The commission voted Tuesday to reject Dawn DeDeaux’s proposed “Steps Home” art installation in the Chartres Street pedestrian mall next to Jackson Square as well as a proposal by satirical conceptual artists Tony Campbell and Matt Vis to embed 10 metal medallions in the Bourbon Street sidewalk.
It’s raining in New Orleans, and just before I set foot in Jacqueline Bishop’s studio, I’m looking at my shoes. I’m wiping them on the doormat, mostly because I don’t want to track mud inside, but because I’m wearing new suede boots and I want to see if, crossing the puddle-filled courtyard between her Garden District house and her studio, I’ve ruined them. That’s what I”m thinking about when I step over the threshold– shoes.
It is the first day of the second weekend of the New Orleans Jazz & Heritage Festival, and I am in my car with John Alexander. Like most of the music-loving tourists in town, he is dressed in jeans and sneakers and armed with a camera bag, but unlike them, and pretty much everybody else we both know, we are not headed in the direction of the fairgrounds.
Minimalism, despite its nomenclature, has been teaching us for decades that there is more to simplicity than meets the eye, even if what meets the eye is sometimes barely much of anything at all.
A suite of new, large-scale paintings by Jim Richard reveals an artist at the height of his powers of composition and technique.
Circuses are quite disturbing. They are places of wonderment, but as children we were both terrified of clowns. It is all sweat and sawdust, and also like a parallel universe.
Allison Stewart says she entered the art world through the back door, and there’s truth in the statement. When Stewart began a master’s program in painting at the University of New Orleans, her prior exposure to the visual arts was through her undergraduate studies — in biology.
The work of Bosnian-born painter Amer Kobaslija, who lives in Florida, slips smoothly into the long-flowing Bay Area art current of intimate figuration.
THE WORKS OF Pard Morrison are poetically titled chromatic studies that mimic the layout of the ivories and ebonies of a keyboard. Sequences of colors and regular shapes define the rhythm and measure of compositions that could be used as an improvisational composition by a skilled jazz musician. Area, saturation, and juxtaposition mirror the notes, rhythmic patterns, chords, and harmonies of musical scripts.
Luis Cruz Azaceta (Havana, 1942) is an artist whose work carries the indelible imprint of displacement. The solitude, cultural and linguistic isolation, and the certainty of no longer belonging anywhere has marked his view of the world since he immigrated to the United States from Cuba at the beginning of the sixties. Throughout his career his works have continually exuded that feeling, whether veiledly or explicitly His perspective is that of a displaced individual attempting to find a personal route in the midst of that strange labyrinth that is identity.