August 16, 2008  |
Old New Orleans Rum Distillery Tour
August 13, 2007 - December 31, 2008 |
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Times: Monday - Friday 9:00 am - 5:00 pm
Location: Old New Orleans Rum, 2815 Frenchmen Street
Phone: (504) 945-9400
Admission: $10.00
Celebration Distillation offers tours and tastings at the distillery. Our tours offer a intimate and detailed look at the distillation process from beginning to end. All of our tours conclude with a visit to our tasting room. Become a connoisseur as you experience the subtle flavors of our distinctive rums. On occasion the distillers will offer samples of rums we have yet to bring to market to get your thoughts on the directions they are going.
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The National WWII Museum Presents - Real to Reel: Hollywood and World War II
April 12, 2008 - October 31, 2008 |
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Times: 9:00 am – 5:00 pm
Location: The National WWII Museum, 945 Magazine Street, New Orleans, LA
Phone: 504-527-6012
The National World War II Museum presents Real to Reel: Hollywood and World War II, with a showcase exhibit of select artifacts. Check back for more details.
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The Contemporary Arts Center Presents - Tony Feher: Re:Place
April 18, 2008 - October 4, 2008 |
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Times: Thursday - Sunday 11:00 am - 4:00 pm; Closed on holidays
Location: The Contemporary Arts Center, 900 Camp St
Phone: (504) 528-3800
Admission: $5.00 General admission; $3.00 Students & Seniors; Free for CAC members
The CAC presents a new, site-specific work, Re:Place, by New York sculptor Tony Feher, made especially for the atrium of the building. The new work will remain on view for three months. Like much of Feher's art, the CAC project has been created using found materials, and it was developed in the form of a direct artistic response to the spaces, shapes, colors and materials of the building's entrance.
To create Re:Place, Feher acquired three dozen 2-liter bottles of Orange Crush and Sunkist orange-flavored soda, and had them positioned at midpoint along the atrium's main cross-beams on three levels. Although each beam holds only one bottle, the cumulative effect of the quantity of bottles across a large spatial volume is of a dappling of the color orange, which at various points during the day catches and/or reflects natural light. Tony Feher (b. 1956), one of the most respected American sculptors of his generation, began showing regularly at galleries in New York and Los Angeles during the early 1990s.
In recent years, he has had solo projects at, among others, the Hammer Museum at UCLA, Aspen Art Museum, and the Indianapolis Museum of Art, and one-person exhibitions at South Texas Art Museum in Corpus Christi, Texas, and Bard College Museum in Annandale-on-Hudson. He just recently held his first solo exhibition at Pace Wildenstein Gallery in New York. Feher's characteristic use of extremely humble materials, such as empty bottles, wire coat hangers, packing tape, and plastic bags, have made him one of the leading members of a group of mostly New York-based group of artists who have turned their backs on the highly materialistic art-making practices of the 1980s and 1990s.
In contrast to the abundance of sculpture made using expensive foundries and art fabricators, Feher's approach is heavily arrangement on arrangement, framing and context for its visual and conceptual impact. Tony Feher grew up in Corpus Christi, Texas and currently lives and works in New York City.
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The New Orleans Museum of Art Presents - The Baroque World of Fernando Botero
June 28, 2008 - September 21, 2008 |
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Times: Wednesday Noon until 8:00 p.m; Thursday-Sunday 10:00am - 5:00pm
Location: The New Orleans Museum of Art, One Collins Diboll Cir. in City Park
Phone: (504) 488-2631
This summer, the New Orleans Museum of Art will present The Baroque World of Fernando Botero, the first major U.S retrospective of the artist's work in more than 30 years. Recognized as one of the most well-known and commercially successful artists to emerge from Latin America, the Colombia native now has his work exhibited and collected by major museums around the world, including the New Orleans Museum of Art. The 100 paintings, drawings, and sculptures in this exhibition span the length of Botero's career-from paintings executed in 1959 in Colombia, to sculptures executed as late as 2005. The works were selected by John Sillevis, curator of the Gemeentemuseum in The Hague, and editor and contributor to the accompanying exhibition catalogue. The exhibition is organized and circulated by Art Services International, Alexandria, Virginia. The exhibition is accompanied by a fully illustrated catalogue with essays by John Sillevis, guest curator; David Elliot, Director of the Mori Art Museum in Tokyo; and Edward Sullivan, Dean of Humanities and Professor of Latin American Art at New York University.
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The Contemporary Arts Center Presents - City Stage
July 12, 2008 - October 5, 2008 |
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Times: Thursday - Sunday 11:00 am - 4:00 pm
Location: Contemporary Arts Center, 900 Camp St
Phone: (504) 528-3805
Admission: $5.00; $3.00 for students, seniors. FREE for CAC members and children under 15 every day
Theaters are no longer the ideal stages for the display of contemporary life, nor are actors the ultimate vehicles of the contemporary character. This is more true in New Orleans than anywhere else, where streets are stages and anyone is an actor on Mardi Gras Day. Inspired by recent staged events in New Orleans, from seasonal festivals to street theatre or experimental opera to movie shoots, City Stage gives an update to the Shakespearean idea of the world as a stage through the works of emerging artists from New Orleans and beyond infused by the spirit of the stage. City Stage is a reflection on scenic spaces or stages, be they a concert stage, a movie set, a photographer's studio or the streets during carnival and the way in which they impact on current visual arts production. City Stage looks at the way in which artistic fields outside of the visual arts, and for which the visual is only but one element, influence contemporary art which is itself less and less dominated by the preeminence of the purely visual and material, but instead becoming increasingly aural and performative. Although the exhibition is not solely centered on New Orleans, it recognizes the city's many theatrical, musical and carnival stages as a major source of inspiration for such artistic productions. Works in City Stage run the gamut of elements in a staged production from theatrical sets to costumes to studio photography. With Debris Man, originally created for 7 days in Paradise, a multimedia opera he co-wrote and played in, Jeffrey Cook brings the idea of the fetish explored in previous work to life, with a costume that is also a kinetic sculpture. Taking Paul Chan's Waiting for Godot as a starting point, Cauleen Smith invents a sci-fi narrative in which she uses the streets of New Orleans as a backdrop and stages its people as characters of the future in The Fullness of Time. In Bruce Davenport's drawing series, the protagonists are High-School marching bands whose regimented use of space brings to the fore the acquired stage qualities of New Orleans streets. Inspired by 1960's set design, theatrical props and fashion, Adrian Price blends the boundaries between stage and catwalk in an installation in which she revisits the images of women in mass media. The human figure is absent from Adia Millett staged environment in which props are given life through lighting and become leading characters. Finally Colin Miller and Michalene Thomas bring a different twist to studio portraiture, the former by subverting the televised image of the news anchor and the latter by using retro imagery in very contemporary depictions of African-American subjects elevated to the status of icons. By presenting staged and fictional representations from or in the spirit of New Orleans, City Stage questions the supposed truthful images and reports given by the media, suggesting instead that the City might be best experienced in the realm of the imagination. Artists in the exhibition include Jeffrey Cook (New Orleans), Bruce Davenport Jr. (New Orleans), Adrian Price (New Orleans), Colin Miller (Lafayette), Adia Millett (Los Angeles), Cauleen Smith (Boston), Mickalene Thomas (New York). Exhibition curated by Claire Tancons, Associate Curator, Contemporary Arts Center.
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The Contemporary Arts Center Presents - Vestiges: Think Tanks
July 12, 2008 - November 2, 2008 |
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Times: Thursday - Sunday 11:00 am - 4:00 pm; Closed on holidays
Location: The Contemporary Arts Center, 900 Camp St
Phone: (504) 528-3800
Admission: $5.00 General admission; $3.00 Students & Seniors; Free for CAC members
VESTIGES: THINK TANKS, in the St. Joseph Street side windows of the Contemporary Arts Center, features FLOOD LINES lightwork installation with photos by Debra Howell, Krista Jurisich and Jan Gilbert and text by Michele White. These large-scale photos generously are sponsored by Ridgway's. This project is another in a series of works produced by the New Orleans-based arts collaborative The VESTIGES Project while in residence at the CAC. Additionally this collective is a founding partner of the large neighborhood-based HOME, New Orleans' arts network. Its performance and installation-based collaborations, including the recent and ongoing WHISPERING BONES project, continue to crop up in churches, cemeteries, and gutted houses around town and to infuse the energy of art and audience as a neighborhood recovery tool.
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Gallery Bienvenu Presents New Paintings featuring Jim Napierala and Arturo Mallman
August 2, 2008 - September 26, 2008 |
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Times: Tuesday - Saturday 10:00 am - 5:00 pm
http://www.gallerybienvenu.com
Location: Gallery Bienvenu, 518 Julia Street
Phone: (504) 525 - 0518
Mesmerizing and complex, the process-intensive paintings of New York City-based artist Jim Napierala superimpose the gestural freedom of Abstract Expressionism atop the rigor of the modernist grid. The paintings are the end result of a working method developed by the artist in 2000 and constantly evolved and adjusted since that time. Methodically taping off sections of a maple plywood panel, Napierala slices into the tape with a blade, creating curvaceous, biomorphic forms with a spontaneity reminiscent of Dadaist automatic drawing. Arturo Mallmann’s luminous paintings follow in this tradition, inviting us into landscapes that are half-geographic, half-psychological, and wholly immersive. Born in Uruguay, Mallmann has led a richly colorful life, residing and traveling throughout South America, Europe, and North America, and within these far-flung adventures lie the aesthetic and experiential influences that inform his haunting work. With acrylics, resin, and varnish, the artist layers and sands coat after coat of materials in a process that, like nature itself, is by turns additive and substractive. His austere compositions are often coalesce around the eternal motif of the horizon line, harkening to our primal human capacity for awe.
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