Chihuly’s Rose Crystal Tower Will Be on Public Display for Two Years A large-scale sculpture by world-renowned artist Dale Chihuly was unveiled today in the plaza in front of the…
by OSMAN CAN YEREBAKAN for Cultured Magazine During the preview for Open Spaces 2018: A Kansas City Arts Experience on a rainy Thursday, curator Dan Cameron walked a group of journalists and…
FREE FALL: Prophecy & Free Will in Milton’s Paradise Lost by Dawn DeDeaux FREE FALL is a large-scale sculpture installation by New Orleans-based artist Dawn DeDeaux created for Kansas City’s international art venue OPEN…
Review by Saskia Ozols Eubanks, Adjunct Assistant Professor, Tulane University for SECAC. We get, then, these three things: one that in nature, we would say God produces; one which the…
Rob Wynne: FLOAT On view at the Brooklyn Museum from June 6, 2018, to January 6, 2019 The Brooklyn Museum is pleased to present Rob Wynne: FLOAT, a site-specific activation…
The Arthur Roger Gallery is pleased to announce the inclusion of gallery artists Wayne Gonzales and John T. Scott in Prospect.4: The Lotus in Spite of the Swamp, currently on view at the Ogden Museum of Southern Art.
This exhibition focuses on the longstanding innovative practice of New Orleans based artist Lin Emery. It features more than a dozen examples of her work and includes eight wind-powered kinetic sculptures.
Tina Freeman: Artist Spaces at the Hilliard University Art Museum, September 8, 2017 – May 5, 2018. Featuring work by gallery artists Luis Cruz Azaceta, Willie Birch, Nicole Charbonnet, Dawn DeDeaux, George Dureau, Lin Emery, David Halliday, Ersy Schwartz, and Amy Weiskopf.
New Orleans Artists Talk About Their Work In The “Living With Climate” Exhibition At Crevasse 22 | River House | Free Event with Jacqueline Bishop, Tina Freeman, and Allison Stewart
Thumbs up for the Mothership features individual works as well as a collaborative installation by New Orleans conceptual artist Dawn DeDeaux and Alabamian self-taught sculptor and musician Lonnie Holley. Deeply influenced by their southern roots, both artists mine the landscapes around them for found objects (a nod to Rauschenberg’s “combines”) and engage in dialogues around issues of ecology and social justice.