About New Orleans

While the San Antonio Museum of Art focuses on the city's Spanish heritage to celebrate its Tricentennial with a display of paintings from The Prado and other prestigious Spanish museums, the New Orleans Museum of Art features its community through the works of seven artists to commemorate the event. Changing Course: Reflections on New Orleans Histories, is a collaborative project between the museum's curators of contemporary art and of photography. It involves installations, photographs, drawings, sculptures, videos, multimedia works, and is located on the first floor of the museum.
Eleven photographs from the War on the Benighted series, 2015-2018, from L. Kasimu Harris were selected to introduce the exhibition in the Great Hall. Each deserves some time to ponder over its aesthetic qualities as well as its content. The staged scenes remind of events or important figures of African American history, and also pinpoint to the failures of the school system and other ongoing struggles. The adolescent actors stay stern, remote, sometimes defiant, and appear frozen in action, participants of a silent but powerful protest through the constructed reality of their surroundings. The series's title is sobering, benighted means: "existing in a state of intellectual, moral, or social darkness". The photographs are haunting.
A short walk to the back of the museum allows to shake off some heavy thoughts before entering the main gallery. Faced by a black wall with the title of the show and the list of artists in white letters, the visitor can find an introductory text in the anteroom of  Skylar Fein's installation Remember the Upstairs Lounge (2008), a memorial to the victims of the fire that destroyed the dive in 1973. A short passage between glowing red glass walls leads to a reproduction of the Upstairs Lounge's door and the bar itself: used red wallpaper with ragged edges, wood panels, pulpit for the guest book and tunes from the seventies in the background. In the semi-darkness, the funerary draping of framed official papers gives an eerie feeling to the display and horror soon follows at the sight of gruesome enlarged newspapers' images of charred bodies, each accompanied by a short text providing the story behind it. Across, smiling portraits of the innocent victims who were shunned by the community for being gay render the graphic scenes even more disturbing. By now, visitors are whispering to each other, walking slowly along the photographs, in respect. Around the corner, the second room of the installation is filled with artifacts, memorabilia, neon signs, giant portraits in woodcuts and photographs, "a fantasia of gay culture" according to the artist. In a photo booth (graffiti included), a video loop of the local news about the tragic event completes the display.
Without transition, the visitor enters the mystical world of  Sister Gertrude Morgan revisited by Lesley Dill through her installation Heaven Heaven Heaven/Hell Hell Hell: Encountering Sister Gertrude Morgan, (2010). Two mannequins dressed in sumptuous gowns, one black, the other white, fill the room. With her head shrouded in light white fabric, the "bride" wears a multilayered veil rising to the ceiling (the sky). Both have words taken from the Scriptures embroidered on their costumes, written in various calligraphic letters' style, size and color. The four walls are covered with words and symbols recounting Sister Gertrude Morgan's revelations, references to her life and prophetic visions of floods, cataclysms caused by sins. At the top, a frieze of delicately drawn figures runs around the room. The ethereal atmosphere created by the luminous prevailing white is followed by complete darkness in the next room where The Living Need Light, The Dead Need Music (2014) from The Propeller Group is projected on a large screen. The images provide a glimpse in the funerary practices of Vietnam and New Orleans, two geographically distant places linked by their colonial past. The background music consist of  Vietnamese songs from the fifties performed by a New Orleans brass band. Cultural and environmental commonalities are highlighted in the inspiring film. Katrina Andry' first major museum exhibition is a site specific installation Diverge Divest Deny (repeat) which transforms the space into a tropical forest of palms decorated with epiphytic plants scattered in the greenery. The visitor can navigate between the forty-three panels of woodblock prints, and the aesthetically attracting work after a second look reveals its rich conceptual content. The designs on the folded papers: graphs, maps, texts, diagrams, evoke the rejected projects of an urbanist. They refer to the failed reconstruction projects that plague the African American community in New Orleans. A large room is dedicated to Willie Birch, represented by a wide variety of works from drawings to sculptures. Abandoned objects, portraits, architecture, the artist shares views of his neighborhood in his graphite and acrylic drawings hung on the walls. Bones found in a backyard are immortalized with a coat of gold paint and laid in a heap on the floor, while others are carefully displayed in a glass cabinet. For a Generation not yet Born: The Louisiana Slave Revolt of 1811, 2018, is a three hundred inches long tapestry/quilt made at the occasion of the city's tricentennial and another sizable work Waiting for a Serious Conversation on the History of the South, 2017, leads to a room filled with a table, chairs, books, an invitation to reflect on the past and future of the city and its people, surrounded by works from artists like George Dureau, John T. Scott or Sister Gertrude Morgan. The last and seventh project is organized by the New Orleans Photo Alliance and The Everyday Projects, an outreach program with a stand located in the hall.
Two of the works are now part of the museum's permanent collection. Skylar Fein's installation may have lost some of its intense feeling of confinement and dread generated by the smaller space allocated for Prospect.1 while Lesley Dill's gains another dimension with the higher ceilings and walls. Willie Birch's display could be called a retrospective or War on the Benighted series from L. Kasimu Harris could be a photographic exhibition on its own. The artists are all dealing with the subject of marginalized and disadvantaged groups living in the city. The landmark exhibition emphasizes the role of the museum, not a remote institution catering for a selected few, but  one of the community's gathering center, a place to expose and heal its pain through art.

The conversation can start, looking at the past, thinking about the future.
 

photographs by the author:

Katrina Andry "Diverge Divest Deny (repeat)" (detail)
Lesley Dill "Heaven heaven heaven/Hell Hell Hell" (detail), 2010
Willie Birch "For a Generation not yet Born: The Louisiana Slave Revolt of 1811", 2018

Pride of Place at NOMA

Over the years, Arthur Roger nurtured artists through his art gallery opened in 1978 and in doing so, helped shape and promote the art scene of his native city. Joining the list of benefactors, he recently gifted his sizable art collection accumulated over four decades to the New Orleans Museum of Art. The eighty-seven objects, including paintings, sculptures, videos, photographs, are on display this Summer for the exhibition Pride of Place: The Making of Contemporary Art in New Orleans, curated by Katie Pfohl, Curator of Modern and Contemporary Art at NOMA.

 Pride of Place starts with a bang, featuring at the entrance Deborah Kass's silkscreen Camouflage Self Portrait, 1994, a major piece of The Warhol Project. After a short text introducing the exhibition, works lined up along the walls include a red, gory wood print from James Surls and a woodblock from John T. Scott surrounding a piece from Clyde Connell, a Louisiana self-taught artist. These are followed by photographs from George Dureau and face Green Drops, 1983, a cross from John Torreano, Star of David, u.d., from Keith Sonnier and a hieroglyphic composition from Ida Kohlmeyer. In the middle of the room, an early kinetic sculpture from Lin Emery, Fledging, 1965, represents the cornerstone of her future works. All in all, a first glance embraces nine pieces (also Lovers (2 Bronze Horns), n.d., a sculpture from Ersy Schwartz), promising a challenging visit due to the number and variety of works. Their connections to the South and the Arthur Roger Gallery are sometimes subtle. For example, Peter Haley's print A Tour of the Monuments of Passaic, New Jersey, 1989, a colored architectural geometric abstraction with squares he calls "prisons" and "cells" connected by "conduits" is about the densely populated northeastern city. How did his work become part of the collection? Haley obtained a Master of Fine Arts from the University of New Orleans in 1978 and lived several years in the crescent city before moving back to New York. Self  Portrait/Cutting, 1993, a photograph from Catherine Opie is related to the landmark show curated by Deborah Kass which took place at the Arthur Roger Gallery in 1993, titled Regarding Masculinity. The setting makes for a pleasant walk through the display. Sculptures, even huge like An American Family, 1991, from Willie Birch  made of papier-mâché or  Fence Row, 2013, from Gene Koss are provided ample space, allowing a view from all angles. Robert Colescott's satirical painting, Whitfield Lovell's ghostly installation, Radcliffe Bailey's piece about the African Diaspora, define the artists. Among the photographers, Robert Polidori who documented the aftermath of hurricane Katrina in the devastated city is represented, so is Gordon Parks. Controversial photographs from Robert Mapplethorpe, George Dureau and John Waters are displayed in a more private space while portraits, Magic Johnson by Erb Ritts or Andy Warhol by Greg Gorman, underline the diversity of the collection. A narrative mural from Luis Cruz Azaceta provides a background for a sculpture from Lesley Dill, Untitled Figure-Delight, Bliss, Murder, 1995, a story on its own, featuring a headless female body carved with messages. The deep South is not forgotten with  Courtney Egan's magical video while Dawn Dedeaux and Jacqueline Bishop's works bring darker thoughts about our future.
What is striking, especially in the last room, is the juxtaposition of styles, figurative next to pop or conceptual art, taking some viewers beyond their comfort zone. Through artists from co-op galleries like Aaron McNamee, Alex Podesta or Cynthia Scott, representing the lively St. Claude Arts District, the donation rejuvenates the museum's contemporary art collection and fosters the inclusion of local artists. It also propels NOMA on the international art scene with names like Polidori whose photographs are in the permanent collections of MoMA, Centre Pompidou in Paris or the Victoria and Albert Museum in London. Treating subjects like the HIV/AIDS epidemic, sexuality, gender, race, the collection provides material for reflection over place and time. It also follows the tribulations of the city with works inspired by hurricane Katrina. Each carefully selected piece contributes to its overall goal: "collecting contemporary art, reframing regionalism and championing emerging voices".

Be aware, one visit will not be sufficient to appreciate the art collected over four decades!

photographs by the author

Ida Kohlmeyer, "Synthesis BB", 1983
view of the exhibition
 Alex Podesta, "Untitled (Pointer)", 2012, detail