Nicole Charbonnet grew up playing hide-and-seek in the majestic, crumbling aboveground Lafayette cemetery in New Orleans. Today, she still lives in New Orleans, creating layered images on paper and canvas in which the present hides within the past like a child crouching between tombstones.
Davy Jones speaks to photographer Robert Polidori about his images of post-hurricane New Orleans.
Jacqueline Bishop’s “Panorama,” which snakes on the walls of the Georgia State University art gallery, is a flotsam of baby shoes, artificial birds and toys, all bathed in black.
Though less collaged than his previous work, the eight paintings that made up James Barsness’s recent exhibition are still dense with obscure imagery and obsessive detail. Loaded with cryptic symbolism, they offer private narratives steeped in archetypal themes: birth, childhood and death, sex and violence.
One of the first pieces that catches visitors’ eyes is Srdjan Loncar’s “Living Room,” which uses Styrofoam, photographs and pins to reconstruct the most used space in the American home.
This is a stunning portfolio of glass artist Dale Chihuly’s awesome creations, including his critically acclaimed Baskets, Seaforms, Chandeliers and Towers.
As you walk up the stairway to the upper floor of the Opelousas Museum of Art, you hear the sound of running water and chirping birds. Above that, you hear a woman singing a mournful song, her voice reflecting pain and longing.
One of the brightest of these young all-stars is Croatian-born Srdjan Loncar, 35, whose large, obsessively complicated photo-coated sculptures dominated the last New Orleans Triennial group show at the New Orleans Museum of Art in 2005.
