"...It was clear, based on the crowd entering the freshly painted gates, that the plantation intended to provide a different experience from those of its neighbors. Roughly half of the visitors were black, for starters, an anomaly on plantation tours in the Deep South. And while there were plenty of genteel New Orleanians eager for a peek at the antiques inside the property’s Creole mansion, they were outnumbered by professors, historians, preservationists, artists, graduate students, gospel singers and men and women from Senegal dressed in traditional West African garb: flowing boubous of intricate embroidery and bright, saturated colors. If opinions on the restoration varied, visitors were in agreement that they had never seen anything quite like it. Built largely in secret and under decidedly unorthodox circumstances, the Whitney had been turned into a museum dedicated to telling the story of slavery — the first of its kind in the United States." More>>
In the French Quarter there have always been spots where you could look out across rooftops that hint at old Paris, and feel transported to another time and place. Josephine Sacabo has lived most of her life in the Quarter, and her mysterious photographs evoke sensations somewhere between a séance and time travel. This Salutations series explores a rich vein of associations where her shadowy subjects appear fragmented, as if encountered in a cubist parallel universe that she captured in her camera. Such images are fragile, so she printed them with an old wet collodion process that preserves their dark nocturnal aura in much the way dreams are nurtured by moonlight.
Essentially an attempt to see around corners, cubism depicted a subject from several different angles at once, yielding geometrically patterned images that some say recall the true nature of reality before it is decoded by the brain. Ascending Torso, top, is a view into a protean kaleidoscopic sea mist, a realm where dreams are born and all things are possible, or at least not constrained. This is the realm of the muse, not the cliche muse of popular culture, but rather the empathic feminine principle behind inspiration but not calculation, the realm cited by poet Robert Graves as the origin of all verse. In Leda and the Swan, the outline of a woman shimmers amid dark shadows. Look again and it's a swan. In the Greek myth, Zeus assumes the form of a swan in order to ravish Leda, but here they are interwoven, transforming duality into unity while playing tricks on our eyes. Sunset takes us back to the rooftops, to the secret garrets of the French Quarter or the slate roofs of Montmartre, to the lost, onion soup and vetiver-scented bohemias of the past. In Sacabo's world, such places are only accessible by a darkly luminous Staircase to an attic filled with memories, or else down to a cellar where lost things are buried; things that haunt us with their absence. ~Bookhardt Salutations: New Photographs by Josephine Sacabo, Through April 5, New Orleans Museum of Art, City Park, 658-4100.
The one word title of Mark Steinmetz's exhibition--South--serves notice of what we can expect from images so deadpan that they suggest comments like "yep," or "nope," or "maybe." Inspired by great street photographers like Gary Winogrand or Robert Frank, who captured the manic dynamism of 20th century American life, Mark Steinmetz focuses on the poetically pensive moments of ordinary Southerners. In Athens, GA, top, a girl lounges on a car amid the bland nocturnal chaos of a parking lot sometime in the 1990s, seemingly pondering personal mysteries. Her "lost in thought," aura has much in common with a shot of a guy in a t-shirt furtively smoking a cigarette as he clutches a styrofoam cup in a wooded patch in Johnson City, TN, 1995. Like characters in Raymond Carver short stories, or Randy Newman's Good Ole Boys album, they epitomize the folks who populate much of the New South and who probably don't vote, yet whose unanswered questions, and comments left unsaid, sometimes seem to hang in the air like the morning haze on a balmy summer day.
The Que Bola Asere photographs of Cuba are essentially documentary views depicting slices of life in the Caribbean time capsule that is Cuba today. Amid the journalistic images of typical apartments, shops and cityscapes, the more personal poetry of the place comes through in works like 1956 Dodge Royal in Havana by Daniel Kramer, above, where a hulking Detroit cruiser with extravagant, if faded, fins is framed by a line of colorful laundry and a little girl with a far away look in her eyes. Here we sense the inner life of a place where a proud people obviously feel very at home yet are also just hanging on, at the mercy of forces they can't quite control. A place where the familiar patriotic slogan "Viva Cuba Libre!" painted on a crumbling stucco wall (photo by Betsy Gosling) can assume ironic double meanings. ~Bookhardt South: Photography by Mark Steinmetz, Through May 10, Ogden Museum of Southern Art, 925 Camp St., 539-9600; Que Bola Asere, Celebrating Cuba: Group Photography Show, Through March 8, New Orleans Photo Alliance Gallery, 1111 St. Mary St., 610-4899.
Blink and you might miss it, but look up and you might see a goddess--or many goddesses, at a two story wall sculpture rendered in laser cut aluminum in the CBD. Like a Fellini vision of a multicultural Mount Olympus above the Singha Thai Cafe, this makes sense in the only city where classical deities like Iris and Athena are still widely venerated--every Mardi Gras! Featuring the ancient full figured fertility deity, the Venus of Willendorf, in blue plexiglass flanked by old and new goddesses like Ishtar, Kali, Lady Liberty, Wonder Woman, Frida Kahlo and the voodoo spirit La Sirene, it was organized by gallerist Angela King and created by artists including Katrina Andry, Janet Walker Baus, Elizabeth Conway, Sus Corez, Elizabeth Eckman, Carolina Gallup, Nancy Gonsalves, Elena Reeves, Steph Smith, Diana Souza and Heidi Tullman. Originally a P.3+ project that drew Mayor Mitch Landrieu and voodoo priestess Sallie Ann Glassman to its opening, it remains up through February.
A related approach appeared in the recently departed P.3+ expo, The Nature of Now. According to curator Pamala Bishop, this assortment of sensual and organic mixed media works reflected ideas like "eco-erotic feminism," a term coined by participating artist Shana Robbins to describe her femme-centric form of earth-based shamanism. A parallel sensibility appeared in a magical labyrinth that New York-Norwegian artist Anne Senstad created in a sugarcane field and transposed it to the show, where it was neatly complemented by Heather Hansen's large chandelier elaborately hand crafted from sugar cubes. A mix of visual and performance art set the tone in works like Angel Chen's optical illusionist installation of Siamese fighting fish that symbolized destructive life-destroying egos, and Marion Spencer and Ellery Burton's dance- based nature ruminations, or Brandon Balengee's mixed-media ju-jitsu inversions of BP oil spill propaganda among other environmentally based works. Here nature appears as a vulnerable object of desire pillaged by money-grubbing riffraff out for a quick buck. Under the vaulted ceilings of an old disused theater, these works radiated a sensibility suggesting that human healing will ultimately only occur when we finally manage to heal the earth Herself. ~Bookhardt The Goddess Revisited: Willendorf to Trucker Mudflaps Collaborative Mural, Through February, 826 Gravier St.; The Nature of Now: Group Exhibition Curated by Pamala Bishop.
It's over. Sometimes fascinating and provocative, Prospect.3 could also seem rambling and obscure, yet it generated mostly positive buzz. One glitch yet to be fixed is differentiating real Prospect shows from those unaffiliated "satellite" expos. Adding a "plus" sign to the P.3 logo doesn't cut it since the familiar looking graphic might lead the unwary into someone's hobby room. One P.3+ site that was worth the drive--and will remain open through February--is Crevasse 22, a sculpture garden and art show at the site of the 1922 Poydras, LA, levee break. On a nice day, the site is sublime by itself--but with the art, plus the Old World charm of proprietor and occasional guide, St. Bernard Parish patriarch Sidney Torres III, it is cool beyond the sum of its parts.
The sculpture garden is still new and the pieces are too far flung to attain critical mass, but its blue chip local artists and superb site give it great potential. Mitch Gaudet's Crevasse Clouche installation of little glass domes around an oak tree is mysterious, as is Robert Tannen's Floodwall assemblage of meandering wooden pallets. Jennifer Odem's Tables Rising pyramidal tower of ascending household tables is joyously witty in the classical surrealist manner. The centerpiece is River House, a 1970s home renovated into a three story tall minimalist sculpture that doubles as a gallery. A hulking geometric form topped by a plate glass widow's walk, it currently features a solid if restrained exhibit of paintings and graphics curated by Jeanne Nathan--but it is the interior itself, by architect John Chrestia, that steals the show as a masterpiece of precise minimalist understatement.
As for Prospect itself, Trevor Schoonmaker of the Nasher Museum of Art at Duke University in Durham, N.C. will serve as its next artistic director. Advance word has it that this capable and eclectic curator will hone in on music and the Caribbean for Prospect.4 in 2017-2018, which serendipitously overlaps with New Orleans' Tricentennial birthday celebration. ~Bookhardt, Crevasse 22: Outdoor Sculpture and Indoor Art Exhibition, Saturdays & Sundays, 11am--4pm, through February, 8122 Saro Lane, Poydras LA, 218-4807.
In Akira Kurosawa’s film Rashomon, a samurai has been murdered, but it’s not clear why or by whom. Various characters involved tell their versions of the events, but their accounts contradict one another. You can’t help wondering: Which story is true? More>>