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24TH ANNUAL NO DEAD ARTISTS

International Juried Exhibition of Contemporary Art

August 22 – October 31, 2020

ARTEMIS ANTIPPAS, Us (me, mom, yiayia), 2020

ARTEMIS ANTIPPAS

Us (me, mom, yiayia), 2020

neon tubing, electrical wire, transformer
25h x 66w in

 

These works explore my intense and loving relationships with my mom, my yiayia (grandmother) and my Greek heritage. As apparent in the images, our noses are almost identical in form. My big nose is my Greek identity and it forever connects me to my mom and yiayia in ways that no other human characteristic can. We carry these noble Greek noses with pride and honor.

ARTEMIS ANTIPPAS, Us (me), 2020

ARTEMIS ANTIPPAS

Us (me), 2020

neon tubing, electrical wire, transformer
25h x 15w in

 

My neon nose portrait in magenta (one piece from series of three). These works explore my intense and loving relationships with my mom, my yiayia (grandmother) and my Greek heritage. As apparent in the images, our noses are almost identical in form. My big nose is my Greek identity and it forever connects me to my mom and yiayia in ways that no other human characteristic can. We carry these noble Greek noses with pride and honor.

ARTEMIS ANTIPPAS, Us (mom), 2020

ARTEMIS ANTIPPAS

Us (mom), 2020

neon tubing, electrical wire, transformer
25h x 15w in

 

My Mom's neon nose portrait in aquamarine (one piece from series of three). These works explore my intense and loving relationships with my mom, my yiayia (grandmother) and my Greek heritage. As apparent in the images, our noses are almost identical in form. My big nose is my Greek identity and it forever connects me to my mom and yiayia in ways that no other human characteristic can. We carry these noble Greek noses with pride and honor.

ARTEMIS ANTIPPAS, Us (yiayia), 2020

ARTEMIS ANTIPPAS

Us (yiayia), 2020

neon tubing, electrical wire, transformer
25h x 15w in

 

My Yiayia's neon nose portrait in vibrant lavender (one piece from series of three). These works explore my intense and loving relationships with my mom, my yiayia (grandmother) and my Greek heritage. As apparent in the images, our noses are almost identical in form. My big nose is my Greek identity and it forever connects me to my mom and yiayia in ways that no other human characteristic can. We carry these noble Greek noses with pride and honor.

ADRIENNE BROWN-DAVID  Bijou in Denim, 2020  oil on canvas  30h x 24w in

ADRIENNE BROWN-DAVID

Bijou in Denim, 2020

oil on canvas

30h x 24w in

ADRIENNE BROWN-DAVID  Poppy, 2019  oil and hand embroidery on canvas  48h x 24w in

ADRIENNE BROWN-DAVID

Poppy, 2019

oil and hand embroidery on canvas

48h x 24w in
 

Poppy is an image that evokes a sense of childlike wonder at being free in a wide-open space. It is that moment of possibility just before play, just before creation, just before what is imagined becomes what is.

 

These pieces are images taken directly from life with my daughters. They each represent a fragment of their childhood that is rapidly disappearing. I have chosen to create visual images that celebrate all that comes with the evolution from girlhood to womanhood.

 

MARCELLA COLAVECCHIO  Peacocking, 2020  acrylic on canvas  60h x 48w in

MARCELLA COLAVECCHIO

Peacocking, 2020

acrylic on canvas

60h x 48w in

 

So often we don't allow men to speak honestly openly and feel safe expressing their feelings without being attacked.

 

My work explores gender oppression; the dismantling of “traditional” roles of men and women, re-defining it and using those concepts to elevate my subjects as vessels of power. I attempt a presentation of the figure that does not separate the sensual and beautiful from the bold and meaningful. Power is a great tool – it can move people, challenge attitudes, and inspire action and devotion. By juxtaposing figuration with a bold narrative context, I suggest the necessity of societal transformation.

MARCELLA COLAVECCHIO  It Makes You Look Thinner, 2020  acrylic on canvas  60h x 48w in

MARCELLA COLAVECCHIO

It Makes You Look Thinner, 2020

acrylic on canvas

60h x 48w in

 

Body acceptance is a spectrum. On one end, there's hatred and on the other, love. Humor allows me to view the spectrum from different perspectives, temporarily putting aside everyday concerns to explore the amusing and comical rather than serious or sad.

 

My work explores gender oppression; the dismantling of “traditional” roles of men and women, re-defining it and using those concepts to elevate my subjects as vessels of power. I attempt a presentation of the figure that does not separate the sensual and beautiful from the bold and meaningful. Power is a great tool – it can move people, challenge attitudes, and inspire action and devotion. By juxtaposing figuration with a bold narrative context, I suggest the necessity of societal transformation.

MARCELLA COLAVECCHIO  Smile, Bitch, 2020  acrylic on canvas  60h x 48w in

MARCELLA COLAVECCHIO

Smile, Bitch, 2020

acrylic on canvas

60h x 48w in

 

I attempt a presentation of the figure that does not separate the sensual and beautiful from the bold and meaningful. Power is a great tool it can move people, challenge attitudes, and inspire action and devotion.

 

My work explores gender oppression; the dismantling of “traditional” roles of men and women, re-defining it and using those concepts to elevate my subjects as vessels of power. I attempt a presentation of the figure that does not separate the sensual and beautiful from the bold and meaningful. Power is a great tool – it can move people, challenge attitudes, and inspire action and devotion. By juxtaposing figuration with a bold narrative context, I suggest the necessity of societal transformation.

SONYA FORT  Entangled, 2020  Digital Print on Hahnemuhle Photo Silk Baryta  9h x 12w in

SONYA FORT

Entangled, 2020

Digital Print on Hahnemuhle Photo Silk Baryta

9h x 12w in
 

A self-portrait taken during a moment of depression born from months of having to be completely isolated from everyone while I shelter in place due to COVID-19. I felt trapped and alone and I wanted to break free.

SONYA FORT, First Dance, 2016

SONYA FORT

First Dance, 2016

Digital Print on Hahnemuhle Photo Silk Baryta

16h x 20w in
 

A blushing bride during the first dance of her second marriage ceremony. She had waited over 25 years to find her 'Mr. Right.'

SONYA FORT  What A Catch, 2004  Digital Print on Hahnemuhle Photo Silk Baryta  12h x 9w in

SONYA FORT

What A Catch, 2004

Digital Print on Hahnemuhle Photo Silk Baryta

12h x 9w in
 

A candid moment of a local boy with his catch from the ocean at a black sand beach on the island of Fogo, Cape Verde. 

MATT HENRY  The Trip #9, 2015  archival pigment print  33.07h x 50w in

MATT HENRY

The Trip #9, 2015

archival pigment print

33.07h x 50w in

 

Betty checks her makeup in the Station Wagon mirror.

 

The Trip is a work of narrative fiction and functions like stills from imaginary film. It comprises 28 images in total and follows the escapades of a diverse bunch of characters brought together by an unsuspecting LSD trip at the tail end of the 60s deep in the Mojave desert.

MATT HENRY  The Trip #19, 2015  archival pigment print  33.07h x 50w in

MATT HENRY

The Trip #19, 2015

archival pigment print

33.07h x 50w in

 

The gang prepares for a late-night trip into the depths of the desert.

 

The Trip is a work of narrative fiction and functions like stills from imaginary film. It comprises 28 images in total and follows the escapades of a diverse bunch of characters brought together by an unsuspecting LSD trip at the tail end of the 60s deep in the Mojave desert.

BARBARA KUEBEL  Touching Four Sides, 2019  woodcut on paper  56h x 64w in

BARBARA KUEBEL

Touching Four Sides, 2019

woodcut on paper

56h x 64w in

 

This work stems from the idea of maximal adjustment into a given volume. The idea is also shaped through more autobiographical thoughts of sameness and difference in certain environments. There is also a humorous element in relation to same movement or same physical structures up to the point where the body cannot be separated into a dual system of two individuals.

BARBARA KUEBEL, Touching one side downside, 2019

BARBARA KUEBEL

Touching one side downside, 2019

woodcut on paper

56h x 64w in
edition 2/5

 

I am fascinated by space and room experiences. For my latest works I try to integrate limited space and format together with composition of figures. My figures are not inevitably human, they more fit into a humanlike status in order to tackle the theme of possible and impossible experimentation through the body and the dimensions of the body in relation to space.

KRISTINA LARSON  Stacked, 2020  ceramic with blue acrylic sheets  35h x 15w x 13d in

KRISTINA LARSON

Stacked, 2020

ceramic with blue acrylic sheets

35h x 15w x 13d in

 

'Stacked' is a white ceramic sculpture with transparent blue acrylic sheets that reflect the light onto the surface of the ceramic pieces. The piece is about balance movement and the reflection of light.

I am a multidisciplinary artist who creates biomorphic sculptures and functional designs. I explore the limits of clay as a material by hand-building, sculpting, and assembling. Often relying on chance and gravity to inform the gesture of the work.

KRISTINA LARSON  Untitled, 2019  ceramic with colored LED lights  16h x 14w x 12d in

 

KRISTINA LARSON

Untitled, 2019

ceramic with colored LED lights

16h x 14w x 12d in

 

This sculpture is made up of 3 hallow shell forms with a different colored light under each layer. The sculptural forms are white glazed ceramics which add an intriguing contrast to the vibrant LED lights.

I am a multidisciplinary artist who creates biomorphic sculptures and functional designs. I explore the limits of clay as a material by hand-building, sculpting, and assembling. Often relying on chance and gravity to inform the gesture of the work.

KRISTINA LARSON, Draping in White and Blue, 2020

KRISTINA LARSON

Draping in White and Blue, 2020

Ceramic with white glaze and blue translucent vinyl

LAUREN MABRY  Glaze Flow Blocks (20.03), 2020  earthenware, slip, glaze  15h x 19.50w x 9d in

LAUREN MABRY

Glaze Flow Blocks (20.03), 2020

earthenware, slip, glaze

15h x 19.50w x 9d in

 

Handbuilt with clay, painted and monoprinted with colored clay slips, glazed in an electric kiln. All materials and glazes are custom formulations by the artist.

This work seeks to both highlight and exploit the intrinsic qualities and process-oriented nature of ceramics. Through calculated experimentation driven by a fascination with color and visual movement, the objects I make challenge viewers to contemplate the perceived physical state of matter. These ever-dynamic compositions feature rich, vibrant glazes that remain in constant fluctuation between flowing liquids and solid structures.

LAUREN MABRY  Glazescape (20.02), 2020  earthenware, slip, glaze  7h x 13w x 2.50d in

LAUREN MABRY

Glazescape (20.02), 2020

earthenware, slip, glaze

7h x 13w x 2.50d in

 

Handbuilt with clay, painted and monoprinted with colored clay slips, glazed in an electric kiln. All materials and glazes are custom formulations by the artist.

This work seeks to both highlight and exploit the intrinsic qualities and process-oriented nature of ceramics. Through calculated experimentation driven by a fascination with color and visual movement, the objects I make challenge viewers to contemplate the perceived physical state of matter. These ever-dynamic compositions feature rich, vibrant glazes that remain in constant fluctuation between flowing liquids and solid structures.

LAUREN MABRY  Glazescape (20.01), 2020  earthenware, slip, glaze  8.50h x 10w x 4d in

LAUREN MABRY

Glazescape (20.01), 2020

earthenware, slip, glaze

8.50h x 10w x 4d in

 

Handbuilt with clay, painted and monoprinted with colored clay slips, glazed in an electric kiln. All materials and glazes are custom formulations by the artist.

This work seeks to both highlight and exploit the intrinsic qualities and process-oriented nature of ceramics. Through calculated experimentation driven by a fascination with color and visual movement, the objects I make challenge viewers to contemplate the perceived physical state of matter. These ever-dynamic compositions feature rich, vibrant glazes that remain in constant fluctuation between flowing liquids and solid structures.

LAUREN MABRY  Cylinder 20.11, 2020  earthenware, slip, glaze  7.75h x 9w x 9d in

LAUREN MABRY

Cylinder 20.11, 2020

earthenware, slip, glaze

7.75h x 9w x 9d in
 

Handbuilt with clay, painted and monoprinted with colored clay slips, glazed in an electric kiln. All materials and glazes are custom formulations by the artist.

This work seeks to both highlight and exploit the intrinsic qualities and process-oriented nature of ceramics. Through calculated experimentation driven by a fascination with color and visual movement, the objects I make challenge viewers to contemplate the perceived physical state of matter. These ever-dynamic compositions feature rich, vibrant glazes that remain in constant fluctuation between flowing liquids and solid structures.

ARNY NADLER  Firstling No. 11, 2017  painted ceramic  32h x 13.75w x 11.50d in

ARNY NADLER

Firstling No. 11, 2017

painted ceramic

32h x 13.75w x 11.50d in

 

These sculptures are from an ongoing series titled Firstlings. They hover conceptually between figuration and abstraction and, in material and subject matter, are in dialogue with art history and its preoccupation with the figure and notions of beauty, wholeness, and correctness. As the series evolves, I continue to experiment with scale, surface treatment, and installation/presentation strategies.

ARNY NADLER  Firstling No. 17, 2019  latex painted ceramic  22.50h x 16.50w x 12d in

ARNY NADLER

Firstling No. 17, 2019

latex painted ceramic

22.50h x 16.50w x 12d in

 

These sculptures are from an ongoing series titled Firstlings. They hover conceptually between figuration and abstraction and, in material and subject matter, are in dialogue with art history and its preoccupation with the figure and notions of beauty, wholeness, and correctness. As the series evolves, I continue to experiment with scale, surface treatment, and installation/presentation strategies.

ARNY NADLER  Firstling No. 12, 2017  painted ceramic  25.50h x 13w x 12.25d in

ARNY NADLER

Firstling No. 12, 2017

painted ceramic

25.50h x 13w x 12.25d in

 

These sculptures are from an ongoing series titled Firstlings. They hover conceptually between figuration and abstraction and, in material and subject matter, are in dialogue with art history and its preoccupation with the figure and notions of beauty, wholeness, and correctness. As the series evolves, I continue to experiment with scale, surface treatment, and installation/presentation strategies.

ONZIE NORMAN  Negus, 2019  acrylic and collage on wood  24h x 18w in

ONZIE NORMAN

Negus, 2019

acrylic and collage on wood

24h x 18w in

 

This artwork takes a look at an Ethiopian king from the 18th century.

 

My art is my journey into the powerful energy of abstraction through forms, shapes, lines, and color. I create work inspired by indigenous people, African mask sculptures and, the neo-expressionism style that emerged in the late 1970s. My paintings are created with a blend of collage and paint. I primarily use acrylic, enamel, ink, spray paint, paper, and resin to create mixed media subjects on handcrafted wood canvases. Often viewers will see one of the eyes blotted out in my pieces, which represents the history of ethnic groups that have been wiped out. My goal is to pay homage to the past while including contemporary styles using vibrant and bold colors. My art is a celebration of a culture where the past and present meet and ultimately will affect the future.

ONZIE NORMAN  Journey Through the Motherland, 2019  acrylic, collage, and sand on wood  31h x 25w in

ONZIE NORMAN

Journey Through the Motherland, 2019

acrylic, collage, and sand on wood

31h x 25w in

 

There was a village in Africa where people had to travel miles to get essential needs, this artwork takes a look at a mother and child traveling to obtain water and food.

 

My art is my journey into the powerful energy of abstraction through forms, shapes, lines, and color. I create work inspired by indigenous people, African mask sculptures and, the neo-expressionism style that emerged in the late 1970s. My paintings are created with a blend of collage and paint. I primarily use acrylic, enamel, ink, spray paint, paper, and resin to create mixed media subjects on handcrafted wood canvases. Often viewers will see one of the eyes blotted out in my pieces, which represents the history of ethnic groups that have been wiped out. My goal is to pay homage to the past while including contemporary styles using vibrant and bold colors. My art is a celebration of a culture where the past and present meet and ultimately will affect the future.

ONZIE NORMAN  Last Supper, 2019  acrylic, wood, and collage on wood  27h x 37w in

ONZIE NORMAN

Last Supper, 2019

acrylic, wood, and collage on wood

27h x 37w in

 

This Last Supper takes place in Northern Africa in a building located in the Sahara Desert, this artwork has a three-dimensional table and the messiah's arm is 3-D. The background depicts a stained glass window.

 

My art is my journey into the powerful energy of abstraction through forms, shapes, lines, and color. I create work inspired by indigenous people, African mask sculptures and, the neo-expressionism style that emerged in the late 1970s. My paintings are created with a blend of collage and paint. I primarily use acrylic, enamel, ink, spray paint, paper, and resin to create mixed media subjects on handcrafted wood canvases. Often viewers will see one of the eyes blotted out in my pieces, which represents the history of ethnic groups that have been wiped out. My goal is to pay homage to the past while including contemporary styles using vibrant and bold colors. My art is a celebration of a culture where the past and present meet and ultimately will affect the future.

NORTON PEASE  Humanity I, 2019  acrylic and ink on paper  36h x 60w in Framed: 38h x 62w in

NORTON PEASE

Humanity I, 2019

acrylic and ink on paper

36h x 60w in
Framed: 38h x 62w in
 

My artwork encompasses both abstract and figurative portrayals that synthesize different traditions and genres while playing with perceptions of identity and social order. These paintings utilize the colonizing imagery of vintage children's books as source material, which takes on new meaning through a contemporary context. That figuration finds its way into my recent work, which is reflective of my relocation to the South in 2018.

NORTON PEASE  Humanity II, 2019-2020  acrylic and ink on paper  36h x 60w in

NORTON PEASE

Humanity II, 2019-2020

acrylic and ink on paper

36h x 60w in
 

My artwork encompasses both abstract and figurative portrayals that synthesize different traditions and genres while playing with perceptions of identity and social order. These paintings utilize the colonizing imagery of vintage children's books as source material, which takes on new meaning through a contemporary context. That figuration finds its way into my recent work, which is reflective of my relocation to the South in 2018.

JULIA ROMANO  Cultural Landscapes VIII - caña de la india, 2017  inkjet print on cotton paper  39.37h x 39.37w in 100h x 100w cm  edition 5/7

JULIA ROMANO

Cultural Landscapes VIII - caña de la india, 2017

inkjet print on cotton paper

39.37h x 39.37w in
100h x 100w cm

edition 5/7

 

This series was made with downloaded images from European paintings of landscape (De Haes, Lorrain, Gainsborough, Constable), that I've digitally joined with photographs taken by me of local sights: the 'sierras' of Cordoba, the river of my home town, plants and trees from my neighborhood; or mountains, lagoons, and trees from other countries that I visited within the last 5 years.

JULIA ROMANO  Cultural Landscapes IX - retama, 2017  inkjet print on cotton paper  31.50h x 39.37w in 80h x 100w cm

JULIA ROMANO

Cultural Landscapes IX - retama, 2017

inkjet print on cotton paper

31.50h x 39.37w in
80h x 100w cm

 

This series was made with downloaded images from European paintings of landscape (De Haes, Lorrain, Gainsborough, Constable), that I've digitally joined with photographs taken by me of local sights: the 'sierras' of Cordoba, the river of my home town, plants and trees from my neighborhood; or mountains, lagoons, and trees from other countries that I visited within the last 5 years.

JULIA ROMANO  Cultural Landscapes XV - crataegus, 2018  inkjet print on cotton paper  35.43h x 39.37w in 90h x 100w cm

JULIA ROMANO

Cultural Landscapes XV - crataegus, 2018

inkjet print on cotton paper

35.43h x 39.37w in
90h x 100w cm

 

This series was made with downloaded images from European paintings of landscape (De Haes, Lorrain, Gainsborough, Constable), that I've digitally joined with photographs taken by me of local sights: the 'sierras' of Cordoba, the river of my home town, plants and trees from my neighborhood; or mountains, lagoons, and trees from other countries that I visited within the last 5 years.

BRIAN ST. CYR, Pool Truck, 2020

BRIAN ST. CYR

Pool Truck, 2020

digital collage on archival photo paper

24h x 36w in

edition 1/10
 

My current series of photographic manipulations concern themselves with the persistent damage we humans expose to our unique cultural footprint. Lacking figuration the imagery nonetheless is haunted by previous human presence. I take my cues from everyday life. Pick up trucks, furniture left street side on trash day, dislocated wildlife occupying the city limit are but a few items in my palette.

BRIAN ST. CYR  504 on the Floor, 2020  digital collage on archival photo paper  24h x 36w in

BRIAN ST. CYR

504 on the Floor, 2020

digital collage on archival photo paper

24h x 36w in

edition 1/10
 

My current series of photographic manipulations concern themselves with the persistent damage we humans expose to our unique cultural footprint. Lacking figuration the imagery nonetheless is haunted by previous human presence. I take my cues from everyday life. Pick up trucks, furniture left street side on trash day, dislocated wildlife occupying the city limit are but a few items in my palette.

BRIAN ST. CYR  Space Truckin, 2020  digital collage on archival photo paper  24h x 36w in

BRIAN ST. CYR

Space Truckin, 2020

digital collage on archival photo paper

24h x 36w in

edition 1/10
 

My current series of photographic manipulations concern themselves with the persistent damage we humans expose to our unique cultural footprint. Lacking figuration the imagery nonetheless is haunted by previous human presence. I take my cues from everyday life. Pick up trucks, furniture left street side on trash day, dislocated wildlife occupying the city limit are but a few items in my palette.

TRENITY THOMAS  Teenage Summer, 2019  photographic print  20h x 20w in edition 1/2

TRENITY THOMAS

Teenage Summer, 2019

photographic print

30h x 30w in, edition 2/5

20h x 20w in, edition 2/7

 

Teenagers waiting for their next move.

Trenity Thomas is a freelance photographer based in New Orleans, La. As a photographer, Trenity uses his camera to capture the life and the composition of still life around him. Giving his photos warm tones to bring you in the image as if you were there.

TRENITY THOMAS  Back to Back, 2019  photographic print  30h x 20w in edition 1/1

TRENITY THOMAS

Back to Back, 2019

photographic print

30h x 20w in
edition 1/1

 

Always have each other's back and you go up.

Trenity Thomas is a freelance photographer based in New Orleans, La. As a photographer, Trenity uses his camera to capture the life and the composition of still life around him. Giving his photos warm tones to bring you in the image as if you were there.

TRENITY THOMAS  Coven, 2019  photographic print  20h x 16w in edition 1/1

TRENITY THOMAS

Coven, 2019

photographic print

20h x 16w in
edition 1/1

 

Three witches awaiting their next conquest.

Trenity Thomas is a freelance photographer based in New Orleans, La. As a photographer, Trenity uses his camera to capture the life and the composition of still life around him. Giving his photos warm tones to bring you in the image as if you were there.

TRENITY THOMAS  With Care, 2019  photographic print  20h x 16w in edition 1/1

TRENITY THOMAS

With Care, 2019

photographic print

20h x 16w in
edition 1/1

 

Protecting the Gay Pride Flag.

Trenity Thomas is a freelance photographer based in New Orleans, La. As a photographer, Trenity uses his camera to capture the life and the composition of still life around him. Giving his photos warm tones to bring you in the image as if you were there.

TRENITY THOMAS  On The Way, 2017  photographic print  30h x 20w in edition 1/1

TRENITY THOMAS

On The Way, 2017

photographic print

30h x 20w in
edition 1/1

 

Two streetcars on Canal Street, New Orleans heading back to their route.

Trenity Thomas is a freelance photographer based in New Orleans, La. As a photographer, Trenity uses his camera to capture the life and the composition of still life around him. Giving his photos warm tones to bring you in the image as if you were there.

ALEXI TORRES, Sun Light - Domingo, 2016

ALEXI TORRES

Sun Light - Domingo, 2016

oil on canvas

72h x 64w in

ALEXI TORRES, Sun Light - Yasmay, 2016

ALEXI TORRES

Sun Light - Yasmay, 2016

oil on canvas

72h x 60w in

Press Release

22 August 2020 (New Orleans, LA) JONATHAN FERRARA GALLERY proudly presents the 24th Annual NO DEAD ARTISTS International Juried Exhibition of Contemporary Art. For the 2020 installment of the exhibition, the gallery will host works by fifteen artists from and/or working across the United States, as well as, Argentina, the UK, Cuba, Austria, and Costa Rica. The exhibition will be on view from 22 August to 30 September 2020 with a scheduled self-guided art walk on 5 September 2020 from 10 am - 5 pm in conjunction with the Arts District New Orleans’ (ADNO) First Saturday Art Stroll.

 

The NO DEAD ARTISTS exhibition was founded by Jonathan Ferrara in 1995 to give a voice to emerging artists. The exhibition’s name is derived from the old adage that artists never achieve success until they are dead. NO DEAD ARTISTS turns that notion on its head and often gives emerging artists their first break in the art world. In the 90s, the exhibition was open to New Orleans-based artists and subsequently grew to include artists of Louisiana, then becoming a national juried exhibition in 2010. And in 2014, the exhibition went international. Now in its 24th iteration, the exhibition has been a springboard for numerous artists; leading to national press coverage, recognition, gallery representation, and acquisitions by museums and other prominent collections.

 

Each year the gallery invites a panel of renowned arts professionals and collectors to select the newest creative talents for around the world. Past jurors have included: Prospect.1 Founder and Curator, Dan Cameron; Museum Director, Billie Milam Weisman; Collector and Philanthropist, Beth Rudin DeWoody; MacArthur Fellow, John Scott; Whitney Trustee and Ballroom Marfa Co-founder, Fairfax Dorn; NOMA Director, Susan Taylor; former Director of the Andy Warhol Museum, Eric Shiner; Director of the National Art Gallery of the Bahamas and Founder/Artistic Director of the VOLTA Fair, Amanda Coulson; ArtBridge Curator, Jordana Zeldin; Collector and MoMA Board Member, Lawrence Benenson; CAMH Director, Bill Arning; Collector and Brooklyn Museum Board Member, Stephanie Ingrassia; Collector and Prospect New Orleans Biennial board member, Nick Mayor; Director/Owner of Art Market Productions, Max Fishko; Associate Curator at the Contemporary Jewish Museum, San Francisco, Anastasia James; Director of Perez Art Museum Miami and Artistic Director of Prospect.3 Biennial, New Orleans, Franklin Sirmans; collector Lester Marks; McNay Art Museum Curator, René Paul Barilleaux; and actress and collector, CCH Pounder.

The 2020 NO DEAD ARTISTS Jury

NATO THOMPSON

Nato Thompson is a curator, author, and The Sueyun and Gene Locks Artistic Director at Philadelphia Contemporary. Philadelphia Contemporary is a mobile contemporary art organization in the process of creating a non-collecting museum in the city of Philadelphia. He recently curated the four channel film project by Bradford Young and Elissa Blount Moorehead titled Back and Song, the group show Festival for the People, as well as, a solo artist commission by painter Jane Irish. He has previously worked as Artistic Director at the New York-based public art organization Creative Time, which he joined in January 2007. Since then, Thompson has organized numerous major Creative Time projects. He has also worked as Curator at MASS MoCA, where he completed numerous large-scale exhibitions, including The Interventionists: Art in the Social Sphere (2004), with a catalogue distributed by MIT Press. He has written two books of cultural criticism, Seeing Power: Art and Activism in the 21st Century (2015) and Culture as Weapon: The Art of Influence in Everyday Life published in January 2017.

 

JESSIE SCHOTT HAYNES

Jessie Schott Haynes is the Managing Director of The Helis Foundation, a private foundation, which administers grants that sustain operations for, provide free admission to, and acquires significant works of art on behalf of major institutions within the Metropolitan New Orleans area.  She is responsible for ensuring that the Helis Family’s commitment to creating access to public art is fulfilled by managing public sculpture acquisition and exhibition throughout the City as well as implementation of and oversight of programs such as  Art for All.  Haynes earned a B.A. in both English and Art History from Newcomb College at Tulane University and a juris doctor from Loyola University New Orleans College of Law.  She serves as a Trustee of the Ogden Museum of Southern Art, and a Board member of the Arts Council New Orleans, the Preservation Resource Center, and the Bureau of Governmental Research.    

 

CAREY MACK WEBER

Carey Mack Weber has over 25 years of experience working in museums and galleries. Carey spent over a decade working in fine art galleries in New York City, notably serving as Director of  Susan Sheehan Inc. and Edward Tyler Nahem Fine Art. She was integral to the founding of the Bellarmine Museum of Art, and has served as Executive Director of the Fairfield University Art Museum since January 2019. Carey is currently serving her 5th year as President of the Connecticut Art Trail, a nationally recognized partnership between twenty-one world-class museums and historic sites.

The 24th Annual NO DEAD ARTISTS Finalists

The 24th Annual NO DEAD ARTISTS Finalists

ARTEMIS ANTIPPAS - New Orleans, LA

ADRIENNE BROWN-DAVID - Water Valley, MS

MARCELLA COLAVECCHIO - Austin, TX

SONYA TANAE FORT - Brockton, MA

MATT HENRY - Brighton, England

BARBARA KUEBEL - Daphne, AL

KRISTINA LARSON - New Orleans, LA

LAUREN MABRY - Philadelphia, PA

ARNY NADLER - St. Louis, MO

ONZIE NORMAN - Wixom, MI

NORTON PEASE - Statesboro, GA

JULIA ROMANO - Cordoba, Argentina

BRIAN ST. CYR - New Orleans, LA

TRENITY THOMAS - Westwego, LA

ALEXI TORRES - Atlanta, GA & Zancudo, Costa Rica

Comprised of painting, photography, sculpture, ceramics, printmaking, collage, and installation, NO DEAD ARTISTS continues to exhibit a great diversity in media with a cohesive cross-section of the pulse of contemporary art.

 

Presenting just over 40 artworks by fifteen artists, this diverse symposium ranges in media, style, and purpose from the photo-realistic portraits of the critically acclaimed, Cuban painter, Alexi Torres, to the first-ever exposition of locally emerging photographer Trenity Thomas. Other exhibition highlights include the newest ceramic works of Lauren Mabry, as well as, two photographs from Matt Henry’s “The Trip and the book Short Stories” series. Artemis Antippas installed three new neon sculptures over a navy blue wall in the center of the main gallery and Julia Romano sent three photo collages from Córdoba, Argentina.

 

For the grand prize of the exhibition, one of the selected jury winning artists will be awarded a solo exhibition at JFG in 2021. Previous recipient awardees include Nikki Rosato (2012, Washington D.C.), Marna Shopoff (2014, Indianapolis), Richelle Gribble (Los Angeles, 2015), Jenny Day (Santa Fe, 2017) and jointly Maggie Evans (Savannah) and Chris Barnard (New Haven) in 2019. Not only have past finalists received solo shows at t h e gallery but some have also successfully gone on to exhibit with us at art fairs in New York, Miami, Basel (Switzerland), Leipzig (Germany), San Francisco, Houston, Seattle, and other traveling exhibitions and museums worldwide. These artists and the No Dead Artists exhibition have garnered great interest from curators, museums, and press and have also been acquired by many prominent public and private collections. . . Stay tuned for the announcement of the 2020 winner at the close of the exhibition.

 

For more information, press or sales inquiries please contact the gallery director Matthew Weldon Showman at 504.343.6827 or matthew@jonathanferraragallery.com. Please join the conversation with JFG on Facebook (@JonathanFerraraGallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags:  #NoDeadArtists, #NDA2020 and #JonathanFerraraGallery.