Water as Witness: In Conversation with Jessica Monette
Bryn Evans interviews Jessica Monette about her ever evolving relationship with water, marking the twentieth year since Katrina.
New Orleans (9)
In Conversation with Josiah Gagosian and Nyeema Morgan for History or Premonition at the Joan Mitchell Center, New Orleans
Laurel V. McLaughlin speaks with curators Josiah Gagosian and Nyeema Morgan on their work with History or Premonition, on view at the Joan Mitchell Center, New Orleans.
Keith Duncan: Battle of the Bands, The HBCU Marching Band Series at the Ogden Museum of Southern Art, New Orleans
Thalia Butts reviews the extravagant portrayals and traditions of HBCU marching bands found in Keith Duncan: Battle of the Bands, The HBCU Marching Band Series at the Ogden Museum of Southern Art, New Orleans.
In the Studio with Matthew Rosenbeck
Kristina Kay Robinson visits the studio of Matthew Rosenbeck, a multidisplinary artist working in New Orleans who repurposes salvaged, found materials.
Sadie Sheldon: briefly at Sibyl Gallery, New Orleans
Emily Alesandrini reviews Sadie Sheldon’s solo exhibition briefly, in which her alchemy transforms the seemingly worthless into the wondrously worthwhile, at Sibyl Gallery, New Orleans.
Hoa Tay (Flower Hands) at the Ogden Museum of Southern Art, New Orleans
Burnaway takes a close look at Hoa Tay (Flower Hands) at the Ogden Museum of Southern Art, New Orleans.
Prairie Stories: Art and Ecological Restoration on Louisiana’s Prairies at the Acadiana Center for the Arts, Lafayette
Quinn Foster reviews Prairie Stories: Art and Ecological Restoration on Louisiana’s Prairies, sharing the powerful connections between art, activism, nature, and storytelling at the Acadiana Center for the Arts, Lafayette.
Cristina Molina: Tell it to the River at Other Plans, New Orleans
Dr. Allison K. Young reviews the serene and sacred practice of Cristina Molina in her solo exhibition Tell it to the River at Other Plans, New Orleans.
Blas Isasi and Didier William: La Crítica de Prospect 6 en Nueva Orleans
Yashi Davalos reviews the visual accountability and ecological politics found in Blas Isasi’s 1,001,532 CE and Didier William’s Gesture to Home for Prospect.6, New Orleans.
