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"Leonard, Pamela Blume"
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VIZARTS: Brewing in style: TEAPOT FESTIVAL SERVES FUNCTIONAL TREATS AT THREE GALLERIES
Here's a salute to Mudfire Gallery, the Seen Gallery and the Signature Shop & Gallery for combining their energy to create an entertaining and educational venue for the venerable teapot. Each gallery is showing a huge variety of these small and deluxe handheld works of art. The celebration includes lectures, demonstrations and workshops about making and enjoying teapots.
Newspaper Article
VISUAL ARTS: Flood of memories, rays of hope New Orleans artists reflect on tragedy, vibrancy
The only one of the five artists currently living in New Orleans is Mark Bercier. His \"Wonder and the Healin' Symbols\" is a 2002 series of six gouache paintings over 19th-century engravings. In each painting, a smiling little girl, rendered in a style somewhere between cartoon and outsider art, stands with outstretched hands. She beholds a symbol --- a fish, a key or ladder, for example --- and she becomes a symbol of persistent hope. The paintings are labeled, but never with the name of the symbol shown. In spite of the misperception and miscommunication that is rife in the world, her bright spirit remains social and hopeful.
Newspaper Article
VISUAL ARTS: City's spirit captured in diverse media
New Orleans is known as a town that thrives on eccentric extremes. Eric Waters' photographs give us a glimpse into the Mardi Gras Indian tribes that wear fantastically intricate, wildly flamboyant costumes during Mardi Gras. It takes hundreds of hours, thousands of dollars and priceless devotion and skill to outfit these Krewes, which parade separately from the Super-Krewes during the Carnival period. \"Cali, Spy Boy of the Hard Head Hunters\" captures the intensity of color and pride these tribes display. The \"tribe\" members represent a mostly African-American social community, which provides support by following the marchers and taking part in the annual ceremonial swagger. Encounters between tribes are robust cultural competitions of dancing, singing, chanting and red-hot styling, with the goal of outlasting the challenger.
Newspaper Article
VISUAL ARTS: Pair examines clash of cultures, road to healing
[Stella Lai], from San Francisco, draws on her Chinese heritage and uses order and beauty to draw us in. Up close, within the intricate and controlled gouache patterns she paints, there's an image of a woman who is nearly subsumed by the design. Even when Lai is more obvious, perhaps dangling bright red panties across the surface, she draws us into her visual game of spotting them and the figure among the floral and geometric designs. Then, in other paintings, she brazenly, and less interestingly, slaps down a pork chop or chicken across a scrumptious pattern. A collaborative mural offers some hints of how cultures could blend with dignity. A huge tree with dense green foliage laid down by Lai, who used traditional wood-block techniques, stands in the center. Two young men wearing hip-hop clothes and carrying boomboxes stand nearby. A third boy points up to a gold and turquoise goddess riding a cloud in the sky far away. His baggy jeans and T-shirt take on the look of ceremonial robes --- perhaps indicating his move away from the material and toward spiritual growth. Beneath the goddess, two boys kneel as they plaintively address her, gesturing their confusion.
Newspaper Article
VISUAL ARTS: Playful Picasso Ceramics show the master's lighter side
[Pablo Picasso] was a great borrower from art history. Among the finest pieces in this exhibition are two pitchers, both bottleneck globes, each with a single arcing tubular handle high on the pot. They are reminiscent of Minoan forms, but the surfaces are very Picasso. Smiling faces with huge green eyes, broad black noses and various stripes and dots nearly cover the white slip on the pots. Form and surface never converge but constantly tussle for primacy, as happens in most of Picasso's ceramics. Picasso's ceramics do not yet have a secure place in his larger body of work. Nor has any significant impact on contemporary ceramics emerged. When Picasso's interest in figurative ceramics was at its height, the strongest influences on studio pottery were abstract expressionism and Japanese folk pottery. These art forms favored a masculine flavor, and so did Picasso. However, at a time in his life when he was surrounded with his children and living with a young paramour, Picasso turned to pottery, an art associated with home and, in his life, with vacation. He enjoyed the freedom this \"lesser\" medium offered a master painter, and he left us with playful objects to ponder lightly and enjoy immensely.
Newspaper Article