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Newcomb Art Department


The Newcomb Art Department is devoted to the study and production of visual art within the context of Tulane University's strong tradition in the liberal arts. It fosters an environment of independent and collective exploration that promotes original thought, creative inquiry, and visual literacy. 

The studio art program develops students’ skills of rendering and fabrication as well as perception, composition and execution. Exposure to historical and contemporary art, vigorous analysis and comparative examination provide substantial grounding of practice in theory.

The art history program educates students in the visual and historical analysis of art from antiquity to the present. Its faculty exposes students to an array of methodological approaches to interpret art across different regions and periods, fostering rigorous thinking and effective verbal expression.

The department enriches the university and community, serving as an advocate for the visual arts by presenting exhibitions, lectures, and other programs. The department contributes to the creation and analysis of visual art by supporting original scholarship and creativity among its faculty on regional, national, and international levels.

Newcomb Art News
Wednesday, November 7, 2018 - 09:57
Stone Auditorium, 210 Woldenberg Art Center

The members of the Alpha of Louisiana Chapter at Tulane would like to invite you to the 2018 Phi Beta Kappa Fall Lecture. Stephanie Porras, Associate Professor of Art History and Vice President of the Alpha of Louisiana Chapter of Phi Beta Kappa, will be speaking on "Early Modern Globalization: Ivory Sculpture as the First Global Luxury Good." The lecture will take place Wednesday, November 7, at 6:00 PM in Stone Auditorium (room 210 of Woldenberg Art Center). A reception will follow. Phi Beta Kappa is the oldest and most prestigious undergraduate honors society in the United States. In addition to its role in recognizing academic excellence, Phi Beta Kappa supports teaching, research, and learning in the liberal arts and sciences.
Wednesday, November 7, 2018 - 09:32
Please join us in the Carroll Gallery on Wednesday, November 7th at 3pm for a walkthrough with Cristina Molina, Juror of the 2018 Undergraduate Juried Exhibition. 

Congratulations to the recipients of this year's Juror's Awards: 

Sue Choi, Alex Lawton, Harleigh Shaw, Jordan Tavan, and Nathalie Toth.
Tuesday, October 30, 2018 - 13:03
Please join us on Thursday, November 1st, for the opening reception of the Undergraduate Juried Exhibition, from 4:30-6:30pm in the Carroll Gallery. Award winners will be announced at the opening.

The MFA Open Studio event will also take place on Thursday evening from 5:30-7:30pm.
Tuesday, October 30, 2018 - 12:57
The Newcomb Art Department at Tulane University invites you to attend our MFA Open Studio event, Thursday, November 1st from 5:30-7:30pm at the Woldenberg Art Center.

Sara Abbas (Painting) Studio 502
Joshua E. Bennett (Digital Arts) Studio 123
Allison Beondé (Photography) Studio 500
John Glass (Glass) Studio 119
Blas Isasi Gutiérrez  (Sculpture) Studio 123F
Jarrod Jackson (Painting) Studio 504
Juliana Kasamu (Photography) Studio 500
Cora Lautze (Printmaking) Studio 123D
Joris Lindhout (Digital Arts) Studio 506
Mark Morris (Glass) Studio 115
Holly Ross (Ceramics) Studio 108

[photo: Juliana Kasamu, Process #2, 2015]
Tuesday, October 23, 2018 - 14:27
On Thursday October 25th from 9am to 3pm, students may submit up to five art works to be considered for the 2018 Undergraduate Juried Exhibition.The call is open to all Tulane undergradauate students currently working towards a degree.

This year's juror is Cristina Molina, a member of the New Orleans artist-run gallery The Front where she regularly curates, exhibits her own artwork, and co-organizes The Front’s annual juried film festival. 

Works must be dropped off in person to the Carroll Gallery. Entry forms can be submitted online through the following link:

The exhibition opens on Thursday, November 1st with a reception from 4:30-6:30pm. A walkthrough with juror Cristina Molina will take place on Wednesday, November 7th at 3:00pm.
Tuesday, October 16, 2018 - 09:12
The Association for the Study of the Arts of the Present will hold its 10th Annual Conference in New Orleans, October 17-20, 2018, hosted by the New Orleans Center for the Gulf South at Tulane University and Pelican Bomb. Wednesday evening, October 17th, the Newcomb Art Department will host the opening night's Artists Talk, the Sandra Garrard Memorial Lecture, "Machine Visions," with Trevor Paglen, at 6pm in Freeman Auditorium, 205 Woldenberg Art Center. 

The following Tulane faculty, staff, and students will participate as hosts, presenters, and moderators at ASPA/10: Adrian Anagnost, Adam Crosson, Amy Crum, Kate Baldwin, Laura Blereau, Courtney Bryan, Joel Dinerstein, Christopher Dunn, Brian Edwards, Megan Flattley, Denise Frazier, Eric Herhuth, Z’etoile Imma, Zachary Lazar, Amy Lesen, Monica Ramírez Montagut, Cheryl Naruse, Adriana Obiols, Christopher Oliver, John Ray Proctor, Ama Rogan, Matt Sakakeeny, Daniel Sharp, Rebecca Snedeker, Red Vaughan Tremmel, Emily Wilkerson, and Edie Wolfe. 
For more information, please visit the ASAP/10 website:
Thursday, October 11, 2018 - 13:21
by Emily Wilkerson

New Orleans-based artist Sally Heller worked with Newcomb Art Department students for the last two weeks of September to develop the installation Mind Over Mayhem. In October, School of Liberal Arts Writer and Editor Emily Wilkerson sat down with Heller to speak about her artistic practice, her new installation in Tulane’s Carroll Gallery, and experiential learning.

Emily: Tell me a little about Mind Over Mayhem, the installation you developed in the Carroll Gallery with Tulane students.

Sally: All of my installations have titles that are a play on words, for example Bloom and Doom and Terrain Wreck, and they are usually about my general impression of the world as a chaotic place. So the idea of Mind Over Mayhem addresses what’s going on politically, and how we can bring to order these matters that are out of our control.

Emily: And how did the installation unfold?

Sally: I began the installation by accumulating low-end consumer goods, often materials or things that get used and thrown away. Then the students and I transformed these objects by bundling, cutting, and knotting them to remove them from their intended context. During the first day of installation, the students and I also applied rigging to the grid on the gallery’s ceiling, which consisted of clothesline tied in a crisscross fashion across the length of the space. At the same time, we mounted a twenty-foot photographic print onto the back wall. From there we could suspend forms, the items we collected and transformed, from the rigging and against the backdrop of the wall print. This created a three-dimensional effect—it was as though the students and I constructed a three-dimensional, abstract painting with the gallery space as our canvas.

Emily: What do you hope students gain from their experience working with you?

Sally: In constructing the installation, we made decisions about how to access the piece, where to place boundaries, and how much tension should be applied to the rigging, so the students were examining materials, planes, and space carefully. The process takes into account everything they are learning in their individual classes, such as painting and sculpture, and combines all of that into this one process.

What’s interesting to me about making this work is the potential I see in the materials themselves. And that is something I hope to impart to the students—the excitement of building with these non-traditional art materials.

Emily: Can you talk about what inspires your work?

Sally: There’s a raw energy that comes from making something with your hands, especially on a really large scale. I’m also using objects that we generally don’t pay attention to, and am turning these objects into art. By turning disposable items into something significant, you can begin to see the power in very nominal things.

Everybody’s aesthetic sensibility is really about who they are. It comes from a deep place inside you. My work and process are impacted by not wanting to stay within the boundaries of painting, a cannon that was mostly dominated by white, male artists. When I became a feminist, I realized I didn’t have to subscribe to the boundaries of painting. My process is really about me as a person.

Emily: How do you think visual art, and the liberal arts, influence the way we see and move in the world around us?

Sally: It seems that right now the political climate is all about tightening rules. And I think the liberal arts allow you to expand your thinking. I also think a liberal arts background, and exposure to the arts, allow you to have more sympathy, and not be too reactive in situations.

I believe the more knowledge you have, the better decisions you’ll make in your relationships, in your workspace, and really in every aspect of life.

Mind Over Mayhem is on view at Tulane's Carroll Gallery through October 24.

Sally Heller is a multi-material based artist who creates recognizable yet improbable landscapes constructed from cultural detritus. She has been awarded residencies at Headlands Center for the Arts, San Francisco; Civitella Ranieri, Umbertide, Italy; the Vermont Studio School, Johnson, Vermont; and Yaddo, Saratoga Springs, New York. Her work has been exhibited at the Lawndale Art Center, Houston; the Contemporary Arts Center, New Orleans; DePauw University, Greencastle, Indiana; Whitespace Gallery, Atlanta; Kemper Fine Art, New York City; and Scope, Miami, among many other sites. She holds a B.S. from University of Wisconsin and an M.F.A. from Virginia Commonwealth University.
Wednesday, September 26, 2018 - 13:14
Fragments of Reality

Faculty Spotlight - Aaron Collier

Written by Emily Wilkerson

Wednesday, September 26, 2018

Assistant Professor of Art Aaron Collier is inspired by questions and possibilities. His new paintings and works on paper, which will be on view in his upcoming exhibition, Of Rocks and Ruins at New Orleans’ Octavia Gallery, respond to the illusiveness of our inability to see or understand something fully.

“I find there to be an extreme amount of verisimilitude in abstract painting. Abstraction can feel more like an experience with the world than viewing something chronicled in its totality,” Collier explains. While his paintings are mostly composed of varying expanses of color and little recognizable imagery, Collier doesn’t claim to be a purely abstract artist; in other words, he doesn’t wish for there to be a complete divorce between his imagery and the world.

Of Rocks and Ruins will be comprised of Collier’s newest body of work that is inspired by traditional paintings, such as Leonardo da Vinci’s “Virgin of the Rocks,” 1483-1486, as well as his experience visiting Palatine Hill in Rome. In a recent conversation, he explained that while some architectural elements are more intact at Palatine Hill’s ancient site, visitors essentially examine shards and fragments in order to create a vision of what once was.

“The questions that drive my practice are several: how can we enjoy, how can we take pleasure in, how can we exist within finite knowledge? How can we savor and appreciate these beautiful, astounding fragments?”

Collier began teaching in Tulane’s School of Liberal Arts in 2006 as a professor of practice in painting and drawing, focusing on fundamentals in foundations courses such as line, shape, and color. During those first few years, he began reconsidering these same fundamentals in his own work.

“The daily opportunity to observe and participate in the creative processes of Tulane's driven students is incredibly inspiring, challenging, and humbling. Students have no idea how thankful I am for such a gift.”
Tuesday, October 9, 2018 - 15:15
The Newcomb Art Department presents the 2018 Sandra Garrard Memorial Lecture, Machine Visions, an artist's talk by Trevor Paglen, on Wednesday, October 17 at 6:30 pm in Freeman Auditorium, 205 Woldenberg Art Center.

Trevor Paglen is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. Trevor Paglen’s work is included in the collections of the Metropolitan Museum of Art; the San Francisco Museum of Modern Art; the Smithsonian American Art Museum; the Whitney Museum of American Art; Berkeley Art Museum; the Solomon R. Guggenheim Museum, New York; Victoria and Albert Museum, London; and the Nevada Museum of Art. He has launched an artwork into distant orbit around Earth in collaboration with Creative Time and MIT, contributed research and cinematography to the Academy Award-winning film Citizenfour, and created a radioactive public sculpture for the exclusion zone in Fukushima, Japan.

He is the author of five books and numerous articles on subjects including experimental geography, state secrecy, military symbology, photography, and visuality. Paglen’s work has been profiled in the New York Times, the New Yorker, the Economist, and Artforum. He is a 2017 recipient of the MacArthur Foundation Award. Paglen holds a B.A. from U.C. Berkeley, an M.F.A. from the Art Institute of Chicago, and a Ph.D. in Geography from U.C. Berkeley.
Thursday, October 4, 2018 - 14:11
Work from 2012-2018  by Kevin H. Jones, Associate Professor and Chair of the Newcomb Art Department, will be on view at the Anderson, Virginia Commonwealth University's art gallery, from October 9 through November 3, 2018.

Over the past six years within Jones’ work, one can see transitions in and synthesis of media including painting, video, physical computing, and more recently, 2-dimensional digital prints. Through this synthesis of media, the conceptual investigation of the natural world through charts, diagrams and systems is a constant theme. His early work used solar energy to power a fictional television station, while more recent work uses sensors to create an interactive video installation that questions entropy. 

This exhibition is presented as part of the Anderson’s 2018–2019 Alumni Open Call.