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Newcomb Art Department
Newcomb Art News
Thursday, September 12, 2019 - 14:37
Prospect New Orleans in collaboration with the Newcomb Art Department and the Sandra Garrard Memorial Fund present:
Artist’s Talk by Andrea Fraser
Monday, September 16
6:00 pm
Freeman Auditorium (Rm. 205, Woldenberg Art Center)
Tulane University


Andrea Fraser performed Not just the few of us for the opening of Prospect.3: Notes for Now Not just the few of us is an interpretation of one public confrontation with racist systems in contemporary New Orleans: a 1991 City Council hearing regarding the official desegregation of the unofficially self-segregated Mardi Gras krewes. For Prospect.3 Fraser also installed Um Monumento as Fantasias Descartadas in the Newcomb Art Gallery. 


Andrea Fraser is an artist whose work investigates the social, financial, and affective economies of cultural institutions, fields, and groups. She is Professor, Interdisciplinary Studio Area Head, and Chair of the UCLA Department of Art. Retrospectives of her work have been presented by the Museum Ludwig Cologne (2013), the Museum der Moderne Salzburg (2015), the Museum of Contemporary Art Barcelona and MUAC UNAM Mexico City (both 2016). Her most recent book, 2016 in Museums, Money, and Politics (2018)—co-published by the CCA Wattis Institute, Westreich/Wagner Publications, and MIT Press—documents the political contributions of the board members of over 125 major US art organizations in the 2016 election cycle and its aftermath, examining the intersection of cultural philanthropy and political finance in the age of plutocracy. She serves on the boards W.A.G.E, Grex (the West Coast Affiliate of the A.K. Rice Institute for the Study of Social Systems), and the Institute of Contemporary Art, Los Angeles, and on the Artist Council of the Hammer Museum.

Wednesday, September 4, 2019 - 09:20
The Newcomb Art Department welcomes Fan Zhang to the faculty as Professor of Practice, Asian Art.

Prof. Zhang specializes in the art and material culture of early medieval China (3rd–6th century CE) and the cultural interactions among East Asia, Central Asia, and Northeastern Asia through and beyond the Silk Road network. Adopting an interdisciplinary and cross-cultural approach, her research probes into issues around identity, migration, and hybridity in the ancient world. Her current book project, Cultural Encounters: Ethnic Complexity and Material Expressions in the Fifth-century Pingcheng, draws attention to the funerary art of Pingcheng, the capital city of the Northern Wei Dynasty, and explores how artworks function as effective vehicles for individuals to articulate one’s identities in a multi-ethnic society. Fan Zhang has conducted archaeological fieldwork in both China and Central Asia. She also participated in research and curatorial programs in several museums, including the Metropolitan Museum of Art, the National Museum of Korea, and the Sichuan Museum.
Friday, August 23, 2019 - 14:48
Please join us for the opening reception for MENTORS, an exhibition of work by the full studio art faculty of the Newcomb Art Department, Wednesday 8/28 5:30-7:30pm. 

The exhibition is on view August 21-September 25 at the Carroll Gallery, hours M-F 9-4.
Friday, August 2, 2019 - 10:50
Cora Lautze, Work Promotes ConfidenceThe Contemporary Art Center's 2019 Open Call Exhibition Identity Measures opens on Saturday August 3rd, Hancock Whitney White Linen Night, and features the work of three recent alumni of Tulane's Studio Art graduate program:  Abdi Farah (MFA, Painting, 2018), Kristina Knipe (MFA Photography, 2016), and Cora Lautze (MFA, Printmaking, 2019).

Identity Measures is predicated on the understanding that identity is shaped by a variety of historical, racial, gendered, socioeconomic, geographical, physical, and ideological experiences through time. By opening up a dialogue about difference through the language of contemporary visual art, this exhibition claims that one’s structural location in the world matters to the articulation of personal and collective identity—a process that poses itself as a dynamic site of agency, creativity, resistance, visibility, ambiguity, and belonging.

The exhibtion is organized by guest curator, Dr. Jordan Amirkhani, an art historian, critic, curator, and educator based in Washington, DC, where she serves as a Professorial Lecturer in Global Modern and Contemporary Art History at American University. 

Opening reception: Saturday, August 3, 5:30pm - 9:30 pm, at the CAC.
Admission will be FREE and open to the public.
Monday, July 22, 2019 - 10:33
Marjorie Rawle, a 2019 M.A. graduate, has joined the Fitchburg Art Museum in Fitchburg, MA, as a Terrana Curatorial Fellow through summer 2020. The Terrana Curatorial Fellowship, a 13-month, full-time appointment for a recent M.A./Ph.D. graduate in museum studies/art history, is designed to launch emerging curators into substantial museum careers by providing an immersive educational experience. 

Marjorie completed her M.A. thesis on the creative relationship between AbEx painter Grace Hartigan and New York school poet Frank O'Hara, and she completed a graduate internship at the New Orleans Museum of Art.
Thursday, July 18, 2019 - 12:30
2019 Art History M.A. graduate Adriana Obiols-Roca was recently awarded the Stone Center for Latin American Studies' Donald Robertson Prize for best paper in the Humanities by a Latin American Studies Graduate Student. This award honors Donald Robertson, a professor of Art History at Tulane for more than 25 years and a pioneer in the field of Latin American art history. He authored the groundbreaking Mexican Manuscript Painting of the Early Colonial Period: The Metropolitan Schools, and motivated a generation of budding Art Historians and Ethnohistorians.

Adriana's award-winning paper, "The Battle of the Whale: Bataillean Aesthetics in El Techo de la Ballena," analyzed the 1960s Venezuelan artistic and literary group El Techo de la Ballena, in relation to the dissident surrealism of French writer Georges Bataille. While El Techo has been the focus of sustained analysis on the part of literary critics, the group’s artistic production has received comparatively less attention. Their artistic production has previously been understood as part of a continuation of postwar gestural abstraction, and as a rejection of the geometric abstract art and modernist architecture that characterized the developmentalist state in 1950s-70s Venezuela. However, Adriana’s paper convincingly argues that El Techo’s practice should not be understood as a belated modernist project, but as quintessentially of its time, as a particularly Venezuelan take on the 1960s neo-avant-garde strategies of entropy, base materiality, and assemblage.
Tuesday, July 16, 2019 - 11:13

Teresa Cole, Infiltrate 2.0, relief printed Japanese paper with dye and bamboo, 72h x 60w in

 

In Imperfect, her fifth solo exhibition at Callan Contemporary, Teresa Cole brings together patterns from disparate traditions in images of startling complexity and beauty. This body of work—a suite of intaglio etchings, woodcuts, and two installations, Black & White Patchwork and Infiltrate 2.0—stems from research the artist conducted last spring in Seville, Cordova, and Granada, Spain. There, in architectural masterpieces such as the Alhambra palace, she studied and documented intricate patterns adorning tilework, carved wood and plaster, wainscoting, stone flooring, and cut glass. Alternately geometric and arabesque (plant- based/organic), these motifs exemplify Moorish aesthetics, in which only the divine is considered perfect and artisans build small flaws into their designs to signify earthly fallibility. Cole has integrated many of these patterns into her existing lexicon of shapes, combining Old World printmaking techniques with digital photography, laser cutters, and CNC routers. “There’s a tension between these perfect, computer-formed lines and the imperfection of the hand,” she observes. “Those imperfections are evidence of our humanity.”

Cole earned a B.F.A. degree from Maryland Institute College of Art and an M.F.A. from Cranbrook Academy of Art, then continued her studies as a member of Peacock Printmakers in Aberdeen, Scotland. Currently she is full professor at Tulane University, where she teaches all aspects of printmaking. She has conducted research and participated in residencies in India, South Africa, Nepal, Belgium, Spain, and throughout the U.S. and has been commissioned to create large-scale public artworks, most recently a sculptural installation at the A.B. Freeman School of Business at Tulane. Her works are included in prestigious private, corporate, and institutional collections around the world.

Cole’s prints are densely layered, rich with a translucence and texturality that reward close viewing. Their thematic content is also highly layered, sometimes juxtaposing or overlaying Roman and Arabic scripts—as well as symbols from Asia, Africa, and the Americas—into images of poignant cross-cultural mélange. Technically innovative and pictorially opulent, the artworks posit a fluidity between ornamentation and language, visual seduction and conceptual grounding, and pattern as both decorative and narrative devices. One need not speak foreign tongues or be versed in art history to appreciate these pieces, however, for they communicate directly and subliminally with the viewer’s perception and subconscious. “Maybe it’s possible,” Cole suggests, “to learn about something simply by looking at it.”

by Richard Speer 

IMPERFECT exhibition dates: June 1st - July 20th, 2019
CALLAN CONTEMPORARY 518 JULIA STREET, NEW ORLEANS, LA 70130

Thursday, June 13, 2019 - 12:56
Shannah Rose (MA, Art History, 2019) was named a 2019 recipient of the Samuel H. Kress Fellowship in Italian at the Middlebury Language Schools. As a Kress Fellow, she will enroll in Middlebury’s intensive 7-week language immersion program held this summer at Mills College in Oakland, California. In fall 2019, Shannah will continue her research in medieval and early modern Italian art history as a Ph.D. student at the Institute of Fine Arts at New York University.
Monday, June 10, 2019 - 13:34
As a 2019 Fulbright-Hays fellow, Patricia Alexander Lagarde, a doctoral candidate in art history and Latin American studies, will conduct research in Peru for seven months at Chavín de Huántar, a ceremonial center in the Andes mountains that dates to 1200-500 BCE. She will focus on a group of anthropomorphic stone sculptures known as the tenon heads that were installed on the exterior walls of the temple architecture. Her project will explore the variety in style, the assortment in material, and the overall viewer experience of the sculptures. Lagarde will be an affiliate with the Chavín International Research Center (Centro Internacional de Investigación de Chavín) where she will work with archeologists to examine what the sculptures’ roles were in the ceremonial and religious traditions at the time. While only one sculpture is still installed at the site, more than 100 existed, varying in shape and size. This fellowship will support Lagarde’s goal to create a comprehensive catalog of the tenon heads at Chavín de Huántar.  Studying their materiality, Lagarde hopes to gain a greater understanding of the Ancient Andean peoples’ perspective of the natural landscape as animate—she’s interested in how specific stones were chosen, potentially representing specific regions, communities, or ancestors.
Monday, June 10, 2019 - 09:57
Please join us for 

FACADES
Organized by Amy Crum and Marjorie Rawle

featuring works by:
Allison Beondé
Jenna DeBoisblanc
Ana Hernandez
Carlie Trosclair

Opening reception: Thursday, June 13, 5:30 – 7:30 pm
Exhibition on view June 13 – July 12, 2019