FindArtNola

<div><a href=“http://1.bp.blogspot.com/_4zZfvwTP028/S5HPNBx9FYI/AAAAAAAABaw/bYtVJoLNzJQ/s1600-h/~Quintron-s.jpg” imageanchor=“1”><img border=“0” height=“318” src=“http://1.bp.blogspot.com/_4zZfvwTP028/S5HPNBx9FYI/AAAAAAAABaw/bYtVJoLNzJQ/s400/~Quintron-s.jpg” width=“400” /></a></div>&nbsp;&nbsp;&nbsp;&nbsp; Ever since the Dadaists burst upon the scene in the early 20th century, some artists have created works that were more like events than art objects, thereby challenging the viewer’s assumptions about what art is—or isn’t. Over the years, this approach made its way into the hallowed halls of museums, which helps to explain what multifaceted Nola artist-musicians Quintron and Miss Pussycat happen to be doing at the New Orleans Museum of Art. In the case of Panacea Theriac, aka Miss Pussycat, it is her puppets and videos that we see, but anyone who goes there during regular visitor hours may actually encounter the mysterious Mr. Quintron himself, surrounded by recording gear and many muses in the form of paintings from NOMA’s collection. He’s recording an album on location and has assembled an installation of his trademark Drum Buddy devices, which suggest how synthesizers might have looked had they been invented by Edison or Tesla with help from Joseph Cornell. In the midst of all this is an assortment of the late Mike Frolich’s vividly Dionysian Dadaist paintings such as JUDAS, below, from the collection of the Saturn Bar—in short, all the ingredients to create a euphonic Quintronic composition over the next few weeks, a slow motion performance in its own right. Will Quintron and his Drum Buddys become museum pieces or will the museum become a vast Moog synthesizer? Stay tuned. <br /><br /><div><a href=“http://1.bp.blogspot.com/_4zZfvwTP028/S5HPamLnnZI/AAAAAAAABa4/ABMC_vfejCs/s1600-h/~cats.gif” imageanchor=“1”><img border=“0” height=“146” src=“http://1.bp.blogspot.com/_4zZfvwTP028/S5HPamLnnZI/AAAAAAAABa4/ABMC_vfejCs/s200/~cats.gif” width=“200” /></a></div>&nbsp;&nbsp;&nbsp;&nbsp; Over the years when Mr. Quintron was summoning the spirits of Edison, Tesla and Dr. Moog, Miss Pussycat was making puppets that turned out to have their own ideas about who was pulling whose strings. Their stories appear in the videos seen here, and if their fuzzy forms and bright colors seem surprising at NOMA, think again. In art, context is everything and Miss Pussycat’s puppets comprise a kind of Bywater equivalent of the Disney DREAMS COME TRUE expo downstairs—only here swamp critters and the Saturn Bar are the Magic Kingdom for the perennial children of the 9th Ward. ~Bookhardt<br /><div><a href=“http://2.bp.blogspot.com/_4zZfvwTP028/S5HRi3bfVvI/AAAAAAAABbI/tMXHe-aY3rM/s1600-h/~Judas-s.jpg” imageanchor=“1”><img border=“0” height=“400” src=“http://2.bp.blogspot.com/_4zZfvwTP028/S5HRi3bfVvI/AAAAAAAABbI/tMXHe-aY3rM/s400/~Judas-s.jpg” width=“396” /></a></div><b><span>PARALLEL UNIVERSE: An Exhibition by Quintron and Miss Pussycat<br />Through April<br />New Orleans Museum of Art, City Park, 658-4100; <a href=“http://www.noma.org/”>www.noma.org</a></span></b><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-4485124738361025773?l=www.insidenola.org” alt=”“ /></div>

<div><a href=“http://2.bp.blogspot.com/_4zZfvwTP028/S5M6AIqIQ0I/AAAAAAAABbQ/0Mpg4KOosfY/s1600-h/~SaturnPhotoSolo3.jpg” imageanchor=“1”><img border=“0” height=“281” src=“http://2.bp.blogspot.com/_4zZfvwTP028/S5M6AIqIQ0I/AAAAAAAABbQ/0Mpg4KOosfY/s400/~SaturnPhotoSolo3.jpg” width=“400” /></a></div><div><b><span>O’Neil Broyard and former Saturn Bar resident artist Mike Frolich</span></b> </div><br />by D. Eric Bookhardt<br /><b><span>Dateline: Sometime in the 1980s</span></b><br /><br />No doubt about it — something was happening in the back room of the Saturn Bar. While bursts of hammering did not disrupt the clubhouse atmosphere of the legendary 9th Ward repository of exotica, curiosity seekers did occasionally stroll back to see what owner O’Neil Broyard was up to.<br /><br />“Whatcha doin’, Neil? Installin’ insulation?” asked a red-faced man in white overalls.<br /><br />“Nah,” replied the owner from atop a homemade scaffold. “This is gonna be a mezzanine art gallery. That’s why I got extra help at the bar. I been tryin’ to work on this art gallery all afternoon.” <a href=“http://www.insidenola.org/p/mysteries-of-saturn-bar-revealed.html”><i>Read More&gt;&gt;</i></a><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-4108494533293426672?l=www.insidenola.org” alt=”“ /></div>

<a href=“http://2.bp.blogspot.com/_E_DdpBVIO8E/S5FtzaS5B4I/AAAAAAAAAbM/KPQKTzhfeFU/s1600-h/speilman+.jpg”><img id=“BLOGGER_PHOTO_ID_5445254154466953090” style=“WIDTH: 320px; CURSOR: hand; HEIGHT: 210px” alt=”“ src=“http://2.bp.blogspot.com/_E_DdpBVIO8E/S5FtzaS5B4I/AAAAAAAAAbM/KPQKTzhfeFU/s320/speilman+.jpg” border=“0” /></a><br /><div><span><em>Barry Hannah</em>, 1997, gelatin silver print by David Spielman</span><br /><span>Gift of the artist in honor of J. Richard Gruber</span><br /><br /><br /><p>On Monday March 1, 2010, Barry Hannah passed away in Oxford, Mississippi. He was sixty-seven. A giant in the rich literary tradition of the South, his influence is not only evidenced in the critical praise his work has received over the past thirty-plus years, but also in the heartfelt outpouring of memorials and remebrances by writers in the past few days. The following are just a few examples that stand out: <em><a href=“http://papercuts.blogs.nytimes.com/2010/03/04/literary-mourning-thoughts-on-barry-hannah/”>The New York Times</a>, <a href=“http://www.vanityfair.com/online/daily/2010/03/writers-remember-barry-hannah.html”>Vanity Fair</a>, <a href=“http://www.oxfordamerican.org/articles/2010/mar/02/barry-hannah-19422010/”>The Oxford American</a>.</em></p><br /><p>In honor of Barry Hannah, his portrait from <a href=“http://www.davidspielman.com/index.php”>David Spielman’s </a><em>Southern Writers </em>series has been placed in the atrium of Goldring Hall. Over a period of 120 days in 1997, David Spielman photographed 72 Southern writers, including Barry Hannah. The complete series was shown at the Ogden Museum in 2007. In December of 2009, Spielman donated thirty-four prints from this series, Hannah’s included, to the Ogden Museum in honor of J. Richard Gruber, who retired as Director in November.</p></div><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/3601211757000210971-555576604170344119?l=omsablog.blogspot.com” alt=”“ /></div>

<div><b>Urge House Appropriations Committee to Reinstate Arts Grants Funding!</b><br /><br />Please take three minutes to contact Committee Members NOW. Just go to&nbsp; <a href=“http://www.lparts.org/”>www.lparts.org</a> Insert your Zip Code in the box under Take Action: Write Your Legislators.&nbsp; Click “GO” and you will be taken to the ALERT page. Under State of Louisiana, click Take Action. You’ll see the action alert at the top of the page and as you scroll down, you will see the MESSAGE to the members of the House Appropriations Committee. Scroll down to the Sender Information, If you have never sent a CapWiz message, you will need to complete the information requested. Once this is done, just hit “send message” and you’re done! Don’t forget to forward this message on to all your friends and other arts advocates. Remember, with your help we were able to have the arts funding reinstated last year. We NEED everyone’s help again this year to do it again! Below is a detailed explanation of the current situation. <a href=“http://r20.rs6.net/tn.jsp?et=1103123740316&amp;s=4341&amp;e=001Zya1pLe3PXYTZIMocdi21MU26YcQXiFIo8zjFLhbq1iV35r6r2dQsx-08b8ubIitJlr_kkoUJlgIizB8MMl1tmdtNAPvyVt3RfQPmeciflbAU6r-y3dJx4aaIq-II5r5z_PNlDvwj4RtQY6aHW38suZiHI-y7VkM7TupKweCE5MBFDQ3I1CUg0izFBPRmhmAOqaG_kX_o2t1knNsuHRX3wjP7KhmcMOn4g10C2a1unA=” target=”_blank”>Read More »</a></div><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-4783464043696804193?l=www.insidenola.org” alt=”“ /></div>

The rumors that had been churning since last weekend were confirmed this morning: <a href=“http://www.nola.com/arts/index.ssf/2010/03/prospect1_founder_dan_cameron.html”>Prospect.1 founder Dan Cameron leaving CAC </a> <u> </u><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-5276332322959872055?l=www.insidenola.org” alt=”“ /></div>

Is Dan Cameron leaving the Contemporary Arts Center? His Facebook Wall asks: “Would New Orleans artists care much if I was no longer at CAC?”<a href=“http://www.blogger.com/goog_1267475744375”><br /></a><br /><div><a href=“http://www.facebook.com/profile.php?v=wall&amp;ref=sgm&amp;id=612442471#%21/profile.php?v=wall&amp;ref=mf&amp;id=612442471”><img border=“0” height=“242” src=“http://2.bp.blogspot.com/_4zZfvwTP028/S4wmn1QkglI/AAAAAAAABaY/jN3pC36nUwo/s400/Facebook+-+Dan+Cameron_1267475086227.jpg” width=“400” /></a></div><div><b><span>&nbsp;<span>Facebook users click image for more</span></span></b></div><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-829839822273940172?l=www.insidenola.org” alt=”“ /></div>

<div><a href=“http://3.bp.blogspot.com/_4zZfvwTP028/S4luVkttBiI/AAAAAAAABZ4/HVI3AhLpEPk/s1600-h/HaitiBenefit+WebFlyer.jpg” imageanchor=“1”><img border=“0” height=“300” src=“http://3.bp.blogspot.com/_4zZfvwTP028/S4luVkttBiI/AAAAAAAABZ4/HVI3AhLpEPk/s400/HaitiBenefit+WebFlyer.jpg” width=“400” /></a></div><div>&nbsp;<span><b>Click to enlarge </b></span></div><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-8949014074861555465?l=www.insidenola.org” alt=”“ /></div>

<div><a href=“http://4.bp.blogspot.com/_4zZfvwTP028/S4ndo0l1KnI/AAAAAAAABaI/-V9ONE7ePqc/s1600-h/~Deckbar-web.jpg” imageanchor=“1”><img border=“0” height=“320” src=“http://4.bp.blogspot.com/_4zZfvwTP028/S4ndo0l1KnI/AAAAAAAABaI/-V9ONE7ePqc/s320/~Deckbar-web.jpg” width=“316” /></a></div>Adrian Deckbar’s new WATER’S EDGE series of acrylic and pastel paintings at Bienvenu is all about water in general and the Honey Island Swamp in particular. We know water is tricky stuff, sustaining life most of the time, but furiously threatening everything when riled. The sunny, picturesque façades of her swamp scenes conceal the implacable cycle of creative destruction that lies just beneath the surface. At first, they seem to be as much about the light that dances over the shimmering forests, duckweed and moss of these amphibious landscapes. In the title piece, WATER’S EDGE, pictured, the glow is as mystical as a Maxfield Parrish landscape, but in others the tall cypresses, dense thickets and gnarly roots exude an earthier energy associated with things ancient, or even chthonic. Because she has long valued craft and decorousness in every aspect of her paintings, they could suggest a peaceable kingdom where all creatures exist in a state of static harmony. Louisianians know better. Nature is a delicate balance of beauty and danger, and Deckbar, a New Orleans native, subtly hints at that possibility in work that is contemplative on the surface even as it is fraught with obliquely implicit intrigue. <br /><div><a href=“http://1.bp.blogspot.com/_4zZfvwTP028/S4ndYaLYU5I/AAAAAAAABaA/0rnbmMkVMg0/s1600-h/~Carlson.jpg” imageanchor=“1”><img border=“0” height=“164” src=“http://1.bp.blogspot.com/_4zZfvwTP028/S4ndYaLYU5I/AAAAAAAABaA/0rnbmMkVMg0/s320/~Carlson.jpg” width=“320” /></a></div><br />Thor Carlson, a local sculptor originally from Minnesota, is fascinated by nature as expressed in “the heartbreak of the American farm, and the alluring mystery of the sea.” But mostly his stuff suggests apocryphal 19th century relics, industrial designs that never found a following. His craftsmanship is as precise as his sculpture is enigmatic. DEEP SILENCE suggests a miniature iron submarine rather like a Lilliputian version of the Confederate submarine that once stood outside the Presbytere at Jackson Square. Others feature mysterious fittings, chains, pulleys, smokestacks and tapered beams made from exotic woods that seem to curl back upon themselves like giant question marks. Not quite Steampunk, they suggest a lost Galapagos of invention, a vein of industrial design where form followed folly, not function.<br /><br /><b><span>Adrian Deckbar: WATER’S EDGE</span></b><br /><b><span>Through March 28</span></b><br /><b><span>Gallery Bienvenu, 518 Julia street, 525-0518; www.gallerybienvenu.com</span></b><br /><b><span>Thor Carlson: ISOLATION</span></b><br /><b><span>Through March 4</span></b><br /><b><span>d.o.c.s Gallery, 709 Camp St. 524-3936, www.docsgallery.com</span></b><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-7528955141468869189?l=www.insidenola.org” alt=”“ /></div>

<div><a href=“http://4.bp.blogspot.com/_4zZfvwTP028/S4cu0C4yISI/AAAAAAAABZY/3QYWOTRrQEM/s1600-h/Rabbit_Jeff_Koons.jpg” imageanchor=“1”><img border=“0” src=“http://4.bp.blogspot.com/_4zZfvwTP028/S4cu0C4yISI/AAAAAAAABZY/3QYWOTRrQEM/s320/Rabbit_Jeff_Koons.jpg” /></a></div>John Yau’s overly personal Brooklyn Rail attack on Jerry Saltz for his fawning over Jeff Koons is bitchy and embarrassing but very Right On. It’s about time somebody called out the smarmy Boy King for the simple reason that he embodies so much of what is wrong with contemporary art. And besides, nobody outside of New York really likes him. The essence of Yau’s critique is this little zinger: &nbsp; <br /><br /><i><b>Koons is the kind of male child both the art world and commercial culture prefer because even though he is spoiled, he is also ambitious and productive. In this regard, he is no different than the CEOs and real estate barons who buy his work, or the curators or critics who lavish him with praise. One of the reasons Koons’s work appeals to them is because they see in it a reflection of their own narcissism.&nbsp; </b></i><b>Read:&nbsp;</b><a href=“http://brooklynrail.org/2010/02/artseen/railing-opinion-FEBRUARY-10”>The Difference Between Jerry Saltz’ America and Mine</a><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-659268591292120654?l=www.insidenola.org” alt=”“ /></div>

<div><a href=“http://3.bp.blogspot.com/_4zZfvwTP028/S4CsZM4A_DI/AAAAAAAABXw/xlf-Vp67H_A/s1600-h/~Taco+Stand-s.jpg” imageanchor=“1”><img border=“0” height=“400” src=“http://3.bp.blogspot.com/_4zZfvwTP028/S4CsZM4A_DI/AAAAAAAABXw/xlf-Vp67H_A/s400/~Taco+Stand-s.jpg” width=“400” /></a></div>&nbsp;&nbsp;&nbsp; The latest in the Nola Photo Alliance’s shows spotlighting accomplished, if not always famous, photographers THE AMERICAN DREAM gives us an unvarnished view of life in these times. As a national precept, the American Dream of an ever more rewarding life was getting a little frayed around the edges even before the economy’s near collapse in late 2008, and the images in this show reflect something of that ambiguity in a kind of collective national snapshot. There is a marked matter-of-factness about these faces and places, and the tone is at times almost Lenten, as if the party is over and everyone is trying to hang on and make the best of whatever comes next. <br /><br /><div><a href=“http://4.bp.blogspot.com/_4zZfvwTP028/S4Ct2tdbT2I/AAAAAAAABYA/LyHIAQsiUDc/s1600-h/~Night+Before+O.jpg” imageanchor=“1”><img border=“0” height=“133” src=“http://4.bp.blogspot.com/_4zZfvwTP028/S4Ct2tdbT2I/AAAAAAAABYA/LyHIAQsiUDc/s200/~Night+Before+O.jpg” width=“200” /></a></div>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; But America is still America, and hope and pride are never far from the surface as we see in THE NIGHT BEFORE OBAMA’S INAUGURATION, WASHINGTON DC, by Roman Alokhin, right, a stark view of a black guy in an overcoat, suitcase at his side, lit by a streetlight as he hunches over a cell phone in the pre-dawn expanse of the Washington Mall. The setting may be cold and dark but the hope and anticipation are palpable. And then there’s Alison Malone’s THE MESSENGERS, below, a formal group portrait of some young female Masons looking either like All American girls or the Stepford Wives of tomorrow, depending on your point of view. No less ironic is Lili Holzer-Glier’s WHITE PICKET FENCE view of a picket fence bounding the neglected yards of some moldering frame houses in a blighted urban setting. Here the trim lines of the fence only highlight the blight, putting an old cliché in a stark context. But this isn’t the Great Depression. These days we have more of a safety net and no end of resourcefulness, and most people are getting by. In David Schalliol’s DINNER AT THE TACO STAND, top, a pretty Latina serves her patrons from inside a trim white Taco wagon somewhere in America. Framed by a Vermeer blue sky, this is a classic vision of an American Dream that mingles today’s reality with the hope of a more bountiful tomorrow.&nbsp; ~Bookhardt<br /><b><span>A talk by show juror Dr. Deborah Willis will take place on 6pm, March 20at the Photo Alliance Gallery</span></b> <br /><div><a href=“http://1.bp.blogspot.com/_4zZfvwTP028/S4GNcTwEiWI/AAAAAAAABYY/XX9nmf6TlMY/s1600-h/~The+Messengers+by+Alison+Malone.jpg” imageanchor=“1”><img border=“0” height=“325” src=“http://1.bp.blogspot.com/_4zZfvwTP028/S4GNcTwEiWI/AAAAAAAABYY/XX9nmf6TlMY/s400/~The+Messengers+by+Alison+Malone.jpg” width=“400” /></a></div><b><span>&nbsp;THE AMERICAN DREAM: National Juried Photographic Exhibit </span></b><br /><b><span> Through March 21 (Fridays 3 to 6, Saturday &amp; Sunday 12 to 4, or by appt.) <br />New Orleans Photo Alliance, 1111 St. Mary St., 610-4899; <a href=“http://www.neworleansphotoalliance.org%20/”>www.neworleansphotoalliance.org </a></span></b><div><img width=“1” height=“1” src=“https://blogger.googleusercontent.com/tracker/2692635212517024217-915383715468656528?l=www.insidenola.org” alt=”“ /></div>