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Changing Exhibitions

A Place and Time Pt. 1
Photographs from the Permanent Collection

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 1864 - 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
Laura & Sonny Shields
Mr. and Mrs. William Sizeler
Dr. Nia K. Terezakis in honor of Donald Muir Bradburn
Terese & William Winslow
Lee Wyma

Bright Fields: The Mastery of Marie Hull

February 20, 2016 – May 28, 2016
Opening reception: Saturday, March 12, 2016 | 7 - 9PM

Marie Atkinson Hull remains one of Mississippi’s most significant artists and teachers, beloved by generations of collectors and students. This exhibition celebrates the artist’s legacy as teacher and creator, showcases her prolific life and career, and marks the 125th anniversary of her birth.

Bright Fields: The Mastery of Marie Hull is organized by the Mississippi Museum of Art, Jackson.

Bright Fields was developed with support from BancorpSouth, Meredith and Jimmy Creekmore, Betsy and Wade Creekmore, and the Myra Hamilton Green and Lynn Green Root Memorial Fund at the Mississippi Museum of Art.

Premier Sponsor for local presentation:
Ambassador John N. Palmer
Contributing Sponsor for local presentation:
Susan and Ruff Fant
Host committee:
Mrs. Yancey Jones Bewley
Sarah & Richard Freeman
Jan W. Katz & Jim Derbes
Aubrey Lucas
Olivia & Archie Manning
Denise Monteleone
Roger Ogden & Ken Barnes
Stacy & Jay Underwood
Jay L. Wiener
Michael Wilkinson
Dan Winstead
Lee Wyma

Arthur Kern: The Surreal World of a Reclusive Sculptor

March 19, 2016 – July 17, 2016
Opening reception: Thursday, March 31, 2016 during OAH

Arthur Kern, Self-Portrait, Molded polyester resin, 1969

Arthur Kern is a retired Tulane Professor of Art, who all but withdrew from the outside world thirty years ago. Since then, he has spent much of his time working in his basement studio, creating scores of surreal sculptures that disturb as often as they enchant. Kern's subjects are horses and people, distorted in sometimes fanciful, sometimes macabre ways. His inspiration flows from his unconscious and can therefore be somewhat difficult to fathom, even for Kern himself. Since Kern has never had much interest in exhibiting or selling his sculptures, they have accumulated on shelves and table tops in the uptown house he shares with his wife of sixty years. Arthur Kern includes sixty of Kern's molded polyester sculptures. It is an impressive retrospective and, at the same time, a surprising and stunning debut.

This exhibition will be guest curated by John Berendt

John Berendt is the author of two #1 New York Times bestsellers, Midnight in the Garden of Good and Evil and The City of Falling Angels. At present, he divides his time between his home in New York and an apartment in New Orleans.

Top Mob: A History of New Orleans Graffiti

June 4, 2016 - November 6, 2016
Opening reception: Thursday, June 16, 2016 during OAH

From the Caves of Lascaux to the Subway tunnels of New York City, graffiti remains the oldest form of art known to man. In New Orleans during the early 1980s, graffiti writers emerged onto the scene and created a style and influence that would continue over three decades. Often the subject of controversy, graffiti draws attention to urban blight and gentrification, the line between creation and destruction, and the social conditions that allow and encourage this subversive life-style. Over the years graffiti has evolved from a purely street level rebellion to a multi-million dollar business, attracting a new generation of "street artists" and thus changing the perception of where graffiti culture comes from. This exhibition is a visual and historical retelling of the evolution of New Orleans graffiti by the ones who were there when it started and those who have kept it alive.

Raymond Smith: In Time We Shall Know Ourselves

June 12, 2016 – September 18, 2016


Raymond Smith , Rural Highway, Southern Georgia, after Rainstorm , Gelatin Silver Print , 1974 , Collection of the Artist

In the summer of 1974, Raymond Smith drove a Volkswagen Beetle from New England through the South and into the Midwest, camping and photographing people and places along the way to California. The car broke down in Kansas City and Ray Smith took the train home to New Haven, Connecticut, where he printed some of the 750 exposures he had made with his Rolleiflex and Minolta twin-lens cameras. Few of these rare prints have been exhibited or published until now, the fortieth anniversary of Smith’s trip. Hence, the title of this portfolio of 52 black and white prints—In Time We Shall Know Ourselves: American Photographs, 1974.

Smith has acknowledged “the work of Walker Evans, with whom I studied while in the Graduate Program in American Studies at Yale University in 1971-1972, and Robert Frank, whose The Americans (1959) suggested a model for my sequence.” The majority of his photographs are portraits of people encountered in his travels, with additional images of the American vernacular landscape (i.e., highways, street scenes, storefronts, movie theatres) serving as punctuation. This exhibition was organized by the Montgomery Museum of Fine Arts, Montgomery, Alabama, and curated by Michael Panhorst.

/'pāpər/

June 11, 2016 – November 6, 2016
Opening reception: Thursday, June 16, 2016 during OAH

Seymour Fogel, Working, 1934, charcoal on paper, Gift Of The Roger H. Ogden Collection

Paper: A substance composed of fibres interlaced into a compact web, made (usually in the form of a thin flexible sheet, most commonly white) from various fibrous materials, as linen and cotton rags, straw, wood, certain grasses, etc., which are macerated into a pulp, dried and pressed (and subjected to various other processes, as bleaching, colouring, sizing, etc., according to the intended use); it is used (in various forms and qualities) for writing, printing, or drawing on, for wrapping things in, for covering the interior of walls and for other purposes. -- Oxford English Dictionary

Since the invention of paper in China during the Han Dynasty (206 BC – 220 AD), artists have used it as a medium to express their ideas. It quickly replaced vellum, papyrus, palm leaves and parchment as an economical and readily available medium for recording images and text. It revolutionized the transfer of information, and has been used to create sacred ritual objects in cultures throughout the world. Even in today’s digital environment, paper maintains its presence as a beautiful physical medium, and to some artists, occupies an almost spiritual role as a vehicle for inspiration.

Works on paper are by nature light-sensitive and susceptible to the environment. For that reason, these works in museum collections are often kept in the dark, and only displayed for short periods of time. This exhibition brings many of the masterful works on paper from the Ogden Museum’s permanent collection out of the dark, climate-controlled drawers of the vault, and into the light of exhibition, often for the first time.

Ranging from historic drawings to contemporary papier-mâché, /'pāpər/ will showcase the diversity and depth of the Ogden Museum of Southern Art’s collection of paper works. This exhibition also celebrates the diverse ways in which Southern artists have approached their medium. Works on paper are not necessarily preliminary studies for paintings or sculptures (although some definitely play that role), but are finished works of art, each with a unique character expressed through the hand of the artist, translated through the medium itself. These artists have manipulated the material through cutting, painting, drawing, collage, printmaking, book arts and sculpting. Through this broad survey of processes and artists, the Ogden Museum of Southern Art will offer the public a chance to explore the vast possibilities for expression contained within the seemingly simple medium of paper.

This exhibition will include work by Robert Rauschenberg, Benny Andrews, Ellsworth Woodward, John McCrady, John T. Scott, Dusti Bongé, George Dureau, Caroline Durieux, Michael Meads, Jules Pascin, Gregory Saunders, Seymour Fogel, John Alexander, Minnie Evans, Clementine Hunter, Walter Anderson, William Dunlap, Andrew Bucci, Enrique Alferez, Fritz Bultman, William Hollingsworth, Noel Rockmore, James Surls, Hudson Marquez, George Biddle and others.

Louisiana Contemporary Presented by Regions Bank

August 6, 2016 – September 18, 2016


Louisiana Contemporary is a statewide, juried exhibition organized by the Ogden Museum of Southern Art. Established in 2012, this annual event promotes contemporary art practices in the state of Louisiana, provides exhibition space for the exposition of living artist's work, and engages a contemporary audience that recognizes the vibrant visual culture of Louisiana and the role of New Orleans as a rising, international art center.

Maude Schuyler Clay: Mississippi History

October 1, 2016 – January 15, 2017


Maude Schuyler Clay, Bonnie Claire, Green Car, Chromogenic Print, N.D. (No Date), Collection of the Artist

Maude Schuyler Clay is a fifth generation Mississippian. Clay started her color portrait series Mississippi History in 1975 when she acquired her first Rolleiflex 2 ¼” camera. At the time, she was living and working in New York and paying frequent visits to her native Mississippi Delta, whose landscape and people continued to inspire her. Over the next 25 years, the project, which began as The Mississippians, evolved in part as an homage to Julia Margaret Cameron, a definitive pioneer of the art of photography. Clay's expressive, allegorical portraits of her friends, family and other Mississippians, as well as her artful approach to capturing the essence of light, are the driving forces behind her recollection of moments of family life in Mississippi in the 1980s and 90s.

Simon Gunning (title TBA)

October 1, 2016 – February 5, 2017