Podcasts about ogden museum

Ep.230 Carl E. Hazlewood (b. 1951) was born in Guyana, South America. Parallel to his studio practice, Hazlewood co-founded Aljira, a Center for Contemporary Art in Newark, NJ in 1983. Steeped in modest materials, such as polyester, push pins, map pins and metallic string, form is foregrounded and the slippage between drawing, painting and sculpture places his work in a space that challenges the conventions of each medium, and forces the viewer to experience form on its own terms. Hazlewood explains, “Like a sculptor, I work to find 'shapes' and 'volumes', implied or actual. And like painting, the layering becomes an intuitive search for textures, color and form…I define edges, where things begin and end, where they may find relationships and multiple transitions against or into each other. I think of this as 'drawing' the accumulation of parts into active and resonant connections. Then those 'active' parts are pinned into a final configuration, something that feels properly 'evocative' yet stable as plastic form.” Solo exhibitions of his work include BlackHead Anansi: Constellations at Charlotte and Philip Hanes Gallery, Wake Forest University, South Carolina (2023); Racing Thoughts-Fever Dreaming at Art Basel Miami Beach (2022); and BlackHead Lyricism at Welancora Gallery (2022). Hazlewood has been the recipient of fellowships at the MacDowell organization (2023, 2015); the Brown Foundation at the Dora Maar House, Ménerbes, France (2018); and the Bogliasco Foundation, Italy (2018). His fifty-two-foot-tall wall work, TRAVELER (2017), was commissioned by the Knockdown Center, Queens. Collections include: The National Museum of African American History and Culture, Smithsonian Institution, Washington, DC , The Study Center, Bogliasco Foundation, Genova, Italy, The Dora Maar House, Ménerbes, France, Ogden Museum of Southern Art, New Orleans, Louisiana, Museu Brasileiro da Escultura, São Paulo - Brazil, The Schomburg Center Collections, New York, NY, The University of Guyana, South America and The National Collection of Fine Arts, Castellani House, Guyana, South America. Photo credit: Dia Art Foundation Artist https://www.carle-hazlewood.com/ Welancora Gallery https://www.welancoragallery.com/artists/71-carl-e.-hazlewood/works/ Brattleboro Museum https://www.brattleboromuseum.org/2024/10/21/carl-e-hazlewood-infinite-passage/ Sharpe-Walentas https://www.thestudioprogram.com/artists-hp2023/carl-e-hazlewood Ortega y Gasset Projects https://www.oygprojects.com/swimming-blind-in-a-wine-dark-sea Duck Creek arts https://www.duckcreekarts.org/2024-group-show-ranee Whitewall https://whitewall.art/whitewaller/must-see-shows-in-the-hamptons-on-view-now/ Bomb https://bombmagazine.org/articles/2024/07/02/an-oral-history-with-cynthia-hawkins-by-julia-trotta/ Art Students League https://www.artstudentsleague.org/events/painters-talking-what-we-talk-about-when-we-talk-about-abstraction Wake Forest | Hanes Gallery https://hanesgallery.wfu.edu/blackhead-anansi-constellations/ Valentine Museum of Art https://valentinemuseumofart.com/artists/36-carl-hazlewood/works/ Art in Dumbo https://dumboopenstudios.com/listings/artist/carl-e-hazlewood/ Stabroek news https://www.stabroeknews.com/2024/02/04/sunday/eye-on-art/circling-back-to-carl-e-hazlewood/ Macdowell https://www.macdowell.org/artists/carl-e-hazlewood Art Cake https://artcake.org/artist-carl-e-hazlewood David Richard gallery https://davidrichardgallery.com/news/865-carl-e-hazlewood-demerara-dreaming-triptych-paintings-1996-2003-david-richard-gallery-chelsea-february-17-2022

In this episode of PhotoWork with Sasha Wolf, Sasha engages in an honest and deeply personal conversation with photographer Christian Patterson. They delve into the creation of "Redheaded Peckerwood" (MACK) and his latest book, "Gong Co." (TBW Books & Éditions Images Vevey). Christian offers a thorough description of his intricate process and motivations for these long-term projects, providing nearly step-by-step insights. He also reflects on his years working with William Eggleston and the nuanced ways in which that experience did, and did not,  influence his artistic direction. http://www.christianpatterson.com  |||   https://www.instagram.com/christian.patterson/ CHRISTIAN PATTERSON was born in Fond du Lac, Wisconsin and lives in New York, New York. His visually layered work has been described as novelistic, subjective documentary of the historical past, and often deals with themes of the archive, authorship, memory, place and time. Photographs are the heart of his multidisciplinary work, which includes drawings, paintings, objects, video and sound. Patterson is the author of four books, including Sound Affects (2008), Redheaded Peckerwood (2011, Recontres d'Arles Author Book Award), Bottom of the Lake (2015,Shortlist, Aperture-Paris Photo Book of the Year), and the forthcoming Gong Co. (2024). He is a Guggenheim Fellow (2013), winner of the Grand Prix Images Vevey (2015), a New York Public Library Picture Collection Artist Fellow (2022) and James Castle House Resident (2023). His work is in the collections of the National Gallery of Art, Los Angeles County Museum of Art (LACMA), J. Paul Getty Museum, Milwaukee Art Museum, Nelson-Atkins Museum of Art and Ogden Museum of Southern Art, and his books are in many institutional artist book collections. He has lectured, mentored and taught widely. He is represented by Rose Gallery, Santa Monica, USA and Robert Morat Galerie, Berlin, Germany. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

When you walk into just about any interior space in the US – from the biggest office building to the smallest apartment – you're almost certain to find art hanging on the walls. And not just one piece. From your doctor's waiting room to your sister's bedroom, you'll typically find multiple works of art. Sure, they're not all paintings, some of them are posters or prints, but at some point, each one had to be created by an artist. Only around 1% of the US workforce are artists. So, with limited availability and high demand you'd expect artists to be highly paid. Most of them, though, are not. The reason might be something to do with the business model by which visual artists get paid. In the film business, actors, directors, and writers pay agents a commission of 10% of their income. Musicians pay booking agents 10% of their income. Directors of commercials pay their business representatives 18% commission. If you're a visual artist, you'll pay your business representative – typically a gallery owner – a commission of 50% of the sale price of your artwork. How does an artist survive in this kind of financial setup? That's what we're asking Anastasia Pelias. Anastasia is a New Orleans born-and-raised visual artist whose paintings and sculptures are in museums and in private and public collections across the country and around the world. In New Orleans you can see Anastasia's paintings in the permanent collections of The New Orleans Museum of Art, The Ogden Museum of Southern Art and The Newcomb Art Museum. You can see her sculptures in St. John Park in Lake Terrace, and on Poydras Street as part of the Helis Foundation's Poydras Corridor Sculpture Exhibition. In case you're thinking all 50% commission art gallery owners must be hard-hearted blood-sucking mercenaries, meet Marguerite Oestreicher. Marguerite owned an art gallery in the heart of New Orleans' art district on Julia Street, until Hurricane Katrina closed it down. In part, Marguerite credits the skills she picked up running her art gallery with her ability to perform her current job as Executive Director of New Orleans Area Habitat For Humanity. NOAHH, as it's commonly known, has 65 full-time employees and builds around 25 homes a year. Their stated mission is, “To responsibly build communities where families can thrive in homes they can afford.” For whatever reason – maybe because it helps bring order to a chaotic world - human beings like to divide by 2. We like to put things in one category, or another. Republican or Democrat. Employed or unemployed. Artist or Businessperson. Renter or Homeowner. Marguerite's mission at Habitat For Humanity is defined by categories: moving people from one to another. From renter to homeowner. To survive as an artist, like Anastasia, you have to defy the categories of art versus business – you need to keep one foot in each world. Across all these categories, the one thing most of us have in common is, we like to live in an affordable home where we can hang our art on the walls. Out to Lunch was recorded live over lunch at Columns in Uptown New Orleans. You can find photos from this show by Blake Langlinais at itsneworleans.com.See omnystudio.com/listener for privacy information.

Ep.198 Allison Janae Hamilton (b. 1984 in Kentucky, raised in Florida) has exhibited widely across the U.S. and abroad. Her work has been the subject of institutional solo exhibitions at the Georgia Museum of Art, the Joslyn Art Museum, Massachusetts Museum of Contemporary Art (MASS MoCA), and Atlanta Contemporary, as well as a commissioned solo project with Creative Time. Her sculpture, Love is like the sea… (2023) is currently on view in the Poydras Corridor Sculpture Exhibition, presented by The Helis Foundation in New Orleans, LA. Select recent group exhibitions include The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse, Virginia Museum of Fine Arts; Shifting Horizons, Nevada Museum of Art; Enunciated Life, California African Art Museum; More, More, More, TANK Shanghai; and Indicators: Artists on Climate Change, Storm King Art Center. Work by the artist is held in public collections such as the Studio Museum in Harlem, the Hood Museum of Art, The Menil Collection, Nasher Museum of Art, Nevada Museum of Art, and Speed Museum of Art, among others. Hamilton has participated in a range of fellowships and residencies, including at the Whitney Independent Study Program, New York, NY; the Studio Museum in Harlem, New York, NY; and Fundación Botín, Santander, Spain. She is the recipient of the Creative Capital Award and the Rema Hort Mann Foundation Grant. Hamilton holds a PhD in American Studies from New York University and an MFA in Visual Arts from Columbia University. She lives and works in New York. Portrait: Heather Sten Artist https://www.allisonjanaehamilton.com/ Marianne Boesky Gallery https://marianneboeskygallery.com/artists/60-allison-janae-hamilton/press/ Storm King Art Center https://indicators.stormking.org/allison-janae-hamilton/ Georgia Museum of Art https://georgiamuseum.org/exhibit/allison-janae-hamilton-between-life-and-landscape/ University of Georgia https://www.wuga.org/show/museum-minute/2022-10-28/museum-minute-allison-janae-hamilton Nasher Museum of Art https://nasher.duke.edu/stories/allison-janae-hamilton-floridawater-ii-sisters-wakulla-county-fl-and-when-the-wind-has-teeth/ Helis Foundation https://www.thehelisfoundation.org/pcse/love-is-like-the-sea... Pippy HouldsworthGallery https://www.houldsworth.co.uk/exhibitions/140-tales-of-soil-and-concrete-brett-goodroad-allison-janae-hamilton-yun-fei-ji-arturo/works/ The Highline https://www.thehighline.org/art/projects/allison-janae-hamilton/ Contemporary Art Library https://www.contemporaryartlibrary.org/artist/allison-janae-hamilton-6327 Artpil https://artpil.com/allison-janae-hamilton/ The Clark https://www.clarkart.edu/microsites/humane-ecology/about-the-artists/allison-janae-hamilton UGA Today https://news.uga.edu/nature-is-at-the-center-of-allison-janae-hamiltons-work/ Rema Hort Mann Foundation https://www.remahortmannfoundation.org/allison-janae-hamilton/ Ogden Museum https://ogdenmuseum.org/event/florida-stories-a-conversation-with-author-lauren-groff-and-visual-artist-allison-janae-hamilton/ Kids Kiddle https://kids.kiddle.co/Allison_Janae_Hamilton WWD https://wwd.com/feature/allison-janae-hamilton-marianne-boesky-gallery-art-exhibition-1234792142/ Whitewall Art https://whitewall.art/art/allison-janae-hamilton-interrogates-myths-around-landscape-and-stories-of-paradise/ Whitewall Art https://whitewall.art/whitewaller/allison-janae-hamilton-a-romance-of-paradise/ Where y'at https://www.whereyat.com/allison-janae-hamilton-lauren-groff-florida-new-orleans The Bitter Southerner https://bittersoutherner.com/summer-voices/aunjanue-ellis/allison-janae-hamilton C& https://contemporaryand.com/exhibition/allison-janae-hamilton-a-romance-of-paradise/ The University of Texas at Austin https://repositories.lib.utexas.edu/items/3f37e356-f2a7-4f3b-a9d4-7614ddfac848 Urban Milwaukee https://urbanmilwaukee.com/people/allison-janae-hamilton/

Artworks are regularly sold at auctions around the world for record sums of money, but today's guest believes that auctions serve a greater purpose than just growing the highest bidder's collection. Every object is an invitation to consider our personal and collective histories through the unique and often fascinating story it has to tell. Today, you'll hear from a local auctioneer, Southern fine art specialist, and Senior Vice President of Brunk Auctions, Lauren Brunk. Brunk is a private auction house specializing in the sale of fine art, jewelry, antique furniture, coins, and countless other areas of collecting ranging from contemporary art to antiquities. In this episode, Lauren offers some insight into the world of auctions, the types of people that make up the buyers and sellers, how auctions retell the stories of the items they sell, and so much more. For a comprehensible guide to the secondary art market, be sure to tune in today!Key Points From This Episode:Defining the secondary art market and how it differs from the primary art market.How virtual art sales have evolved since the COVID-19 pandemic.The wide variety of people who make up Brunk's buyer and seller communities.Ways that auctions retell the story of the items they sell.Insight into the relationship between auction houses and museums.Lauren's relationship with the Black Potter, Jim McDowell.How Brunk supports the next generation of art storytellers through community outreach.What the objects at art auctions can teach us about value.Links Mentioned in Today's Episode:Brunk Auctions — https://brunkauctions.com/Brunk Auctions on Instagram — https://www.instagram.com/brunkauctions/Email Brunk Auctions — info@brunkauctions.comLauren Brunk on LinkedIn — https://www.linkedin.com/in/lauren-brunk-291ab51/Lauren Brunk on Instagram — https://www.instagram.com/laurenb1969/Jim McDowell — https://blackpotter.com/‘Jim McDowell: The Need to Look Back in Order to Move Forward' (Episode 13) — https://www.artsvilleusa.com/jim-mcdowell/Nasher Museum of Art — https://nasher.duke.edu/Ogden Museum of Southern Art — https://ogdenmuseum.org/A Question of Value: Stories from the Life of an Auctioneer — https://www.amazon.com/dp/1469678098Artsville — https://www.artsvilleusa.com/Scott “Sourdough” Power — https://www.notarealartist.com/Louise Glickman — https://www.louiseglickman.com/Daryl Slaton — http://www.tailsofwhimsy.com/Crewest Studio —

Hundreds of nurses at University Medical Center New Orleans voted to unionize last week. It's one of Louisiana's largest union elections in recent decades and the first private hospital in the state to unionize, according to National Nurses United, a union representing nurses across the country. Lucy Mendez is a registered nurse at UMC New Orleans in the emergency department. She spoke with the Gulf State's Newsrooms Stephan Bisaha about why she voted for and campaigned to join the union. Last month, the New Orleans Police Department released a draft proposal to deploy unmanned aircraft systems to assist with policing. In other words, the NOPD is preparing to use drones. Critics are concerned the drones could reduce residents' privacy and be used to harass low-income neighborhoods. Nick Chrastil has been covering this story for The Lens and joins us for more on the rollout plan and NOPD's recent drone demonstration.  The New Orleans born singer and actor Rahim Glaspy is returning to the stage at the Ogden Museum of Southern Art. He'll debut new music as part of this month's Ogden After Hours event.  Glaspy joins us for more on his musical journey and the inspirations behind his latest songs.  Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber and our assistant producer is Aubry Procell. Our engineer is Garrett Pittman. You can listen to Louisiana Considered Monday through Friday at 12 and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

Marielena Ferrer is driving this month's Spirituality and Politics conversation while I am away from the station. We talk about the Supreme Court's most recent ruling affecting affirmative action and refer to these articles as we meander through our own opinions on it and what we hope will come as a result of it.https://www.theatlantic.com/ideas/archive/2023/06/failure-affirmative-action/674439/https://www.theatlantic.com/ideas/archive/2023/06/affirmative-action-scotus-ruling-elite-institutions-diversity-scholarship-impact/674576/https://www.forbes.com/sites/corinnelestch/2023/07/09/how-the-end-of-affirmative-action-reroutes-the-talent-pipeline/Midway through we are joined by Sarrah Danziger, Education Coordinator at the Center for Photography in Kingston. Sarrah is a photographer, video artist, educator, and master printer. Danziger received her BFA from the School of Visual Arts in New York. She created, “Listen to New Orleans,” an oral history archive, artist book, and long-term public installation, and has exhibited at the Ogden Museum of Southern Art, New Orleans; Contemporary Arts Center, New Orleans; and at the New Orleans Photo Alliance. Danziger was raised in Woodstock, and now lives and works in Kingston. Her work as an artist and educator focuses on community-based activities and individual storytelling, positioning her well to expand collaborative partnerships and art making programs in the community.The center offers many ways of connecting with photography and creative imagery including their upcoming Kingston Photo Festival, July 21-23. Lots of cool ways to join in the fun from film screenings to workshops. Check out their website for all the details.Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFY | STITCHERITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCASTITCHER: https://www.stitcher.com/podcast/she-wants/i-want-what-she-has?refid=stpr'Follow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcastTWITTER * https://twitter.com/wantwhatshehas

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer and publisher Matt Eich discuss the intricate play between personal work and universality, the importance of varied artistic inspiration, and the deep understanding and responsibility needed when working with communities as an outsider. Matt also expresses the necessity of having trusted voices help in the editing process. https://www.matteichphoto.com https://www.littleoakpress.com Matt Eich is a photographic essayist working on long-form projects related to memory, family, community, and the American condition. Matt's work has received numerous grants and recognitions, including PDN's 30 Emerging Photographers to Watch, the Joop Swart Masterclass, the F25 Award for Concerned Photography, POYi's Community Awareness Award, an Aaron Siskind Fellowship, a VMFA Fellowship and two Getty Images Grants for Editorial Photography. His work has been exhibited in 20 solo shows, in addition to numerous festivals and group exhibitions. Matt's prints and books are held in the permanent collections of The Portland Art Museum, the Museum of Fine Arts Houston, The New York Public Library, Chrysler Museum of Art, Ogden Museum of Art, and others. Matt was an Artist-in-Residence at Light Work in 2013, and at a Robert Rauschenberg Residency in 2019. Eich holds a BS in photojournalism from Ohio University and an MFA in Photography from Hartford Art School's International Limited-Residency Program. He is the author of four monographs, Carry Me Ohio (Sturm & Drang, 2016), I Love You, I'm Leaving (Ceiba Editions, 2017), Sin & Salvation in Baptist Town (Sturm & Drang, 2018) and The Seven Cities (Sturm & Drang, 2020). He has one forthcoming monograph scheduled for Fall 2023. Eich self-publishes under the imprint Little Oak Press and resides in Virginia. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Episode No. 601 of The Modern Art Notes Podcast features artists Jonathan Lyndon Chase and Sheldon Scott. Jonathan Lyndon Chase is included in "The Culture: Hip Hop and Contemporary Art in the 21st Century" at the Baltimore Museum of Art. The exhibition, on view through July 16, presents art, fashion and high-end consumer goods in consideration of the influence hip hop has had on contemporary society. It was curated by Asma Naeem, Gamynne Guillotte, Hannah Klemm, and Andréa Purnell. A catalogue was published by the BMA, the Saint Louis Art Museum and Gregory R. Miller & Co. Amazon and Bookshop offer it for about $55. Chase's paintings, video, sound, and sculpture depicts queer Black love and community. Their work has been the subject of solo exhibitions at the Fabric Workshop and Museum, Philadelphia; they have been included in recent group shows at the ICA Miami, the Los Angeles County Museum of Art, the Columbus Museum of Art, the RISD Museum of Art, the Philadelphia Museum of Art, and soon at the Whitney Museum of American Art (opening June 28). Scott is included in "Spirit in the Land" at the Nasher Museum of Art at Duke University. The exhibition considers today's ecological concerns and demonstrates how our identities and natural environments are intertwined. The show particularly focuses on the relationship between the mainland United States and the Caribbean. Curated by Trevor Schoonmaker, it is on view through July 9. The exhibition is accompanied by a catalogue which is available only at the Nasher. Scott is presenting a performance titled "Portrait, numba 1 MAN (day clean ta sun down)" at the Ogden Museum of Southern Art, New Orleans on May 13. Scott's work builds upon his upbringing in Gullah/Geechee culture and his background in storytelling to examine the Black male form. His work has been exhibited at the Driskell Center at the University of Maryland, the National Portrait Gallery, Smithsonian Institution, and more.

Description:Harpinder Mann, RYT-500 (she/her) is a yoga teacher, mindfulness educator, and community builder currently living on Tongva Land (LA). Her practice is rooted in her spiritual background of Sikhism and Buddhism and ancestral roots in Panjab, India - this informs her desire to teach yoga authentically as a spiritual practice. Teaching since 2018 and practicing since 2013, she teaches in a way to help people mindfully connect to their bodies with curious awareness, brings a sense of healing, peace, and stillness, and creates more meaning in their lives.As the co-founder of the Womxn of Color Summit, Harpinder is actively working to decolonize wellness by creating a community and providing accessibility to healing spaces for BI&POC. Her work sits at the intersection between social justice and healing. She works 1:1 with folks on reclaiming their power & intuition to be free, is passionate about working with pregnant people, teaches at recovery centers and to kids with autism, and leads events and speaks at organizations such as Tulane University, Grindr, Ogden Museum, Decolonize Birth Conference, Lightning in a Bottle, and many more. Episode Links:Web: https://harpindermann.comWeb: https://womxnofcolorsummit.comInstagram: https://www.instagram.com/harpindermannyoga/Instagram: https://www.instagram.com/womxnofcolorsummit/Links: https://msha.ke/harpindermannLinkTree: https://linktr.ee/womxnofcolorsummitJoey Pinz Conversations Podcast Information: • Website: https://www.joeypinz.com • Link Tree: https://linktr.ee/joeypinz • Music by Tom Izzo: @wahlsinger  https://tomizzomusic.com  Support our podcast:  • Subscribe: https://joeypinzconversations.com/subscribe/ • How much is this podcast worth to you? Consider $5, $10 or $20/mo with Patreon: https://www.patreon.com/joeypinz  • How about a one-time payment?  • What is the episode worth to you? $25/$50/$100/$500 /$1,000/$5,000 with PayPal (one-time): https://www.paypal.com/paypalme/JoePannone Please subscribe/follow to Joey Pinz Discipline Conversations Podcast: • Spotify, Apple, Google, or others.  Please consider rating with 5 stars if you like it. • Apple: https://podcasts.apple.com/us/podcast/joey-pinz-discipline-conversations/id1583997438 • Spotify: https://open.spotify.com/show/69SFwY3XSwcw9qNvElAn10 • Google: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xODI4OTA2LnJzcw • YouTube: https://www.youtube.com/c/JoeyPinzDisciplineConversations?sub_confirmation=1Please follow on social media: @TheJoeyPinz • Instagram: @TheJoeyPinz https://www.instagram.com/TheJoeyPinz  • Twitter: @TheJoeyPinz  https://twitter.com/TheJoeyPinz • Facebook: @TheJoeyPinz https://www.facebook.com/TheJoeyPinz • TikTok:  @TheJoeyPinz  https://www.tiktok.com/@thejoeypinz • Minds:  @TheJoeyPinz  https://www.minds.com/thejoeypinz • YouTube:  @TheJoeyPinz  https://www.youtube.com/@thejoeypinzFinally,  join our newsletter: https://joeypinzconversations.com/#newsletterSupport the show

In 1837 a family group that flew in the face of convention was committed to canvas, presumably by portraitist Jacques Guillame Lucien Amans. It showed four children. Three were white, dressed in their Sunday best and gazing placidly at the viewer. The fourth, standing behind them in a Brooks Brothers livery coat, was a Black teenager. This is Bélizaire, and at some point around the turn of the twentieth century—for reasons unknown—his portrait was covered up. In this final installment of the trilogy we consider Bélizaire's legacy and that of his portrait. Does the debonair boy of 1837 have an afterlife ahead of him? Will Bélizaire and the Frey Children prove to be, as Taylor Thistlethwaite puts it, “one of the more significant paintings that has been rediscovered in American history”? Feat. collector @jeremy.k.simien, Ogden Museum of Art curator of the collection Bradley Sumrall, historian and genetic genealogist Ja'el Gordon, Washington and Lee University assistant professor of art history Wendy Castenell.Hosted by Benjamin Miller @objectiveinterest.

Sometime around the turn of the twentieth century, the Black child at the rear of this 1837 family portrait was painted out. Why? Benjamin Miller sits down with the painting's owner—and its primary advocate—Jeremy Simien, as well as scholars, collectors, and other experts in the field involved with the painting's journey from museum castoff to much-fêted cipher for the Antebellum South, and attempts to nail down why its eponymous figure was forgotten for so long. Part 1 of a 3-part series on the painting "Bélizaire and the Frey Children." Feat. Jeremy K. Simien, Ogden Museum of Art curator of the collection Bradley Sumrall, historian and genetic genealogist Ja'el Gordon, Washington and Lee University assistant professor of art history Wendy Castenell

This is a really special episode. Andres Gonzalez talks about American Origami, which not only happens to be an extraordinarily impactful and important project, but also the most dynamically designed photobook. . . maybe ever. Andres is thoughtful, passionate, and extremely talented. Prepare to be inspired and more than a little in awe. Andres Gonzalez is an educator and visual artist whose current work engages with in-depth research to investigate relationships between ritual, memory, and place within the American social landscape. He has published two books, Some(W)Here in 2012 made over decade while living in Istanbul, and American Origami in 2019 which won the Light Work Photo Book Award, and was shortlisted for the Paris Photo - Aperture Book Awards.    He has received recognition from the Pulitzer Center, the Alexia Foundation, and is a Fulbright Fellow. His work has been exhibited at the San Francisco Museum of Modern Art, the Ogden Museum of Southern Art, the Stedelijk Museum in the Amsterdam, and the Museum of Contemporary Photography in Chicago, where he also collaborated with the Columbia College theater department and members from Tectonic Theater Project on a theatrical adaption of American Origami.

There are around 4 million people in Louisiana. One million of us have downloaded the same app onto our phones. That app is LA Wallet. You probably have LA Wallet on your phone. If you don't, it holds a digital version of your driver's license, your hunting and fishing licenses, and if you're vaccinated against Covid 19, LA Wallet also holds your proof of vaccination. To get the app to work, all you have to do is download it from wherever you get apps. You don't have to upload your licenses or proof of vaccination – that information goes directly to the app from the appropriate departments of the State of Louisiana. LA Wallet is the biggest digital credential app in the United Sates. And Louisiana – the state that's usually at the bottom of every list there is - is at the top of this one. We're the first state in the nation to have a state-approved digital vaccine card, which, by the way, is recognized and valid in every other state. Calvin Fabre is founder and President of the software company Envoc, and creator of LA Wallet. Back in the earlier days of what came to be known as “The Digital Revolution,” e-commerce and social media were two totally separate things. You went to one place online to buy stuff. And you went to another place online to post pictures of what you bought. Those days are long gone. Today e-commerce, social media, and everything else you do online are inextricably linked. If you have a business, you have an online presence. Even if your business is a brick-and-mortar building that requires people to walk in the door, you can't rely on a neon sign to achieve that any more. And that's why an industry of digital marketing agencies has been created. These agencies put the equivalent of your neon sign online - in a place where your potential customers will see it. However, unlike screwing a neon sign to your building, online marketing is not quite so simple. Since 2012, a digital marketing agency called Online Optimism has been designing and installing online neon signs for local companies like Hibernia Bank, the Downtown Development District, and Ogden Museum of Southern Art. Like so many other types of optimism, Online Optimism started out in New Orleans. The agency also has offices in Washington DC and Atlanta. The Managing Director of Online Optimism here in New Orleans is Sam Olmsted. One of the main goals you hear people in online marketing talk about, is SEO. Search Engine Optimization. If I have a business, when someone searches online for something I'm selling, if I have good SEO my company comes up first in search. So there's a greater likelihood a person will click on my business ahead of everyone else. Back in the day when people used the yellow pages to find a business, businesses tried a similar sort of manipulation by listing themselves as something like “AAAAA carpet cleaning” or “AAAAA jelly beans.” All of the “A's” in front of their name meant that in the alphabetical listings, they'd be first. Like the A's in front of a name, only one company can come up first in a Google search. So, I'm wondering how cost-effective SEO is. Say I'm selling jellybeans online -- if I‘m a small business in New Orleans, for what I can afford to pay an agency like Online Optimism, can I expect you to put enough digital “A's” in front of my name to get me to the top of Google search ahead of everyone else selling jellybeans online? On this edition of Out to Lunch, we get SEO explained. Out to Lunch is recorded live over lunch at NOLA Pizza in the NOLA Brewing Taproom. You can see photos from this show by Jill Lafleur at our website. And check out Calvin Fabre's earlier visit to Out to Lunch. See omnystudio.com/listener for privacy information.

ABOUT THE AUTHOR WILLIAM DUNLAP is an artist, writer, arts advocate and commentator with a career spanning more than four decades. His paintings, sculpture, drawings and constructions are included in public and private collections, including the Metropolitan Museum of Art, The National Gallery of Art, Mississippi Museum of Art, Corcoran Gallery of Art, the Ogden Museum of Southern Art, Lauren Rogers Museum, Mobil Corporation, Riggs Bank, IBM Corporation, Federal Express, The Equitable Collection, Arkansas Art Center, the United States State Department, the U. S. Federal Reserve, and United States Embassies throughout the world. He is the author of SHORT MEAN FICTION: Words and Pictures, a collection of short stories with drawings, Nautilus Publishing, 2016, as well as LYING AND MAKING A LIVING.  ABOUT THE BOOKS - SHORT MEAN FICTION Like tales from the Old Testament, these stories are mean, rampant with sex, violence, and death. All are figments of an active, if not fertile, imagination, and brevity may be their greatest charm. They are fictions through and through. The drawings scattered throughout this volume are not illustrations, but live in the same place the sketchbooks where Dunlap first wrote the stories, forgot them, then found them again. LYING AND MAKING A LIVING Lying and Making a Living picks up where Short Mean Fiction leaves off. It contains more of the irreverent, hard-hitting, exhilarating, ironic, and emblematic prose we've come to expect from Dunlap, whose language is something of a Southern birthright and whose characters are defined by their notorious deeds.. 

In episode 186 UNP founder and curator Grant Scott is in his shed reflecting on commitment to photography and photographers, never getting old, questioning funded photographic institutions, supporting good causes and more Dutch photo comedy. Plus this week photographer Ashleigh Coleman on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Ashleigh Coleman was born in 1983 in Virginia and is a self-taught photographer working with an inherited Hasselblad. Her photographs have been exhibited across the United States, including solo shows at the Fischer Galleries in Jackson, MS, the University of Mississippi's Center for the Study of Southern Culture, and the Claire Elizabeth Gallery in New Orleans. Coleman's work has also been shown at the Ogden Museum, the Griffin Museum of Photography, the University of West Virginia, the University of Southern Mississippi, the Bo Bartlett Center, and it is currently part of the traveling exhibitions for Looking for Appalachia and A Yellow Rose Project. She is a founding member of the Due South Co and lives on the land of her husband's family in rural Mississippi. www.ashleighcoleman.com Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). © Grant Scott 2021

Ashleigh will be one of several artists participating in the 2021 show, One Night Stand at the Ole Miss Motel, taking place October 16, 2021. Contact iheartmotelart@gmail.com for more information. ------- Ashleigh Coleman (1983, Virginia) is a self-taught photographer. As she susses out where she lives and what is required of her as a mother, Ashleigh looks through the lens of an inherited Hasselblad. In the meantime, her photographs have exhibited across the United States, including solo shows at the Fischer Galleries in Jackson, MS, the University of Mississippi's Center for the Study of Southern Culture, and the Claire Elizabeth Gallery in New Orleans. Her work has also been shown at the Ogden Museum, the Griffin Museum of Photography, the University of West Virginia, the University of Southern Mississippi, the Bo Bartlett Center, and is currently part of the traveling exhibitions for Looking for Appalachia and A Yellow Rose Project. She is a founding member of Due South Co. Ashleigh lives on the land of her husband's family in rural Mississippi. https://www.instagram.com/ashleighcoleman/

In this episode of Mississippi Stories, Mississippi Today Editor-At-Large Marshall Ramsey sits down with Mississippi Arts Commission Executive Director Sarah Story. Story became executive director of Mississippi Arts Commission in November 2020 and leads the state agency in its mission to be a catalyst for the arts and creativity in Mississippi. In this fun interview, Story talks about all the ways the MAC helps on one of Mississippi's greatest natural resources – it's creatives.  Story previously served as the executive director of the UMLAUF Sculpture Garden & Museum in Austin, Texas, which exhibits the work of Charles Umlauf, his influences, and other contemporary artists and as deputy director and project coordinator of the Ogden Museum in New Orleans.  She received a BFA in painting from the University of Mississippi and a Master's in Arts Administration from the University of New Orleans.

The veteran engineer, producer and tour manager with Preservation Hall, Zachary Richard, Essence Fest, and the Ogden Museum has produced a new record with the recently departed singer/songwriter from Big Sun, Joe Tullos. The “Vessels” project was a labor of love by Michael and a close-knit stable of players and the final artistic statement of a dying friend. On the heels of Yom Kippur, the Troubled Men turn from the sacred to the profane. Topics include memory loss, pocket notes, a stump grinder, FEMA, RIP Norm Macdonald, the Jeopardy saga, the start of school, RIP George Wein, the founding of Jazz Fest, programming, Thursdays, a Detroit childhood, a move south, St Paul’s, the audio game, trad jazz, Lafayette, RIP Warren Storm, Linda Ronstadt’s uncle, Sound Check Music, “LA Juke Box,” hanging with the Rolling Stones, Pyramid Audio, loose change, trash pickup, the River Road Collective, Meg Griffin, Kevin Aucoin, Mark Byrdawg Dillon, Randy Ellis, Brendan Gallagher, a burial at sea, road management, Walter Payton, and much more. Support the podcast here. Join the Patreon page here. Shop for Troubled Men’s Wear here. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break and outro music: “And Anna So Blew” and “Leave This Town” from “Vessels” by Joe Tullos Troubled Men Podcast Facebook Troubled Men Podacst Instagram Michael Paz Homepage Michael Paz Facebook Joe Tullos Homepage Joe Tullos Facebook

Diane Mack hosted this Tuesday's episode of Louisiana Considered. In a report filed today for NPR's Morning Edition, WWNO/WRKF public health reporter Rosemary Westwoodexplains a topic of concern as COVID-19 hospitalizations continue to climb statewide: vaccine hesitancy among Louisiana's healthcare workers. Ogden Museum of Southern Art executive director William Pittman Andrewstells us about one of the Museum's current exhibits, Louisiana Contemporary 2021. This is the tenth anniversary of the exhibit, and selected works from 39 Louisiana artists are on display. Marigny Opera Ballet founder and director Dave Hurlberttells us about the dance company's upcoming 2021-2022 season at the Marigny Opera House in New Orleans, opening December 3rd with a jazz adaptation of Tchaikovsky's “The Nutcracker.” See omnystudio.com/listener for privacy information.

This week on Delta Dispatches we’re talking about the inspirational new exhibit at the Ogden Museum of Southern Art which features works from John Taylor, storyteller, environmentalist, self-taught artist and life-long resident of New Orleans’ Lower 9th Ward. Here to talk about the exhibit is Mikhayla Harrell, the Museum Educator and Teen Intern Coordinator at the Ogden Museum and Amanda Moore Deputy Director, Gulf Program for the National Wildlife Federation. This exhibition features a variety of works by Taylor, including eight walking sticks carved from wood found along the banks of the Mississippi River and eight photographs of the Bayou Bienvenue Wetland Triangle as well as historical information about Louisiana wetland loss, and provides a number of ways people can get involved with restoration efforts.

This week on Delta Dispatches we’re talking about the inspirational new exhibit at the Ogden Museum of Southern Art which features works from John Taylor, storyteller, environmentalist, self-taught artist and life-long resident of New Orleans’ Lower 9th Ward. Here to talk about the exhibit is Mikhayla Harrell, the Museum Educator and Teen Intern Coordinator at the Ogden Museum and Amanda Moore Deputy Director, Gulf Program for the National Wildlife Federation. This exhibition features a variety of works by Taylor, including eight walking sticks carved from wood found along the banks of the Mississippi River and eight photographs of the Bayou Bienvenue Wetland Triangle as well as historical information about Louisiana wetland loss, and provides a number of ways people can get involved with restoration efforts.

Bo Bartlett is a painter based out of Columbus, Georgia. He studied with Ben Long in Florence, and received his degree in Fine Art form the Pennsytlvania Academy of Fine Arts. He has had numerous solo exhibitions nationally and internationally. Recent solo exhibitions include Morris Museum of Art, Augusta, GA; The University of Mississippi Museum, Oxford, MS; “Love and Other Sacraments,” Dowling Walsh Gallery, Rockland, ME; “Paintings of Home,” Ilges Gallery, Columbus State University, Columbus, GA; “A Survey of Paintings,” W.C. Bradley Co. Museum, Columbus, GA; “Paintings of Home,” PPOW Gallery, New York, NY; and “Bo Bartlett,” Ogden Museum of Art, New Orleans, LA. Recent group exhibitions include “Rockwell and Realism in an Abstract World,” Norman Rockwell Museum, Stockbridge, MA; “Brine,” SOMA NewArt Gallery, Cape May, NJ; “The Things We Carry: Contemporary Art in the South,” Gibbes Museum of Art, Charleston, SC; “American Masters,” Somerville Manning Gallery, Greenville, DE; “The Philadelphia Story,” Asheville Art Museum, Asheville, NC; “The Outwin Boochever 2013 Portrait Competition Exhibition,” Smithsonian National Portrait Gallery, Washington, DC; “Best of the Northwest: Selected Paintings from the Permanent Collection,” Tacoma Art Museum, Tacoma, WA; “Perception of Self,” Forum Gallery, New York, NY; “Real: Realism in Diverse Media, Imago Galleries, Palm Desert, CA; “Thriving in Seattle: A Retrospective,” GAGE Academy of Art, Seattle WA; “private (dis)play,” New York Academy of Art, New York, NY; “Figure as Narrative,” Columbus State University, Columbus, GA; “Solemn & Sublime: Contemporary American Figure Painting,” Akus Gallery, Eastern CT State University, Willimantic, CT; Tacoma Art Museum, Tacoma, WA, “private(dis)play,” Center of Creative Arts, St. Louis, MO; and “Five Artists of Accomplishment from the Pennsylvania Academy of Fine Arts, Philadelphia, PA. His work may be found in the permanent collections of the Greenville County Museum of Art, Greenville, SC; La Salle University Museum of Art, Philadelphia, PA; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Santa Barbara Museum of Art, Santa Barbara, CA; Southern Alleghenies Museum of Art, Loretto, PA; Philadelphia Convention Center, Philadelphia, PA; McCornick Place Metropolis Pier and Exposition Authority, South Hall, Chicago, IL; United States Mint, Philadelphia, PA; Academy of Music, Philadelphia, PA; Office of the Governor, Harrisburg, PA; Curtis Institute, Philadelphia, PA; Franklin Institute, Philadelphia, PA; Hunter Museum of American Art; Chattanooga, TN; Morris Museum of Art, Augusta, GA; Denver Museum of Art, Denver, CO; and Seattle Art Museum, Seattle, WA. Bartlett is the recipient of the PEW Fellowship in the Arts, the Philadelphia Museum of Art Award; Museum Merit Award, Columbus Museum of Art, Columbus, GA; William Emlen Cresson Traveling Scholarship, Pennsylvania Academy of Fine Arts, Philadelphia, PA; Charles Toppan Prize, Pennsylvania Academy of Fine Arts, Philadelphia, PA; and Packard Prize, Pennsylvania Academy of Fine Arts, Philadelphia, PA. This episode is sponsored by Golden Artist Colors and the New York Studio School. You can follow the podcast @soundandvisionpodcast on IG and Brian at @alfredstudio

Nigel P. Henderson & Omar Alcibar chop it up with Visual Artist & Writer L. Kasimu Harris. Harris is a New Orleans-based artist whose practice deposits a number of different strategic and conceptual devices in order to push narratives. He strives to tell stories of underrepresented communities in New Orleans and beyond. In 2020 Harris showed at the Ford Foundation Gallery, Ogden Museum of Southern Art, August Wilson African American Cultural Center, and Crystal Bridges Museum of Art. Also in 2020 his images and essay,  A Shot Before Last Call: Capturing New Orleans's Vanishing Black Bars was published in The New York Times.   He received Artist-in-Residencies from the Center for Photography at Woodstock and the Joan Mitchell Center. www.lkasimuharris.com www.TheGumboPotPodcast.com Like, Follow, Subscribe, & Share #TheGumboPotPodcast Available on Apple Podcast, Youtube, Soundcloud, Iheart Radio

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, curator, and writer, Jon Feinstein discuss the evolution of Humble Arts Foundation, the organization he co founded with Amani Olu, and how Humble represents Jon’s strong desire to democratize the art world and create opportunities for more people. Jon and Sasha also talk about some of the recent events in Jon’s personal life that has made his own work more urgent and emotional. They also reminisce about the first time they met and mutual affection abounds.  http://www.jonfeinstein.com About Jon Feinstein: Jon Feinstein divides his time between making photographs, writing about photographs, curating photographs, and raising his daughter.   Since 2019, he has been directing content/marketing strategy for The Luupe, a new platform connecting women photographers with big brands to change the still-backward narrative.  In his spare time, he runs Humble Arts Foundation, a non-profit dedicated to supporting up and coming art photography. He works with photographers on collaborative interviews to make their photos shine. Feinstein has curated over 50 exhibitions online and IRL, sometimes with curatorial heroes like Lumi Tan, Charlotte Cotton, Natalia Sacasa, Roula Seikaly, and Mickalene Thomas, landing press in HyperAllergic, Aperture, FeatureShoot, The New York Times and The New Yorker.  Feinstein won the 2019 Blue Sky curatorial prize with Roula Seikaly, and also recently, curated his first museum show at The Ogden Museum in New Orleans.  His writing on photography has appeared in VICE, Slate, Daylight, Aperture, Adobe, Hyperallergic, Photograph, and Time, and his weekly stories and interviews on Humble's blog have helped get photographers press, representation, and sell their work.  His own photographs have been featured in Vice, Booooooooom, Paper Journal, Business Insider, Bon Appetit, Lenscratch, and (strangely) Fox News (no regrets). Find out more at https://photowork.pinecast.co

The Ogden Museum of Southern Art is imagining a world without racism as it honors the life and legacy of Dr. Martin Luther King, Jr. We talk with museum educator Mikhayla Harrell.

The Ogden Museum of Southern Art is imagining a world without racism as it honors the life and legacy of Dr. Martin Luther King, Jr. We talk with museum educator Mikhayla Harrell. More info is online at ogdenmuseum.org.

When the pandemic came along, it derailed a lot of plans. Businesses had to shut down with no notice. Some have re-opened. Some are struggling to re-open. Others have been unable to continue and have gone out of business. Peter Ricchiuti's guests on this edition of Out to Lunch are both in a strange, gray area. They both have unorthodox businesses. They both have millions of dollars of investment sunk into them. And neither of them quite knows what the future holds. Julia Bland is CEO of the Louisiana Children's Museum. For 33 years the museum was on Julia Street, in the Warehouse District. In August 2019 the museum opened the doors of its new facility – 56,000 square feet of a brand new, purpose-built construction in City Park. This impressive-looking new museum took over a decade to bring to life. With a price tag of over $47m. On August 17th 2020, Julia had to lay off 40 employees, and close the doors of the museum. The Louisiana Children's Museum will reopen at some point. But when, and what that will look like, is hard to predict right now. For almost 20 years, Kenneth Hoffman helped build and run the World War II Museum in New Orleans. In 2017 Kenneth left that position to build a new museum in New Orleans. Today Kenneth is Executive Director of the Museum of the Southern Jewish Experience. It's the only museum in the United States dedicated to the study of the Jewish experience within a specific region. Or, at least, it will be when it opens its doors. The museum had raised $6m of its projected $10m budget, and was slated to open in a building just off of Lee Circle in October 2020. But the pandemic has forced those plans to change. The building is still there. The exhibits are ready. The extensive collection of artefacts is curated. But the anticipated 40,000 visitors a year are nowhere to be seen. And there's not enough confidence in how long it will take recover, to hire the staff required to run a facility of this size. The ultimate fate of the Louisiana Children's Museum and the Museum of the Southern Jewish Experience is yet to be determined. We know that both these organizations have lost significant revenue and have lost employees, but what is less able to be calculated is the cost to the community of these institutions being closed. We certainly hope that the museums' financial losses can be held at bay, but we equally hope that both of these museums get to open soon for the greater good they bring to the residents and soul of the city of New Orleans. You can find photos from this show by Jill Lafleur at our website. Looking for more lunchtime conversation about New Orleans museums? Here's a conversation about The World War II Museum and the Ogden Museum of Southern Art.  See omnystudio.com/listener for privacy information.

The Ogden Museum of Southern Art is among several arts venues reopening following temporary closure due to the pandemic. We talk with executive director William Pittman Andrews.

Description and Notes: The congregation gathers on the banks of the river to be baptized. An audio fiction based on Baptism Study by Benny Andrews.  Content Warning: There are sound effects simulating being underwater. The transcript, notes, images, and discussion questions for this episode can be found on our website here. Support: Visit AGTrapHaus to bring their art into your home today. Make a recurring donation to Accession on Patreon for exclusive essays, bonus mini-sodes, and behind the scenes extras. Newsletter: Get the latest on all the Accession episodes, articles, interviews, and more. Social: Give us a shout out! Use #accession #accessionhomeward and #aroundtheframe! Twitter - Instagram - Facebook www.accession.fm

SOTA host Gabe Barcia-Colombo, visited the Big Easy this week to experience LUNA FÊTE, New Orleans' public festival of light, art, and technology. Produced by the New Orleans Arts Council, LUNA FÊTE first emerged in 2014 as a celebration of New Orleans creative industries. Now in it's sixth iteration, Gabe had the opportunity to speak with Lindsay Glatz, New Orleans Arts Council Creative Director and Curator of LUNA FÊTE, as well as two participating artists, Camille Grosse, and Courtney Egan. -About LUNA FÊTE-LUNA Fête is a visionary initiative created by the Arts Council New Orleans to demonstrate the power of art to transform communities. This free and open to the public festival of light, art, and technology celebrates New Orleans creative industries and provides a memorable experience for diverse event attendees. Since its 2014 inception, LUNA Fête has presented some of the top light and projection-based artists in the world, while simultaneously providing training to local artists to advance their capabilities to create large-scale and interactive art animated with light. More than 200 New Orleans artists and 60 youth have advanced their technical and artistic skills through this unique educational opportunity.-About Lindsay Glatz-Lindsay joined the Arts Council in 2009 after serving as a Senior Communications Strategist for Deveney Communication where she managed communications efforts for the collective New Orleans Tourism Industry following Hurricane Katrina. With a commitment to social innovation, she has served as a Propeller consultant assisting in the launch of Birthmark Doula Collective and Where Y’Art. Lindsay holds degrees in Journalism & Mass Communications and Leadership Studies.Learn more at https://www.artsneworleans.org/about/staff/-About Camille Grosse-Camille Gross is a french visual designer born in 1984. Art passionate since her childhood, she studied at l’ESAT in Paris, where she graduated in section scenography in 2008. The same year, she worked with a french artist video with whom she collaborate for 4 years on international light projects.Freelance since 2012, she collaborates regulary with the french agency Cosmo Av on various projectsLearn more at http://camillegross.com/-About Courtney Egan-Courtney Egan’s projection-based sculptural installations mix botanical themes with shards of technology. In 2010 she presented a solo show, “Field Recordings,” at Heriard-Cimino Gallery in New Orleans. Recent group shows include “Louisiana Contemporary” at the Ogden Museum of Art, “Uniquely Louisiana” at the Louisiana State University Museum of Art, “NOLA Now II” at the Contemporary Arts Center in New Orleans, “The World According to New Orleans” at Ballroom Marfa, and “Frontier Preachers,” at The Soap Factory in Minneapolis. Her work has been featured in the New Orleans Times-Picayune, OxfordAmerican.com, PelicanBomb.com, Artforum.com, and in The Gambit. Courtney has also screened short films at many festivals, including the New Orleans Film Festival, Ann Arbor Film Festival, New York Underground Film Festival, MadCat Women’s International Film Festival, Kasseler Dokumentarfilm & VideoFest, and the Black Maria Film Festival. Courtney was an artist-in-residence at the Santa Fe Art Institute and at Louisiana Artworks in New Orleans. She is a founding member of the New Orleans-based visual arts collective Antenna.Courtney holds an M.F.A. from Maryland Institute College of Art. She taught art and media in elementary, secondary, and college classrooms since 1991. Courtney is currently a Media Arts faculty member at the New Orleans Center for Creative Arts (NOCCA). Learn more at http://www.courtneyegan.net/project-type/video-sculpture-installation/

The new book, Dusti Bongé: Art and Life, and recent Ogden Museum retrospective, Piercing the Inner Wall, covers the 60-year career of Paul's grandmother, an abstract expressionist powerhouse. Paul's life of photography, transatlantic sailing, and restoration of 4 masted, square sail tall ships was fostered by his father, art photographer and Renaissance man Lyle Bongé. Paul knows the challenges of art and the terror of the sea. The Ring Room should be smooth sailing for him. Topics include grooming for the heat, the Iguanas at Gretna Fest, José Feliciano, a road rage insult, a Biloxi childhood, Chicago in the 1920s, a romance, a New York acting career, a child's memory, a painter's demise, a phoenix rising, the Betty Parsons Gallery, abstract expressionism, the boys' club, Jackson Pollock, Marc Rothko, initiative and work ethic, a man's man, a mariner's youth, family photos, a smuggler's life, Mexican bullfighting, Lyle in the Korean war, a young photographer emerges, the curse of art, the moment of exposure, a father's advice, and much more. Subscribe, review, and rate on Apple Podcasts and all podcast aggregators. Follow and share on social media, and spread the Troubled Word. Music: Styler/Coman

The new book, Dusti Bongé: Art and Life, and recent Ogden Museum retrospective, Piercing the Inner Wall, covers the 60-year career of Paul’s grandmother, an abstract expressionist powerhouse. Paul’s life of photography, transatlantic sailing, and restoration of 4 masted, square sail tall ships was fostered by his father, art photographer and Renaissance man Lyle Bongé. Paul knows the challenges of art and the terror of the sea. The Ring Room should be smooth sailing for him. Topics include grooming for the heat, the Iguanas at Gretna Fest, José Feliciano, a road rage insult, a Biloxi childhood, Chicago in the 1920s, a romance, a New York acting career, a child’s memory, a painter’s demise, a phoenix rising, the Betty Parsons Gallery, abstract expressionism, the boys’ club, Jackson Pollock, Marc Rothko, initiative and work ethic, a man’s man, a mariner’s youth, family photos, a smuggler’s life, Mexican bullfighting, Lyle in the Korean war, a young photographer emerges, the curse of art, the moment of exposure, a father’s advice, and much more. Subscribe, review, and rate on Apple Podcasts and all podcast aggregators. Follow and share on social media, and spread the Troubled Word. Music: Styler/Coman

I was interviewing Dave Alvin when he realized he had sat down next to an ant bed, and while talking to Tav Falco of Panther Burns for this podcast, he briefly hung up on me while the bandmate driving the van got popped for speeding. Such is the glamorous life of the touring musician. Falco made his name in Memphis in the early '80s by occupying the space where punk, art, and the avant-garde intersected. In 1979, he performed a cover of "Train Kept A-Rollin'" on a local television show, and that version prompted the host to ask, "That's anti-music, right?" then announce, "That's the worst sound I've heard come out on television." His Behind the Magnolia Curtain (1982) chronicles that phase of his career, and while his music has always come from a personal place, it was never as out as that again. In 2017, he surprised fans when he released A Tav Falco Christmas, which featured him playing some of the most popular songs in the Christmas songbook in ways that took the songs at face value. It seemed odd at first blush, but the title of his 1994 album--The World We Knew--could serve as his mission statement. His fascination with what we've lost over time was always going to lead him to Christmas music at some point.  For more on Tav Falco and Panther Burns, here's a critical essay I wrote in 2012 an interview with him from the same time, and a review of the photography exhibit that he showed at the Ogden Museum of Southern Art, accompanied by a showing of his films, and a concert by Panther Burns.

In the 13th episode of Collect Wisely we are speaking with Pamela Joyner. Based in San Francisco, Pamela and her husband Fred Giuffrida’s collection consists of over 400 works, with a primary focus on abstract works by artists of the African diaspora from the 1940’s onward. The collection is widely recognized as one of the most significant collections of modern and contemporary art by African American artists. In September 2017, Pamela and Fred published a scholarly catalogue of the collection titled, “Four Generations: The Joyner Giuffrida Collection of Abstract Art.” Following the publication, select works from the exhibition have been included in an extensive exhibition, which opened at the Ogden Museum of Southern Art, in New Orleans and has toured to several US museums.

In this episode, we feature TMI Fine Arts Instructor Hannah Cooper McCauley, who joined the TMI community 2016 and brings her talents of narrative photography to our school. Her own photography has been exhibited in group and solo shows at various venues internationally, including the Ogden Museum of Southern Art, the Vermont Center for Photography, Photo Beijing 2014, the 2014 Pingyao, China International Photography Festival, and has been published in Photo District News as well as Aint-Bad Magazine. She earned her Bachelors of Fine Arts degree at Jacksonville State University and her Masters of Fine Arts degree from Louisiana Tech University. Hannah shares her diagnosis of a degenerative eye condition called Optic Nerve Head Drusen and how it has influenced and shaped much of her art. We also talk about her teaching philosophy, some of her students' favorite projects, and why analog photography continues to be important for students even as technology evolves. Learn more about Hannah and view her art: http://www.hannahcoopermccauley.com/    View Hannah's chapel talk at TMI, "An Artist's Story" https://www.youtube.com/watch?v=_3vpWq_wOcw 

Magnum Photos member Carolyn Drake studied Media/Culture and History at Brown University, where she became interested in the ways that history and reality are purposefully shaped and revised over time, and in the ways that artists can interrupt and shift these narratives. After graduating, she worked for multimedia companies in New York but eventually left her office job at the age of 30 to engage with the physical world through photography. In 2006, she moved to Ukraine, where she spent a year examining cultural partitions in a country pursuing a unified national identity - a cloistered Soviet era orphanage near the European border; private, state-owned and illegal coal mining groups vying for influence in the Donbass; Crimean muslims claiming land rights. She made images everywhere, not as much for historical documentation as to come to terms with presumptions stemming from her Cold War childhood in the USA. The experience made her question the journalistic impulse to define, and to look for ways photography can emphasize ambiguity. Based in Istanbul between 2007 and 2013, Carolyn traveled frequently to Central Asia to work on two long term photography projects. The first, Two Rivers, is a poetic exploration of the shifting borders, histories, and life systems between the Amu Darya and Syr Darya rivers. The interconnectedness of ecology, culture and political power come to view in a territory on the edge of global attention. The second Central Asia project is an amalgam of photographs, drawings, and embroideries made in collaboration with Uyghurs in western China. Framed between passages from Nurmuhemmet Yasin's contraband story Wild Pigeon, the book puts forth a counter narrative about China's western frontier, Islam, and the freedoms associated with modernity. In the collaborative images, contrasting visual tools intersect, drawing attention to the awkward, difficult, sometimes beautiful cultural exchange that lies at the root of this series. Carolyn returned to the US in 2014 and is now based in Vallejo, California. She is the recipient of a Guggenheim fellowship, the Lange Taylor Prize, a Fulbright fellowship, and the Anamorphosis prize, among other awards. Her work is in the collections at the SFMOMA, Soros Foundation, Library of Congress, and Ogden Museum of Southern Art. She is an associate at Magnum Photos.

Annie Collinge started her career part way through her degree at Brighton University at the tender age of seventeen, assisting esteemed portrait photographer Harry Borden (ep. 15 & 16). She went on to work extensively in the editorial world for publications such as Vice, Dazed, Pylot and The Guardian. She has simultaneously worked on various personal projects which tend to straddle the increasingly opaque divide between documentary and fine art practice. She has had various solo shows including at the Underwater Mermaid Theatre at the Ogden Museum of Southern Art in New Orleans for a project that we discuss in the interview. Her work has been included twice in the Taylor Wessing portrait prize show and she has twice won the Magenta Foundations Flash Forward award. Her most recent project is provisionally entitled Buzz of a Dead Bee. It’s a miniature gallery based in a dolls house antique shop, launching late 2017. The gallery will stage miniature exhibitions by a variety of artists and will change location according to which artist is showing in it. Lined up so far are Lined up so far are Riitta Ikonen, Julie Verhoeven and Rottingdean Bazaar. The project is a comment on how costly it is for artists and photographers to stage exhibitions, since on the internet, it doesn’t actually matter that the work created for it is on a small scale.

To coincide with the launch of his ambitious new project – “All The Black People in Citizen Kane” – artist Craig Damrauer joins the pod to reflect on his life journey and the lessons he has learned: from growing up in Denver as the son of scientists to becoming a baker, a kitchen manager, a food scientist, an adman and eventually focusing on his artistic passions. One of the most important, innovative, brave, honest, genuine and humble artists working in America today, he graduated with an MFA from the University of Arizona and has had his work shown at the Ogden Museum of Southern Art, MCA Denver, the Masur Museum, Los Angeles Contemporary Editions, Pulse Art Fair, and Paul Smith's GLOBE Gallery. Craig is also a writer and has had a number of books published including the magnificent New Math. He has contributed to The New York Times, The Atlantic, GOOD and Medium. ABOUT “All the Black People in Citizen Kane” In the 20th Century's most iconic movie, there are 23 black actors. Two have speaking roles (‘Yes, sir' and ‘Come right in, Mr. Kane'), there are two bands, three loiterers, one wheelchair pusher, three servants and one driver. The actors were un-credited and occupy 2.9 minutes of screen time. Taking inspiration from James Baldwin, the piece consists of 171,744 frames, each hand-erased with the exception of the black actors' appearances onscreen. Almost 4 years in production, it is an attempt, by erasing, to make clear that which is nearly invisible. The work can be seen at the New Orleans Contemporary Arts Center from August 6th – October 1st as part of the exhibition, “A Building With A View”: Experiments in Anarchitecture. Craig's Website is here: http://www.assortedbitsofwisdom.com The superb New Math work is here: https://www.tumblr.com/tagged/more-new-math Release date: July 30th 2016 Runtime: 33m Recorded: Brooklyn

World Footprints celebrated in style for our 6th annual French Quarter Festival broadcast from the Big Easy in 2013! Our LIVE broadcast earned us a distinguished award from the North American Travel Journalists Association. We are pleased to share the first hour of our award-winning show today. Interviews included first-time New Orleans visitors Chad Kerkman and Jerry Krueger, award-winning actor Terence Rosemore (HBO Treme), and Bradley Sumrall, curator for the Ogden Museum of Southern Art (the largest house for southern art in the world). For art lovers this is the place to be today so join us and let the good times roll.

In New Orleans we often take pains to point out what makes us different from other places. It s pretty common to hear comments like, "We re not like the rest of the country" and "We re not like the rest of the South." So it s ironic that two of New Orleans newest icons are representative of The South, and the rest of the country. And they re just a few blocks away from each other The World War II Museum and The Ogden Museum of Southern Art. The World War 2 Museum was declared America s official national World War 2 Museum by an act of Congress. In 2014 Traveler s Choice named it as the 11th best museum in the world. And by 2017 its economic impact on the city is projected to reach a billion dollars. By any standards the World War 2 museum is a big deal. The museum s Vice President and Chief Operating Officer, Stephen Watson, joins Peter on this edition of Out to Lunch. Locally, we refer to The Ogden Museum of Southern Art as "The Ogden." The museum takes the abbreviation a step further, referring to itself as "The O." The Museum holds the largest collection of Southern art in the world and is the leading resource and authority on the culture of the South. The Director of The Ogden Museum of Southern Art, William Andrews, is Peter s lunch guest on this look at New Orelans newest national icons. Although we ll never totally grow out of being known as the home of Mardi Gras and Bourbon Street, The Ogden and the WWII Museum are tipping the balance, giving New Orleans something we never dreamed of as a city intellectual credibility. Photos at Commander s Palace by Cheryl DalPozzal. See omnystudio.com/listener for privacy information.

Donna Pinckley, a native of Louisiana, received a Bachelor of Fine Arts in photography from Louisiana Tech University and a Master of Fine Arts in photography from University of Texas at Austin.  She has received Visual Artist Fellowships from the Mid-America Arts Alliance/NEA and the Arkansas Arts Council.   Her project Sticks and Stones examines the negative comments that some interracial couples are subject to. The project is more than just about racism, the project profiles strong people who choose to rise above hate and bigotry to build lives together based on love and respect. Pinckley’s work has been exhibited nationally and internationally in over 200 solo/juried shows and also included in several public collections, such as the Ogden Museum of Southern Art in New Orleans, Louisiana, the University of Vera Cruz at Xalapa, Vera Cruz, Mexico, and the Photographic Collection at the Harry Ransom Center, University of Texas at Austin.   She is currently Associate Professor at the University of Central Arkansas in Conway, Arkansas.   Resources:   Donna Pinckley http://www.donnapinckley.com Cig Harvey http://www.cigharvey.com Download the free Candid Frame app for your favorite smart device.   Click here to download for . Click here to download Click here to download for Support the work we do at The Candid Frame with your donations via PayPal.   https://www.paypal.com/us/cgi-bin/webscr?cmd=_flow&SESSION=Mi4dvPrTA1swPjOF_OtGoFfv7ZXMtQIo9p1P9MEBsvbtPk_-DliSc55i1Ti&dispatch=5885d80a13c0db1f8e263663d3faee8d64ad11bbf4d2a5a1a0d303a50933f9b2

World Footprints celebrated in style for our 6th annual French Quarter Festival broadcast from the Big Easy in 2013! Our LIVE broadcast earned us a distinguished award from the North American Travel Journalists Association.  We are pleased to share the first hour of our award-winning show today.  Interviews included first-time New Orleans visitors Chad Kerkman and Jerry Krueger, award-winning actor Terence Rosemore (HBO Treme), and Bradley Sumrall, curator for the Ogden Museum of Southern Art (the largest house for southern art in the world). For art lovers this is the place to be today so join us and let the good times roll.

Liz Williams had a hand in creating the World War II Museum and the Ogden Museum of Southern Art. Finding herself at the same age Julia Child was when she left the straight life behind and started out following her passion for food, Liz did the same and founded the Southern Food and Beverage Museum. Liz had no idea she was about to become an American pioneer the first person in the nation to found a museum dedicated to the culture of food and drink. One of the benefits of knowing the history of food is setting fools straight about things like baby Jesus in your king cake. If you haven t got time to listen to this whole show, skip forward to minute 32 and check out how Jesus came to not be in your king cake. Guests on Midnight Menu 1 bring a guest, a 1. Sometimes these folks are food people, sometimes not. Liz s 1 is an architect. Not just any architect, Jonathan Tate designed and is overseeing the development of the new Southern Food and Beverage Museum on Oretha Castle Haley Blvd. We recorded this episode of Midnight Menu 1 in the currently closed Grille by The Hill restaurant next to Monkey Hill bar on Magazine Street. Somewhere between a ghost tour and an Edward Hopper moment.

MAGNETIZEDTerence Blanchard (trumpet) is one of the most important musician/composer/band leaders of his generation. His emotionally moving and technically refined playing is considered by many jazz aficionados to recall earlier jazz trumpet styles. Born March 13, 1962, in New Orleans, the only child to parents Wilhelmina and Joseph Oliver Blanchard, a part-time opera singer and insurance company manager, the young Blanchard was encouraged by his father, Joseph Oliver, to learn to play the piano. In the third grade he discovered jazz trumpet when a big band, featuring Alvin Alcorn on trumpet, played at a school assembly. In his teens Blanchard attended the New Orleans Center of Creative Arts, where he studied and played with saxophonist Donald Harrison. While performing with Lionel Hampton's big band, he studied for two years at Rutgers University under the tutelage of Paul Jeffrey and Bill Fielder.In 1982 Blanchard replaced Wynton Marsalis under his recommendation in Art Blakey's Jazz Messengers, working in that band up to 1986 as lead soloist and musical director. He then co-led a prominent quintet with saxophonist Donald Harrison, recording seven albums for the Concord, Columbia, and Evidence record labels in five years, including a stirring in-concert tribute to the Eric Dolphy/Booker Little ensemble. In the '90s, Blanchard became a leader in his own right, recording for the Columbia label, performing on the soundtracks to Spike Lee's Do the Right Thing and Mo' Better Blues, and composing the music for Lee's film Jungle Fever. In fact, Blanchard has written the score for every Spike Lee film since 1991, including Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and the Hurricane Katrina documentary When the Levees Broke for HBO. With over 40 scores to his credit, Blanchard and Mark Isham are the most sought-after jazz musicians to ever compose for film. In the fall of 2000, Blanchard was named artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California in Los Angeles. Keeping up with his love of live performance and touring, Blanchard also maintains a regular studio presence, recording his own original music for the Columbia, Sony Classical, and Blue Note labels. Albums include The Billie Holiday Songbook (1994), Romantic Defiance (1995), The Heart Speaks (1996), the acclaimed Wandering Moon (2000), Let's Get Lost (2001), Bounce (2003), and especially Flow (2005), which was produced by pianist Herbie Hancock and received two Grammy nominations. Blanchard has been nominated for 11 Grammys and has won four in total, including awards for New York Scene with Blakey (1984) and the soundtrack A Tale of God's Will in 2007. In 2005, Blanchard was part of McCoy Tyner's ensemble that won the Grammy in the Best Jazz Instrumental Album category for Illuminations. A quintessential sideman as well as leader, he has worked with prominent jazz players including Cedar Walton, Abbey Lincoln, Joanne Brackeen, Jay McShann, Ralph Peterson, Ed Thigpen, J.J. Johnson, Toots Thielemans, the Olympia Brass Band, Stevie Wonder, Bill Lee, Ray Brown, Poncho Sanchez, Dr. Billy Taylor, Dr. John, Lionel Loueke, Jeff Watts, and many others. Scarecrow Press published his autobiography, Contemporary Cat. By April of 2007, the Monk Institute announced its Commitment to New Orleans initiative, which included the relocation of the program to the campus of Loyola University in New Orleans, spearheaded by Blanchard. During 2007, the Monterey Jazz Festival named Blanchard Artist-in-Residence, and the festival formed a 50th Anniversary All-Stars ensemble featuring trumpeter James Moody, Benny Green, Derrick Hodge, Kendrick Scott, and Nnenna Freelon. In 2008, Blanchard helped scored the hit film Cadillac Records. Signing with Concord Jazz in 2009, he released Choices -- recorded at the Ogden Museum of Art in Blanchard's hometown of New Orleans -- at the end of that summer. In 2011, he paid tribute to the innovative Afro-Cuban recordings of Dizzy Gillespie and Chano Pozo by teaming up with Latin jazz percussionist Poncho Sanchez for the studio album Chano y Dizzy! In 2012, Blanchard returned to his film work by scoring the soundtrack to director George Lucas' WWII action/drama Red Tails.“I’ve always believed that in life, what you keep in your mind is what you draw to yourself.” That’s how trumpeter/composer Terence Blanchardexplains the title of his 20th album, Magnetic, which finds a stunning variety of sounds and styles pulled together by the irresistible force of Blanchard’s vision.That credo stems directly from Blanchard’s personal faith; raised in the Christian church, he has turned in recent years to Buddhism after meditating with Herbie Hancock while on the road with the legendary pianist. The idea of a spiritual magnetism “is a basic concept in any type of religion,” he says. “Both Christianity and Buddhism have forms of meditation - one’s called prayer and one’s called chanting. But it’s all about drawing on those things to help you attain enlightenment in your life at the same time that you’re trying to give back to the community.”Magnetic gives expression to that belief through the combined voices of Blanchard’s always-scintillating quintet. Its latest incarnation brings together longtime members Brice Winston (saxophone) and Kendrick Scott (drums) with pianist Fabian Almazan, who made his debut with the group on its 2009 album Choices, and its newest member, 21-year-old bass prodigy Joshua Crumbly. In addition, they’re joined by a trio of remarkable special guests: master bassist Ron Carter, saxophonist Ravi Coltrane, and guitarist/vocalist Lionel Loueke.The vast array of approaches undertaken by that ensemble is striking, from the blistering bop of “Don’t Run” to the fragile ballad “Jacob’s Ladder;” the psychedelic electronic haze of “Hallucinations” to the urgent edginess of “Another Step.” As Blanchard says, “It’s a wide range of musical ideas that come together through the efforts of the guys in the band.”Magnetic marks Blanchard’s return to Blue Note Records, which last released A Tale of God’s Will, his triumphant 2007 requiem for his home city, New Orleans, in the wake of the devastation wrought by Hurricane Katrina. That harrowingly emotional song cycle is just one of many large-scale projects Blanchard has undertaken in recent years. Since first writing music for Spike Lee’s 1990 jazz-set movie Mo’ Better Blues, Blanchard has become a renowned film composer with over 50 scores to his credit, most recently the WWII drama Red Tails for producer George Lucas. This summer, Opera Theatre of Saint Louis and Jazz St. Louis will combine forces to premiere Blanchard’s first opera, Champion, an “Opera in Jazz” based on the story of the gay boxing champion Emile Griffith. This follows his recent score for Emily Mann’s Broadway production of Tennessee Williams’ A Streetcar Named Desire.After the broad scope of such lofty undertakings, returning to a small group setting can be a challenge. “You get accustomed to having so many different colors at your disposal,” he says. “So I try to figure out a way to have as much diversity in everything that we play, the same expansive color palette as when you have an orchestra and voices.”One way that Blanchard expands his palette on Magnetic is through the use of electronics, creating an overdriven, electric guitar-like sound for his horn during “Pet Step Sitter’s Theme Song” or brewing the mind-altering atmospherics of “Hallucinations.” The latter tune, though titled by Blanchard’s 14-year-old daughter, also touches on the lifelong spiritual search evoked by the album-opening title track and “Central Focus,” which was originally recorded twenty years ago on Blanchard’s album Simply Stated. “When chanting for meditation,” he says, “you can have those moments of reflection that will bring new ideas to you. Some people may not call them hallucinations, but I think they’re all related in some fashion.”Not every tune comes from such profound motives. The hard-bopping “Don’t Run” was written solely with the intention of allowing the band to joust with Ravi Coltrane’s soprano and Ron Carter’s mighty bass runs. The title was inspired by a taunt from Carter to Blanchard, asking only half-jokingly when the trumpeter would call on the legendary bassist’s services. “Stop running from me, man,” Blanchard recalls him saying, and when Carter speaks, you listen.Coltrane’s contributions, which also include a taut, powerhouse turn on tenor for “Pet Step Sitter’s Theme Song,” came about simply because Blanchard was blown away by the saxophonist’s latest album, Spirit Fiction. “Ravi has developed a style and a sound that’s very unique,” Blanchard explains. “It’s an incredible feat given who his father was and what instrument his father played. But his being on my record has nothing to do with any of that; his being on my record is simply due to the fact that I love the way he plays.”The same goes for Benin-born Lionel Loueke, who first came to prominence through Blanchard’s quintet before becoming widely renowned as one of the most innovative guitarists and vocalists in modern jazz. “He’s a very unique talent,” Blanchard says. “Lionel always brings a certain spirit and energy to any project that he’s a part of.”Blanchard also readily sings the praises of his core group, which has been evolving over two years together to reach the deeply attuned point at which Magnetic finds them. “I’ve always appreciated the artistry of Brice and Kendrick,” he says of the band’s two veterans. “They’ve very seriously committed to developing their own unique styles of playing.”Of newcomer Crumbly, he says, “Josh is a young guy who’s very talented and brings a lot to the group.” And of Almazan, he continues, “Fabian has been growing by leaps and bounds. His harmonic knowledge has taken the band in interesting directions and he colors things in ways that I think are very fresh and forward-thinking.”So enamored is the bandleader of Almazan’s talents that he affords the pianist a solo spotlight, the captivating “Comet.” Almazan, Blanchard says, “plays with such grace and beauty. We did five or six takes and all of them were so beautiful that it was a hard to choose just one.”Each member of the group provides their own contributions to the album: Crumbly, the lovely and delicate “Jacob’s Ladder;” Scott, the forceful, rhythmically intense “No Borders Just Horizons;” Winston the lithe and intricate “Time To Spare;” and Almazan an “emotional roller coaster” dedicated to his mother, “Pet Step Sitters Theme Song,” which is later reprised as “Another Step.” “We had so much fun playing that tune that we just couldn’t leave it,” Blanchard explains. I thought it showed the diverse nature of the group, when you see the directions that it goes into, totally different from the first take.”In his role as mentor to his younger bandmates, Blanchard takes the mantle from his own onetime mentor, Art Blakey. Stressing the importance for young musicians to compose as well as improvise, Blanchard recalls the legendary drummer’s advice: “Art Blakey told us that composition was the path to finding your own voice. If you improvise, you don’t sit down and reflect coldly on what it is you’re playing because you’re moving so quickly onto the next thing. Whereas when you compose, you have to sit down and really contemplate what each note means and how you get from one to the next. That in itself will create a style.”Terence Blanchard’s own style continues to evolve and expand in exciting and compelling fashion. Magnetic is sure to capture listeners with an attractive power nearly impossible to resist.To Visit Terence Blanchard's website CLICK HERE

World Footprints celebrated in style for our 6th annual French Quarter Festival broadcast from the Big Easy! If you missed our LIVE broadcast you can enjoy the first hour today when we share interviews with first-time New Orleans visitors Chad Kerkman and Jerry Krueger, award-winning actor Terence Rosemore (HBO Treme), and Bradley Sumrall, curator for the Ogden Museum of Southern Art (the largest house for southern art in the world). For art lovers this is the place to be today so join us and let the good times roll.

Richard Gruber, director of The Ogden Museum of Southern Art, brings us up to date on upcoming exhibits. He talks about the museum's unique role in post-Katrina New Orleans and its Katrina-related exhibits during the hurricane's anniversary month of August. Richard closes by pointing out the positive creative energy that is an unexpected gift born of this cataclysmic event we call Katrina.

The new book, [Dusti Bongé: Art and Life](http://www.jacksonfreepress.com/news/2019/oct/02/dusti-bonge-art-and-life-remembering-mississippis-/), and recent Ogden Museum retrospective, [Piercing the Inner Wall](https://ogdenmuseum.org/exhibition/piercing-the-inner-wall-the-art-of-dusti-bonge/), covers the 60-year career of Paul's grandmother, an abstract expressionist powerhouse. Paul's life of photography, transatlantic sailing, and restoration of 4 masted, square sail tall ships was fostered by his father, art photographer and Renaissance man Lyle Bongé. Paul knows the challenges of art and the terror of the sea. The Ring Room should be smooth sailing for him. Topics include grooming for the heat, the Iguanas at Gretna Fest, José Feliciano, a road rage insult, a Biloxi childhood, Chicago in the 1920s, a romance, a New York acting career, a child's memory, a painter's demise, a phoenix rising, the Betty Parsons Gallery, abstract expressionism, the boys' club, Jackson Pollock, Marc Rothko, initiative and work ethic, a man's man, a mariner's youth, family photos, a smuggler's life, Mexican bullfighting, Lyle in the Korean war, a young photographer emerges, the curse of art, the moment of exposure, a father's advice, and much more. Subscribe, review, and rate on Apple Podcasts and all podcast aggregators. Follow and share on social media, and spread the Troubled Word. Music: Styler/Coman