Record, 2008

Mary Jane Parker has long been fascinated by the similarities between microscopic images of blood cells and satellite photos of the cosmos, between intestines and the roots of plants in short, the links between the human and the infinite. Specimens a work that predates Hurricane Katrina, brings twenty individual cells together to create a complete work. Hung in a grid pattern, the individual panels – depicting body parts, stars and natural elements — merge into a new whole that fuses the microcosm with the macrocosm.

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Luis Cruz Azaceta’s show of mixed-media paintings, collages, and sculptures, titled “Local Anesthesia,” continued a line of remarkable art created in response to Hurricane Katrina.

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JOHN T. SCOTT was far more than an infinitely creative mind – he was educator, mentor and guiding spirit to New Orleans’s artistic community. Two-thousand-five was a pivotal year for Scott. Works from every stage of his career appeared in a major retrospective, Circle Dance: The Art of John T. Scott, which opened in May of that year at the New Orleans Museum of Art.

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Shimmering reflections of the sunlit street muddled with vaguely discernable, shadowy art forms in the amorphous space of the large plate glass windows of the gallery.

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The new landscape paintings by Elemore Morgan, Jr., hung quietly on the brightly lit white walls of the gallery on opening night.

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THE LARGE MIXED media works of Radcliffe Bailey and the constructions, carvings, and castings of James Surls would seem at first viewing to be distinctly different. Bailey’s works command the attention of the viewer and allow no respite except to move on to the next one. Surls’ conceits invite close attention without being overwhelming. Yet, despite the many differences that one could list, the works of these two artists are both more and less than what may seem to be at first glance.

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Artist captures Katrina victims’ anguish By Michael Granberry, THE DALLAS MORNING NEWS When it comes to social activism, artist David Bates is the first to admit: “It’s not usually my deal.” But when Hurricane Katrina ravaged the Gulf Coast and tore asunder the New Orleans levee system in 2005, he found himself mesmerized, unable to… 

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Radcliffe Bailey, born in 1968, belongs to the next generation of Southern artists. Yet, like many working today, he readily acknowledges John Scott’s influence and encouragement. Like Scott, Bailey’s work draws inspiration from music.

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It’s like a weird dream. Soul siren Irma Thomas, dressed in a golden Jackie Kennedy pantsuit, beckons us into a lush landscape of blue irises, python-like oak limbs, and red-winged black birds that sing along to old-fashioned phonograph records

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Photographer Deborah Luster doesn’t try to connect the dots. In conversation, she lays out the autobiographical steppingstones that led to the creation of “One Big Self: Prisoners of Louisiana,” her 2002 masterpiece now on display at the Newcomb Art Gallery. But she leaves us to fill in the psychological blanks.

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