Deborah Luster ~ Tooth for an Eye

One of the many pleasures of New Orleans is the Ogden Museum of Southern Art. The photography curator and artist in his own right , Richard McCabe, has produced some stunning shows in the last few years. Most recently is the Tooth for an Eye : A Chorography of Violence in Orleans Parish by Deborah Luster. The exhibit took my breath away in its depth and breadth of handling the difficult and painful issue of violence in our cities. This is very important work and incredibly well done. 

Grid of Deborah's photographs at the Ogden

Gun violence is a subject that I once entertained exploring but did not have the stomach for it. As an alternative  I decided to start a blog to document daily shootings "In My Backyard."  After two days I had to stop as it was too disturbing to start my day knowing who died and where the most recent act of violence occurred. I am deeply grateful to Deborah for creating this body of work that so eloquently discusses a very dark side of the human condition.

In Deborah's words...

"With a homicide rate nearly ten times 

the national average, New Orleans stands today, as it did as far back as the 1850"s as the homicide capital of the United States." 

"TOOTH FOR AN EYE:A CHOROGRAPHY OF VIOLENCE IN ORLEANS PARISH is a project that attempts to take a very close look at something that no longer exists - an invisible population - in the only way in which one can approach such things, obliquely and through reference. The result is a photographic archive documenting contemporary and historical homicide sites in the city of New Orleans and is as well, an exploration of the empty, dizzying space at the core of violence."

"The images that populate the archive were collected with an 8x10 Deardorff field camera. The exposures in these photographs are long, and much of the action-mechanical, botanical, and human -is rendered as spectral blur, a physical representation of time like some isotropic fog, depth without defined dimension."

"Chorogrpahy is a form of geography that describes the inherent attributes of a place. These attributes may be physical, sociological, conceptual, metaphysical, or sensory. Tooth for an Eye not only documents sites where violence has occurred, it also finds itself documenting the city's physical loss as her unique material culture crumbles and transforms following generations of political failure. Many buildings that served as backgrounds for violent death have disappeared since they were photographed for this project."

 "In the atavistic culture of New Orleans, so alive with the historic, symbolic, and sensual, there exists a porousness between the worlds of the living and the dead, where time bends and flows, and neither world lives or dies free of the other's space or influence."

 These portholes have color video, one for family and one for friends...underlining the fact that many lives are at stake here,  not just those of the victims or the perpetrator.


You can check Deborah's website to see where else the work has been exhibited.
Deborah's book, Tooth for an Eye, is available on Amazon.

The Magic of New Orleans

I am just back from a full 10 days in New Orleans. The city never, ever fails to disappoint. Little did I know when I scheduled the trip that  St. Patricks day and Super Sunday would fall during that time. New Orleans is notorious for their masked parades and celebrations. Learning more about the Mardi Gras Indians and their long history was a gift. When I served in the Lower Ninth Ward post Katrina, I kept hearing how all the artifacts, costumes and traditions were "gone." I am happy to report the tradition is back in full force and quite spectacular.  

Wondering what this is all about?

Text  is provided byWikipedia...

Mardi Gras Indians are African-American Carnival revelers in New Orleans, Louisiana, who dress up for Mardi Gras and other special occasions in suits influenced by Native American ceremonial apparel.

 The idea of letting loose and embracing traditional African music and dance is a backbone of the Mardi Gras Indians practice.

Aside from Mardi Gras Day, the most significant day for the Mardi Gras Indians is their Super Sunday. The New Orleans Mardi Gras Indian Council always has their Indian Sunday on the third Sunday of March, around St. Joseph's Day. 

Mardi Gras Indian suits cost thousands of dollars in materials alone and can weigh upwards of one hundred pounds. A suit usually takes between six to nine months to plan and complete.

  Each Indian designs and creates his own suit; elaborate bead patches depict meaningful and symbolic scenes. Beads, feathers, and sequins are integral parts of a Mardi Gras Indian suit. 

Collectively, their organizations are called "tribes". There are about 38 tribes. They range in size from a half dozen to several dozen members. The tribes are largely independent, but a pair of umbrella organizations loosely coordinate the Uptown Indians and the Downtown Indians.

If you want to learn more, check out The House of Dance and Feathers website, a cultural museum based on Ronald Lewis's participation in the culture of the Mardi Gras Indians and the keeper of the history.

                      

                           St. Joseph Altar 

 

Beasts of the Southern Wild ~ The Movie

Beasts of the Southern Wild was a tour de force. Many people spend a lifetime trying to give expression the "all of it." I came out of the theater last night speechless and profoundly touched. New Orleans, Louisiana, life, death, and art all rolled into one. BRILLIANT! Clearly the muses were at work during it's creation. It is a most eloquent expression of what it means to be alive. See it...and see it NOW!

Mardi Gras and Liminality

As Mardi Gras is in full swing in New Orleans, I would like to take a moment to acknowledge the importance of celebration, when the ordinary gets transformed into the extraordinary.

We had a fundraiser this past weekend for Ragdale, a most amazing place that supports the creation of art making in all its forms. We went the full nine yards...Sazerac cocktails, Barq's Rootbeer, Abita Beer, crayfish boil, jambalaya, mac and cheese, roasted ham, pickled okra, braised collards, sweet potato pecan pie, king cake, pralines, live cajun music and a reading by award winning cajun poet, Beverly Matherne. We are still in recovery mode but savoring the after glow of a great celebration of art, food, friends and life.







In anticipation of the Mardi Gras celebration, I have been thinking in images and after some effort, I found 2 that nicely reference the concept of liminality, " a psychological, neurological, or metaphysical subjective state, conscious or unconscious, of being on the "threshold" of or between two different existential planes... "



"those in-between situations and conditions that are characterized by the dislocation of established structures, the reversal of hierarchies” ( from wikipedia)



The idea of masquarade is so embedded in New Orleans. Anything goes, especially during Mardi Gras season.



This past weekend there was a great article in the travel section of the New York Times on 36 Hours in New Orleans. There were some great suggestions for traveling there. If you can't get there for this year's Mardi Gras (which is happening now) I just discovered how to join the fun from afar...there is a Mardi Gras Webcam that is rolling today at 3pm to cover the Tucks, Proteus and Orpheus parades and tomorrow, Mardi Gras at 10 a.m for the Rex parade. Just click HERE.

Enjoy

More ramblings about New Orleans

One of the great things about traveling is dipping into new experiences. New Orleans was filled with them. There is a spirit and soul to the city unlike any other and I felt so privileged to partake in its riches. It is a raw city with the humanity spilling out into the streets.

When I first arrived I missed the turn off for the city and ended up in Algiers, where I took the Broken Steeple photograph in 2005, post Katrina. I photographed the church again with my iphone. Although much has been repaired and rebuilt since the storm, some things have not.





What you can't see in the photograph is a white tent that is located on the parking lot to the left of the church where services are held.

I visited the New Orleans African American Museum on the last day of the Prospect 2 show and it was there that I came across the amazing work of Harlin Miller. He was born and raised there and his work speaks for itself. It was riveting. The pieces are created out of newspaper print and speak volumes in a very quiet, understated way.

© Harlin Miller ~ Abandonment


© Harlin Miller ~ More Prayer Than Planning

Another highlight was hearing John Boutte sing Hallelujah at d.b.a. He won the Best of the Beat Awards and hearing him sing was truly a religious experience. The power of music is unparalleled as it is universally understood. New Orleans is where all the musicians are flocking and it is a true musical extravaganza every day and night. I told my father, aged 92, that if I ever return in another life, I would like to be a musician to which he responded "it's not too late, why don't you start lessons now?"

The Ogden Museum of Southern art had an exhibit of Will Henry Stevens's Louisiana Waterways. I loved his insights into artmaking...

"It has been my experience, and I think the experience of all serious creative artists, if they have the good fortune of working over a long period of time, gradually to depart from the representation of surface appearance and to develop symbols expressive of cosmic values. Art is based on emotional understanding, a feeling of that which lies back of appearance, and on the creative power to reconstruct in visual or audible terms the artist's feelings and moods. There is always the desire to express the harmonious inter-connection of each and every element, and to create a feeling of wholeness more satisfying than our ordinary experience in time. The practice of art is a way to knowlege, since the artist continually learns through experience."

Amen

David Halliday on Seeing, Really Seeing

Do you want elegance? Check out the work of David Halliday. I have, and did at the newly opened show at the Ogden Museum of Southern Art. David's quietly elegant still lives are beautifully composed and have a meditative quality that, if you have ever tried, is difficult to achieve.





I am finishing a wonderfully written book titled, The Art of Fielding by Chad Harbach, a book that uses baseball as the medium for exploring life's challenges.There was a passage I found really compelling about doing and being. "The shortstop has worked so hard for so long that he no longer thinks. Nor does he act. By this I mean that he does not generate action. He only reacts, the way a mirror reacts when you wave your hand before it...Sophie told him to relax, stop thinking, be himself, be the ball, don't try too hard. You could only try so hard not to try too hard before you were right back around to trying too hard. And trying hard, as everyone told him, was wrong, all wrong...The shortstoop has worked so hard for so long that he no longer thinks - that was just the way to phrase it. You couldn't choose to think or not think. You could only choose to work or not work. And hadn't he chosen to work? And wasn't that what would save him now? When he walked onto this field tomorrow he would carry a whole reservoir of work with him, the last three years of work with Schwartzy, the whole lifetime of work before that, of focusing always and only on baseball and how to become better. It was not flimsy,that lifetime of work. He could rely on it."







Anyone who has tried to compose a photograph knows what this is about. I have made many many images that feel contrived, trite and overworked. What I find so amazing about David's work is its presence, it's meditative quality and how we are able to experience these still lives without a middleman. David has somehow taken himself out of the picture and allowed us to have a primary experience with what we are seeing. No small feat.





From the Ogden Museum website...

"A master of light, New Orleans photographer David Halliday, produces lush and elegant images that are both classical and modern. Using window light to illuminate his subjects, Halliday’s direct formal approach offers a fresh take on the historic art prototypes of still life and portraiture. The simplicity of his visual language produces images that transcend time."



The Ogden Museum has had many wonderful shows...be sure to stop there if you are visiting New Orleans. Their exhibitions never disappoint!

Christopher Porche West of New Orleans

To walk by Christopher Porche West's studio is to flirt with the muses. There is something about his space that pulls you in, capturing a sense of the soul of New Orleans. When entering into his studio (or to my mind, an installation) one is reminded of the Joseph Campbell boxes. Well aged architectural artifacts encase his photographs with candles scattered through out, creating a sacred environment and offering a testimony to New Orleans's rich heritage. Tucked into the Bywaters neighborhood, it was a treat to behold. West's work is also on display at Snug Harbor on Frenchmen's Street but to get the full effect, you must visit his studio.






"Porché West’s artful expresssions exists at the nexus of photography and sculpture, the point where photography and sculpture converge. Dramatic and thought-provoking photographs are “housed” within salvaged architectural elements adorned with thought-provoking, symbolic objects. The net effect is additive - the sum is greater than the parts - photographs encorported within sculpture deepen the meaning and message of the art."





"It is Porché West’s contention that flat photographs fail to achieve the richness and dimensionality of photographic sculpture. Though a framed photograph can tell a good story, a photograph “housed” in sculpture gives a more nuances and deep narrative. Salvaged architectural debris door casings, flooring, window frames, knobs and pulls give the photograph a sense of place, an authenticity that comes from being at home in the soul of the artist’s works."









"Porché West’s assemblage is cultural “curatorialism” masked as art. The simple behaviors and beliefs of ordinary people are universal and easily understood. Religious faith, death and burial rituals, celebration and suffering are comprehended, if not shared, by all humanity. To see one’s own emotions in the face of a Haitian child or the hands of an elderly woman in New Orleans, is to be reminded that that which binds us together is greater than that which divides us. We are in essence, one."








”

Jennifer Shaw and Her Hurricane Story

Given that I am in New Orleans, I thought I would stick with the New Orleans theme. One of the most creative bodies of work to come out if the Katrina disaster was the work of Jennifer Shaw. The timing of the hurricane and the birth of her child collided and she told her story with the camera.

We left in the dark of night. 2007

In her words...

"I was nine months pregnant and due in less than a week when Hurricane Katrina blew into the Gulf. In the early hours of August 28, 2005 my husband and I loaded up our small truck with two cats, two dogs, two crates full of negatives, all our important papers and a few changes of clothes. We evacuated to a motel in southern Alabama and tried not to watch the news. Monday, August 29 brought the convergence of two major life changing events; the destruction of New Orleans and the birth of our son. It was two long months and 6000 miles on the road before we were able to return home."


At the motel in Andalusia we tried not to watch the news. 2007

The Next Morning We Turned on the TV

"Hurricane Story is a depiction of our family’s evacuation experience - the birth, the travels and the return. These photographs represent various elements of our ordeal. The project began as a cathartic way to process some of the lingering anger and anxiety over that bittersweet journey. It grew into a narrative series of self-portraits in toys that illustrate my experiences and emotional state during our time in exile."

At 3:47 a boy was born. 2006


In spite of it all there’s no place like home. 2007


Jennifer is one of the founders of the New Orleans Photo Alliance, a photographic organization that was started after the Katrina disaster and has blossomed into a wonderful organization supporting the photographic arts. NOPA also sponsorsPhotoNola, the December celebration of photography in New Orleans. It is a fabulous event in an amazing city.

The Hurricane Story is available thru the Chin Music Press. More of Jennifer's work can be seen HERE.