Press & Media

“Round Up: The Best of Prospect.2 New Orleans: Part 3,” Pelican Bomb

The moment the sky turns dark is transformative. In the Brulatour Courtyard, it’s the time when Dawn DeDeaux’s perverted portrait of Ignatius Reilly comes to life, converting the romanticism of the historic courtyard into the dark imaginings of John Kennedy Toole’s A Confederacy of Dunces. Those familiar with the iconic New Orleans novel will recognize central elements from the narrative in this installation. The Levy Pants revolution, the Lucky Dog cart, and Reilly’s hunting cap all make appearances; while Reilly’s slovenly bed occupies center stage of the courtyard, fountain spewing from its center. Read More

Dawn DeDeaux’s Prospect.2 Installation “Goddess Fortuna and Her Dunces In An Effort To Make Sense Of It All” at The Historic New Orleans Collection’s Brulatour Courtyard

“DeDeaux, a New Orleans native and one of America’s pioneering new media artists, employs her visionary sense of space, light and media to transform the Brulatour Courtyard into “Goddess Fortuna and Her Dunces In An Effort To Make Sense Of It All.” Inspired by John Kenney Toole’s classic New Orleans novel, “A Confederacy of Dunces,” the exhibition celebrates the 30th anniversary of the novel’s Pulitzer Prize, exploring its underlying philosophical themes.” Read More

“What was best at the Art for Art’s Sake 2011 block party,” The Times-Picayune

Last night’s Art for Art’s Sake block party was a pleasant blur. With the temperature in the sweet seventies and not a cloud in the autumn sky – really, not one – it was the perfect night for an art promenade. Read my AFAS preview here. Julia Street was crowded, but not as cramped as August’s White Linen Night. Lines at the outdoor bars were minimal and the food I sampled – macaroni and cheese studded with lobster – was outstanding. It would have been a great night out, even if the art had not been completely captivating. Read More

“Strange Alchemy,” Gambit Weekly

Strange Alchemy By Eric D. Bookhardt, GAMBIT WEEKLY The objects on view are all too familiar, though not necessarily reassuring. Wrecking balls, ladders and water, lots of water, offer no end of troubling associations — and not just for local associations. Those same images also resonate in the wake of the recent horrific flooding in…  Read More

“Transcending the Walls of the Museum,” ArtVoices

Transcending the Walls of the Museum: Dawn DeDeaux’s Philosophy of Space by Jenelle Davis, ARTVOICES Prolific, astute, engaging and very New Orleanian, Dawn DeDeaux has established herself as a formidable presence in the art world both locally and further afield. DeDeaux’s seminal body of work has resulted in her frequent recognition as a forerunner of…  Read More

“Interpreting Katrina”, The Daily Advertiser

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. Read More

“On the Death in New Orleans”, Art in America

One month after my rapid exodus from New Orleans, I return to a city dead. Yet there are familiar sights in the maze of debris: I see the work of Leonardo Drew in the matted rolls of wet housing insulation, Cy Twombly scratches in the enamel of wind-tossed cars, Keith Sonnier configurations in the twisted neon signs knotted with plastic bags, a Richard Serra monument in the mammoth, rusted, severed barge at an intersection . . . and on and on the story goes. Read More

“Landscape Reclaimed”, Artforum

“Landscape Reclaimed,” a consistently smart show comprising the responses of conceptual artists to “landscape” and curated by Harry Philbrick, took full advantage of its site: a museum surrounded by aging, under-appreciated Minimalist sculpture and sweeping suburban lawns – in short a site just waiting for Komar & Melamid to stage a local version of their America’s Most Wanted, 1994. Read More