October 3, 2015 – January 17, 2016 Opening reception: Saturday, October 3 during Art for Arts’ Sake, 6PM-9PM
In September 1972, Bill Yates was driving the back roads of Florida outside of Tampa, looking for things to photograph, when he came upon the Sweetheart Roller Skating Rink. Yates stopped his car, went inside and started photographing – thus beginning a seven month long project documenting the skaters of the Sweetheart roller rink. Set within the backdrop of sandy remote Florida, Sweetheart Roller Skating Rink is a visual time capsule documenting a transitional period of lost innocence, laid back days of heat and humidity, Spanish moss, roller girls, and rock-n-roll.
Yates made over 600 photographs in the seven month period ending in May 1973, when he packed the negatives away and moved to Providence, to enter school at Rhode Island School of Design. Forty years later, Yates rediscovered his Sweetheart Roller Skating Rink series and began scanning the negatives. In 2013, Yates entered the series into the Photolucida Critical Mass competition where it placed in the Top 50 and became an instant classic.
Elizabeth and Willy Monaghan
Molly & Paul Babineaux
Shelby Cobb in honor of Bill Yates and in memory of Mildred Scherer Yates
Milly & George Denegre
Alexa Georges & Jerry Armatis
B. Benjamin Lowry & Shelly Gallender
Michael Meads: Bent Not Broken
October 3, 2015 – February 28, 2016 Opening reception: Saturday, October 3 during Art for Arts’ Sake, 6PM-9PM
Bent Not Broken will include photography, paintings and drawings from throughout Meads’ career, with a focus on the large narrative drawings created since his displacement from New Orleans following Hurricane Katrina.
Michael Meads is a painter, draftsman and photographer whose work expresses a personal narrative filtered through the lens of classical themes. Born in Anniston, Alabama in 1966, he received a Bachelor of Fine Art from Auburn University (1987) and a Master of Fine Art from State University of New York at Albany (1991). His work has been exhibited both nationally and internationally, including exhibitions at the Contemporary Arts Center, New Orleans; Center for Contemporary Art, Thesaloniki, Greece; Leslie Lohman Foundation, New York; Clamp Art, New York; Queensland Center for Photography, Australia; and the Ogden Museum of Southern Art, New Orleans. His work is held in many private and public collections, including the New York Public Library; Worcester Art Museum, Massachusetts; Museum of Fine Arts, Houston; and the Ogden Museum of Southern Art, New Orleans.
Judith and Van Schley
GrandPre’s, New Orleans
Roger H. Ogden and Kenneth Barnes
Sharon & Gus Kopriva
Peter Politzer & Jane Murray
Terese & William Winslow
Traditional Day of the Dead Altar by artist Cynthia Ramirez
Thursday, September 24 - Tuesday, November 10, 2015
The tradition of Dia de Los Muertos, or Day of the Dead, is celebrated in Mexico, the southwestern U.S. and parts of Latin America. During this celebration, families come together to pay respect to relatives who have died and celebrate their life and rebirth to another world. Anthropologists and historians say that the holiday is a blend of the Catholic All Saints’ and All Souls’ Days and pre-Columbian traditions that honored ancestors in a celebration of the dead. It is generally celebrated with the creation of altars to the dead, featuring food, paper decorations and representations of skeletons.
Additionally the following programming is presented in collaboration with Tulane University’s Stone Center for Latin American Studies and the Ogden Museum of Southern Art. All events take place at the Ogden Museum and are open to the public.
Teacher Workshop presented by Ogden Museum Education and Tulane’s Stone Center for Latin American Studies
Wednesday, October 7, 2015
During this workshop, teachers will receive information on how to incorporate the tradition into their classroom, including a history of the celebration, lesson plans and art projects. Artist Cynthia Ramirez, will also speak about the traditional elements of altar building. For more information or to register, visit stonecenter.tulane.edu.
All Ages Workshop: Día de los Muertos (Day of the Dead) Altar-Making
Saturday, October 10, 2015
10:00 am - Noon
Explore the history and cultural traditions of Día de los Muertos through hands-on art activities, including papel picado, decorating calaveras (sugar skulls), and making family ofrendas (altars). Participants may bring family photos or objects to incorporate into the altars in keeping with the Día de los Muertos tradition of honoring those who have passed away. Pre-registration required.
Los Po-Boy-Citos get the dance party cooking with tasty Latin soul and raw New Orleans funk - Tickets
Objects of Interest: Recent Acquisitions for the Permanent Collection
September 21, 2015 – February 5, 2016 Opening Reception: Saturday, October 3, 2015 (Art for Arts’ Sake)
On September 21, 2015, the Ogden Museum of Southern Art will present an exhibition of recent additions to the museum’s growing collection of Southern art. Often on view for the first time in the museum, these paintings, drawings, prints and sculpture represent the depth and breadth of the museum’s collection practices. Ranging in styles from Jimmy Lee Sudduth’s gestural mud paintings to the classical precision of realist master, Michael J. Deas, this exhibition of over fifty objects showcases the diversity of studio practice across the American South. Other artists included will be Jeffrey Cook, George Dureau, John Clemmer, Shawne Major, Mark Messersmith, Purvis Young, Gina Phillips, Skylar Fein, Robert Gordy and many more.
Carolyn & Jerry Fortino
Hathia and Andrew Hayes
Roger H. Ogden and Kenneth Barnes
Art of the Cup & Teapot Spotlight
September 3, 2015 - December 8, 2015 Presented by the Ogden Museum of Southern Art's Center for Southern Craft & Design
Opening reception: Thursday, September 3 during Ogden After Hours, 6PM-9PM
The Ogden Museum of Southern Art will host its eighth annual invitational exhibition, Art of the Cup, hosted by the museum's Center for Southern Craft and Design, opening during Ogden After Hours, 6-8pm, September 3, 2015 and on display until December 8, 2015. The annual, invitational exhibition was established in 2008 to celebrate the aesthetic and design freedom that this fundamental ceramic medium offers to enhance everyday routine. Traditionally, Art of the Cup has featured two cups by each selected Southern ceramicists. For the second year, select teapots will be featured in the Teapot Spotlight, exhibited in conjunction with the annual Art of the Cup exhibition.
The 2015 Art of the Cup & Teapot Spotlight exhibition features approximately sixty artists, including: Anderson and Jessie Bailey, Posey Bacopoulos, Alice Ballard, Chris Baskin, Hayne Bayless, Birdie Boone, Eileen Braun, Jessica Broad, William Brouillard, Jeff Brown, Amy Chase, Andrea Christie, Jim Connell, Craig Clifford, Don Davis, Israel Davis, Elise W. Pincu Delfield, William DePauw, Rachael DePauw, Mark Derby, Ross Edwards of Oyster Design Co., Heather Mae Erickson, Marty Fielding, Susan Filley, Yoshi Fujii, Marah Gaiti, Andrew Gilliatt, Miki Glasser, Marian Haigh, Priscilla Hollingsworth, Sarah House, Michelle Benson Huck, Lynda Katz, Jason Kishell, Debbie Kupinsky, Jim Lawton, Haejung Lee, Mimi Logothetis, Robert Long, Laura Jean McLaughlin, Paul McMullan, Sandy Miller, Ray Morales, Jeff Oestreich, John Oles, Casey Parkinson, Joseph Pintz, Emily Reason, Lindsay Rogers, Melanie Sears, Ken Shipley, Yoko Sekino-Bove, David Scott Smith, Liz Zlot Summerfield, Susan Thomas, Julie Ann Travis, Julie Wiggins, and Lana Wilson.
The New Orleans Chapter of the Links, HBCU Art Showcase
August 1 - Late September, 2015
Opening Reception: Saturday, August 1 during Whitney White Linen Night, 6PM-9PM
A curated show of works from students attending Historically Black Colleges and Universities in Louisiana, including Xavier University of Louisiana; Dillard University; Southern University and Agricultural and Mechanical College (Baton Rouge); and Grambling State University.
Betsy Eby: Painting with Fire
June 13 - October 25, 2015 Opening Reception: Thursday, June 18, 6PM - 8PM
In her paintings, Betsy Eby fuses the line between the musical and the visual composition. A classically trained pianist, she seeks in her work what Rothko described as "the place where music lives.” The layers and gestures of her paintings evoke musical spaces and rhythms while drawing on patterns found in nature. From her early childhood, musical and natural rhythms blended in Eby's sensibility. She spent her first years of life in a small town on the Oregon coast, practicing at the family piano by the age of five. Today her work reveals that interconnected sensitivity: her delicate, organic compositions become synesthesias of sound and image.
Betsy Eby: Painting with Fire features the artist's recent paintings that utilize the technique of encaustic, which means "to burn.” The process is an ancient one by which layers of pigments, sap, and wax are fused together by the flame of a torch. Eby has slowly refined the technique to her own language, composing dynamic surfaces and deep, luminous spaces. Her paintings are visceral, yet for Eby they shimmer with something more of the mystical, hovering between material and immaterial worlds as do the worlds of sight and sound.
Betsy Eby received her BA from the University of Oregon. She and her husband, painter Bo Bartlett, split their time between studios in Columbus, Georgia, and Wheaton Island, Maine. She savors the spaciousness and light of both of these studios, and her paintings evoke the atmosphere of the vast ocean that surrounds her small island residence in Maine. Her work has been shown and collected by the Georgia Museum of Art and the Columbus Museum, and she has shown frequently with Winston Wachter Fine Art in their Seattle and New York galleries.
Jan Katz and Jim Derbes
Jane Murray and Peter Politzer
Stacy and Jay Underwood
Self-Taught, Outsider & Visionary Art from the Permanent Collection
April 2 – November 7, 2015 Opening Reception: Thursday, April 2, 2015
This exhibition will showcase works from the Ogden Museum?s growing collection in these genres. Examples of each genre will be represented, including the naïve abstracted landscapes of Civil War veteran and self-taught artist, Charles Hutson (1840-1936); visionary organic forms by Minnie Evans (1892-1987) inspired by Arlie Gardens in North Carolina; and the stunning Struggling Tiger in Hard Times by Outsider artist, Thornton Dial (1928 - ). This exhibition will showcase the depth and breadth of the Ogden Museum?s collection of vernacular art from the American South. Also included will be work by Purvis Young, Reverend Howard Finster, Clementine Hunter, George Andrews, Lonnie Holley, Wellmon Sharlhorne, Reverend McKendree Robbins Long, and Michael Frolich.
This exhibition is one of a continuing series, which examines the correlation of southern self-taught art with other forms of artistic expression such as music, literature and culinary heritage.
Candy Chang’s wall “Before I Die..”
On view until July, 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
Richard Sexton: Terra Incognita: Photographs of America’s Third Coast
Terra Incognita: Photographs of America’s Third Coast is a photographic project of fifteen years duration (1991-2006) by nationally recognized photographer and author Richard Sexton. Latin for "unknown land" Terra Incognita consists of 57 black and white photographs of marsh, scrub lands, dunes, beaches, swamps, and forests along the gulf coast from the mouth of the Mississippi River to the Florida panhandle.
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
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
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.
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 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
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.
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.