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March 2011
Public Access

Category: All

	Sun	Mon	Tue	Wed	Thu	Fri	Sat
W K 0 9			01 Music @ Marfa Book Co	02	03 Higgins & Malteze @ Padre's Craft Night @ Wild Woolies	04 Opening Reception @ Marfa Book Co Music @ Building 98 Live Music @ Padre's	05 Follow That Bird @ Marfa Book Co Artist Reception @ Bldg 98
W K 1 0	06 Mardi Gras @ Padre's	07 Mardi Gras @ Padre's	08 MISD Open House Mardi Gras @ Padre's	09	10 Craft Night @ Wild Woolies	11	12 Bel Cuore Quartet
W K 1 1	13 SILJE NES @ Padre's	14	15 FERGUS and GERONIMO	16 Woodsman	17 Moondogs @ Padre's Craft Night @ Wild Woolies	18 The World According to New Orleans	19 The World According to New Orleans FarmStand Marfa
W K 1 2	20 Rackstraw Downes Lecture	21	22	23 COC Board Meeting	24 Craft Night @ Wild Woolies	25 Blaze Foley	26 The Reading Reading @ Marfa Book Co Music @ Padre's FarmStand Marfa
W K 1 3	27 Benefit Dinner Marfa Music Jam	28	29 Welcome Reception	30 David Beebe & The Conrads @ Padre's	31 David Beebe & The Conrads @ Padre's Craft Night @ Wild Woolies

Location:: Ballroom Marfa
Description:: The World According to New Orleans

PLEASE JOIN BALLROOM MARFA FOR

The World According to New Orleans
Curated by Dan Cameron

FRIDAY, 18 MARCH 2023

6-8 pm: Opening reception

8:30 pm: Community dinner at the Capri, followed by a performance by Little Freddie King

SATURDAY, 19 MARCH 2023

3 pm: Exhibition walkthrough with curator and artists

6 pm: Student Haiku reading with Dan Tague at Marfa Book Company

_________________________________________________________________________________________

Ballroom Marfa is pleased to announce the upcoming opening of The World According to New Orleans, curated by Dan Cameron, on 18 March 2011.

The World According to New Orleans is an examination of the art and visual culture of New Orleans, with a particular focus on areas of overlap between self-taught and avant-garde tendencies. New Orleans' location at the geographic fringe of the continental United States, in close proximity to Cuba, Haiti, and Mexico, has generated a unique blend of distinctions between artistic genres and vernacular traditions, and each of the artists in the exhibition has produced work that in some way challenges many of these time-worn distinctions. The exhibition includes work by several artists who were self-taught, as well as documentary photographs and film that examine neighborhood and community expressions.

New Orleans has not typically been located at the forefront of any major postwar American art movements, so the analysis of its characteristic visual art forms is missing from most accounts of national art of the past half century. Paradoxically, this cultural distance between center and periphery in American art seems to underscore much of the truly interesting art to come out of New Orleans, while ensuring that many valuable developments go unnoticed by the national mainstream. In this sense, the New Orleans art world shares some important characteristics with its much larger music scene, which is revered internationally for its unique and influential sounds, but since the early 1960s remains largely untapped by the music industry as a whole.

Renewed interest in the artistic and cultural significance of New Orleans since the post-Katrina floods of 2005 suggests a prior neglect that the international art community seems prepared to address. For this reason, The World According to New Orleans proposes that a historical backdrop to New Orleans art -- particularly one that suggests an alternative artistic canon -- is appropriate for an exhibition that attempts to explore the essence of the city's current art scene. However, instead of trying to establish a pedigree that approximates the emergence and development of modern art in larger metropolitan areas like New York, Chicago, or Los Angeles, with its requisite local variations of welded steel sculpture and lyrical abstraction, the historic past proposed in this exhibition is one that is just as idiosyncratic as the present it influences.

Of the 13 participating artists, Skylar Fein, Srdjan Loncar, and Dan Tague have been commissioned to produce new works, and traveled to Marfa to explore the town's unique social context. Additionally, The World According to New Orleans will present recent works by Bruce Davenport, Jr., Dawn Dedeaux, Courtney Egan, Roy G. Ferdinand, Deborah Luster, and Gina Phillips, with historical works by Jules Cahn, Sister Gertrude Morgan, Noel Rockmore, and Michael P. Smith.

The curator of The World According to New Orleans, Dan Cameron, is the founder of the not-for-profit organization U.S. Biennial, Inc., and the artistic director of Prospect New Orleans, the international biennial of contemporary art. He is the director of visual arts for the Contemporary Arts Center in New Orleans, and senior curator for Next Wave Visual Art at the Brooklyn Academy of Music.

All events and education programs are free and open to the public.

Location:: Ballroom Marfa
Description:: The World According to New Orleans

PLEASE JOIN BALLROOM MARFA FOR

The World According to New Orleans
Curated by Dan Cameron

FRIDAY, 18 MARCH 2023

6-8 pm: Opening reception

8:30 pm: Community dinner at the Capri, followed by a performance by Little Freddie King

SATURDAY, 19 MARCH 2023

3 pm: Exhibition walkthrough with curator and artists

6 pm: Student Haiku reading with Dan Tague at Marfa Book Company

_________________________________________________________________________________________

Ballroom Marfa is pleased to announce the upcoming opening of The World According to New Orleans, curated by Dan Cameron, on 18 March 2011.

The World According to New Orleans is an examination of the art and visual culture of New Orleans, with a particular focus on areas of overlap between self-taught and avant-garde tendencies. New Orleans' location at the geographic fringe of the continental United States, in close proximity to Cuba, Haiti, and Mexico, has generated a unique blend of distinctions between artistic genres and vernacular traditions, and each of the artists in the exhibition has produced work that in some way challenges many of these time-worn distinctions. The exhibition includes work by several artists who were self-taught, as well as documentary photographs and film that examine neighborhood and community expressions.

New Orleans has not typically been located at the forefront of any major postwar American art movements, so the analysis of its characteristic visual art forms is missing from most accounts of national art of the past half century. Paradoxically, this cultural distance between center and periphery in American art seems to underscore much of the truly interesting art to come out of New Orleans, while ensuring that many valuable developments go unnoticed by the national mainstream. In this sense, the New Orleans art world shares some important characteristics with its much larger music scene, which is revered internationally for its unique and influential sounds, but since the early 1960s remains largely untapped by the music industry as a whole.

Renewed interest in the artistic and cultural significance of New Orleans since the post-Katrina floods of 2005 suggests a prior neglect that the international art community seems prepared to address. For this reason, The World According to New Orleans proposes that a historical backdrop to New Orleans art -- particularly one that suggests an alternative artistic canon -- is appropriate for an exhibition that attempts to explore the essence of the city's current art scene. However, instead of trying to establish a pedigree that approximates the emergence and development of modern art in larger metropolitan areas like New York, Chicago, or Los Angeles, with its requisite local variations of welded steel sculpture and lyrical abstraction, the historic past proposed in this exhibition is one that is just as idiosyncratic as the present it influences.

Of the 13 participating artists, Skylar Fein, Srdjan Loncar, and Dan Tague have been commissioned to produce new works, and traveled to Marfa to explore the town's unique social context. Additionally, The World According to New Orleans will present recent works by Bruce Davenport, Jr., Dawn Dedeaux, Courtney Egan, Roy G. Ferdinand, Deborah Luster, and Gina Phillips, with historical works by Jules Cahn, Sister Gertrude Morgan, Noel Rockmore, and Michael P. Smith.

The curator of The World According to New Orleans, Dan Cameron, is the founder of the not-for-profit organization U.S. Biennial, Inc., and the artistic director of Prospect New Orleans, the international biennial of contemporary art. He is the director of visual arts for the Contemporary Arts Center in New Orleans, and senior curator for Next Wave Visual Art at the Brooklyn Academy of Music.

All events and education programs are free and open to the public.