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Prospect.3 New Orleans

October 25, 2014 – January 25, 2015

The exhibition for Prospect.3 at The Ogden Museum of Southern Art takes as its point of departure the unique mission of the Ogden as one of the first museums grounded in the geography of the South and New Orleans, featuring specifically Southern Artists and/or Southern Themes.

Prospect.3: Notes For Now is organized with seven curatorial themes in mind, which find cohesion under the rubric of “Somewhere and Not Anywhere.” Two of these themes are “The South” and “Crime and Punishment”, both of which are given space at The Ogden Museum of Southern Art.

“Basquiat and the Bayou”, which will be on display on the fifth floor, is the first exhibition of its kind to focus on the important psychological and aesthetic presence that the South and the Bayou had in Basquiat’s work. Herbert Singleton’s work showcases another self-taught artistic practice, grounded in New Orleans, and that connects the two themes, as his practice was begun as a result of his imprisonment in Angola Prison.

New Orleans artists Keith Calhoun and Chandra McCormick’s documentary installation on the fourth floor chronicles the realities of life in this infamous prison of Louisiana, and the effect the penitentiary system has on both the incarcerated and their families.

In addition, a selection of works from the museum collection by Georgia-born Benny Andrews is being highlighted by Prospect.3’s Artistic Director Franklin Sirmans, in collaboration with Ogden Curator Bradley Sumrall. A foremost draftsman, and a self-described “people’s painter,” Andrews work serves as a counterpoint in demonstrating Southern artistic sensibility as integrated to classical artistic training.

Keith Calhoun & Chandra McCormick: Slavery, The Prison Industrial Complex

Share your thoughts about this exhibition @ogdenmuseum #p3nola
October 25, 2014 - January 25, 2015
Opening Reception: Saturday October 25, time TBA

A selection of images from Calhoun and McCormick's extensive body of work on Angola Prison will be exhibited as part of Prospect.3: Notes for Now. Focusing on the lives of Angola's incarcerated men and the impact the prison system has on their families, these images document the quotidian reality of our institutions of crime and punishment. The images of the art fairs, rodeos, and family visits, all within the prison walls, offer not voyeuristic manipulations but rather attempt to restore humanity to a population often marginalized from the national conversation. This body of work, which began in the early 1980s and continues today, serves as historical record and chronicle of African-American daily life within the prison system in Louisiana.

Herbert Singleton: Inside Out/Outside In

Share your thoughts about this exhibition @ogdenmuseum #InsideOut #p3nola
October 25, 2014 - January 25, 2015

Opening Reception: Saturday October 25, time TBA

Come Out of Her
Painted wood bas relief
17 1/2 in. x 11 3/4 in.
Gordon W. Bailey Collection

Herbert Singleton’s brightly painted bas-reliefs defy progressive, linear narratives of the past, which often gloss over the magnitude of racial discrimination in this country. A lifelong resident of Algiers, the Fifteenth Ward of New Orleans, and a carpenter by trade, Singleton made art empowered by his life experience, which included incarceration in the Louisiana State Penitentiary at Angola. Unlike the scenes of spiritual uplift rendered by other self-taught carvers, racial strife and urban crime are abundant in Singleton’s work. Drawing upon the Ogden Museum’s own collection in addition to loans from collector Gordon W. Bailey, this selection of work exemplifies the artist’s contribution to Southern contemporary art practices. His self-taught style demonstrates a strong use of found materials and a commitment to address the deeply entrenched socio-economic realities of the South. His life and art were not separate endeavors and the artist himself explicitly indicated that the act of creating helped him to confront the hardships in his life. According to Bailey, “Singleton railed against hypocrisy on both sides of the racial divide.”

Prospect.3 Basquiat and the Bayou Presented by The Helis Foundation

Share your thoughts about this exhibition @ogdenmuseum #BasquiatAndTheBayou. Presented by #HelisFDN #p3nola
October 25, 2014 - January 25, 2015

Opening Reception: Saturday October 25, time TBA

Acrylic, wax, and felt-tip pen on canvas; 79 3/4 x 100 3/8 in. (202.5 x 255 cm)<br>
	Museu d’Art Contemporani de Barcelona (MACBA), Government of Catalonia Art Fund, Former Salvador Riera Collection, Spain<br>
	©Estate of Jean-Michel Basquiat, ARS/ADAGP (photo: Gasull Fotografia)

Acrylic, wax, and felt-tip pen on canvas; 79 3/4 x 100 3/8 in. (202.5 x 255 cm)
Museu d’Art Contemporani de Barcelona (MACBA), Government of Catalonia Art Fund, Former Salvador Riera Collection, Spain
©Estate of Jean-Michel Basquiat, ARS/ADAGP (photo: Gasull Fotografia)

Curated by Franklin Sirmans, the Artistic Director for P.3: Notes for Now, “Basquiat and the Bayou” is an in-depth survey examination of Jean-Michel Basquiat’s relationship to the South. Over the course of his brief yet spectacular career—1979 to 1988—Basquiat created a body of work that often addresses the deep psychological and spiritual terrain of America, in its broadest sense. The selection of works presented at the Ogden Museum of Art constitutes a meditation on the powerful symbolic presence of the Mississippi River and its delta in the work of this iconic artist, as a physical and cultural conduit for Africans in the New World. The exhibition will be accompanied by a catalogue published by DelMonico/Prestel.

Basquiat and the Bayou will be on view at the Ogden Museum of Southern Art during the run of Prospect.3 from October 25, 2014 – January 25, 2014. While admittance to the exhibition is included in the Museum’s general admission price, timed ticketing will be in effect for entry to Basquiat and the Bayou. All individuals, including Ogden Museum members, or groups wishing to enter the exhibition are advised to reserve a ticket in advance to ensure they are able to view the exhibition at their desired date and time.

Listen to the Basquiat Exhibition Audio Guide
by Artistic Director Franklin Sirmans

Visitors who arrive without a reservation, including Ogden Museum members, will be admitted to the museum, but will be asked to wait for the next available time slot if they wish to enter the Basquiat and the Bayou exhibition.

Reserve Tickets Here

Individual and group reservations can also be made by calling the Museum Store and Admissions Desk at 504-539-9650. Docent-led tour reservations may be made by emailing (Adult group tours are $8 per person with a minimum of 10 adults).

There are NO REFUNDS on any ticket orders. An unexpected closure of the Ogden Museum is the ONLY time tours may be re-booked. All other orders are final and cannot be changed once payment is completed

The Gasperi Collection: Self-taught, Outsider and Visionary Art

October 4, 2014 - February 22, 2015
Opening Reception: Saturday October 4, 6PM - 9PM
(Art for Arts’ Sake)

Share your thoughts about this exhibition @ogdenmuseum #Gasperi

Richard Gasperi opened Gasperi Gallery in the French Quarter in 1980. Eventually moving to Julia Street in the New Orleans Arts District, the gallery focused on Self-Taught art of the American South. With a strong passion for the genre and a deep respect for the artists creating this uniquely Southern vernacular art, Gasperi built a strong personal collection. Consisting of more than 500 objects, the Gasperi Collection includes objects ranging from Native American basketry and Tramp Art furniture to icons of self-taught art such as Clementine Hunter, David Butler, Howard Finster, Charles Hutson, Sister Gertrude Morgan, and Jimmy Lee Sudduth.

This exhibition will showcase the depth and breadth of the Gasperi Collection, and will include a portfolio of 26 previously unseen works on paper by Louisiana artist, Clementine Hunter.

Host Committee
Bobbye Carraway
Becky and Wyatt Collins
Carolyn and Jerry Fortino
Betsy Nalty and Dick Simmons
Evander Schley

Roger Ogden and Ken Barnes
Dr. Troy Scroggins
Stephanie Smither

Neal Auction Company

Xiomara and Brad Brewster
Fay and Phelan Bright
Martin J. Drell
Dale Fleishmann
Peter Politzer

Candy Chang’s wall “Before I Die..”

On view until February, 2015

Before I Die is a project that began when Candy Chang transformed an abandoned house in her neighborhood in New Orleans into an interactive wall for people to share their hopes and dreams -- a project The Atlantic called “one of the most creative community projects ever.” The side of the exterior building of the Ogden is painted with chalk paint and chalk is available for public participation to share what they want to do “Before they die.."

Permanent Collection Exhibitions

Self-Taught, Outsider, and Visionary Art

Thornton Dial, <i>Struggling Tiger In Hard Times</i>, 1991, oil, rope, carpet, tin and industrial sealing compound on canvas mounted on plywood. Gift of Calynne and Lou Hill

Self-Taught, Outsider and Visionary Art will showcase works from the Ogden Museum’s growing collection in this genre. Including a range of work - from the naïve abstracted landscapes of Civil War veteran Charles Hutson (1840-1936) to Elayne Goodman’s Altar to Elvis, which borrows liturgical forms to represent a secular icon - this exhibition will showcase the depth and breadth of the Ogden Museum’s collection of Self-Taught art from the American South. Also included is work by Thornton Dial, Reverend Howard Finster, Clementine Hunter, Nellie Mae Rowe, Wellmon Sharlhorne, George Andrews, and others.

Walter Inglis Anderson

<i>Pelicans</i>, c.1945, Watercolor on graphite paper, Ogden Museum of Southern Art, Gift of the Roger H. Houston Collection

Walter Anderson was born in 1903 in New Orleans, LA. He was a painter, potter, writer and naturalist who spent most of his life working in or around his family's business, Shearwater Pottery in Ocean Springs, MS. The small undisturbed barrier island, Horn Island, became his refuge and main inspiration. Anderson was the subject of a 2003 Smithsonian Institution Retrospective that celebrated the Centennial of his birth, and solidified his stature as a preeminent American artist. This exhibition will showcase works from the Ogden Museum’s permanent collection, as well as those from the Wesley and Norman Galen Collection.

Will Henry Stevens

<i>Untitled (Stream with Mountain Landscape)</i>,1942, pastel on paper, 16

Will Henry Stevens is one of the pioneers of modernism in the American South. Surrounded by streams, woodlands, trails and other extensive vistas associated with the Southern highlands, he developed an intimate bond with these locations, which informed his art and reflected his spiritual attitude towards nature. For this exhibition, the Ogden Museum will showcase pieces from its Permanent Collection that have not recently been on view.

Benny Andrews

<i>Grandmother's Dinner</i>, Oil and collage, 1992

One of 10 children, Benny Andrews was born on November 13, 1930, in Plainview, GA as a light skinned, blue-eyed, blond haired baby. His paternal grandmother, the midwife at his birth, was Jessie Rose Lee Wildcat Tennessee. His father, George Andrews, was a self-taught artist, the 'Dot Man,' who never lived more than 10 miles from Plainview. His mother, Viola Perryman Andrews, was an advocate for education who encouraged her children to write and draw every day.

After graduating from the Art Institute of Chicago in 1958, Andrews moved to New York, where he maintained a studio for the remainder of his life. By 1962 he was exhibiting at Bella Fishkoís’ noted Forum Gallery. By the late 1960s, influenced by the Civil Rights movement, and troubled by the social, racial and gender inequities he discovered in the art world, he entered a period of social and cultural activism. He co-founded the Black Emergency Cultural Coalition (BECC) in 1969, and participated in marches outside the Metropolitan Museum of Art and the Whitney Museum of American Art, demonstrating against the exclusion of women and artists of color from those institutions. From 1982 through 1984, he served as Director of the Visual Arts Program for the National Endowment for the Arts. He died in 2006 in New York City.

Southern Landscapes

Alexander John Drysdale, <i>Bayou Teche Country 1</i>, 1927, Oil on canvas

Southern art, while closely linked to many important trends in American art, follows a different logic and unfolds at a different pace. Most historians interpret the history of art as a series of successive styles and movements with one superseding the other. The art of the South, grounded in its own complex and often complex history, unfolds in a nonlinear circuitous path that challenges historian and viewer alike. This folding and bending of styles and movements across place and time often yields unforeseen results, sometimes anticipating important national developments, and often retaining or revisiting subjects and approaches long after they have elsewhere receded into the chapters of history.

Historic Louisiana Portraits

Jean Joseph Vaudechamp, <i>Portrait of a Bespectacled Gentleman</i>, 1832, Oil on canvas

Portrait painting was one of the earliest forms of European art to establish itself in the New World, emerging shortly after the sketches made by the earliest explorers. An agrarian economy based upon the plantation system created great wealth for the planter class of the antebellum South. European painters and domestic academic painters were drawn to the urban centers such as New Orleans and Charleston during the social season to seek commissions for portraits from the wealthy land owners and their families. This exhibition includes works by Jean Joseph Vaudechamp, Francois Fleischbein, Adolph Rinck, Thomas Sully and Paul Poincy.

Southern Regionalists

John McCrady <i>Evening Meal</i>, Duck Hill, Mississippi 1934 Oil on board

This exhibition showcases the diversity of artists who reflected the changing times of the American South in the first half of the 20th Century. While American scene painting and Regionalism came to prominence in the country from the mid-1920s through the 1950s, the narrative sensibilities of the South allowed this subject to be explored in the visual arts much earlier. Artists included: Kathleen Blackshear, Christopher Clark, John Kelly Fitzpatrick, Marie Atkinson Hull, John McCrady, Harold Harrington Betts and Richard Wilt.

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One World, Two Artists: John Alexander and Walter Anderson

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