston) sold six Todd Pavlisko drawings, one to collector Mike De
Paola, which went for $4,000 - $9,000, while determined interest was
expressed for his arresting video work and his table sculpture Still
Life sold for $40,000. Meanwhile, FAS (London) sold a range of paintings
and a sculpture by Steve Goddard ($38,000-$40,000) in addition to
holding numerous remaining works on reserve, Eleven Gallery (London)
sold all three Ben Turnball "New York" pieces—comic book collages of the
NYFD and PD—selling at $30,000, while over at Dorsch Gallery (Miami)
Richard Haden's trompe l'oeil sculptures—seemingly beat-up quotidian objects made of precious materials—were the visitors' favorite, with
the rusty fire extinguisher Distinguishable going for $10,000, and
Baggage, a piece of solid mahogany masquerading as a dented metal
suitcase, being snapped up by Beth Rudin de Woody for $16,000.
VOLTA NY was also excited to see other heavy-weight collectors—such as
Paige West (Philadelphia), Mark and Livia Straus (Hudson Valley Center
of Contemporary Art), Patricia Vargas (Buenos Aires), Robert Harshorn
Shimshak (San Francisco), father/son team John and Stuart Evans
(London), Phillip and Shelley Aarons, Francis van Hornegger (Bruges),
Susan W eiler (New York), Laurence Benenson (New York), Alain Servais
(Brussels) as well as the art fair light towers like Don and Mera Rubell
(Miami), Michael and Susan Hort (New York), and Susan Goodman (New
York) —descend early to do the rounds and stop in with dealers like
Fruit & Flower Deli, exhibiting Venice Biennale artist Jan Håfström
to huge critical feedback; Callicoon Fine Arts, who sold a total ten
Nicholas Buffon abstract paintings, a selection of which went to an Ohio
hospital collection, a New Museum trustee, and a leading Spanish
foundation; they were priced from $400-$4,000. Madder139 sold the
$40,000 work, by Damien Hirst's reportedly favorite artist GL Brierley
as well, while another of her two large works went into the
cross-cultural repository of the Domus Collection (Beijing).
High-profile visitors were also in appearance at Gallery Diet (Miami),
where former-PS1 exhibitor Charley Friedman attracted the attention of
Joao Ribas (Curator of Liste Visual Arts Center) and Robert Duncan (of
Duncan Aviation), who then went on to purchase A Reason for Being
priced at $22,500 by Ghost of a Dream , represented by Cynthia Corbett
Gallery (London). Close by, at Galería Leme (São Paulo), three of South
America's most prominent collectors, Richard Akagawa, Arthur Casas and
Ana Carmen Longobardi, showed a focused interest in Brazilian artist
Marcelo Moscheta's intense, emotional landscapes.
business, Neil Farber's work, a mixture of dark childhood fear and
grown-up fantasy, was sold by Pippy Houldsworth (London) into to three
major collections, Sagamore Hotel, Progressive Insurance and Patrick
Collins; prices were from $5,000 - $25,000. A touch of the macabre
continued at Heike Strelow (Frankfurt), where Mathias Kessler's striking
Nowhere to be Found—a decomposing skull with live coral growing from
eye and nose holes—keenly priced at $15,000, sold to a major American
collection; at fellow-Frankfurter Anita Beckers' booth Maria Jose
Arjona (who'll be performing as part of the Marina Abramovic
retrospective at MoMA) received several invitations from some of
Europe's most respected museums.
The institutions in attendance
included Bass Museum Miami, Brooklyn Museum , Chelsea Art Museum,
Contemporary Arts Museum Houston, DIA Foundation, DZ Bank Collection
Frankfurt , Hirshhorn Museum, The Metropolitan Museum New York , The New
Museum , MoMA, PS1, The Sculpture Center, Sotheby's, Weatherspoon Art
Museum and YCC Guggenheim . Personalities included Bill Arning,
Contemporary Arts Museum Houston; Adam Budak, Chief Curator, Kunsthaus
Graz; Ian Berry, Tang Museum; Susan Cross, Chief Curator, MassMoca;
Prospect 1 New Orleans Curator Dan Cameron; Thom Collins (Director,
Neuberger Museum of Art at Purchase College); Marie Fraser, Curator,
D'art Contemporain de Montréal (MACM); Claude Gosselin, Director
Montreal Biennial; Paulette Gagnon, Director, MACM; Joe Ketner, Curator
Milwaukee Art Museum; Miranda Lash, Curator New Orleans Museum of Art;
David Liss, Director of Museum of Contemporary Art (Toronto); Mark
Lanctot, Curator (MACM); Robert Morrow, Director of the 21st Century
Museum, Louisville; Jasper Sharp, curatorial advisor VOLTA Basel,
Lowery Stoker Sims, Curator Museum of Arts and Design (NY); Dorothea
Strauss, Museum Konkret (Zürich); Lisa Tung, MassArt; and the board from
the Groeninge Museum , Bruges.
Fair Director, Am anda Coulson,
was delighted with reports of significant sales from new and
established galleries exhibiting at the 2010 fair, "Our theme, No Guts,
No Glory, has particularly resonated: the 84 exhibitors came in hard
with strong solo presentations and have systematically demonstrated
that, even in the face of these most challenging of economic times, the
art world is robust, agile, and still actively doing great business."
Jonathan Ferrara discusses Si Cuba! city-wide exhibition
This weekend, the
art world is descending on Cuba for the 10th Havana Biennial to see new works
from hundreds of young artists that are on display in the city's museums,
crumbling colonial forts and baroque churches. Many art insiders will also make
a stop at a space that's not on the biennial's roster: the living room of
manages the country's oldest independent art space, one of the few galleries in
Cuba not funded by government-controlled cultural institutions. Art professionals
say her gallery, run out of her apartment, is nurturing some of the country's
most cutting-edge local talent at a time when Cuba is positioning itself as the
next hotbed for contemporary art. Ms. Ceballos was among the first to exhibit
Cuban art stars like Carlos Garaicoa, Angel Delgado and Tania Bruguera, whose
works are highly sought after by major institutions like the Tate Modern in
Behind her iron
gate at Calle 6, No. 602 lies a little-seen Havana brimming with tattoo
artists, punk rockers, and teenagers in T-shirts that read, "Viva el
diversionismo ideologico." Right now, her rust-colored walls feature
Orlando Silvera's pencil drawing of a clown, his mouth sewn shut by the word,
"Cubano." A concrete patio is covered, graffiti-style, with the names
of artists and curators who say they have been censored in Cuba over the years.
Artist Luis Gárciga and others also papered a space in the living room with
sticky notes listing Web sites that won't work in Cuba, like Generacion Y,
Yoani Sánchez's blog about Havana life that often criticizes the Cuban
The works are part
of her new exhibit, timed to coincide with the biennial, called "La Perra
Subasta," or "The Auction of the Big Dog," a group show for
artworks that contain letters or words.
Rodriguez-Cubeñas, a collector who is chairman of the Cuban Artists Fund in New
York, says he's planning to bring at least 40 of his art-world friends by Ms.
Ceballos's house while he's in town for the biennial next week:
"Everything she does is gutsy."
The fact that Ms.
Ceballos has never been shut down is a source of great intrigue for
Cuba-watchers around the world. Some say it signals a new tolerance by Raúl
Castro, who has enacted a few reforms -- allowing cellphones, for example --
since taking over the country's leadership from his brother last year because
of Fidel's failing health.
Others say she
exercises just enough restraint to avoid real trouble. Cuban artist Glexis
Novoa, who lives in Miami but often travels to Havana, says, "She knows that
the government will try to deal with you and tolerate you, up to a limit."
In a country where
the biggest art patron is the Cuban government, alternative art spaces that
aren't on the state payroll are nearly nonexistent. Artists who want to exhibit
here typically attend government art schools before vying for a coveted slot in
Havana's handful of sanctioned galleries like Galeria Habana or the biennial,
Cuba's biggest art event. Gallery owners and biennial curators say they are
free to show whatever they like, but they tend to sidestep pieces that directly
criticize the ruling Castro family or their policies. Ms. Ceballos, who mounts
exhibits with the regularity of a seasoned art dealer, is only allowed by law
to sell her own artwork, but she can help collectors contact other artists if
they're interested in buying other works.
Her role is key
because the demand for edgy Cuban art has skyrocketed lately. Prices can easily
top $40,000 for work by stars like Kcho and Yoan Capote, who show in Cuba's
sanctioned galleries as well as in U.S. and European galleries. The U.S. trade
embargo against Cuba, in place since Fidel Castro's 1959 revolution, allows
Americans to buy Cuban art.
This week, at least
10 groups from museums like the Bronx Museum and El Museo del Barrio in New
York secured humanitarian visas so they could fly into Havana. (The Bronx
Museum delegation packed vitamins into their luggage to donate during their
stay.) Major American collectors like Ron Pizzutti and Howard Farber have also
come to town.
Cuban art is the
main attraction at this week's biennial, though the official exhibitions
feature over 300 artists from 54 countries in venues throughout the city.
Crowds are expected to form around Humberto Diaz's faux tsunami, which he made
by suspending wave-like strips of cloth from the roof of the Cuba Pavilion. The
National Museum of Fine Arts also offers a crash course on 20th century Cuban
art in "Resistencia y libertad: Wifredo Lam, Raúl Martínez y José
Bedia," including an untitled 1964 abstract by Mr. Martínez that features
a newspaper snapshot of the Commandante himself, Fidel Castro.
space, which she calls Aglutinador, or the Glue, comes under occasional fire
from Cuba's cultural establishment. The biggest blowup occurred in October when
the National Council of Visual Arts, a state agency that organizes the biennial
and other major art events across Cuba, sent a mass email to its member artists
denouncing her for spending time with human-rights activists and producing
"propagandistic" shows, according to a copy of the email obtained by
The Wall Street Journal. Ms. Ceballos denied the claims and her shows have
A spokesman for
Ruben del Valle Lanterón, the director of the National Council of Visual Arts,
confirmed that one of its employees sent the email but said the controversy was
overblown. Later, Mr. Lanterón said he believes alternative art spaces should
be able to coexist with state-run institutions even if he doesn't always
appreciate Ms. Ceballos's artistic choices. "In her early years she really
rescued artists who weren't well acknowledged, and I respect that," Mr.
Ms. Ceballos seems
bored by her role in the debate: "I'm not interested in pushing the
political. That's for politicians. I'm just interested in defending the
artists." She says she neither seeks political art for shows nor filters
cultivated at Aglutinador is more irreverent than overtly political. Ms.
Ceballos, age 48, is a petite woman who wears combat boots and has a tattoo on
her arm of a comic-strip character, Salomon, who was censored from Cuba's
papers years ago. She exudes the calm, organized demeanor of a den mother, yet
she has a penchant for dying her hair fire-engine red. In a city where people
confront layers of bureaucracy, artists say Ms. Ceballos likes to produce shows
quickly and never questions the outlandish ideas they can foist on her home,
from obscene doodles to artworks glued to her tree leaves. Coco Fusco, who now
lives in the U.S., did a performance piece in 2000 that involved digging a
waist-high pit into Ms. Ceballos's garden.
openings in New York last two hours, followed by fancy dinners for a chosen
few. Last Saturday at Aglutinador, the opening lasted nine hours, with a steady
stream of people filtering in and out. Ms. Ceballos's parents, who live next
door, and her 8-year-old son, Oscar, mingled easily with a college crowd
sporting nose rings. Some stayed for hours, hanging out under the patio's pink
bougainvillea or cramming into the apartment's narrow living room or adjoining
kitchen. At 11 p.m., Ms. Ceballos gently shooed everyone out so she could put
her son to bed in the 10-foot-square loft bedroom they share above the living
Like many Cubans,
she lives on a financial shoestring. Recently divorced, she has a monthly
budget of around $100 a month, though it can cost up to $800 to produce her
shows because it's expensive to get the art photographed and programs printed.
She has received grants over the years from European nonprofits like the Prince
Claus Fund in the Netherlands and Spain's Ministry of Culture, some of it
configured so she can pass money on to younger Cuban artists who need support
to finish art projects. She refuses to ask for money from the Cuban government
so she can "stay independent."
She was born in
1961, two years after the revolution, in the eastern city of Guantánamo that
gives its name to the U.S. military base nearby. By the time she graduated from
the National Academy of Visual Arts San Alejandro in 1982, Cuba's art scene was
undergoing its own revolution. Ms. Ceballos, then an emerging artist, watched
unsanctioned art spaces sprouting in homes and unusual venues around town and
she dove in. In 1989, she landed her first major show at the Castillo de la
Fuerza with "Beauty and the Beast," a series of paintings made by
lumping together masses of hospital sheets, sponges, blood and hair.
the end of Soviet oil subsidies in Cuba plunged Cuba into the economic crisis
dubbed the "Special Period," and she struggled along with everyone
else to get enough food to survive, often working by candlelight because there
was no electricity. It was in these fraught times that she and her boyfriend at
the time, artist Ezequiel Suarez, decided to start holding experimental art
shows in their home. The first show in spring 1994, "Degenerate Art in the
Era of the Market," paid homage to masters like Ernst Kirchner who were
persecuted by the Nazis.
The show that
created such a stir last fall began as an experiment to see if she could create
an exhibit completely devoid of leadership. She invited a group of 25 artists
to come to her home and display whatever they wanted, wherever they wanted,
curator-free. The concept was a bit cerebral, so for pizzazz she titled the
show, "Curadores Go Home!"
Two days before the
show opened, she received the following unsigned email from the National
Council of Visual Arts: "A propagandistic show with openly political ends
has been programmed for next Saturday, October 18, 2008 in the 'Espacio
Aglutinador.' .... We denounce the attempt to give artistic coverage to
provocations of this nature. We regret that Sandra Ceballos goes along with the
game of the servants of the empire."
She says she was
floored. She quickly fired off a reply: "It is an embarrassment for the
artists and everyone involved in the art world in Cuba to read texts so
pretentious, decadent and unoriginal."
Emails began to
crisscross among dozens of Cuban artists now living everywhere from Ecuador to
Madrid to Miami. Ms. Fusco, in New York, started an online petition of support,
and after two days it had 300-plus signatures. Ms. Ceballos, who had
temporarily suspended the show, decided to go to the council instead and seek a
meeting with Mr. Lanterón. She was led to his office.
The pair talked
about her past accomplishments for a few minutes, and she left. She says she
didn't get a satisfactory reason for the email or an apology. But ultimately it
didn't matter. Several artists in her show backed out -- one because of the
controversy, two because they suddenly had to take trips out of Havana -- but
the rest stayed put.
The ordeal even
inspired her latest piece, hanging now above her red sofa. It's a poster
colored to look like the Cuban flag.
ARTDOCS(Artists Receiving Treatment Doctors Offering Crucial Services) is a 501c3 charitable organization founded in New Orleans in 1999 by artist / gallery owner Jonathan Ferrara and Dr. Vincent Morelli to address the critical issue of artist healthcare.
For over ten years, ARTDOCS has provided medical care to artists in New Orleans and has treated over 2500 artist patients.
In order to have a healthy culture, we must have healthy artists. And in order to have healthy artists, we need a place for artists to turn to for their medical needs.
Caring For The Creative Soul
ARTDOCS offers much-needed medical care to visual artists, writers, musicians and other performing artists in need of routine and urgent health services. One of the first programs of its kind in the country, ARTDOCS gives members of the New Orleans creative community a place to turn to address their often-overlooked medical concerns.
Currently, artist patients in New Orleans are seen at the Daughters of Charity Health Center at St. Cecilia's in the Bywater (4201 North Rampart Street) by Drs. Coleman Pratt and Sarat Raman, medical director.
Patients seen by ARTDOCS New Orleans physicians are provided routine primary care, acute care treatment, chronic disease management and preventive services at no cost to them. Access to specialty services is also provided, usually through Louisiana's University/Charity system.
The ARTDOCS Benefit Auction will feature a live art auction with works by 56 nationally known artists, music by DJ Soul Sister, Fire Spinners, Aerialists, Old New Orleans Rum, Abita Beer and food from Byblos Restaurant and Theo Pizza
The generous donating artists below are a veritable Who's Who of creative talents with many of the artists in numerous museum collections and some who were featured in Prospect.1 and will be featured in Prospect.2 Biennial.
Luis Cruz Azaceta Kathleen Ariatti Banton Raine Bedsole Mark Bercier Jacqueline Bishop Nini Bodenheimer Douglas Bourgeois David Bradshaw Kyle Bravo Nicole Charbonnet Mel Chin Sandy Chism Teresa Cole Stephen Collier Bob Compton Anita Cooke Stephen Paul Day Adrian Deckbar Dawn Dedeaux Troy Dugas Skylar Fein Tony Fitzpatrick Elizabeth Fox Tina Girouard JoAnn Greenberg Brian Guidry Sandy Heller Rachel Jones Krista Jurisich Miranda Lake Diego Larguia Jenny LeBlanc Luz Maria Lopez Thomas Mann Steve Martin Michalopoulos Adam Mysock Senan O'Connor Auseklis Ozols Mary Jane Parker Stephanie Patton Anastasia Pelias Sybille Perretti Gina Phillips Jeffrey Pitt Alex Podesta Elizabeth Shannon Allison Stewart Stan Strembicki David Sullivan Dan Tague Robert Tannen Tanner Michel Varisco Sidonie Villere Paul Villinski Tricia Vitrano Bedonna Wakeman
To view the works currently online in the ARTDOCS Benefit Art Auction and place an absentee bid on specific works by the above artists, please click here.
Help ARTDOCS keep our artists healthy!
For more information on ARTDOCS New Orleans, contact Greg Gremillion, ArtDocs | Executive Director (504-383-5583) or visit www.artdocs.com
For information on becoming a patient, please call 504.827.2833.
ARTDOCS BOARD MEMBERS
Adele Borie, Vincent Booth, Jonathan Ferrara, Reese Johanson, Adam Marcus, Vince Morelli, M.D., Coleman Pratt, M.D., Sarat Raman, M.D.,
Daughters of Charity at St. Cecilia Medical Center
4201 N. Rampart St., 827-2833; www.artdocs.com
Gallery owner Jonathan Ferrara and Dr. Sarat Raman oversee ARTDOCS services to artists in need of health care.
Photo by Cheryl Gerber
Artist Dan Tague is one of more than 55 artists who contributed work to be auctioned in a fundraiser for ARTDOCS, the nonprofit organization that assists artists in need of medical attention.
"I have a piece called Fat of the Land in the auction," Tague says. "I have donated a piece [to ARTDOCS] every year since I used it."
While he was pursuing a Master of Fine Arts at UNO, Tague had no health insurance. When he injured a shoulder, he didn't know where to turn. Fellow artist and gallery owner Jonathan Ferrara directed him to ARTDOCS (Artists Receiving Treatment Doctors Offering Crucial Services), which Ferrara had founded with Dr. Vincent Morelli, then a physician at the LSU Family Medicine Clinic at Kenner Regional Hospital.
"In 1999, I was doing a show with Roy Ferdinand Jr. at my gallery," Ferrara says. "I'm installing stuff and he's telling me that he's in bad shape — stomach problems. But he had no health insurance."
After a conversation with Morelli, the two started looking for a way to provide assistance to artists. Many of the artists they knew had no insurance and very little income. Ferdinand later died of stomach cancer.
"We thought, this is crazy," Morelli says. "These artists help us see the world we live in. This is no way to treat them — letting them go without medical care.
"The same can be said for a lot of uninsured people. But this is one place where we can make a difference."
They soon created a plan to allow artists to get treatment from Morelli and his residents at the clinic at Kenner Regional Hospital, which quickly agreed to eight free visits per week. Morelli says the clinic supported 250 to 300 artist visits annually. An inaugural benefit at Tipitina's raised $5,000 to support the program.
The last fundraiser was held in 2004. After Hurricane Katrina, it still had funds to operate and later received a grant from the Idea Village. Since 2007, ARTDOCS has offered treatment at the Daughters of Charity Clinic in Bywater. Fees are determined on a sliding scale, but many qualify for free care. Artists, writers and performers are eligible for ARTDOCS if they are uninsured and earn less than twice the national annual poverty level, which is roughly $10,300.
Besides helping artists, one of the benefits of the original program at Kenner Regional Hospital was to get doctors to connect with the community, Morelli says. Two residents in his program, Sarat Raman and Coleman Pratt, are now the physicians running ARTDOCS at Daughters of Charity, offering a full spectrum of primary and preventative care. Raman had returned home to West Virginia after his residency, but moved back to New Orleans in 2007, in part because of his interest in the culture of the city. He also serves as ARTDOCS' medical director and sits on the board of directors.
"The main thrust of this is to provide access to health care to the artists of New Orleans who don't have health insurance," Raman says. "On the administrative side, we are looking to expand the network of physicians who participate. So if someone needs to see a specialist, we can continue to offer care."
Morelli moved to Nashville in 2007 but spends one week each month in New Orleans. He teaches at Vanderbilt University and Meharry Medical College, and just initiated an extension of ARTDOCS in Nashville in October.
The auction will provide support for the local program. Artwork was donated by a wide range of contributors including Prospect.1 participants, artists represented by Ferrara's gallery and past ARTDOCS treatment recipients. There are pieces by Douglas Bourgeois, Mel Chin, Tony Fitzpatrick, Skylar Fein, Paul Villinski, George Dureau, James Michalopoulos, Dawn Dedeaux, Jacqueline Bishop, Robert Tannen, Sandy Chism, Thomas Mann, Auseklis Ozols and others. The event features music spun by DJ Soul Sister, plus entertainment by aerialists and fire spinners.
"At its core, it's artists helping artists," Ferrara says.
But there are other benefits as well.
"The fundraiser helps to raise awareness," Raman says, referring to getting the word out about services offered. Many artists learn about ARTDOCS through word of mouth, but Raman also screens patients at the Bywater clinic to see if they are eligible. He hopes the event attracts more physicians who want to participate.
Ferrara also relates the program to support for broader initiatives.
"It's all part of the cultural economy," he says. "You have to have a healthy culture. You have to have healthy artists who can contribute."
In Stiches curated by Beth Rudin Dewoody
Featuring Anita Cooke, Matthew Cox, & Paul Villinski
December 19, 2009
New York, NY – A
survey exhibition exploring the use of stitching and thread in contemporary art
will be on view at LeilaTaghinia-Milani Heller
(LTMH) Gallery from November 12 through December 19, 2009.IN STITCHES, curated by Beth
Rudin DeWoody, will present works in various media by more than 50 U.S. and
international contemporary artists.
IN STITCHES focuses on both
well-known and emerging artists who incorporate stitching and thread as
prominent features in the concept and structure of their work.The artists’ process includes wrapping and embroidery as well
as assemblage.The exhibition title
is a double entendre of the
Shakespearean idiom, and now common expression, when one is laughing so hard
that it causes physical pain.While some of the work presents elements of humor, other work explores
the role of women in society or questions the threads or painful truths of our
social and moral existence. Threads literally and metaphorically form the connections,
which tie the artists’ works together.
will include work by Ghada Amer, Ramazan Bayrakoglu,
Louise Bourgeois, Nancy Brooks Brody,Ambreen
Butt, David Byrne,Margarita Cabrera,Orly Cogan, Adam Cohen,Anita Cooke, Matthew Cox, E.V. Day, Lesley Dill, Chris Duncan, Alinka
Echeverria, Tracey Emin, Angelo Filomeno, Robert Forman, Zoi Gaitanidou, Sabrina
Gschwandtner, Guerra de la Paz, Selma Gürbüz, Joseph Heidecker, Kent
Hendricksen, Todd Knopke, Steven & William Ladd, Mike Latham, Charles
LeDray, Pooneh Maghazehe, Julia Mandle, Christian Marclay, Victoria May,
Bradley McCallum & Jacqueline Tarry, Thomas McDonell, Darrel Morris,
William J. O'Brien,Maria E.
Piñeres, Elaine Reichek, Jacob Robichaux, Gulay Semercioglu, Donna Sharrett,
Jean Shin, Chiharu Shiota, Kiki Smith, Devorah Sperber, Berend Strik, Marc Swanson,
Frances Trombly, Vadis Turner, Paul Villinski, Andy Warhol, Debora Warner,
Megan Whitmarsh, Rob Wynne, and Darius Yektai.
DeWoody is a New York art collector and curator. She is the executive vice
president of Rudin Management and on the board of the Whitney Museum of
American Art, Brooklyn Academy of Music, Creative Time, The New School, New
Yorkers For Children, and the New York Police Foundation. Her other
exhibitions include I Won't Grow Up at Cheim & Read, New
York; Just What Are They Saying... at the Jonathan Ferrara Gallery,
New Orleans; What's Your Hobby? atThe Fireplace Project,
East Hampton, NY; A House Is Not A Home at Caren Golden Fine
Art, New York; and Luxury Goods and It'll cost you... at
Kathleen Cullen Fine Arts, New York.
This fall, the New Orleans Museum of Art presents Skylar Fein: Youth Manifesto, the first solo museum exhibition of work by the New Orleans-based artist Skylar Fein. Focusing on youth culture, rock and roll, Americana and advertising, Youth Manifesto tackles the pervasive power and symbiotic relationship between rock music and consumerism. The high-energy exhibition is comprised entirely of new work, including painting, sculpture, video and screen prints.
Skylar Fein: Youth Manifesto is organized by Miranda Lash, Curator of Modern and Contemporary Art. The exhibition will be on view in the second-floor Frederick R. Weisman Gallery from September 12, 2009 through January 3, 2010.
A concert to celebrate the opening of Skylar Fein: Youth Manifesto featuring New Orleans-based bands, including experimental indie rockers Belong and others to be announced, as well as DJ Musa Alves, will be held Saturday, September 12, 2009 from 5:30 to 10 p.m. at the Museum. The free concert, co-curated by Fein and Alves, is supported through a grant from the New Orleans Jazz and Heritage Foundation.
About Youth Manifesto
Beginning with the aesthetic of punk culture from the late 1970s and early 1980s, Fein re-contextualizes this esprit into large-scale sculptures, paintings and T-shirts presented as art objects. Fein's intent is to create a visually "explosive" environment, an ambience that conveys the charged energy of youth. The rebellion, drugs, and sexuality associated with counterculture are made apparent through references to alternative magazines such as Oor and VILE, as well as influential punk and New Wave bands including T.S.O.L., Adam and the Ants, Hüsker Dü and Crime. Memorabilia from rock concerts—ticket stubs, bootleg cassettes, CDs and flyers—are re-interpreted into arresting, monumental objects. Drawing from the legacy of Pop art, Fein turns a bootleg tape of a concert by The Clash, for example, into a sleek sculptural presentation over four feet wide.
Typical of his artistic style, Fein imbues his art with elements of ambiguity and critique. His own appropriations from pop or "low" culture are paired with references to American culture, famous for its ability to assimilate. His Black Flag and presidential silhouettes of George Washington and Thomas Jefferson are covered with advertising icons and prices, thereby raising the question of whether American history is a "product" in itself. Is the United States, as a black flag would indicate, in distress? Or is it merely available for consumption and sale?
Music plays a central role throughout Fein's installation, including in his video component, entitled The YouTube Show. Recognizing YouTube as a preeminent force in twenty-first century youth culture, The YouTube Show displays a selection of actual YouTube videos that use music as a central emotive factor. Used with permission from the original authors, the videos are chosen for their ability to elicit strong responses from their viewers. Visitors to the Museum are invited to view the commentary associated with these videos, which is projected onto an adjacent wall, and to add their own thoughts.
Skylar Fein: Youth Manifesto will be accompanied by an illustrated color catalogue with an essay by Dan Cameron, founding director and curator of Prospect.1 New Orleans and director of visual arts at the Contemporary Arts Center, New Orleans, and an interview with the artist by Miranda Lash, organizing curator of Youth Manifesto and curator of modern and contemporary art at the New Orleans Museum of Art.
Saturday, September 12, 5:30-10 p.m.—Opening concert and reception A concert and reception to celebrate the opening of Skylar Fein: Youth Manifesto featuring New Orleans bands, including experimental indie rockers Belong and others to be announced, as well as DJ Musa Alves. The free concert, co-curated by Skylar Fein and Alves, is supported through a generous grant from the New Orleans Jazz and Heritage Foundation. A cash bar will be available in the Great Hall and the Museum will be open throughout the evening for viewing of Skylar Fein: Youth Manifesto and other current exhibitions.
Wednesday, September 30, 6 p.m.—Tour of Youth Manifesto with Skylar Fein Join artist Skylar Fein, one of the standout artists from the Prospect.1 New Orleans biennial, for a tour of his first solo museum exhibition, Skylar Fein: Youth Manifesto. The tour is part of the Mid-Week in Mid-City series of public programs on Wednesday evenings, when the Museum stays open late until 8 p.m. The program is free to Louisiana residents. A cash bar will be available in the Great Hall.
About Skylar Fein
A native of New York, Skylar Fein (born 1968) was a participant in Prospect.1 New Orleans, the 2008 biennial curated by Dan Cameron. His multimedia installation Remember the Upstairs Lounge garnered acclaim in publications such as Artforum, Art in America, The New Yorker and the New Orleans Times-Picayune. Since moving to New Orleans in 2005, Fein has had solo exhibitions at Jonathan Ferrara Gallery (where the artist is currently represented), The Phoenix, Sound Café and Bazaar. His work resides in public and private collections across the nation.
For more information, call (504) 658-4100 or visit www.noma.org. Contact: Jim Mulvihill, Director of Communications and Marketing, (504) 658-4106
13th Annual NO DEAD ARTISTS
cosponsored by The Gambit
Sept 26, 2009
The Jonathan Ferrara gallery is pleased to announce the jury winners for the 13th Annual NO DEAD ARTISTS Juried Exhibition of Louisiana Art Today. The show opens on Saturday September 5, 2009 with an artists' reception from 6 - 9pm. Each year the show draws attention to an emerging generation of contemporary artists who live and work in the state of Louisiana and celebrates its cultural resiliency.
For thirteen years, No Dead Artists has provided the art world with the opportunity to see innovative works being produced in Louisiana. The concept for No Dead Artists was initiated in 1995 by Jonathan Ferrara and Alex Beard to give a voice to emerging artists and help them gain recognition for their passion in life. Each year hundreds of artists submit their work to a jury of renowned arts professionals and noted collectors. Participation in the show has been a springboard for several artists leading to national recognition, museum and corporate acquisitions, and gallery representation.The exhibition has become an annual rite of fall and showcases the newest talents emerging in Louisiana today and beckons the opening of the art season.The opening draws thousands of art enthusiasts to the gallery.
The 2009 Jury Winners are:
May Babcock, Mary Beyt, Gabrielle A. Chapin, Yvette Creel, Amy Guidry, Ryan Watkins-Hughes, Erin Haldrup, Stephen Hoskins, Eleanor Owen Kerr, Katie Knoeringer, Adam Mysock, Jonathan Pellitteri, Dan Rule, Paige Valente and Sara White.
This year over 1000 works by over 200 artists were submitted to be juried. 25 works of art by 15 artists were chosen by the three prestigious jurors.
Miranda Lash: Curator of Modern and Contemporary Art, New Orleans Museum of Art.
John Kemp, writer: ARTnews, Art & Antiques, American Artist, Louisiana Life and Managing Editor of
Louisiana Cultural Vistas.
Charles Whited: well-respected collector, New Orleans, LA.
The 2009 exhibition features painting, sculpture, mixed media, photography and video works by artists living and working in Louisiana. In addition to having their works exhibited at Jonathan Ferrara Gallery, selected jury winners will be featured in an article in the September 1st issue of The Gambit written by art critic, D. Eric Bookhardt.
The 13th Annual No Dead Artists, juried exhibition of Louisiana Art Today, opens to the public at Jonathan Ferrara Gallery 400a Julia Street, New Orleans, with a reception to meet the artists on Saturday, September 5, 2008, 6-10pm. The exhibition will be on view from September 2 – 26, 2009.For more information and images from No Dead Artists, please contact the Jonathan Ferrara gallery at 504-522-5471 or email@example.com.
Charlie Varley has a photo from the 'katrina 366' show, in the upcoming exhibition at NOMA May 16 - October 11, 2009
The exhibition begins with a group of images by the world-renowned artist Annie Leibovitz, who made a special selection from her vast archive that reflects all seven themes. These images provide a concise introduction to the entire exhibition. The Art of Caring showcases several works from Time & LIFE Pictures, including recognizable classics by such legendary photographers as Alfred Eisenstaedt and W. Eugene Smith. Contemporary artists include other established photographers such as Tina Barney, Nan Goldin, Chester Higgins, Sally Mann, Nicholas Nixon, Tatsumi Orimoto, Robert Polidori, Dona Schwartz, Neal Slavin and Larry Sultan. The exhibition features as well the work of emerging artists Elinor Carucci, Jeff Charbonneau, Eliza French, Peter Granser, Jessica Todd Harper and Misty Keasler.
LEH Annual Report Krista Jurisich on the cover of 2008 report Angels of the City (mixed media, 33”x 33”) appeared in the Fall 2008 issue of Louisiana Cultural Vistas as part of a feature profile of the artist. To view report: http://www.leh.org/html/annualreports.html
Award of Excellence, Grand Isle Juried Exhibition Magical Botanical
Apr 19, 2009
The Grand Isle Community Development Team is proud to announce the Awards that will be presented 19 April 2009 at the Awards Reception at the Grand Isle Community Center on Highway 1, 2 -4pm.
Awards of Excellence:
Miranda Lake, messenger, 18 x 24, Encaustic collage on panel, 2008, New Orleans, LA
“Magical Botanical" The 7th Annual Grand Isle Juried Exhibition - 2009
The Grand Isle Community Development Team, Inc. (GICDT) with support from the Grand Isle Port Commission and the Town of Grand Isle, invites artists to enter their works with themes relating to the nature, natural beauty and potential loss of the only inhabited Louisiana barrier island and the surrounding wetlands. The goal of the Exhibition is to raise awareness of Louisiana‟s coastal erosion through an artist‟s eye and to encourage the creation and preservation of images of this culture and its disappearing habitat for future generations.
Works selected will be on exhibit at the Grand Isle Community Center, Hwy. 1, Grand Isle, Louisiana April 11th - 19th. A reception and awards presentation will be held on April 19th, 2009. 2-4
Art seen: Critic Doug MacCash rates New Orleans art exhibits.
The Ratings: Wonderful, Worthwhile, Whatever
To view the entire article: http://blog.nola.com/dougmaccash/2009/02/the_languagebased_art_at_jonat.html Click here to view the panel discussion for "Just What Are They Saying..." This is a recording of the panel discussion for "Just What Are They Saying..." curated by Beth Rudin Dewoody. The panel consists of: Dan Cameron is the Founder and Curator of Prospect.1:New Orleans Biennial and Director of Visual Arts for the New Orleans Contemporary Arts Center. He is an international curator of exhibitions and a well-published writer. Skylar Fein is a visual artist represented by Jonathan Ferrara Gallery, New Orleans. His recent installation for Prospect.1, "Remember the Upstairs Lounge", was reviewed in Art Forum, The NY Times, Art News, The Art Newspaper and The New Orleans Times-Picayune. His work is featured in Just What Are They Saying. and is in the permanent collection of The Louisiana State Museum, The Frederick R. Weisman Foundation and The Speed Museum. Michael Plante is an Associate Professor, Jessie J. Poesch Professorship in Art, Newcomb Art Department at Tulane University. He is a widely published writer, an accomplished Art Scholar and a curator of exhibitions. Dan Tague is a visual artist represented by Jonathan Ferrara Gallery, New Orleans. Tague holds an MFA in Studio Arts from The University of New Orleans, and is a multi-media artist, curator, and activist whose work has been exhibited both nationally and internationally. His work is featured in Just What Are They Saying. and is in the permanent collection of The New Orleans Museum of Art, The Frederick R. Weisman Foundation and The Speed Museum. Tague has been selected as one of the first artists for Prospect.2. Robert Tannen, also known as 095-30-4871, is among one of the founders of the New Orleans Contemporary Arts Center and started his career as a conceptual artist in 1961 and continues to practice conceptual art and urban planning today.
When you think of mobile homes, the words "green" and "artist studio" don't necessarily jump to mind. But artist Paul Villinski, using found materials and a discarded trailer manages to do just that. Complete with nine solar panels, a 10-foot wide skylight, and a 40-foot high mast, it is purely incidental that the entire thing resembles a UFO, albeit, an inviting one.
Paul Villinski, ERS installation, Houston Public Radio
Jan 26, 2009
"A modified FEMA trailer is the subject of a new art exhibit at Rice University. The trailer is designed to be a mobile art studio that can travel to disaster locations. Laurie Johnson has more on the emergency response studio."
If you were to list the more enduring names that have helped define modern art over the past 20 or 30 years, you would almost certainly include Vito Acconci, Carl Andre, Jenny Holzer, Deborah Kass, Joseph Kosuth, Barbara Kruger, Bruce Nauman, Richard Prince, Ed Ruscha and William Wegman, to name a few. It's very rare to see all of them and others of similar stature together in the same exhibition, and doubly rare to encounter such a show outside New York, but all of the above and more appear in Just What Are They Saying at Jonathan Ferrara Gallery. Curator Ruth DeWoody says works like Kass' Daddy (pictured) explore the use of words in a way that inspires us to look beyond the way words are ordinarily used and come to a more poetic understanding of their deeper layers of meaning, perhaps even opening a dialogue with the viewer in which the work will speak for itself with its own unique voice. — D. Eric Bookhardt
The Joan Mitchell Foundation has announced the 25 winners of its $25,000 grants to painters and sculptors for 2008.
The winners are Layla Ali, Eve Aschheim, Judith Bernstein, James Biederman, Nick Cave, Jenny Dubnau, Skylar Fein, Kirk Hayes, Barkley L. Hendricks, Charles Juhász-Alvarado, Peter Krashes, Cameron Martin, Kayla Mohammadi, Katrina Moorhead, Robyn O'Neil, Bruce Pearson, Ann Pibal, Robb Putnam, Paul Ramírezí Jonas, Rodriguez Calero, Sigrid Sandström, Anne Seidman, Shinique Smith, Julianne Swartz, and Susan Chrysler.
The Wall Street Journal, Dominique Browning, "A Collection in Need of Definition"
"The first thing I saw, wheeling past the Time Warner mall to take in a full view of the new Museum of Arts and Design, was a huge graphic climbing the corner of the building: the store. I had to search the façade before I found the museum's logo, discreetly carved out of the edge of a metal canopy over the entrance. The eye-catching store is the heartbeat of the lobby; little else of any stature, art- or design-wise, greets the visitor. This is a shame, as it does nothing to underscore the organization's claim to being "the leading cultural institution dedicated to exploring the creative processes of contemporary artists and designers."
Jonathan Ferrara Gallery is pleased to announce that gallery artist Dan Tague, whose folded $dollar$ bill works have exploded onto the art world, will be featured in this upcoming Exit Art exhibition opening this Sunday.
Dan Tague holds an MFA in Studio Arts from The University of New Orleans, and is a multi-media artist, curator, and activist whose work has been exhibited both nationally and internationally. His work is in the collection of The Frederick R. Weisman Art Foundation, philanthropist Beth Rudin DeWoody, curator Dan Cameron, and Virginia Speed among others.
Tague's work will also be featured in the upcoming text-based exhibition, Just What Are They Saying...curated by Beth Rudin DeWoody, opening at JFG on January 17, 2008.
The New York Times' Style Magazine, Maura Egan, "Southern Exposure,"
"There’s recent Katrina-inspired work from big names like Lee Bul and Julie Mehretu here, but the New Orleans-based artist Skylar Fein’s installation reminds viewers of another sad moment in the city’s history. Fein recreated the Upstairs Lounge, a gay bar in the French Quarter that suspiciously burned to the ground in 1973, killing 32 people. Prominent local clergy members refused to hold memorial services for the victims. "
Best of New Orleans, D. Eric Bookhardt, "Art Recommended"
Artists love New Orleans, and after Hurricane
Katrina, legions of them arrived en masse, determined to rebuild the
city through new forms of arts activism large and small. The Prospect.1
biennial is the largest example. Participating New York artist Paul
Villinski, who visited after the storm, unveiled his futuristic
Emergency Reponse Studio, a FEMA-type trailer bought at a
government auction and converted to a self-contained mobile studio
complete with solar panels, a wind turbine, geodesic dome skylight and
bamboo-based cabinetry. While designed as a studio, it's also a very
cool example of self-sufficient mobile housing. It is open for viewing
during Prospect.1 hours (11 a.m.-5:45 p.m., Wed.-Sun.) at the New
Orleans Museum of Art through Dec. 14, at Lafayette Park in the CBD
from Dec. 17 to Jan. 4, and at the Colton School (2300 St. Claude Ave.)
from Jan. 7 to Jan. 18. Free admission.
Best of New Orleans, D. Eric Bookhardt, "Making Change"
One of the many interesting discussions generated by the Prospect.1 biennial has to do with favorites. Almost everyone has not only a favorite artist or exhibit, but also a favorite venue. Of the two main exhibition halls occupied entirely by Prospect.1 artworks, the Contemporary Arts Center seems to be a favorite of artists with masters degrees, while the Old U.S. Mint appears to be a favorite of art buffs less steeped in trends and academia. Why that would be is anyone's guess, but one factor may be accessibility: the work at the Mint tends to be accessible in ways that are often sensual and occasionally humorous. The CAC stuff tends toward a grittier sort of Sturm und drang mingled with more cerebral conceptual musings. Both are meaty and provocative, but the work at the Mint may be more seductive, as evidenced in Blossom, by upstate New York-based artist Sanford Biggers. http://bestofneworleans.com/gyrobase/Content?oid=oid%3A47345
Doug MacCash Rates the Propsect. 1 Installations
Dec 8, 2008
The Times Picayune, Doug MacCash, "Prospectus: Art Critic Doug MacCash Rates the Prospect. 1 Installations"
"Prospect.1 is a biennial of international contemporary art at sites throughout New Orleans through Jan. 18. Read more reviews at nola.com/art and complete details at www.prospectneworleans.org."
"Prospect 1, the Big Easy biennial that opened on November 1 and runs through January 18 (and expects 100,000 visitors), is adding ballast to the steadily growing post-Katrina arts scene—it raised nearly $1 million last fall from foundations alone. Southern moxie abounds:The New Orleans Museum of Art may be operating with only 60 percent of its staff, but it managed to bring on its first curator of modern and contemporary art, Miranda Lash, formerly of Houston’s Menil Collection. Edgy gallery newcomers are popping up in the St. Claude arts district, near the bridge to the Lower 9th Ward, led by artist-run spaces like KKProjects and Good Children. Look for the area to host the next art-driven development boom."
"A new biennial of international contemporary art, called Prospect.1, aims to help reinvigorate New Orleans's sluggish post-Katrina cultural recover. On an empty lot in the Lower Ninth Ward that once housed a school destroyed by the hurricane, L.A. artist Mark Bradford will present his ark made from steel and found wood. A damaged home also in the Lower Ninth serves as the venue for one of Adam Cvijanovic's large-scale murals on Tyvek. These city-specific works join offerings from other global art stars such as Cai Guo-Qiang and William Kentridge in venues throughout town November 1 to January 18."
Prospect. 1 in Preservation Magazine
Nov 27, 2008
Preservation Magazine, Jan Rothschild, "The Big Easy's Canvas: How Art Can Help New Orleans"
"Can art save a city? Curator Dan Cameron's answer is a resounding yes!
For the past two years Cameron, director of visual arts at the
Contemporary Arts Center in New Orleans, and a former curator at the
New Museum of Contemporary Art in New York City, has been organizing a
contemporary art event in New Orleans called Prospect 1."
"Venice and New Orleans appear to be matched, fate-wise. (They're both constantly in danger of disappearing underwater, in case you didn't catch our clever point.) So, why shouldn't they both have fabulous biennial art shows, famous the world over? Venice has already got that handled. Now, New Orleans is giving the idea a go. The Big Easy's Prospect.1, in its first year, is no half-hearted attempt. It features 81 artists from 38 countries in 22 sites, ranging from abandoned homesteads in the Lower 9th Ward to derelict Colton School and the august New Orleans Museum of Art."
"New Orleans is smaller and poorer than it used to be, as I have
confirmed on my first visit there since the floods attendant on
Hurricane Katrina obliterated a large part of the city and left much of
the rest a mud-gray mess, traces of which aren’t hard to find, three
years later. I went to review “Prospect.1,” the inaugural New Orleans
Biennial, which represents eighty-one artists from thirty-four
countries in about thirty ad-hoc locations, and which took the whole of
a three-day sojourn to explore in full. (A car is essential.) Some of
the offerings are keenly rewarding, but the best thing about the show
is the sprawl, which affords a wide and deep immersion in the city’s
Next American City Magazine, Ariella Cohen, "The New Orleans Biennial"
"I was skeptical last year when Dan Cameron, a museum curator from New
York unveiled a plan to make New Orleans host to the largest biennial
of international contemporary art ever organized in the United States.
The three-month-long Prospect. 1 New Orleans biennial would bring 81
artists from all over the globe to create works in random and
no-so-random sites scattered around the city. If all went well, the
event could catapult New Orleans into the ranks of international art
destinations like Berlin, Venice and New York where biennales have
become multimillion-dollar moneymakers."
"On Halloween weekend, three years after the disaster of Hurricane Katrina, the streets of New Orleans embraced a new kind of flood, one of tourists from New York and Los Angeles besotted with art. Joined by a number of local enthusiasts, they formed the legion of VIPs who arrived for the opening of Prospect.1, the first New Orleans biennial. This exhibition, the inspiration of former New Museum curator Dan Cameron, features eighty-one different projects in art venues and public spaces all over town. That makes it the largest such exhibition ever in the United States. Supplemented by homegrown shows in galleries, derelict cottages and abandoned lots, it took the weekend's spectators into neighborhoods far beyond the forced hoopla of Bourbon Street and into the Big Easy's wounded soul."
Local artist Skylar Fein is fascinated by New Orlean's gay cultural history. For the art biennial Prospect One which closed this past month, Skylar paid homage to the memory of a gay bar in the French Quarter.One evening in the summer of 1973, an arsonist set the Upstairs Lounge on fire. Most of the bar's regulars, many of whom were friends and lovers, died that night. In an installation, Skylar recreated the inside of The Upstairs Lounge.The piece brings attention to a forgotten tragedy, the resulting act of courage that helped to galvanize the city's gay community for the first time, and the work of an emerging artist dedicated to reinterpreting and retelling New Orleans gay history.
The Independent Weekly, Mary Tutwiler, "When in Doubt, Go See Art"
I went to New Orleans over the weekend to the opening of the city-wide arts biennial, Prospect.1. The gorgeous bluebird skies and perfect 75 degree days were conducive to driving around the city, locating arts sites, and exploring neighborhoods I’d never set foot in before. Actually in the two days I had allotted to Prospect.1, I managed to see such a miniscule part of the entire event that I’ve promised myself to hightail it down to New Orleans every free moment I get between now and the show’s closing on January 18, in an attempt to take it all in.
The Huffington Post, Paul Klein, "Art Lifts New Orleans"
"I've just returned from visiting Prospect.1 in New Orleans, the biggest biennial ever hosted in the United States, and easily the most significant and joyous art even I've ever had the privilege of attending.
Art has lots of purpose, from the purity of art for art's sake, to fun, entertainment, documentation of a given moment in time, an insight into an artist's soul, or in New Orleans, a tool for urban renewal, consciousness raising, artistic synergy and celebration."
"In the 35-foot-long living room, a curved midcentury sofa by Edward Wormley and a pair of vintage wood-framed chairs from Flessas Design on Madison Avenue surround an Indonesian root table from San Juan Ventures of Chicago. Shah supplied layers of comfort by covering the limestone floor in sisal and adding a group of Moroccan rugs. Art is by Paul Villinski, from his "Beer-can Butterflies" series."
International Herald Tribune, The Associated Press, "New Orleans hosts international art show"
"A huge wooden ark made from the wood of houses Hurricane Katrina wrecked and a pool of water that reflects pulsing light are among the exhibits of 81 artists whose works are on view in New Orleans's largest international art show in a century.
Prospect.1 New Orleans, which opened over the weekend, displays works of art in 15 locations throughout the city. It is expected to draw an estimated 100,000 visitors during its three-month run."
The New York Times, Roberta Smith, "Kaleidoscopic Biennial for a Scarred City"
"Biennials are a virus that has spread across the globe. Embraced by
cities as tourist magnets and branding tools, they often seem to be
stocked by a standard jet set of curators, artists, collectors and
advisers who touch down, in slightly different configurations, at
nearly every stop.
New Orleans has joined the biennial rush with Prospect.1, the sprawling
exhibition that opened across the city over the weekend. With a roster
of nearly 80 artists, this show has an unsurprising mix of good, bad
and phoned-in art. But it is also a testing ground with little in the
way of way of superstars, big curatorial egos and elaborately produced
works, and none of the vast, chilling art halls endemic in biennials."
The Times Picayune, Doug MacCash, "Memories of a Deadly Fire"
"On the night of June 24, 1973, an arsonist set fire to the stairway leading to the Upstairs Lounge, a popular gay men's club in the French Quarter. With no escape, desperate patrons, some of whom had been singing around the piano moments before, chose between jumping from the windows and facing the blaze. Thirty-two died; 15 others were badly burned. From the street below, charred bodies could be seen in the smoke-darkened windows. As reporter Angus Lind, then a writer for The States-Item, understated: "It was not pretty." Though a disgruntled customer was suspected of the crime, no one was convicted."
The Times Picayune, Doug MacCash, "Prospect.1 installation shapes perceptions of home, lifestyle"
"It started out as an ordinary 30-foot Gulf Stream Cavalier trailer, the exact sort supplied by the Federal Emergency Management Agency as housing after the 2005 storm and flood. It eventually became an $85,000 rolling artist's studio, complete with drawing table, sculpture workshop and lots of natural light. And somewhere along the line, it came to look like a UFO, with a clear dome on the roof, solar panels angled toward the sun and a 40-foot mast that looks like an antennae for contacting the mother ship."
Modern Painters Magazine, Nick Stillman, "On Location" Prospect 1 New Orleans"
"Why should anyone care about another biennial? To be clear, Prospect.1 New Orleans, curated by Dan Cameron, differs from other megashows by virtue of its site: America's most baffling, heart-breaking, elating, and unique city."
"From Halloween night until the first days of Carnival in January, New Orleans will be filled with an extra dose of the unexpected. The first Prospect.1 biennial, a massive art exhibit that will be held every two years, has transformed the entire city into an endless series of galleries. A towering wooden ark has appeared in the lower 9th Ward. Billboards and benches boast cryptic word-puzzles instead of advertisements. And in your taxi, you might find a comic book filled with the tales of local cabbies."
Prospect.1 in Where Y'at Magazine
Nov 1, 2008
Where Y'at, Suzanne Pfefferle, "Galleries: Prospect.1 New Orleans"
"This fall, the culturally-rich Crescent City will transform into an international art show when Prospect.1 New Orleans Biennial International Art Show, the largest biennial of contemporary art ever organized in the country opens on the first of November. During the 11-week art show, the eye-catching creations of local, national, and international artists will be showcased in venues throughout the city. South African and self-proclaimed "revolutionary contemporary artist" Robin Rhode, Cao Fei from China, and New Orleanian Srdjan Loncar, are a few of the 81 artists participating in Prospect.1 New Orleans. Each talent will add a unique dimension to the display."
Prospect. 1 in The Wall Street Journal
Oct 31, 2008
The Wall Street Journal, Christina S.N. Lewis, "The Big Easy's Art Gumbo"
"This weekend, the Big Easy will try to find art in the aftermath of a disaster with the start of Prospect.1 New Orleans. The exhibition bills itself as the largest biennial of international contemporary art ever held in the U.S. The new biennial -- an art show staged every two years -- may seem an odd match for a place that is still pulling itself back together three years after Hurricane Katrina flooded 80% of the city in 2005. The organizers see the event as a way to promote New Orleans. The exhibition will take place throughout the city and include 81 artists from more than 30 countries, all of whom were invited to create new work in response to the destruction. Although the famous French Quarter has been fixed up in Katrina's aftermath, virtually every neighborhood that was flooded still has boarded-up homes. Organizers say that the biennial's estimated 50,000 out-of-state visitors will have to tour the city in order to fully-experience the show and hope they will be inspired to stay longer and sample the local attractions."
The Independent Weekly, Mary Tutwiler, "Artists Create What FEMA Can't Even Imagine"
"Post Hurricane Rita, people are living in tents in Cameron Parish. That’s according to Paul Rainwater, Louisiana Recovery Authority Executive Director, who has fired off a letter to FEMA Administrator R. David Paulison after attempting for weeks to get the federal agency to send temporary housing to residents of coastal parishes. Rainwater’s not talking about the travel trailers, contaminated with formaldehyde, that FEMA supplied after Hurricanes Katrina and Rita. He’s talking about more substantial mobile homes, that people can live in while they repair or rebuild their houses."
The New York Times, Shaila Dewan, "New Orleans Rising, by Hammer and Art"
"Over the last few weeks more than a few locals have stopped by to inform a small construction crew in the Lower Ninth Ward here that it obviously does not what it is doing. 'The whole time we've been here, people have been like like, "You know, that's not the way to build a house,"' said Karen Del Aguila, laughing. 'They'd be like, "Are you guys licensed?"'
Ms. Del Aquila, an assistant to the artist Wangechi Mutu, and her crew have been building the frame of a traditional shotgun house, not as a permanent dwelling but as part of Prospect.1 New Orleans, an ambitious new art biennial that is to open here on Saturday and continue through Jan. 18."
New work by Sandy Chism will be on display in the group show, "Tulane Contemporary," at the Carroll Gallery at Tulane University from October 14 - November 21, 2008 Their will be a closing reception on Thursday, November 20th from 6:00 - 8:30 pm.
Travel + Leisure Magazine, "Guide to Arts + Culture: New Orleans"
“Prospect.1: New Orleans” (November 1–January 18; prospectneworleans.org). The largest international biennial devoted to contemporary art ever organized in the United States descends upon the post-Katrina city, with 81 cutting-edge artists from over 30 countries (including Iran and South Africa) installing work in sites ranging from galleries to warehouses, and from the French Quarter’s Historic New Orleans Collection to the abandoned houses and churches of the Lower Ninth Ward."
The New York Times, Roberta Smith, "In Katrina's Wake, a New Biennial"
"Maybe it's a sign of the times — or at least the frustrations of museum work. Or perhaps some sudden departures facilitate speedy arrivals elsewhere. In 1977 Marcia Tucker was fired from her curator's job at the Whitney Museum of American Art. Within months she had founded the New Museum, which she led for 22 years.
In 1995 Ms. Tucker hired Dan Cameron as senior curator. Late in 2005 he resigned from the New Museum, for reasons that remain unclear. In January 2006, after Mr. Cameron attended a forum on the cultural future of New Orleans, the idea of an international biennial in the city took root in his mind."
"Time sure does fly. I can remember, albeit dimly, when Jonathan Ferrara, Alex Beard and others were attempting to organize the first No Dead Artists (NDA) show at an earlier gallery back in the mid-'90s, which from this perspective seems a truly bygone time. So much life-altering stuff has happened since then, from millennial shifts to killer terrorists to killer hurricanes, that the mid-'90s seems like another century " which, of course, it was, but I mean, like, really another century. So long ago that Anne Rice was still a hot gothic novelist and Kurt Cobain was either still alive or almost still alive. I suspect that the average art gallery in America today might not have even been around in the mid-'90s, so for a program like No Dead Artists to even make it this far is noteworthy in its own right."
From Michael Karnjanaprakorn, co-founder of AllDayBuffet:
"The New Orleans 100" is a worldwide initiative that will highlight and encourage discussion among millions about 100 of the most innovative and world-changing ideas to take root in the city since Katrina. After hearing so many of the positive changes and innovative projects post-Katrina, we've decided enough is enough. It's time to put an end to the negative press in mainstream media. The world needs to know about the NEW New Orleans. And to quote Brad Pitt, "If you're going to rebuild something, why not rebuild it right?" Amen brother.
To combat top down media during the anniversary of Hurricane Katrina, we will leverage bottom up tools on the social web (email, blogs, twitter, facebook, digg, etc.), which can reach a combined audience of millions to raise awareness about New Orleans and inspire action to make a difference. The list will be released on Monday, August 25th - the week of the Hurricane Katrina anniversary. Our goal is to reach 1,000,000 pageviews by 8/29/08. We encourage you to spread the word by emailing the list, blogging it, digging it, stumbling it, and yelling it out your windows!"
Lousiana Homes & Gardens, Lisa Leblanc-Berry "Ode to White Linen,"
Kathleen Banton is Where Y'at Magazine
Aug 1, 2008
Where Y'at, Suzanne Pfefferie "Art Night Out," Volume 10, Issue 10
"While strolling down the street, try to stop inside every air-conditioned gallery, since each spot has something unique to offer. The Jonathan Ferrara Gallery is one of them. Flaunting new works by Kathleen Ariatti Banton, Ferrara's gallery will give a splash of color to the crips, white night. Many of her abstract pieces are derived from her own life experiences and her response to them is etched into each painting. The end result is appealing and affective."
Banton's paintings often convey messages, emotion, and meaning through the startegic placement of shapes and deliberate strokes of paint. She even uses the juxapostion of lines to create the sense of a struggle and stacked images to represent the endless amount of responsibilities that we carry. Each original creation is a story caputred on canvas, and it is one that art enthusiasts will want to follow throughout Ferrara's gallery."
Roberto Ortiz in the Gambit Weekly
Jun 17, 2008
The Gabmit Weekly, "Carribean Eye"
Eric D. Bookhardt, June 17, 2007
"We are now officially in storm season, which always reminds us of events we may not always want to remember. Of course, we've heard it all by now, the tales of woe and all the tragic things that happen when things really start to unravel " or so I thought. But what happened to New Orleans artist Roberto Ortiz after his studio and all of his worldly belongings were inundated by the floods following Katrina illustrates just how fragile are the strands from which our destinies hang suspended. After his former life washed away, Ortiz ended up in his ancestral land of Puerto Rico. There in the coastal city of Rincón, he endured life in a place where, according to the travel guides, 'emerald hills overlook golden beaches and crystal waters as the sun sets behind a mountain." If that sounds hellish, the most crushing blow must have been finding himself the overlord of a beach resort, the Villa Orleans. Such adversity can only be endured by losing oneself in one's work; the silver lining here is this series of new paintings at the Jonathan Ferrara Gallery."
"The show is called The Sawdust Ring. But the biggest, if temporary, part of it was an opening night installation called Baby Pool Drive In, a kind of ad hoc deck and cabana evoked by actual baby pools and deck furniture on a patch of Astroturf on the street outside the gallery. This conveys something of Miranda Lake's flair for blurring the usual boundaries between a dream world and the real world, in this case a bit of personal history. It seems that Julia Street gallerist Jonathan Ferrara had been struck by Lake's penchant for throwing parties with movies and exotic drinks with baby pools in place of the real pool that she hopes to have some day in the future. Impressed by the compelling surrealism of the setting, he encouraged her to recreate it as installation art. That mix of dream theater and gritty, street-level reality seems to be what propels much of her work. Lake is clearly guided by dreams, but she is also influenced by the mementos, keepsakes and talismanic objects that adorn her home, some of which symbolize dreams made tangible. Vice and Squalor features one such object, an antique Underwood typewriter sprouting bullhorns. It floats over a vague topography of seashells and old, Katrina-wracked homes as pigeons descend from a sky where an oversized sun bears ledger-like inscriptions of antique handwriting. The mysteriousness of the imagery is heightened by Lake's encaustic collage medium in which photographic imagery is combined with bits of old maps, ledgers and even kimono scraps bathed in beeswax to create a floating sensibility of 'displacement and timelessness." Jena Street Social Club features cowgirl singers performing around a stage that is actually an ornate old gas heater. Surreal shifts in scale cause the heater-stage to loom large next to the pigeons and cowgirls, who all appear about the same size. It's a tactic also employed in Last Night I had the Strangest Dream, in which wild horses run through canyons amid mesas that are actually giant barnacles. Lake's images have a sweetness that underlies their surreal content, and if they sometimes seem a little repetitious this time around, her best pieces recreate the world around us as if seen anew " a hopeful omen for the future."
"lonely arts club", doug maccash, times-picayune, october 10, 2007.
Miranda Lake in Times-Picayune
Oct 5, 2007
"the passing storm", doug maccash, times-picayune, october 5, 2007.
No Dead Artist Exhibit in the Gambit Weekly
Sept 4, 2007
The Gabmit Weekly, "No Dead Artists 2007"
Eric D. Bookhardt, September 4, 2007
"Ferrara's new Julia Street gallery, has become a local institution of sorts. Beyond the seemingly obvious, yet not necessarily easy, task of providing a platform for emerging artists to gain recognition while still alive and kicking, NDA has proven itself a fairly oracular bellwether for emerging trends and blossoming careers. A quick perusal of the names of artists who have attained a degree of notoriety over the past decade reveals a number of NDA alums. But the fates governing the art world are notoriously fickle, so it's no sure thing. As Ferrara himself says, "It's always different and it's always the same," meaning that even as new trends and artists emerge, much remains unchanged."
The Times Picayune, Doug MacCash, "Artist creates an imaginary past"
"He says that tomorrow night at the Phoenix bar, he'll unveil a collection of long-lost signs from a notorious bookstore and peep show emporium that once stood on Rampart Street. Henkin's Adonis Books, Fein explains, served an all-male clientele from 1945 until it was demolished in 1971 to make room for Armstrong Park. Patrons protested the demise of what had become a landmark of gay subculture."
"It's as predictable as swallows returning to Capistrano. Whenever the exhibition space at 400A Julia Street goes empty, another gallery soon moves in and fills the void. When Sylvia Schmidt decided not to renew her gallery's lease in the weeks just after Katrina, the Jenkins Connelly Gallery, originally rooted in Baton Rouge, took over. Then when Penelope Jenkins decided to move to a building she was renovating around the corner, it wasn't long before Jonathan Ferrara Gallery -- who had relocated his gallery upstairs from his former space on Carondelet Street after the storm -- moved in. As the I-Ching so sagely puts it, "continuity in the midst of change is the secret of the universe," and indeed, the universal order is in no danger here."
"I've never actually met Matthew Cox, and perhaps it's just as well. A Texas native and occasional resident of New Orleans and Philadelphia, Cox is a painterly chameleon whose published comments to art writers have alluded to various influences ranging from the avatars of the Italian Renaissance to the quirky psychological edginess of Lucien Freud, the London master of brutally frank portraiture. And if they all reflect occasional kernels of truth, they might also add up to a smorgasbord of red herrings, because none seems to lead to any of those "Ah ha!" moments of revelation in which the direction of Cox's brush finally becomes clear. Fortunately, the art world, unlike commercial aviation, has no control tower that clears artists to take off or land."
"In the art world, there is a long tradition of the flaneur, the solitary observer who wanders the streets of the city, taking his inspiration where he finds it. Often it takes the form of castaway objects, debris from the trash heap or sometimes the second-hand store. Joseph Cornell, the found-object sculptor whose magical shadow boxes made for a new medium in their own right, was a world class flaneur who routinely patrolled the streets of Manhattan looking for exactly the right orphaned objects to complete some box sculpture so precisely orchestrated as to constitute a miniature cosmos in its own right."