With official authorities overwhelmed and underfunded, locals have mobilized a robust relief response, among them members of the state’s thriving arts community.
Incidents include a staffer being asked to cut their dreadlocks and the permanent installation of a plantation parlor against the advisement of Black staff.
Thomas’s Femmes Noires reframes the gallery space, allowing viewers to alter their behavior from what’s expected in an art institution.
In highlighting a neglected piece of history that struck fear in the hearts of white enslavers, Scott made a statement about who gets to mine our history, simultaneously prompting questions about intentions, impact, and praxis.
In 1811, hundreds of enslaved people marched through Louisiana chanting “freedom or death.” While their oft-forgotten journey ended in massacre, artist Dread Scott spent six years organizing a reenactment to celebrate the legacy of their courage, to be staged November 8-9.
Baton Rouge police have arrested and charged Ronn Germaine Bell, a tenant in one of Roberts-Joseph’s rental properties, with first-degree murder.
The crowdfunding campaign skyrocketed after the restoration of the Notre-Dame cathedral received $1 billion in public donations.
Two photographers document the lives of incarcerated men at Angola, a former slave plantation that is now the largest maximum-security prison farm in the US.
Two scientific collections at the University of Louisiana at Monroe (ULM) are being divested to make way for renovations of the campus track stadium.
Louisiana, like many states and municipalities in the US, has had a “Percent for Art” law on the books for years.
The video opens with the sound of the tide, and a tight close-up of the artist bringing a stone from a shoreline to her mouth. She licks it slowly. The act, along with the sound of the sea, is both primal and sensual. The ritualized action is repeated, establishing a deep connection between the artist and the sea, as well as the viewer—it’s difficult not to imagine the sensation of the coolness of the smooth stone and the taste of salt in one’s mouth while watching it.
As I mentioned in the first part of this article, Amy Mackie—former curatorial associate of the New Museum in New York, now Director of Visual Arts for the Contemporary Arts Center in New Orleans—selected quite a few New Orleans artists for this year’s installment of the Southern Open at the Acadiana Center for the Arts in Lafayette, LA. While she may have stacked the deck, so to speak, she concisely provided audiences with some of the highest caliber art the exhibition has seen to date.