Probing social media for hidden patterns and perspective at Good Children Gallery
Are you a Facebook (or Twitter or Tinder) zombie? Social media sites are handy for helping us stay in touch with friends, but in a recent article in The Atlantic, Twitter co-founder Evan Williams raised concerns that the internet is now dominated by a few companies that herd people into literally "Like"-minded masses, in contrast to the more freewheeling "open web" of the past.
Antenna Gallery's mixed media group exhibit inspired by blight
Blighted housing is a conundrum: an old house that some see as an eyesore might be someone else's beloved home. Gentrification and high insurance and tax rates eliminated most of the local low-cost rentals that were available before Hurricane Katrina, even though higher values saved some great old homes from demolition by neglect.
Local artists keep art history from repeating itself
It could have been silly — art about art history has been the basis of too many trite exhibitions in recent years — but this tart expo curated by Matthew Weldon Showman is hysterical in the most catalytic sense of the word. We all know the famous Emanuel Leutze painting Washington Crossing the Delaware, but in this new version, Ode to Washington Crossing the Delaware (pictured) by the duo known as E2, men are replaced by women of various races, and Washington is portrayed as a resolute black woman.
Sculptures probe science, Middle Eastern history and religion at Tulane University
Diana Al-Hadid is a native of Syria who emigrated with her family to the U.S. when she was a small child, but her show at the Newcomb Art Museum leaves the impression that she has been crossing borders and boundaries ever since. Her mind-bending sculptures and multidimensional wall-mounted works are so multilayered that different people may see them very differently as viewers are transported into the less familiar labyrinths of history, science and culture.
Photographs from Cristina Molina and paintings from Dona Lief
All over the world, nature and motherhood have been viewed as fundamental facets of life on earth. But if Mother's Day seems like a natural holiday, Earth Day can seem more like an afterthought, and those concerns coalesce in multimedia artist Cristina Molina's photographic and video works at The Front.
Jeannette Ehlers' mixed media, and a group exhibit at Gallery X
Central City is emerging as an arts district as new spaces like Gallery X and the Creative Alliance of New Orleans' Myrtle Banks Building gallery expand the offerings on Oretha Castle Haley Boulevard. Meanwhile, some edgy works by Danish-Trinidadian artist Jeannette Ehlers at the nearby George & Leah McKenna Museum of African American Art lend a palpable sense of critical mass to the mix.
Abstract explorations from Regina Scully
"It ain't necessarily so," goes the George Gershwin song, one of the most lyrical takedowns of traditional wisdom ever penned. More recently, cognitive scientists have asserted that what we think we see "ain't necessarily so" either, but is more like a dumbed-down version of the swirling molecules described by modern physics — in the way a map simplifies the more complex reality of the landscape it represents.
Bob Dylan’s film noir-inspired paintings romanticize New Orleans.
The British newspaper The Guardian recently called Bob Dylan "not only the Keats of rock 'n' roll but the Lucian Freud as well." It was nice to compare his canvases to Britain's top painter, but then it said: "OK, we would not be looking at them if he were not famous ... but he does seem very serious about his art."
The sculptor takes his cues from African tribal fashions
As we reflect on another New Orleans Jazz & Heritage Festival, it can seem ironic that such an ecstatic event could have been an indirect result of one of history's most horrific episodes: the Atlantic slave trade. Without the forced interaction of such diverse cultures there would be no jazz, blues or rock music as we know it today.
Multimedia works by Adam Pendleton at the Contemporary Arts Center
Early on, there were two great American global cities that were multi-ethnic from the start. New York and New Orleans both evolved from ever-shifting demographics, but New York became a smorgasbord of distinctly competing cultures while New Orleans simmered into a riotously diverse gumbo that over time became cohesively and indelibly Creole.
Brandan Odums’ murals inspired by the civil rights movement
Brandan Odums is not known for thinking small. In 2013, the 30-year-old artist, activist and music video producer transformed the Florida housing development in the 9th Ward into a massive collaborative graffiti venue.
John Berendt curated this 40-year retrospective at the Ogden Museum of Southern Art
The exhibit seems to generate its own silence, and it is deafening. Dazed visitors shuffle about looking disoriented and maintaining a safe distance from the bloated legless horse carcass on the floor.