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Changing Exhibitions

A Place and Time - Part 1

February 6, 2016 - May 29, 2016
Opening reception: Thursday, March 3, 2016 during OAH

Ben Shahn, Church in Louisiana, 1935, Vintage Gelatin Silver Print, Collection of the Ogden Museum of Southern Art

A Place and Time is a two-part photographic exhibition that features works from the Ogden Museum's permanent collection. Part 1 will focus on photographs dating from 1865 - 1945 and will include photographs from the Civil War, Reconstruction, early 20th century photographs of New Orleans, and pictorialism with a special emphasis on Depression-era documentary work by Works Progress Administration (WPA) and Farm Security Administration (FSA) photographers.

Host Committee:
Shelby Cobb in honor of Richard McCabe
B. Benjamin Lowry & Shelly Gallender
Lola & Donald Norris
Roger Ogden & Ken Barnes
Josephine Sacabo & Dalt Wonk
Laura & Sonny Shields
Mr. and Mrs. William Sizeler
Dr. Nia K. Terezakis in honor of Donald Muir Bradburn
Terese & William Winslow
Lee Wyma

Artist Spotlight: Sarah House

January 7, 2016 - March 29, 2016
Opening Reception: January 7, 6-8pm (During Ogden After Hours)

Photo Credit: Josh Hailey

Photo Credit: Josh Hailey

Working primarily with ceramic materials, Sarah House creates functional wares and sculptural installation inspired by fractal geometry, the mathematics of nature. House earned her BFA in Ceramics from Temple University's Tyler School of Art, and her MFA in Studio Art from Tulane University. She has participated in Artist in Residence programs at Baltimore Clayworks, Watershed Center for the Ceramic Arts, The International Ceramics Studio, Tainan National University of the Arts, The International Ceramics Research Center and The Clay Studio of Missoula. House is a Windgate Fellow, a Nyburg Fellow and has been recognized globally for her work, exhibiting in Hungary, Denmark, Taiwan, South Korea, Germany, Poland, Canada, and Sweden as well as across the United States. She currently creates in her New Orleans studio.

Education Gallery Exhibition

December 3, 2015 - Sunday, February 14, 2016
Opening Reception: Thursday, December 3, 6:00 pm - 8:00 pm

"The Sun" in progress by students from Lafayette Academy Charter School and artist Jackie Inglefield

The Education Gallery will present two new exhibitions: The Krewe of Muses Mardi Gras Student Cup Design Contest featuring the 2016 winning cup design, past winning designs, and cups from each of the 15 years the krewe has rolled and Debris, Tall Tales, and The Swamp featuring artwork created by students at Lafayette Academy Charter School in collaboration with artist Jackie Inglefield during the Ogden Museum's Artists and Sense of Place Residency Program

Michael Meads: Bent Not Broken

October 3, 2015 – February 28, 2016
Opening reception: Saturday, October 3 during Art for Arts’ Sake, 6PM-9PM

Michael Meads, The Intercession, graphite on paper, 60x59 inches, 2010. Collection of the Ogden Museum of Southern Art

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
Host Committee
GrandPre’s, New Orleans
Roger H. Ogden and Kenneth Barnes
Sharon & Gus Kopriva
Peter Politzer & Jane Murray
Terese & William Winslow

Hyperallergic - Best of 2015 - Art For Arts Sake - Doug McCash's Top 10
New Orleans Advocate Review

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)

Jack Niven, Scarlet Georgia, oil on antique flooring, 72in diameter, 2013. Gift of the artist

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.

Host Committee
Carolyn & Jerry Fortino
Hathia and Andrew Hayes
Roger H. Ogden and Kenneth Barnes
Brian Sands

Candy Chang’s wall “Before I Die..”

On view

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

On view at the Southeast Museum of Photography in Daytona, Florida January 22, 2016 – April 17, 2016

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.

more info...

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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