Adrian Anagnost and Leslie Geddes - “Military Ecologies in the Americas: The French Fort of La Balise”

On October 1st, Tulane art history professors Adrian Anagnost and Leslie Geddes presented their paper,  “Military Ecologies in the Americas: The French Fort of La Balise,” as part of the Carceral and Military Ecologies panel at the (Re)thinking Landscape: Ways of Knowing/ Ways of Being conference at Yale University.

Abstract: The French fort of La Balise, built in the early eighteenth-century, was at the nexus of marshland and sea in the Mississippi River Delta. Originally, the fortified settlement aimed to protect French colonial interests and secure access to the Mississippi River at a crucial juncture. Today, due to land loss along the Gulf of Mexico, the fort lies underwater at most tides, but visual evidence remains: a series of ink and watercolor maps produced for administrative oversight and sent to the Dépôt des Fortifications des Colonies.
Recognizing both advantages and hazards of the landscape, these maps document the enmeshment of fort and the Mississippi Delta’s complex ecosystem. Passage from the Gulf of Mexico to the river was fraught with peril, evident in references to shipwrecks alongside pictorial and textual demarcations of currents and oceanic depths. Simultaneously, French mercantile and social orders were imposed on the landscape, with a brickyard and designated settlement for enslaved Africans on an adjoining island. Exploitation of natural resources and racialized spatial segregation were formative to the colonial project in the Americas. We argue that depictions of the fort’s construction, amidst the ever-shifting environs of the Gulf South, reveal how topographic variability posed difficulties to pictorial rendering. Troubling rigid conceptualizations of landscapes and seascapes, maps reveal interpenetrating salt and freshwaters, shoals, and islands. As the French sought to make militarily secure this mutable terrain, the land itself challenged visual discernment, with colonial expansion, imperial power, and enslavement set against a natural landscape that thwarted cartographic fixity.

Gene Koss: solo exhibition at Ohr-O'keefe Museum

Always an admirer of Frank Gehry's architecture, Gene Koss is excited to exhibit in a stainless steel Gehry designed pod on the Ohr-O’Keefe Museum campus. The huge steel panels and exposed beams in the raw, unfinished interior of the pod contrast and complement Koss’s sculpture.

The exhibit covers a span of Koss’s sculpture career from 1990 to 2019 and was curated by David Houston, the Ohr-O’Keefe executive director.  Included is Arc, a large-scale sculpture of steel, stone and glass; Totem, a large wooden timber sculpture; as well as several multi-media maquette sculptures. 

Ohr-O’Keefe Museum of Art  386 Beach Blvd, Biloxi, MS 39530
Open to the public:  10am-5pm Tuesday – Saturday; 1pm-5pm Sunday

Faculty spotlight: Michelle Foa

Michelle Foa has received several research and teaching fellowships, prizes, and grants in the past year.  She is at work on a book on Edgar Degas, and an article drawn from this research published in The Art Bulletin and titled “In Transit: Edgar Degas and the Matter of Cotton, between New World and Old,” received the annual article prize from the Nineteenth-Century Studies Association.  She also received a grant from the National Endowment from the Humanities to undertake a major environmental humanities curricular initiative at Tulane.  A Studio in the Woods and the ByWater Institute awarded her a scholarly residency to be completed during the upcoming year.    

 

At commencement this past May, Professor Foa received the Suzanne and Stephen Weiss Presidential Fellowship for Undergraduate Education, the university’s top undergraduate teaching prize. She was also recently appointed as the Carnegie Corporation of New York, Solon R. Cole, MD, and Siegel Professor in Social Entrepreneurship at the Phyllis M. Taylor Center.  Venues of recent and forthcoming lectures on her research include the Royal Museum of Fine Arts in Brussels, Saint Andrews University in Scotland, University of Virginia, College of William and Mary, Cleveland Museum of Art and Case Western University, and the Louisiana Endowment for the Humanities Lecture Series at Gallier House.  She chairs the virtual speaker series for the Association of Historians of Nineteenth-Century Art and continues to serve on the Board of Directors of the National Committee for the History of Art.

Blas Isasi solo exhibition at The Front

"An idea is just the shape of a flower" is a solo exhibition of new work by Blas Isasi, visiting assistant professor of sculpture at Tulane. The exhibition will be on view at The Front from August 13 through September 4, 2022. nolafront.org

Artist Statement

The Peruvian coast consists of a long and narrow strip of desert squeezed between the Andes mountains and the Pacific Ocean, and crossed by a series of oasis-like river valleys. Given its long history of human occupation, ancient ruins have been one of this arid landscape´s most emblematic features. Abandoned temples and settlements that were gradually reclaimed by the desert sands were then turned into venerated shrines and cemeteries by subsequent kingdoms and their societies. After the Spanish conquest of Peru, this continued under new forms as those practices became more syncretic (e.g. witchcraft), together with the then nascent and still ongoing looting of tombs and temples. The latest development in this long history is the commodification of the past under a neoliberal regime that renders ancient artifacts and archeological sites as tourist attractions: inert, sterilized and “disenfranchised” relics of the past. Peru´s coastal desert is a scarred landscape, one whose scars work as mnemonic devices and indexical marks. Past and present populations have systematically engaged in a complex, dynamic and often conflictive process of negotiating memory through an editing process that sometimes involves the erasing of these marks, others their unearthing, resignifying and reinvention altogether resulting in a living palimpsest.

Following in the footsteps of numerous past Peruvian artists like Emilio Rodríguez Larraín, Juan Javier Salazar, and most notoriously Jorge Eduardo Eielson in making the desert a subject of their work, in "An idea is just the shape of a flower" I try to bring into play different key aspects, fragments, materials and symbols characteristic to this unique cultural landscape. By deploying various strategies, I intend to animate some of its most representative elements such as sand, clay, bones, etc. so as to put them in dialogue with each other in ways that seem counterintuitive, suggesting not only new connections and meanings but also other possible worlds. The accompanying presence of seamless metal structures in my installations hint to cartesian reason on the one hand, while evoking 20th century Modernist design on the other, the quintessential aesthetics that symbolizes the unfulfilled promise of progress in the context of the Global South. The resulting tension from the juxtaposition of these seemingly opposing sets of elements is meant to, in the words of Raymond Williams, convey a “structure of feeling”: the feeling of things before we are able think them; the feeling of a different world before we can imagine it. In short, mine is a humble attempt to reenchant the world and sow the seeds of hope in a bleak and perilous age.

Last but not least, this exhibition is meant as a heartfelt and critical homage to the arid and stunningly beautiful land I grew up on.

Kevin H. Jones solo exhibition in Tokyo, Japan

"Absurd Thinking" a solo exhibition of new work by digital arts professor Kevin H. Jones, was on view June and July at Art Lab Akiba in Tokyo, Japan.

Kevin H. Jones' new body of work presents the viewer with a constellation of images from popular culture, and digital processes, to iconic childhood memories. In his latest exhibition, Absurd Thinking, Jones creates visually and physically layered digital prints that conceptually oscillate between meaning and nonsense. Building upon his past inquiry into our attempts to understand the natural world, the construct of charts and diagrams also traverses this new work. What is different is that Jones reveals his process by using calibration graphics related to the process of printing and by showing computer operating system floating menus.

The result of these choreographed juxtapositions seen in his digital prints and videos feels like one is flipping through channels on a TV or moving past the static of a radio dial as images coalesce and momentarily make sense.

For example in the work, Mixed Metaphor, a portrait of Frankenstein sits in a computer's operating system’s popup window surrounded by color and grayscale gradients. The portrait has been pierced with holes revealing the star chart layered underneath. A pixelated bird is perched to the left of Frankenstein. Amongst the organization of seemingly abstract ideas, one may wonder about the relationship of the bird with the monster.

Barbara E. Mundy joins the faculty as Roberston Chair in Latin American Art

The Newcomb Art Department welcomes Barbara E. Mundy to the faculty as Professor of Art History and the Martha and Donald Robertson Chair in Latin American Art.

Barbara E. Mundy’s scholarship dwells in zones of contact between Native peoples and settler colonists as they forged new visual cultures in the Americas. She has been particularly interested in the social construction of space and its imaginary, which was the subject of her first book, The Mapping of New Spain. Her most recent book, The Death of Aztec Tenochtitlan, the Life of Mexico City, draws on Indigenous texts and representations to counter a colonialist historiography and to argue for the city’s nature as an Indigenous city through the sixteenth century.

Mundy's current book project, "The Embodiment of the Word: European Book Culture and New World Manuscripts." Rather than considering Indigenous manuscripts as phenomena separate from European books, it situates native bookmakers in the midst of the new technological revolution brought about by the printing press. While Martin Luther’s innovations (and conflagrations) take up most of the oxygen in the history of print in the early sixteenth century, attracting less attention, but equally radical, was the Spanish crown’s use of the new technology to control, via standardization, governance, language, and history. The testing ground of this imperial project was the “Indies,” as their American territories were called, and it is within this context that her protagonists--Indigenous writers, painters and bookmakers--operated.

With Dana Leibsohn, Mundy is the co-creator of Vistas: Visual Culture in Spanish America, 1520-1820. Digital projects are a fundamental part of her teaching practice. Mundy was the 2021-22 Kislak Chair at the Library of Congress; she has had fellowships at the Center for Advanced Study in the Visual Arts at the National Gallery of Art and at the John Carter Brown Library. She serves on the editorial board of Estudios de cultura náhuatl and is the current president of the American Society for Ethnohistory. Prior to coming to Tulane, she was a Professor of Art History at Fordham University in New York.

 

2021 Faculty Awards | SLA Dean's Office

Outstanding Faculty Research Award

Elizabeth Hill Boone

Since 1994, Elizabeth has served as the Martha and Donald Robertson Chair in Latin American Art. Author of six monographs, co-author of another two books, and editor or co-editor of fourteen other volumes, her work has been influential not only in art history, but in the related fields of history, anthropology and literary theory. In 2018, she was named the College Art Association’s Distinguished Scholar, the first Latin Americanist art historian to receive this honor since its founding in 2001. She was also the first Latin Americanist to hold the Andrew Mellon Professorship at the National Gallery of Art in 2006-8. In 2010 she was Professor invitée at the École Pratique de Hautes Etudes, at the Sorbonne. She is a member of the American Academy of Arts and Sciences and the Academia Mexicana de la Historia and recipient of the government of Mexico's Order of the Aztec Eagle for her contributions to Aztec scholarship. Her latest monograph book, Descendants of Aztec Pictography: The Cultural Encyclopedias of Sixteenth-Century Mexico (University of Texas Press, 2021), is the first synthetic analysis of the pictorial encyclopedias of Aztec culture created in the decades after the Spanish conquest. After 27 years at Tulane, Elizabeth is retiring at the end of this academic year. Her career at Tulane University has been extraordinary, to say the least, and we can think of no better tribute than to offer her the Research Award.

The April Brayfield Outstanding Faculty Teaching Award

Sean Fader

Since his arrival at Tulane in 2018, Sean has helped to rewrite curriculum in the photo area, separating darkroom and digital practices; he has also overhauled the digital and darkroom spaces, enhancing usability and access. His courses are always overenrolled and his teaching evaluations are superlative. Here are some examples of his student evaluations: “Sean is extremely supportive and knowledgeable about what he teaches. He makes material exciting, engaging, and relevant.“, and “He is Thanos with all the infinity stones.”

Art Chair Stephanie Porras says, “I would particularly like to praise Sean for making adjustments to his teaching this year – not only folding in the switch to hybrid teaching, but also readjusting all his syllabi to center BIPOC scholars and artists. By overhauling his syllabi in this way, Sean modelled what it means to decenter and question the artistic canon. He shared resources with other faculty in the department and encouraged all of us to revisit the readings and artists we use to teach the history, theory and practice of art.”

Mia L. Bagneris Director of Africana Studies

Associate Professor Mia L. Bagneris has been appointed Director of the Africana Studies Program at Tulane.  On June 25th she was interviewed by Tulane School of Liberal Arts Dean Brian T. Edwards for the Give Green Tulane campaign. You can read Prof. Bagneris’s new essay, “Miscegenation in Marble: John Bell’s Octoroon” in June issue of The Art Bulletin (102, no. 2) June 2020, pp. 64-90. In her words: “[A]nalysis of The Octoroon contributes to a growing body of recent scholarship that seeks to address a lacuna within art history by probing the relationship of art and visual culture to the histories of race, slavery, colonialism, and empire.” Her book, Colouring the Caribbean: Race and the art of Agostino Brunias  was published by Manchester University Press in 2018.

Michelle Foa: Edgar Degas and the Matter of Cotton

Michelle Foa's article "In Transit: Edgar Degas and the Matter of Cotton, between New World and Old," was just published in the September 2020 issue of The Art Bulletin. Edgar Degas’ four-month stay in New Orleans in 1872-73, which marked his first experience crossing the Atlantic, resulted in two remarkable paintings of a cotton office. Foa’s article analyzes the important connections between Southern cotton, the textiles that fill the artist’s pictures of dancers, laundresses and bathers, and the paper he used for many of his drawings. 

This year she has given lectures at the Montreal Museum of Fine Arts (virtually) and Wofford College. In July she joined the Board of Directors of the National Committee for the History of Art.

Watermarks: Leonardo da Vinci and the Mastery of Nature

Leslie Geddes, Assistant Professor of Art History at Tulane University, has authored a new book, Watermarks: Leonardo da Vinci and the Mastery of Nature, published by Princeton University Press.

Formless, mutable, transparent: the element of water posed major challenges for the visual artists of the Renaissance. To the engineers of the era, water represented a force that could be harnessed for human industry but was equally possessed of formidable destructive power. For Leonardo da Vinci, water was an enduring fascination, appearing in myriad forms throughout his work. In Watermarks, Leslie Geddes explores the extraordinary range of Leonardo’s interest in water and shows how artworks by him and his peers contributed to hydraulic engineering and the construction of large river and canal systems.

From drawings for mobile bridges and underwater breathing apparatuses to plans for water management schemes, Leonardo evinced a deep interest in the technical aspects of water. His visual studies of the ways in which landscape is shaped by water demonstrated both his artistic mastery and probing scientific mind. Analyzing Leonardo’s notebooks, plans, maps, and paintings, Geddes argues that, for Leonardo and fellow artists, drawing was a form of visual thinking and problem solving essential to understanding and controlling water and other parts of the natural world. She also examines the material importance in this work of water-based media, namely ink, watercolor, and oil paint.

A compelling account of Renaissance art and engineering, Watermarks shows, above all else, how Leonardo applied his pictorial genius to water in order to render the natural world in all its richness and constant change.

Faculty Awards Spring 2020

On Thursday May 28th, Brian T. Edwards, Dean of the School of Liberal Arts, announced this year's faculty awards.

We are pleased to report that Teresa Cole, Professor of Printmaking, is this year’s George Lurcy Affiliated Fellow at the American Academy in Rome. Professor Cole will spend a month in residence at the Academy working on a new printmaking project based on the intricate patterns and vibrant colors found in the medieval mosaic floors created by the Cosmati brothers. To inspire her new work she will study the mosaic floors and patterned columns in the Pantheon and S. Maria in Trastevere.

Faculty Research Awards were granted to the following Newcomb Art Department faculty: AnnieLaurie Erickson (Slow Light), Leslie Geddes (Weapons of Atlas: The Art and Science of Early Modern Cartography 1580-1650), and Kevin Jones (Decollage - a solo art exhibition).

Cimabue and the Franciscans

Congratulations to Tulane Art History Prof. Holly Flora, who has just been awarded the prestigious Premio San Francesco, awarded by the Pontificia Università Antonianum, for her book: Cimabue and the Franciscans (Brepols, 2019.) 

Cimabue and the Franciscans sheds new light on the legendary artist Cimabue, revealing his sophisticated engagement with complicated intellectual and theological ideas about materials, memory, beauty, and experience. 

Prof. Flora will be awarded the prize at a ceremony in Rome on January 16, 2020.

Forging Strength: the Art of Labor

Gene Koss, Arc, installation view, Hibernian Memorial Park, New Orleans

The opening of Forging Strength: The Art of Labor, a new sculpture garden at Hibernian Memorial Park, will take place on Friday, January 17 at 10 am at the Celtic Cross Monument in New Orleans, located on the neutral ground between West End and Pontchartrain boulevards. (map) The guest of honor for the kick-off is Irish Consul General Claire McCarthy, making her first trip to New Orleans since her appointment to the Irish Consulate in Austin, Texas, last fall.

Artists featured in the exhibition include Earl Dismuke, Erica Larkin Gaudet, Hernan Caro, Gene H. Koss, Mia Kaplan and Tara Conley. The exhibit provides artistic representation of the immigration experience and supports the mission of the Irish heritage park to honor the contribution of the Irish in the Crescent City.

For more information contact Louisiana Hibernian Charity board president Jim Moriarty 504.616.3999.

Funding for the Hibernian Memorial Park sculpture project was provided by the Emigrant Support Programme of Ireland, with additional support from the Louisiana Ancient Order of Hibernians, the Hash House Harriers, the Irish Channel St. Patrick’s Day Club and Roubion Shoring and Construction.

Aaron Collier: Revival

Newcomb Art Department Professor Aaron Collier opened a two-person exhibition entitled "Revival" on October 24 at Octavia Art Gallery in Houston, TX. The exhibition runs through November 30.

“The “Everything You Need to Know” website that intends to prepare visitors to Palatine Hill in Rome offers the following caution: “Without a guide or guidebook, it can be difficult to make sense of the ruins of the Palatine… you don’t want to be one of those tourists who wanders aimlessly around the hill, with no idea of what they’re looking at.”

In September of 2017, Collier found himself to be just exactly that, a tourist without the benefit of a guide. It was the challenge of making sense of Palatine’s excavations and ruins, with their innumerable fragments, pieces, and remains, the profound inability to explain away or see through every layer, the overwhelming sense of bewilderment and mystery, that inspired the series Of Rocks and Ruins.

With these works, Collier implements several modes of image making towards squaring with the central questions that drive his research: “What to do with a small and incomplete knowledge of a vast, complex, and multivalent world? How are images, which are inherently shards or snippets of information, able to convey this inability to know in full?”.

Artwork: Fact and Spirit, 2018, Flashe on canvas, 38 x 38.”

New faculty: Fan Zhang, Asian Art

The Newcomb Art Department welcomes Fan Zhang to the faculty as Professor of Practice, Asian Art.

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

Teresa Cole: Imperfect at Callan Contemporary through July 20

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

 

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

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

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

by Richard Speer
originally published in Country Roads Magazine

IMPERFECT exhibition dates: June 1st - July 20th, 2019

CALLAN CONTEMPORARY 518 JULIA STREET, NEW ORLEANS, LA 70130

Adrian Anagnost Awarded ACLS Fellowship

“How can we historicize and globalize contemporary debates about architectural sustainability and ethical placemaking?” asks Adrian Anagnost, a professor of art history in Tulane's Newcomb Art Department. Anagnost's ongoing research on socially engaged work by contemporary artists has led to new questions about projects that aspire to democratic ideals through the use of vernacular architecture—architecture specific to a particular place and time, created by people who are not recognized as architects by professional organizations. “We think of vernacular architecture as rooted in a particular place. It is responsive to its physical environment and to local cultural traditions. In the mid-twentieth century, though, vernacular architecture lay at the heart of global architectural debates,” Anagnost continued. 

This spring, Anagnost was awarded a prestigious fellowship from the American Council on Learned Societies (ACLS) to continue this investigation, focusing on networks of architects and critics spanning Brazil and Italy. During her fellowship, Anagnost will begin research for a second book, expanding upon earlier research centered on ways that Brazilian artists and architects of the 1930s to the 1960s created works that critiqued, upheld, or intervened in urban Brazil’s socio-spatial inequalities. While conducting research for her first book project, Anagnost was drawn to the international circulation of architecture magazines and architecture exhibitions, and particularly noted parallells between Brazil and Italy.

[continue reading: Wilkerson, Emily, "Art History Professor Adrian Anagnost Awarded ACLS Fellowship," Tulane University School of Liberal Arts Newsletter, May 2019]

Workhouse Arts Center Presents Jeremy Jernegan 'Dwell'

Dwell is a solo exhibition opening on May 1, through June 2, 2019 at Gallery W-8, Workhouse Arts Center in Lorton, VA of work by ceramic sculptor and Tulane University Professor of Art Jeremy Jernegan. The exhibition features a new body of ceramic and stainless steel wall sculptures that address climate change and its effects on oceans and waterways, that Jernegan produced during his residency at the Workhouse over the past 9 months.

Dwell explores our experiences inhabiting a world undergoing cataclysmic climate change and our difficulty grasping the enormous scale and consequences of our plight.  In these new works, Jernegan’s longstanding interest in water imagery and in the amorphousness of marine environments as metaphors for uncertainty and disorientation becomes a meditation on the profound upheaval that will be brought by a radically altered climate environment.

These are technically complex, multi-media works, consisting of large, geometric ceramic tiles made as ceramic mono-prints and enclosed in stainless steel frames.  Incorporating a range of detailed imagery drawn from maritime contexts, these works suggest a sense of physical precarity and transformation through their large scale, unconventional combinations of materials, and protrusion from the wall. This remarkable body of work intertwines the pictorial and the sculptural in an investigation into our relationship to and perceptions of our rapidly changing environment.

[via East City Art]

AnnieLaurie Erickson: Data & Art of the City

AnnieLaurie Erickson, Assistant Professor of Photography, is currently participating in two group exhibitions.  Data: BIG/-driven/Visualized, at Northern Illinois University Museum in Chicago is on  view through May 17, 2019. User Agreement (at left), a pigment print on habotai silk, incorporates the text from all of the Google user agreements since this practice began in 1999.  Art of the City: Postmodern to Post-Katrina, presented by The Helis Foundation, is on view at the Historic New Orleans Collection Seignouret-Brulatour Building, 520 Royal Street, from April 6, 2019 to October 6, 2019. The exhibition was curated by alumna Jan Gilbert (MFA, 1982).

Aaron Collier: "Knowing in Part"

Aaron Collier, Assistant Professor in the Newcomb Art Department, is closing a month-long solo exhibition entitled Knowing in Part on March 28 at Furman University in Greenville, SC.  As part of the closing reception from 6:00-7:30, he will be giving a Gallery Talk for the Furman and Greenville community. 

Collier teaches drawing and painting at Tulane. Solo exhibitions of his work have appeared at Octavia Gallery, Cole Pratt Gallery, and Staple Goods, an artist cooperative in the St. Claude Avenue Arts District. He has participated in recent group exhibitions at the Contemporary Arts Center and the Ogden Museum of Southern Art and has been featured in “New American Paintings.”

Collier’s paintings are represented in such collections as the New Orleans Museum of Art, Iberia Bank, and the Boston Medical Center. He has enjoyed artist residencies at the Ragdale Foundation, the Virginia Center for the Creative Arts, the Joan Mitchell Center in New Orleans, ISCP in Brooklyn and OAZO in Amsterdam.
 
[Aaron Collier, Without a Flower, 2019, graphite on paper, 6.5 x 4.75."]