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Changing Exhibitions

Betsy Eby: Painting with Fire

June 13 - October 25, 2015
Opening Reception: Thursday, June 18, 6PM - 8PM

Betsy Eby, Sanguine XIV, 2009

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.

Sponsored by

Host Committee
Valerie Besthoff
Jan Katz and Jim Derbes
Jane Murray and Peter Politzer
Stacy and Jay Underwood

The Rising

May 23 – September 20, 2015
Opening Reception: Saturday, June 6, 6PM-8PM

Sophie Lvoff, St. Claude Avenue, (Saturn Bar I), Archival Inkjet Print on Dibond, 2014

The Rising celebrates the renewal and re-birth of the City of New Orleans ten years after one of the worst disasters in American history, and examines how art and photography was central to the revitalization of New Orleans. Spearheaded by the Ogden Museum (the first arts institution in New Orleans to open after the storm), the New Orleans Photo Alliance (formed in 2006), and Prospect.1 (organized in 2008), a collective arts exhibition throughout the city which fostered a creative outlet that helped enable a community to recover and begin the process of healing, and attracted by the lure of what is frequently called the most unique city in America, young photographers flocked to New Orleans and infused their creativity and vision into a city already known for its incomparable culture. The Rising will highlight the photographic work of Sophie Lvoff, Jonathan Traviesa, Tammy Mercure, Colin Roberson, L. Kasimu Harris, William Widmer, Jennifer Shaw, AnnieLaurie Erickson, Cristina Molina, Vanessa Centeno, and David Armentor.

Host Committee
Xiomara and Brad Brewster
Monica Frois and Eve Masinter
Shelly Gallender and Benjamin Lowry
Alexa Georges and Jerry Armatis
Elizabeth and Willy Monaghan
Jane Murray and Peter Politzer
Sandra and Larry Sams

Early Childhood Curriculum Program Student Exhibition

May 6 - June 29, 2015
Pierre A. Capdau Charter School
Gentilly Terrace Charter School
Medard H. Nelson Charter School
In collaboration with Suzanna Ritz, Teaching Artist

The Early Childhood Education Program, a cornerstone of the Ogden Museum?s educational initiatives, was developed in 2007 in collaboration with the Smithsonian Institute. Using books, objects and art, this program is designed to enhance pre-literacy for students in Pre-K, Kindergarten and First Grades and to create opportunities for young students to experience works of art in a museum setting.

Self-Taught, Outsider & Visionary Art from the Permanent Collection

April 2 – November 7, 2015
Opening Reception: Thursday, April 2, 2015

Reverend McKendree Robbins Long, The Deceiver of the Whole World, oil on canvas, 1964. Gift of the Roger Houston Ogden Collection

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.

Tina Freeman: Artist Spaces

March 7 – September 6, 2015
Opening Reception: Saturday, March 7, 2015

With this body of photographs, and the subsequent book, Tina Freeman documents the working spaces of twenty-one New Orleans artists. With text provided by Morgan Molthrop, this series sheds new light on the artists' work and process. From George Dureau to Willie Birch, each of the artists included invested their aesthetic into the spaces where they work. Ranging from established masters to a young graffiti artist, these images give insight into process and personality, providing the viewer glimpses into the creative process.

An exhibition planned at the Ogden Museum of Southern Art will contextualize these images with masterful examples of each artist's work. Beautiful objects in their own right, Tina Freeman's photographs will become windows into the history of the objects, and into the creative soul of their makers.

Featured artists include Willie Birch, David Halliday, Fat Kids From Outer Space, Robert Tannen, Jeanne Nathan, Elenora Rukiya Brown, Nicole Charbonnet, Kevin Kline, Ron J. Bechet, Elizabeth Shannon, Josephine Sacabo, Lin Emery, Luis Cruz Azaceta, Keith Calhoun, Chandra McCormick, Ma-Po Kinnord-Payton, George Dunbar, Stephen Coenan, Keith Duncan, Dawn Dedeaux, Ersy, Amy Weiskopf and George Dureau.

Host Committee
David Briggs and Mark Romig
Alexa Georges and Jerry Armatis
Linda Green and Michael Brown
Susan and Jimmy Gundlach
Gregory Holt and Lucy Burnett
Allison Kendrick
Elizabeth and James Landis
Marguerite Moisio/Whitney Bank
Denise Monteleone
Betsy Nalty and Dick Simmons
Lola and Don Norris
Judith Y. Oudt
Peter Politzer and Jane Murray
Julia Reed
Virginia Roddy
Miriam Schulingkamp
Julie and David Silvers
Clara Walmsley and Richard Wilkof
Terese and William Winslow
Cornelia Wyma

Jim Roche: Cultural Mechanic

February 27 - July 12, 2015
Opening Reception: Saturday, March 7, 2015

Jim Roche, <i>Crabeye</i>, 1977, graphite on paper, 30x42 inches. Collection of the artist

Born in 1943, Jim Roche received a BA from Florida State University (1961) and an MA and MFA from University of Dallas (1968 and 1970). He was Professor of Art at Florida State University from 1973 until his retirement in 2013. Over the course of a career that spans the better part of five decades, he has created a narrative of place, ecology, Southern culture, the art world, and the human condition through his work. His practice has ranged from the groundbreaking and meticulous ceramic work in his Potted Mama Plants from the 1960s, through conceptual and expressive drawings, massive maximalist installations in museums and in the landscape, found object constructions, art cars, video, spoken word performance, and the delicately detailed documentation of his life as Dr. Curve, a motorcycle legend. Drawing inspiration from the lush and delicate environment of his native Florida, the complicated artists and common people of that place, Americana, evangelical traditions, and his never-ending observations and critiques on the human condition ? Roche has created a body of work that stands testament to the life of an artist with an unflinching vision and unstoppable creativity. After working in ceramics at the University of Dallas (1966-1970), Roche?s thesis exhibition was displayed for only three hours before being shut down for it sexually charged content. Following that, Roche was invited to the Whitney Museum of American Art Annual in 1970. His Life Symbols, Human Condition Packets and Animal Ascension Plot installation opened at The Walker Art Center in 1972. A solo exhibition of his installation, All in my Background, was mounted at the Whitney in 1974. Tree Grave Site was chosen for the Art Park in Lewiston, New York in 1975. He was included in the Venice Biennale in 1976, and his piece, Vampire Alarm, was included in the Paris Biennale in 1977. His work has been reviewed in both national and international publications, including ARTnews, Art Forum, Time Magazine, Stern, and The New Yorker.

Sponsors
Julia E. Reed
Judith and Van Schley
Host Committee
Linda Burgess and William Dunlap
Evelyn Merz and John Berlinghoff
Stephanie Smither

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

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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