PoliticoPopUp3 Online Catalogue
People are my main subject, usually minorities who struggle to find a place in society. People who suffer discrimination because their gender, race, aspect, accent and more. I am with them, I am one of them. Be a citizen but not completely, live between two lives. Be separated from our essence makes us to split our existences in thousand pieces scattered in the universe. I used digital double exposure to bind different concepts, from innocent people shot in the street to women against violence, from resistance to police clashes.
Antonia Tricarico has been taking photos since 1997. In the past years she has been working as a photo archivist for Lucian Perkins (Pulitzer Prize winning photographer for the Washington Post) and collaborated with Tolotta Records, Dischord Records, Kill Rock Stars and Youth Action Research Group. Her work can be found in the private collection of the Smithsonian Institution's National Museum of American History and the Special Collections Division of the District of Columbia Public Library, Punk and Go Go music archive. Publications in Photo Review 2006/2013. She lives in Washington, DC. email@example.com
Krista Dedrick Lai
Krista Dedrick Lai works across different mediums and styles. Best known for her colorful urban landscape collages Krista also paints abstract landscapes and creates mixed media pieces with social-justice themes using drawing, text and cut paper. Nevertheless her work contains common themes and influences. Working within the context of a political climate that is concerning and disappointing, Krista reflects the tension between good and evil, justice and injustice, hope and despair by using contrasting colors, values, text and imagery. Krista is interested in the smallness of our world, the persistence of injustice, the problematic nature of human perception and they daily discipline of practicing hope. Krista’s home city of Philadelphia and her reflections on her own imperfect journey are frequently represented.
This is an intense period of time for our country. Many are waking up to a reality they didn’t realize existed while others are reeling in a seeming regression of progress. As we look to the future we try to have hope and envision a way out. At the same time it is important to deal with the facts and reality of our current situation, speaking truth to power and holding up a mirror to injustice wherever we see it. I see my role as speaking primarily to white people and calling them to account. By creating beautiful but haunting paintings and mixed media pieces that reflect injustice in unusual ways I hope to cause people to ask questions of themselves that they might not otherwise ask and trigger an awakening in those who see my work.
Lloyd Wolf is an award-winning photographer and educator whose work has been in over 100 exhibitions and is collected in numerous museums and private collections. Mr. Wolf has done assignments for The Washington Post Magazine, National Geographic Explorer, People, AFl-CIO, and Vogue. He received a National Endowment for the Arts grant in 1980 to document Arlington, VA. Current projects include "Washington's Other Monuments,” on street shrines to violence victims in the Washington DC region, “Jerusalem Stories” on the lives of ordinary Jewish and Palestinian citizens of the holy city, and “Ot Azoy” covering klezmer musicians. His books include “Jewish Mothers: Strength Wisdom Compassion,” “Jewish Fathers: A Legacy of Love,” “Facing the Wall. Americans at the Vietnam Memorial,” and “Living Diversity: The Columbia Pike Documentary Project.” He has taught at Shepherd College, George Mason University, and to homeless and immigrant youth. #resist
The Emperor Has No Clothes
During the past 20 years while working professionally at art museums from coast to coast, I have continued my pursuit of creative work in fine art photography, and I began working full time as a photographer in the summer of 2015.
After working in large format silver gelatin and color photography for over two decades, in 2007 during an artist-in-residence program at the Emily Harvey Foundation in Venice, Italy, I began exploring digital photography while shooting with a small format digital camera. Upon return, I learned digital printing and exhibited my Venice work at a solo exhibition at the Taos Center For the Arts, New Mexico in 2008. I was able to return to the Emily Harvey Foundation in the Fall of 2015 and had an exhibition there In December 2016 and January 2017 of a photographic book in leporello form titled "Sub Venezia" at The Emily Harvey Archives, Venice, Italy.
When I moved to New Orleans during 2008, I immediately began photographing in digital format using a larger format camera that resulted in higher resolution color photographs.
During 2015, my work was shown in the following exhibitions in New Orleans: "Catalyst," New Orleans Photo Alliance Gallery, juror Alan Rothschild, Jr.; "Culto De Muerte/Day of the Dead" 3 person show, Consulate of Mexico Gallery; "Reverb, Past, Present and Future," Contemporary Art Center, curated by Isolde Brielmaier, reviewed and my work mentioned in Sunday, August 23, 2015 New York Times review , pages 1 and 14, "Rendering Hell and High Water" by Cameron Shaw; "Louisiana Contemporary," juror Brooke Davis Anderson, Ogden Museum; "Contemporary Artists Respond to Baby Dolls," jurors Kim Vaz DeVille, McKenna Museum of African American Art. My New Orleans second photographs were featured in a solo exhibition in 2016 at the New Orleans Jazz and Heritage Foundation Gallery titled "Preserving New Orleans Second Line Culture." Recently my work was added to The Historic New Orleans Collection, the Arts Council of New Orleans, and the New Orleans Jazz and Heritage Foundation Collection. My 2016 exhibitions include the Ashe Cultural Art Center in New Orleans, the Contemporary Art Center in New Orleans, the Pelican Bomb X Gallery, the New Orleans Art Center, "Louisiana Photography Biennial," the Lemeiux Gallery, "Bombay Sapphire" juried exhibition for New Orleans, and "The Dog Show" at Gallery Inferno. In addition, my work was nominated for the Prix Elysee Award in Lausanne Switzerland, and my work was shown at the # Archive Memory Bank exhibition in Melbourne , Australia at Photo Book Melbourne. My work was presented on January 9, 2017 in Jeff Rich's feature The Eyes of The South in The Oxford American.
The work, Toolbelt, is a reaction to continued statistics about the pay gap between men and women in the United States. In Louisiana the pay gap is estimated to be some 30%, and in my home state of California, 10-15%. This work represents the one tool every woman needs in order to get equal pay in the workplace.
For the last few years, I have been working on a body of work using the stitch as the primary mark-making device. Mostly this has been in reaction to the 24-hour news cycle, and the role my primary medium (photography) plays in it, I have become enamored with the ability to slow down and contemplate, that thread and needle provide. These works are sometimes concerned with the replacement of human contact instant messages and social media have provided/wrought, and the sometimes absurdity of conducting the most intimate conversations in writing. I often stitch, then print photograms directly from the stitched piece. Thus slowing the pace of human interaction back down again.
Colleen Mullins, a photographer and book artist, has garnered two McKnight Fellowships, and 4 Minnesota State Arts Board Grants, and has been an artist in residence at the Vermont Studio Center and the Winter Residency at Penland School of Crafts. She has spent over a decade documenting the urban forest of New Orleans. Her work primarily centered on collective family memory and on how we, as urban dwellers, interact with nature. She is currently completing an artist book on the planned removal to the William McKinley statue in Arcata, CA, where she has been a Visiting Professor since January 2018.
Dogs of War
Cecelia Chapman examines the ways drawing and video are tools for communication about our relation with the cosmos, time, space, place and creativity. Her works research and explore perception in the acts of drawing, writing, video and 'set-ups.' Chapman collaborates with sound and visual artists she meets online. Her work is often in series. Her work has recently been exhibited in Interalia Magazine and March 24 - May 11 Italy, L'Archimuseo A. Accattino with Utsanga Magazine, April 20 Berlin Mitte Media Festival.
Joan Lobis Brown
These are images of people seeking freedom.
The people depicted are shown confronting the universe with pride and acceptance of who they are while simultaneously challenging others who dare to look.
These images are from “New Alternatives”, my series of LGBT at-risk youth in NYC who are seeking freedom to be themselves. Feeling alienated and even physically threatened, they run to NYC, so they can express themselves, find community and be free from fear.
Joan Lobis Brown is a photographer whose portrait projects highlight segments of our society that have been subjected to intense stigma. Over the last decade she has engaged her subjects to create collaborative portraits, taking these portraits both in public and private settings. Her other photographic projects also focus on social and political concerns.
Brown's work has been widely shown in exhibitions in the United States, Europe, Australia, the Middle East and Africa. To date, since 2013, she has been selected for sixty-three international juried competitions. Her work has been published online and in print magazines.
Brown studied photography in the International Center of Photography, Advanced Studies Program. She has a BA, a JD and an LLM in law.
Parul Bouvart, born in 1989, MFA recipient at Pratt Institute, New York. She is originally from New Delhi, India and has received her BVA from Faculty of Fine Arts, Maharaja Sayaji Rao University, Vadodara, Gujarat. She deals with expressing the absurdity of rituals and exploring those actions. She re-perform ceremonies as a means of mending relations. Through video art, she is trying to raise social issues of race and gender identity. Taking various elements from her surroundings, she punctures day to day materials in order to create scars. These ruptures of the material express deep loss and also the intent to heal.
She currently lives in Burgundy, France. Back in New York City, she was awarded as first teaching fellow by Franklin Furnace Organization. She has shown in INDIA New Delhi, Vadodara(Gujarat), New York and Washington DC (United States), Buenos Aires in Argentina and MORPHOS festival Palazzo Albrizzi Venice.
A Year in the Streets
As a visual storyteller, I seek out opportunities to create compelling narratives that fit within a single frame and give a voice to the people contained within its borders. At a time when people are so passionately divided and afraid, I firmly believe in the power of the still image and its ability to cut through the constant noise that surrounds us. In my eyes, photography is at its best when it lights a spark of empathy within the hearts of the viewers, which can build into the foundation for real connection and meaningful change.
Tara Malone is a New York based photographer and producer with over 15 years of experience in visual media. She began her career in broadcast television, producing the Emmy Award winning program, "A Baby Story" and has gone on to create work for major networks including National Geographic Channel, OWN, MTV, Conde Nast and Investigation Discovery. In recent years she's employed her skills as a photographer, visual storyteller and documentarian both at home and abroad. Her projects have taken on issues of international wildlife conservation, violence against women, the Opiod epidemic and sex trafficking operations.
Pertenezco Aquí /I Belong Here
"Pertenezco Aquí/I Belong Here" is a short experimental film about immigrants in the United States threatened with deportation from plans to end DACA (Deferred Action for Childhood Arrivals). It expresses the chilling uncertainties and resolve of this group known as "Dreamers," by contemplating: “What makes you feel like you belong? What would happen if that were taken away?” Overall, "I Belong Here" offers viewers a reflective meditation on what people world wide in similar conditions, are forced to endure, in the place they long to call home.
Barbara Felix, a San Antonio, Texas native of Hispanic and African American descent, is an emerging voice in contemporary figurative and multimedia art. She has a BFA in graphic design from Texas State University and works as a corporate in-house graphic designer. Felix is known for her self-portrait monotypes where she appropriates the bodies of dancers, using her own face on them to explore romantic relationships, sensuality and racial identity.
Felix began working with stop motion animation in 2016, participating in Luminaria Contemporary Art Festival, San Antonio. The multi-genre/media installation, "The Proximity of Being," explores every person's need for connection and solitude. Joined by local talent in dance, film and lighting effects, Felix managed the project from concept to its début. It features multiple simultaneous video projections of choreography mapped onto a nine-foot pyramid made of stacked cubes, and Felix’s animated gestural for this collaborative installation.
Her latest work video work is the performance art/experimental micro film, "I Belong Here". It has been presented in San Antonio at Luminaria San Antonio, Jump Start Performance Theater and the University of Texas San Antonio and Palo Alto College. It was most recently accepted to be screened at the Concrete Dream Film Festival in Los Angeles, California in June 2018. Felix is also exploring coding for artists, Claymation, and composing digital music and sound effects. Her monotypes have been exhibited throughout Texas and are in public and private collections. View more of her work at www.barbarafelix.com.
This photobook treats the political corruption of a city and a system in a state of corruption, not so much as individuals, but as part of a irrevocably irredeemable environment or landscape. the more people who seek to stop the Corruption, the greater the corruption becomes, like a black hole. But on the other side, as the corruption of a city and of a system grows larger, people may finally begin to care, because whereas before the corruption was so innocuous as to seem harmless, the glaring damage of a “nuclear” corruption in which all the corrupt actors turn on each other makes it clear. This type of so call “nuclear event” which occurred in my Mother’s country South Korea during the
time of democratization creates fallout that goes far beyond the borders of the corrupted state. Fortunately, South Korea has begun to confront and move beyond its past. However, in the US, pointing out corruption is seen as rude, and divisive. Whether this is a purposeful attempt to silence those who would care to change the corruption, or if it is the very attitude which has allowed corruption to take root, seems to be a question of the chicken and the egg. A little bit at a time and a mound is built. Perhaps this refers to the corrupt or perhaps it applies to those who care. Perhaps it is not as clear, and the fluidity of everyday life makes it so that even right and wrong in a realm which deals with what according to many such as Arendt and Schmitt is outside of right and wrong, ie politics — that the very word corruption perhaps does not deal with right and wrong, but more a lack of awareness and acknowledgement of truth. In a sphere obsessed with the politic, the truth is secondary; so only art can speak to those who wield power in the amoral sphere of politics, where even corruption is relative, and truth may only be goaded by the most subtle means. Corruption occurs for the very reason that people care — that most people care too much and have no sense of proportion when it comes to weighing those things they care about. For myself, I had to
deal with this during my person period of mental illness, which taught me that those who do bad things are not always bad people, but unaware themselves that their priorities are causing bad effects despite their good intentions. The tunnel vision of each social sphere, with the political, dealing with the interzones between these sphere, or the exception as Schmitt defined the political
sphere, has created a structure which when seen from a third party is patently corrupt, yet, when viewed from an individual perspective is seen as good intentioned. Because art, historically has dealt with the exception to the exceptions, IE, the exceptions to the political sphere, that which is exempt from the reach of the political and all other social spheres, art may be the only means in which to goad political actors to at least face their own truths, let alone admit the truths of others.
Forward Progress: The Miscommunication of America
Peter Barnitz is a contemporary painter, sculptor and installation artist. He received his Bachelor of Fine Arts degree (2004) from Loyola University of New Orleans and his Master of Fine Arts degree (2011) from the University of New Orleans. He is currently a member of the TEN Gallery (New Orleans, LA) and works as the resident artist and head basketball coach at Kenner Discovery Health and Sciences Academy High School. In 2012 he established the Barnitz Academy of Fine Arts, where he instructs art workshops for children and adults. In 2014, Mr. Barnitz was appointed to the Kenner Rivertown Arts Council, where he serves as the Chairman. He was born and raised in Metairie, LA and currently lives and works out of his home studio in Kenner, LA.
"Indivisible With Liberty and Justice For All (Connections and Dissections)" 2016
Exploration and investigation into the "Dissections" and "Connections" involving our great nation. In the middle of the chaos of a divided nation, there is hope for balance, compromise, healing, forgiveness and unity. As a symbol of unity and healing, the altered American flag depicts the 50 stars merging together to form a net of balance, peace and understanding. It is a foreshadowing of the future of our great nation.
"The Mini Wall: Good Fences Make Good Neighbors"2018
A mini rendition of the proposed metaphorical/physical "Trump Wall", to be built along the southern border of the United States of America and Mexico. It is a politically neutral sculpture that sparks a conversation about issues surrounding legal/illegal immigration and border security. The aesthetically pleasing, free flowing "golden border" sculpture contrasts with its heavy subject matter. Do fences really make good neighbors?
Gason Ayisyin was born in Cabarae, Haiti, an area known for its beautiful landscape and proud revolutionary history. He later immigrated to the United States as a young child, where he sustained a traditional Haitian lifestyle. Throughout his upbringing, Gason’s daily experiences were the sounds of drums, the calls of ancestral spirits, the exaltation of dance, the tastes and smells of traditional foods, and the sights of healing folk medicine. Today, he is informed thru a bi-cultural experience where modernity and custom converge into a unique worldview that values innovation, yet cherishes tradition. Gason sees cultural learning as a lifelong practice that cultivates different levels of understanding and changes shade with each generation. His artistic viewpoint immortalizes emotion, quiet thought, and all other expressions of the inner self.
The Scene Unseen.
Garrett DeBell is a printmaker whose visual acrobats are achieved primarily through silver gelatin and serigraphy. He underexposes 35mm film and develops it for hours at a time pushing it's latitude and revealing what light can be found in the dark.
His stark screen prints are achieved through hand crafted costumes, collage, and explorations into the B-sides of New Orleans. It's the scene unseen.
He is a member at the NOLA Community Printshop and had his first solo gallery show "Nobdody's Shelter" in April 2018.
Garrett DeBell escapes the bounds of mundane reality through a surreal lens addressing conflicts of isolation, depression, gender, and urban degeneration. He seeks to unmask the taboo of human emotion, and address stubborn behavioral issues considered to be of the norm.
Dylan Cruz Azaceta
Mud & Water Series
(Mixed Media/Collage 48"X36") 2018
This is about our city: drowned, saved, wrecked, remixed, the liquid way this place flows into the world.
Moira Crone lives in the Marigny. Her paintings have been shown in the Grand Isle, Louisiana Juried Art Exhibition ( honorable mention), New Orleans School of Fine Arts, New Orleans School of Arts and Crafts, Bywater Art Market, Crescent City Brewhouse Winter Show, and 158 Main Street Restaurant Landscape Exhibition, Johnson, Vermont ( curated by Vermont Studio Center), and private collections. She is the author of three novels and three collections of short stories.
Paper Monuments (Table/Temporary Installation)
Paper Monuments is a series of opportunities, events, and interventions designed to elevate the voices of the people of New Orleans, as a critical process to creating symbols of our city that represent our collective vision, and to honor the erased histories of the people, places, movements, and events that have made up the past 300 years as we look to the future.
Karla Daniela Rosas
My name is Karla Daniela Rosas. My artist name is Karlinche.
My website is maricosas.com and my instagram handle is @karlinche
I am a New Orleans-based artist; originally from a border town in Mexico called Nuevo Laredo. Recurring inspirations for my work are butterflies, water, Mexican myths, Catholicism, comic books, aliens, futurism, and women who don't play nice. I do digital illustration and I paint. I characterize my style as digital rasquache, a fancy way of saying that I work cheaply and quickly.
I am Mexicana, undocumented, and constantly negotiating my position in this country. I come from a matriarchy of Mexican women who have taught me that resilience, self-preservation, and aggressiveness are the products of tears and not comfort. The immigrant hustle is real and I celebrate this hustle in my work, while also bearing witness to the pain migrant women go through as they carve out their own place in this country. In doing so, I am aligning their strength with my own, and in that sense, you could interpret my work as a series of very colorful self-portraits (or selfies).
Miro Hoffmann is an emerging visual artist living and working in New Orleans, La. Hoffmann graduated from NOCCA Riverfront in 2009 and left the city to attend School of the Museum of Fine Arts and Tufts University, earning a BFA in 2013. Since then Hoffmann has moved back to NOLA to appreciate, learn, and grow from the richness of culture, food, music, and art that keeps his creativity flowing strong. Hoffmann was a 2015 artist in residence at The Joan Mitchell Center in New Orleans.
"This body of work explores the rise of urban farming in post-Katrina New Orleans, investigating the history of landscape painting, while grounded in larger issues around climate change, resilience, breaking racial, social, economic boundaries, food deserts, and self-sustainability. I draw from personal experiences as well as historical references that thread together painting, light, film, architecture, and sculpture."
White Tara, Red Tara
Kristie Mayeaux is an artist and mother living and working in Lafayette, Louisiana. She is earning her Master's degree from Vermont College of Fine Arts.
The work falls under the umbrella of the Anthropocene. Within that topic I generate dualistic conversations formulated from concepts of eastern philosophy, specifically Buddhism as an ethical framework, neuroscience, and botany. I employ my love for rendering botanical form as a catalyst to build a framework for the art, which I then turn to Wu Wei, the Chinese art of spontaneity, to entrust a sense of playfulness with materials. Ruminations on interdependence between plant and animal life fuel my consciousness and I set my intention to continually explore materials within my practice, with a recent focus on sustainability.
Many of the works implement the use of over-saturated color exercises, pattern juxtapositions, and shapes and forms emergent from botanical studies. Sometimes distinguishable in the work are geometric shapes which are suggestions of sacred geometry. The surfaces include canvas, wood, paper and recycled cardboard. Techniques include but are not limited to painting, printing, drawing, collage and sculpture. Investigating the relationship to the materials has become a personal policy, with respect to Rauschenberg, to explore recycled materials and found objects as devices to inform the work.
The intention of the work is not only to facilitate artistic contemplation but to also generate questions about moral responsibility in the context of the natural world, it is reflective.
Kel Mur investigates what it means to live in her body. She is fascinated with the manifestation of her sexual anatomy and how experiences and socially constructed expectations sculpt it. Mur viscerally interprets intangible truths that shape the perception of her female form and invents space that brings the viewer close to her, sometimes through direct contact and sometimes through the presentation of artifacts. By providing her body’s residue in the art-making process, Mur aims to create an intimate encounter for the viewer that uses materiality to toe the line of consent and unease. Ultimately, her goal is not to make art that is not only understood from my perspective but also allows the viewer to access a space that is open to many interpretations, creating discourse surrounding the complicated lives of people with vaginas.
Kel Mur grew up in New Jersey, graduated Cum Laude with a B.A. in Fine Art from Monmouth University in 2011, and received the Creativity in Studio Art Award for her senior honors thesis, Commodity. Since then she has relocated to New Orleans to develop her studio practice. Kel Mur has shown in female-centric shows like La Femme at the New Orleans Art Center, The Fairer Sex presented by Where Y'Art, and in other socially conscious exhibitions like Politico Pop-Up. She has also shown work in New York and along the Jersey Shore. Kel Mur has had artwork published in BARED, an anthology of writing and art about breasts (La Femmes Folles, 2017) and HOOT Online Magazine (2013). She also works as a freelance illustrator. Most recently, she has become an MFA candidate in the 4-D Art Department at the University of Wisconsin - Madison.
Affirmation--Inside My DNA
C+J’s highly narrative works revive the ancient use of diptychs to breach space, time and perceptions in an attempt to arrive at the elusive nature of our shared human condition. Through the pairing of both like and completely opposed images the viewer is invited to explore the many connections and contradictions that form societal norms and directly affect our identity both culturally and individually. With these works, the pair explores, in the context of displacement, cultural, ethical, political, and racial clashes rippling throughout the Western world.
C+J is a working collaboration between married couple Cecelia and Jose Fernandes, that takes advantage of their diverse perspectives. A sizable age difference, diverse cultural backgrounds, and the interracial nature of their relationship are key factors in the creation of works that are both visually stunning and contextually rooted in contemporary social and economic issues.
Cecelia is a New Orleans native, artist, and a graduate of New York's “The New School" in Social Sciences.
Jose Fernandes is an Angolan born Portuguese photographer who has lived in New Orleans area for 34 years.
Super Fun--Public Housing Project "Agriculture"
This new series ‘Super Fun—Social Housing Project,’ is the most personal work that I have ever created. As a Native of New Orleans, 8th generation, my life is rooted in the Black Creole community and its public rituals. They formed me and gave me a strong sense of self and of the power of my cultural history.
This work is deeply connected to my return to New Orleans and the state of things presently found here. I wanted to find a place of comfort, just as I had in 1997 when I returned from my first stay aboard. The city had virtually remained just as I had left it, but this time around, in 2013, I came back to find a considerably different city.
In “Super Fun”, seemingly unconnected images collide to form a woven tapestry representative of the dynamic nature of the conflict between the individual and societal structures of control.
The photographic body of work that I use as a raw material comes from the many years my husband, the photographer Jose Fernandes, and I have amassed, capturing the experience of community and daily life. Photography allows me to use the most accurate representation of the subject in context, as an individual and as a symbol of a shared universal culture.
The joinery of the two images, forming woven diptychs, expresses the convergence of intersecting lines that on the surface appear not connected but in truth are completely interdependent of either existence. The lines collide and implode moving between spaces of dense abstract and thinly sliced narratives of floating imagery. The paper is of a delicate nature, of ready accessibility, and easily manipulated. The pins represent fixing of the individual while the loose compositions talk about the morphing of power structures. Together they tell the ambiguous tale of human existence and the nature of the unseen hand of Fate, super natural or man made.
Cecelia is a 8th generation New Orleans native, artist, and a graduate of New York's “The New School" in Social Sciences.
Lisbon Story--Losing Ground
These images were created on my last visit to Lisbon, my home town, this past October, when I was faced with the disconcerting disappearance of familiarity. Talking to the people on the streets I heard the complaint and resignation to forced evictions, closure of cafes and taverns. I talked to people that had no place to shop, whose habitual means of public transportation were overrun by tourists, whose family and neighbors had to move far away and I fear for the loss of the city of my childhood to which there is no return.
“Lisbon Story” is the story of every city that faces the devastation of the tourism machine and all of its tentacles, which exclude the people that make the underlying fabric of society, emptying it of humanity, remaking the points of connection that formed our community, making it unrecognizable, turning it into a playground for the pleasure of masses of strangers searching for that which is being destroyed in the process.
Jose Fernandes was born in Angola, Africa and grew up in Lisbon, Portugal. He is an international photographer based in New Orleans working in the area of documentary
Jerald L. White is a Louisiana and Indiana based artist and community advocate, also known as "Bottletree." Before joining the arts and culture community he worked as a grassroots organizer, attorney and environmental policymaker in New Orleans and Washington D.C. Jerald is the owner of Bottletree Productions, and the founder of Charitable Film Network, the New Orleans Loving Festival and Deep South by Suroeste.
Bloodstained Men and Their Friends Protest
Brian Barbieri examines the person and one’s place in the world through environmental portraiture, exploring the dynamic juncture between self and environment. As someone who has always questioned his connection to the world he takes interest in the relationship between people and their own places and worlds, which makes which, what makes us human? He shoots analogue, working in either self processed and printed monochromatic silver process or, when working in color, slide film. His artistic home is the NOLA Community Printshop where he is the darkroom administrator.
Kataalyst Alcindor is a spoken word artist whose work focuses on the people, culture, and history of his beloved native city. The two-time National Poetry Slam Champion was the only poet chosen from thousands of submissions to appear on the second season of Lexus sponsored television show Verse & Flow; a season that earned the show a NAACP Image Award nomination. Since that performance, he's gone on to perform his work on some of the nation's most renowned stages, including PBS'S "The Tavis Smiley Show" in honor of the ten-year commemoration of Hurrican Katrina. As well as America's capital, Washinton D.C. for the illustrious Kennedy Center.
The published writer of 'Marrero' is also a founding member of Slam New Orleans; a multi-national award winning author collective. As well as Evacuteer.org, a local non-profit organization who's volunteers assist in the event of the mandatory evacuation in the city of New Orleans. With Director and Cinematographer John Fiege, Kataalyst is currently writing for a new film entitled 'In The Air'; a performance documentary hybrid. The film weaves a story mixing the elements of visual artistry with the reality of environmental justice. He is currently preparing for his first international performance in Amsterdam for the Read My World festival in October 2018.
A Melungeon autonomist native to the southeastern mountain bioregions of what is currently known as the USA, Ozone-504 first started painting in the late 80's when he was in a punk rock gang doing anarchist and gang graffiti (ATL PINS). Ozone's self-taught talents grew over the years, inspired by outlaw underground scenes of the last three decades. The focus of this collection is urban proletariat resistance and the unapologetic punk and funk, that blossoms in claimed free spaces in spite of institutional neglect. Splattering spray paint; layering electric acrylics; stenciling iconic images from the urban-political underground; collaging the layered, wheat-pasted story of the walls of cities around the world-- Ozone 504 weaves a mélange of mediums for the senses, hearkening back to the days when art meant something more than a price-tag. The pieces are often created with recycled materials, at times transforming advertisements and garbage into insurrectionary art; a re-contextualization of the natural art debris which the city holds.
Leona Strassberg Steiner is a photographer, printmaker and former dancer. Her artwork centers on environmentalism, memories, political transgressions, transitions in life, and life’s beauty. “Art for me is about revisiting our perspectives about race, religion, class, and environmentalism. The end game is seeing how we are all connected on this planet, how we are all one.” Steiner has exhibited her photographs and prints extensively with solo exhibitions of her work at The Victory Hall Drawing Rooms of Jersey City and the New Jersey City University Visual Arts Gallery. She has participated in many group exhibitions in Spain, California, Illinois, Chicago, New Jersey, New Orleans, and New York. Leona has been curating PoliticoPopUp, for the past three years, in New Orleans. PoliticoPopUp is a one-night exhibition with works of over 40 artists from around the country.
As the waters rise... Who will be left?
Who will be cared for?
As the waters rise...
Seeping through the grass up to our toes....
As the waters rise...
Searching for higher ground.
As the waters rise...
Our time here is just about done.
As the water rises,
Who will be left?
Who will be cared for?
As the water rises,
Seeping through the grass,
Up to my toes
Dreaming of higher ground
Blake Nelson Boyd, commonly known as Blake Boyd, is an American film actor, comedian, and visual artist who lives and works in New Orleans and London. Boyd was mentored by Andres Serrano and Andy Warhol Factory manager Billy Name in the 1990s.
Boyd's ongoing undertakings build upon this foundation. A fan of Stanley Kubrick, he is inspired by the documentary research that the director prepared for his films.
The August 2007 National Geographic magazine cover headlined "New Orleans — Should it rebuild?", this, along with romanticized devastation-themed art collections and a public perception that New Orleans was still underwater prompted Boyd to undertake a positive art project.
The first significant documentary portrait series, Louisiana Cereal, was initiated as a desire to present an important, historical art exhibit recording the positive life force of the region post-Hurricane Katrina and the Deepwater Horizon oil spill, capturing the spirit of New Orleans and Louisiana. Boyd continues to record the personalities from and associated with his home state, and the collection has become a contemporary history of Louisiana. The five hundred portraits include Governor Bobby Jindal, Senator Mary Landrieu, LTG Russel L. Honore, and actor Patricia Clarkson.
Tan Khanh Cao
Tân Khánh Cao is an artist with a commitment to the tradition of the cultivation of Freedom. Collective freedom that includes individual freedom. Not asking for it, but making it. Reaching back for it while moving forward with it, in it.
After several lifetimes in San Francisco, she has recently come to live in New Orleans with the intention of learning from, working with, and honoring the living spirit and deep roots of its creative culture, traditions of resistance, and the people who have carried that and grown from it.
Michael Fedor is a photographer, painter, draughtsman, mixed media assemblage and collage artist.
"Baboon Hybrid" was creates with a variety of programs in my iPad Air 2. A construct of two selfies. I have made automatic drawings for over four decades. I have now included digital to my toolbox. Genetic manipulation by man, or other, has been a sub-theme in various artworks of mine during the past two decades.
Trix Rosen is an artist and photojournalist living in Jersey City. Born in Brooklyn, New York, Rosen’s career has embraced the fields of fine art photography, photojournalism, portraiture and historic architectural preservation. At New York University she studied painting; afterwards she became a self-taught photographer, shooting assignments for international magazines and later becoming a historic architectural photographer and teacher. Her art focuses on gender-fluid identity.
Rosen’s work can be found in many collections, including the Library of Congress and the Smithsonian Museum. Her 1980’s lesbian, feminist slide show “MAITRESSE,” along with two photographs for the exhibition catalog, are represented in the Museum of Modern Art (MoMA) exhibition, “CLUB 57: Film, Performance and Art in the East Village, 1978-1983,”(October 31 2017 - April 8 2018).
Her photographs have been represented in over 50 exhibitions in galleries and in museums including the Ceres Gallery and Hebrew Union College Museum in New York City; the Sherwin Miller Museum in Tulsa, Oklahoma; the Reece Museum in Johnson City, Tennessee; New Jersey’s George Segal Gallery in Montclair and Pierro Gallery in South Orange; and the Kepco Gallery Museum in Seoul, South Korea.
My photography is inseparable from my life. I work in a collaborative style and the portraits of my friends and community have always reflected the energy, rebellion and passion for social change that swirls around me. I express my personal feelings and values with art that is driven by a desire to make a difference, and addresses social justice issues that can transform local and global perspectives.
The images capture a fearless collaboration between my female gaze and the sexual imagination of my subjects. In the safe, respectful, intimate setting of my studio playground, the women and men I photograph -– straight, gay, singled and coupled — feel free to dress, undress and pose. My images range from romantically soft, to shockingly powerful and muscular, to gender-fluid and androgynous. Transgressive in the 70’s-80’s, they were among the first to show women exploring their bodies, reclaiming the power to define their own physical beauty and sexual truths.
My portfolios celebrate gender-fluidity and the right to self-identify anywhere along the gender path, while redefining masculine and feminine representation and empowering being be true to yourself.