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When Hyperallergic editor Hrag V. asked me to guest edit this site in his absence a few weeks ago and bring a little bit of the Crescent City to the Brooklyn-based blogazine scene, I thought it might be an uneasy fit: after all, as A.J. Liebling memorably said in “The Earl of Louisiana” (though perhaps most memorably in the intro to A Confederacy of Dunces), “New Orleans resembles Genoa or Marseilles, or Beirut or the Egyptian Alexandria more than it does New York.” I mean, your bars actually close up there! Talk about your strange customs.
But of course New Orleans and New York have a lot in common: they’re both singular places that are more like themselves than anywhere else, and places where the arts thrive to a degree that very few other cities can match. In the meantime, y’all (I can say “y’all”, right? I’ve lived here long enough) have made me feel most welcome, and I hope I managed to convey a little of what makes the landscape down here, artistic and otherwise, so special and unique. Thanks everyone!
Josué Rojas came from El Salvador as a toddler, and his family settled in the Mission.
For a fleeting few hours, a procession of boats on the Grand Canal reenacted the full pomp and pageantry of 15th-century Venice.
The intricate patterns and strategic colors of the linens used on mummified remains have only begun to be understood by humanists, museum specialists, and chemists working together.
With films touching on protest in France, China’s one-child policy, and Indigenous life in Canada, the 2021 Currents program stays both culturally and politically forward-thinking.
In The Contest of the Fruits, the art collective Slavs and Tatars investigates language, politics, religion, humor, resilience, and resistance in a pluralistic world.