John d'Addario

Michael Meads - Bent, Not Broken

NEW ORLEANS — During a recent tour of the Michael Meads retrospective at the Ogden Museum of Southern Art, curator Bradley Sumrall jokingly credited the artist with single-handedly inventing the “hot redneck” genre with his photographs of young Southern men in various states of languid shirtlessness.

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Basquiat in the American South

by John d'Addario on October 30, 2014

Jean-Michel Basquiat,

NEW ORLEANS — To see Basquiat and the Bayou, the “exhibition within an exhibition” that by general consensus is the must-see component of the sprawling Prospect.3: Notes for Now biennial triennial that opened in New Orleans on October 25, you need to make your way to the top floor of the Ogden Museum of Southern Art in the city’s Warehouse Arts District.

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Post image for Notes from New Orleans: Prospect.3 Artists Announced

NEW ORLEANS —  Judging from this week’s press events announcing the artistic and venue lineup for Prospect.3, it looks like things are indeed going to be shaken up considerably in New Orleans this fall.

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Post image for Lost and Found: Lynda Benglis’s “The Wave”

NEW ORLEANS — When we last left “The Wave,” Lynda Benglis’s monumental bronze sculpture she created for the 1984 World’s Fair in New Orleans, it had just been rediscovered behind a disused sewer treatment plant in suburban Kenner, Louisiana.

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Remembering George Dureau

by John d'Addario on April 10, 2014

Post image for Remembering George Dureau

NEW ORLEANS — When news of George Dureau’s death was announced by his gallery this past Monday afternoon, word traveled quickly among my extended circle of friends and professional acquaintances in New Orleans.

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Post image for Mel Chin’s Media Hacks and Conceptual Beauty

NEW ORLEANS — Considering that one of Mel Chin’s most audacious works appeared before an audience of millions on network television over a two-year period, it’s curious that he’s not more of a household name.

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Post image for AIDS, Art and Activism: Remembering Gran Fury

Long before Facebook and Twitter made getting a message out to a mass audience as simple as a couple of clicks, the art/activist collective known as Gran Fury used a heady combination of bold graphic design, guerrilla dissemination tactics, and art institutional support to communicate the urgency of the AIDS epidemic in light of disastrous government and political inaction.

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Post image for William Eggleston Comes Back to New Orleans (Prospect 2 Spotlight)

NEW ORLEANS – Prospect 2 isn’t just about the new or the conceptual or the overwrought: William Eggleston brings a pair of several decades-old works to his Prospect installation at the Old US Mint on the edge of the French Quarter, and together they offer the most satisfying viewing experience of anything I’ve seen so far in this edition of the biennial.

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Post image for Turning a Beloved Novel into Art (Prospect 2 Spotlight)

NEW ORLEANS — Of all the stories about New Orleans, John Kennedy Toole’s A Confederacy of Dunces is one of the most universally beloved. So an artist who attempts to engage it in a different medium has their work cut out for them from the get-go: anyone who’s read Toole’s posthumously published comedic opus already has their own idea of how Ignatius J. Reilly and his world should be brought to life.

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Post image for Sophie Calle Brings Her Baggage to New Orleans (Prospect 2 Spotlight)

Sophie Calle moves into New Orleans’ 1850 House for her Prospect 2 installation and brings dozens of objects and stories with her — with mixed results.

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