Past

EXHIBITs

PAINTING FOR COLOR'S SAKE

COLLIN MILES

Opening Reception:
6-10pm
Saturday October 12, 2019

Past Exhibits

FIELD NOTES IN BLUE

Bronwyn Walls

Opening Reception:
6-10pm
Saturday September 14, 2019

A mixed media collection on grief, intrapersonal healing, and returning to an old home by New Orleans artist Bronwyn Walls.

Poetry reading @ 5pm.

IS THIS WHAT TOMORROW IS SUPPOSED TO LOOK LIKE?

Emery Tillman

 

 

August 2019

For two months Emery Tillman has been our art in resident using materials from thread to foam and fluorescent tube lights. Emery's work focuses on the ever evolving idea of how otherness and intimacy go together. The work utilizes historical correspondence through queer love letters, such as the relationship of Eleanor Roosevelt and her partner Lorena Hickok. She manipulates neon lights to change the emotions of pieces and tie in other materials such as soft sculptures.

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SMUGGLED ORCHIDS
THEN REPENT

leah danze

 

June 2019

Leah Danze is a painter from Texas.  They are the artist in residence at the Aquarium for the month of June.  Leah’s artwork weaves memories from Texas with imagined landscapes from the Philippines (where their maternal grandmother is from) with experiences being raised Catholic as a child.  Their work touches on themes related to intimacy, memory and the forgiveness of plants.  

This show also includes an installation with Maizy Stell.

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PAPER BOAT

May 2019

PAPER BOAT PROJECT
The project comprises over thirty stories collected from family and friends about Katrina and the years since, printed and stretched to form the hull of a 16-foot canoe. With enough layers of stories about water and life in South Louisiana, it will be fully-functional on the water, free and available to the community for education, programs, or a paddle in the watery places that surround us.

The stories of the freshest layer are the work of 9 students from New Harmony High School. Their work is from a 3-day, overnight arts retreat that took place in the Manchac wetlands in March, just as the dragonfly nymphs began to crawl up from their aquatic adolescence and take their first flights, and just as the wild irises bloomed purple among the endless sea of bull’s tongue, waving lazily in gentle winds of spring.

More about the Paper Boat Project:

www.apaperboat.tumblr.com
@apaperboatproject

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Variable Distances

Christopher Givens

March 2019

VARIABLE DISTANCES

a puzzle of relations is suspended above a collection of open boxes. 

from one point springs a multiplicity of possibilities. questions abound. 

fish and photographs and matchbooks hang in the air pointing in all directions with threaded pathways sewn together by poetic logic. 

ordinary, everyday things wait to become strange and new.

the viewer is invited to trace these crossed lines backwards and forwards to what may be their origins or their futures. what is it to be here where I stand—this ground, this city, this country, this earth—comprised of multitudes and situated among multitudes? what if my attitude became my form? a question runs through each shifting point. find a compass; be lost.

 

A native of Monroe, Louisiana, Christopher Givens has been living and working in New Orleans for the past 12 years. Along with a fellow University of New Orleans film studies graduate, he ran a film, theatre, and art venue out of a hollowed-out shotgun house, facilitating the production of 21 plays and screening more than 200 films over four years. He is an MFA candidate in theatre design at Tulane University as well as an Andrew W. Mellon Fellow in Community Engagement. He recently adapted and directed a movement-driven piece inspired by Frankenstein in the Tulane sculpture studio and also enjoys collaborating with the dance community. This spring and fall he will be helping to open a new space in downtown New Orleans dedicated to the performing arts called Beaubourg.

In Memory of Aziz

Sara Madandar

Feb.2019

Sara Madandar is a US based artist from Tehran, Iran. She received her MFA from the University of Texas at Austin and her BA in painting from the Art and Architecture Azad University of Tehran. She currently works in painting, sculpture, video and performance. Her work is often about the relationship of humans to their bodies and covers. Her most recent accolade was an award from the Texas Visual Artists Association (TVAA) in their 2016 exhibition in Dallas. She has also won a 2015 award, curated by Jessica Beck of the Andy Warhol museum, from the Southeastern College Art Conference. One of Madandar’s pieces is currently displayed at the New Orleans Museum of Art’s Ear to the Ground exhibit. 

In this installation titled In Memory of Aziz, Madandar creates a nostalgic space inspired by memories of her grandmother’s house in Iran. The artist’s mother, in trying to maintain the memory of Aziz, the grandmother, has kept the house and furniture exactly as it was seventeen years ago when Aziz passed away. The installation consists of objects, a video, photo, and a painting. The objects installed here are all actual objects borrowed from the house, and the video and photo were also shot in that space. The painting, titled A Golden Key to the Heaven, is inspired by the Madandar’s uncle Ahmad, who was martyred in the Iran-Iraq war, towards the end of the conflict in 1990. Every year, for years after his death, the government of the Islamic Republic sent Aziz, his mother, a national flag. She would hang the new flag by the front door and then use the old ones around the house as blankets, sheets, or curtains. The flags transformed over the years as their colors faded. The curtain in this installation was one of these sheets, which Aziz made using six flags, and then later used it as a privacy curtain for an outdoor toilet in the backyard.

the video from the show is available at: https://vimeo.com/403012858?fbclid=IwAR18HFdjT5T5ZCJdelZgAXx-sIqeSLANg-84URZVFaHlcH0PBSVk4xb3G14

www.saramadandar.com 

Six Simple Machines

Rosalie Smith

Nov. 2019

"Six Simple Machines" is an investigation of grief's degradation of essential human faculties, and its relationship to technology and gender performance as futile efforts towards permanence and control.

https://artklub.org/dec-2018-april-2019-rosalie-smith

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