Jonathan Ferrara Gallery Info:

Saturday, October 25, 2014

Bradley McCallum's Special Performance "Smelting: A Gun Legacy" for #GunsintheHandsofArtists

A Gun Legacy: Hartford - New Orleans
a special performance by

24 October 2014, 6:15pm
in conjunction with Guns in the Hands of Artists
an official P.3+ exhibition

(New Orleans, Louisiana) October, 2014

Jonathan Ferrara Gallery is proud to announce a special performance by artist Bradley McCallum entitled A Gun Legacy: Hartford – New Orleans. The performance will take place in front of the gallery at 6:15pm on 24 October 2014 in conjunction with the opening of Prospect.3. For his contribution to the exhibition Guns in the Hands of Artists, McCallum will perform a live pour of smelted firearms and ammunition, casting them in a mold that he designed for his Manhole Cover Project in 1996. This public art project began in Hartford, CT at the same as the first “Guns in the Hands of Artists. Now, the two activist projects join together, as “A Gun Legacy” continues in New Orleans.

McCallum says of the performance . . . 

In this live pour, I intend to link performance and object, and bridge my 1996 work The Manhole Cover Project that cast 228 utility cover from 11,194 guns that were confiscated by Connecticut law enforcement to New Orleans’ current effort in transforming weapons into art. During the performance, I will smelt guns taken from the streets of New Orleans along with gun shell casings, and pour this iron-infused brass into a sand-cast impression lifted from the pattern that was used in the Manhole Cover Project. Part alchemy, part historical reference, this transformation and symbolic tracing of a past work aims to remind us that the national conversation around gun violence and ownership has not changed. The object fabricated in this performance will fuse the present with the past -- the metal disc made from the impression of the manhole cover pattern will be penetrated with firearms taken from the streets of New Orleans, to create a touch stone that aims to contribute to the civic discourse concerning gun ownership that is active in this local community. 

The epidemic of gun violence that shaped the urban cities in the 1990’s and was a focus of my work for a decade is still active. The mothers who have lost children to gun violence 20 years ago are joined each year in small and large cities alike. Our national policies have not changed and even the most reasonable efforts to enact gun legislation face huge obstacles.  Our national attention focuses only momentarily when major tragic acts of violence are in the headlines, but for the thousands of families who have lost loved ones to gun violence and incarceration each year the impact of this public health crises continues to be felt.  As artists we can contribute to this essential discourse and to contribute to long overdue change. 

Bradley McCallum was born in Green Bay, Wisconsin, in 1966, and trained at Virginia Commonwealth University (BFA, 1989) and Yale University (MFA, 1992). He lives and works in Brooklyn, New York, since 1998.

McCallum’s installations embody the silenced lives of individuals and the disempowerment of communities. Representational in form yet open to interpretation, his work serves as testimonies on behalf of victims and perpetrators. McCallum creates collective social portraits and works in close collaboration with a team of researchers, assistants, production specialists and the communities to which his work refers. He challenges audiences by activating them in an examination of notions of human rights, democracy and truths about the violence, alienation, and inhumanity that underlie countless aspects of social interaction in present-day society. McCallum is currently the Artist in Residence at the Coalition for the International Criminal Court in New York.

In addition to his solo practice, McCallum is part of the collaborative art duo McCallum & Tarry since 1999. Together they emphasize personal and racial histories to address larger issues of race, justice and social exclusion in the United States. Their collaborative work is often large-scale and site-specific, and relies on civic advocacy to confront and make connections with local communities. Their works range from video, paintings and performance, to sculpture and installations.

The first retrospective of his collaborative work with Jacqueline Tarry, Bearing Witness, was organized by The Contemporary Museum in Baltimore, Maryland (2010). A second survey took place at the Burchfield Penny Center in Buffalo, New York (2012-2013). He has participated in numerous solo and group exhibitions in the United States and abroad including: Quintenz Gallery, Aspen (2014); Galerie Nordine Zidoun, Luxembourg (2012); Nichido Contemporary, Tokyo (2011); Spelman College Museum of Fine Art, Atlanta (2010); SITE Santa Fe, Santa Fe (2010); Prospect 1 Biennale in New Orleans (2008); Institute of Contemporary Art at MECA, Portland (2008) and the Wadsworth Atheneum (1996).

Dan Tague's 'The Chapel of the Almighty Dollar' P.3+ Exhibition ::: Opening Tonight!


25 October 2014 – 25 January 2015 3919 St. Claude Avenue

Wednesday – Sunday ::: 11am - 4pm
An official P.3+ exhibition

Opening Reception ::: Saturday, 25 October, 6-9pm

(New Orleans, Louisiana) October, 2014

Jonathan Ferrara Gallery is proud to announce The Chapel of the Almighty Dollar, an official P.3+ installation by Dan Tague on view from 25 October 2014 through 25 January 2015. The installation will open on Saturday 25 October from 6-9pm in conjunction with the Prospect.3 St. Claude Arts District Block Party. The off-site installation, located at 3919 St. Claude Avenue, will be a venue for events including sermons by The Reverend Dan Tague as well as lectures, readings, and screenings throughout the duration of Prospect.3.

The Chapel of the Almighty Dollar edifies Tague’s employment of the American dollar as a vehicle to cryptically render politically-charged messages in evermore intricate ways.

Tague says of the installation . . .

I urge the viewer to think about the role of money in our society…its influence in the political process that shapes the very laws that govern us; its role in our personal lives and how it affects every choice we make; its role in business and the engine that drives the machine that is capitalism. Money rules everything, and my work offers a moment of reflection to further consider The Almighty Dollar.

The Chapel of The Almighty Dollar is a place of meditation dedicated to the guiding force of Money. Since the genesis of money worship in 413 at the Temple of Juno Moneta, the active worshipers of Money have grown to nearly 7 billion worldwide. The purpose of this chapel is to give practitioners a place to dwell on Money without shame or judgment. The chapel is open to all denominations of Money worship not just the Almighty Dollar.

The chapel is built in the likeness of the great pyramids. The pyramid is used on the dollar because of its ability to harness energy and prosperity. A visitor to The Chapel of The Almighty Dollar will immediately be struck by the awesome power of the pyramid and its ability to amplify the presence of Money.

Money will either usher in a new age of enlightenment or will bring forth the ruination of all humankind. Until the day of reckoning when all of our fates are decided, support The Chapel of The Almighty Dollar by spending money as often as you can.

New Order of the Ages, 2014, sublimated print on aluminum, 10" x 12.5", edition of 33 with 5 APs

Dan Tague has an MFA in Studio Arts from The University of New Orleans, and is a multi-media artist, curator, and activist whose work has been exhibited both nationally and internationally. He is the recipient of several awards and residencies including grants from The Joan Mitchell Foundation and Pollock Krasner Foundation, and has been an artist- in-residence at the Santa Fe Art Institute, Lower Manhattan Cultural Council, and the La Napoule Art Foundation in France.

Dan Tague’s work is multi-faceted. He is well known for his dollar bill works that are a hybrid of sculpture, photography and political statements. Tague addresses the issues of our day by rendering visual equivalents by the most powerful means necessary. Installations, photography and artistic activism are his means of confronting and responding to the concerns of today’s world.

Several notable publications have featured Tague’s work, including ArtForum, The Washington Post, and The Seattle Times. In Spring 2012, he was featured in Farrameh Media’s Curated Collection Publication “For Which it Stands: Americana in Contemporary Art” with contemporaries such as Ai Weiwei, Shepard Fairey and Steve McQueen. In October 2012, nine of Tague’s signature folded dollar bills were used to illustrate The New Yorker’s annual Financial Issue. He has also been featured in British Vogue and Condé Nast’s SModa, Spain. In August 2013, Tague was commissioned to create a ‘never before seen’ piece for the Sunday Review in The New York Times and he was also featured on the BBC in a major interview about his work.

Tague’s work has been exhibited across the US including Exit Art, DUMBO Arts Center, LMCC and Bronx River Arts Center in New York; The Soap Factory in Minneapolis; and Weisman Museum of Art at Pepperdine University. Notable exhibitions include Ballroom Marfa and VOLTA NY art fair in 2010 and PULSE Art Fair in Miami and Los Angeles in 2011. Dan Tague was a featured artist for Prospect.2 Biennial curated by Dan Cameron. His P.2 installation, Department of Civil Obedience, was on exhibit in the Contemporary Arts Center from October 20, 2011- January 29, 2012. Recently his work was featured in the exhibition Love Me Tender at the Bellevue Arts Museum in the spring of 2013 and at the Dishman Art Museum in the autumn of 2013 and at Kendall College of Art and Design this fall.

His work appears in numerous public and private collections including The Whitney Museum of Art, New Orleans Museum of Art, The Frederick R. Weisman Art Foundation, collector Beth Rudin DeWoody, curator Dan Cameron, the Louisiana State Museum, collector Virginia Speed, Davis Reimer, Sanam Vaziri Quraishi Foundation and the West Collection of Contemporary Art.

Wednesday, October 22, 2014

The Culture Trip Features Three JFG Artists in the Top 10 Contemporary Artists of Louisiana

Louisiana's Top 10 Contemporary Artists & Where to Find Them
By Ann Marshall Thomas

Louisiana has rich musical, architectural and culinary traditions that contribute to the continued growth of the state’s contemporary art scene. The city of New Orleans is the epicenter, housing the most art galleries and museums, but contemporary art is produced all over Louisiana. From folk paintings to pop art to political statements, Louisiana artists are having their voices heard globally. Here are our favourite contemporary artists in Louisiana.

Generic Art Solutions, Liberty, 2011, archival inkjet print on photographic paper, Edition of 11 with 1 AP

Generic Art Solutions
New Orleans artists Tony Campbell and Matt Vis make up Generic Art Solutions. Together, they use a wide range of tactics to investigate and scrutinize contemporary society. Hailing from the U.K. and Virginia, respectively, Generic Art Solutions was first conceived in New York City, before moving to New Orleans. They use a variety of media, primarily photography, video and sculpture, to ‘examine society’s functions and dysfunctions’. Recent themes they have examined include gun violence in New Orleans. Generic Art Solutions is also well known for their work as the ‘International Art Police’, a humorous venture in the art world whereby the two artists travel to galleries and openings issuing tickets for ‘infractions’ such as ‘Too Trendy’, ‘Too Art School’, or ‘Even I could Do That’.

Dan Tague, No Separation, 2013, handwoven archival inkjet print on rag paper

Dan Tague
Multi-media artist Dan Tague received his MFA in Studio Arts from the University of New Orleans. Since then, his work has been displayed all over the world. Tague may be best known for his dollar bill pieces: folded dollar bills that make a statement about money in American culture and politics. Tague has also worked with crude oil and BP and Mobil Oil logos in the aftermath of the BP Deepwater Horizon Spill. He works with a variety of media, including video, photography, painting, drawing, sculpture, installations and performance.

Gina Phillips, Fort Dirt Hole, 2013, fabric, thread, ink and paint

Gina Phillips
Painter and mixed-media narrative artist Gina Phillips grew up in rural Kentucky and has lived in New Orleans since 1995. Her work is heavily influenced by her Kentucky childhood. Because she grew up in a family without great means, Phillips quickly learned that nothing should be thrown away; rather, she learned to seek alternative uses, both artistic and practical. Painting was Phillips’ first medium, but she began to incorporate fabric and thread into her work as her career progressed. She describes her work as ‘tragicomedy’, saying that her work is meant to be sympathetic rather than cynical.

Friday, October 17, 2014

Dan Tague's 'I Am: Money Matters' Exhibition at Kendall College of Art and Design

Kendall College of Art and Design of Ferris State University’s (KCAD) ArtPrize 2013 exhibition, “Designed to Win,” proved that an exhibition which engages viewers on multiple levels can have both broad popular and professional appeal. As ArtPrize 2014 draws near, KCAD Curator of Exhibitions Michele Bosak is working to provide an even more enriching experience with this year’s exhibition, “I Am: Money Matters.”

“I Am: Money Matters,” will raise bold questions about currency, consumption, and value and explore their influence on human beings, our emotions, and our understanding of the world around us. The small but highly talented roster of artists will include, among others, groundbreaking conceptual artist Mel Chin, who was a juror for ArtPrize 2013, New York-based visual artist William Powhida, and New Orleans-based artist Dan Tague. Far from an artistic treatise on American capitalism, the exhibition will also feature work from two international artists, one from Australia and another from Mexico, and seeks to create a dialogue about the different ways in which human beings decide what does and doesn’t have value.

Bosak deliberately sought out artists and work that would allow her to craft a cohesive viewing experience that will provide a number of different entry points so that anyone, regardless of their knowledge of or experience with art, can engage the exhibition in a deeply meaningful way.
“We want to maintain the high quality of our programming while also providing opportunities for people to create their own associations and forge a moving emotional connection to the work,” she said. “Value is not a black and white issue to any of us. There’s a huge gray area out there that we want to explore.”

During ArtPrize 2013, jurors and viewers alike praised the “Designed to Win” exhibition’s ingenious use of both materials and metaphors to inspire imagination and explore a diversity of ideas. As a result, KCAD took home the competition’s coveted “Outstanding Venue” award, and one of the exhibition’s pieces, “Through the Skies for You” by Kevin Cooley and Phillip Andrew Lewis, took home the juried award in the 3D category. 
But what distinguished KCAD wasn’t having the highest volume of work or the most talked about entry; it was the fullness of the experience that “Designed to Win” had to offer.

“There are over 4,500 sq. ft. of space in The Fed Galleries at KCAD, but we’re not keen on overcrowding the space with work just for the sake of drawing a crowd,” said Bosak. “Our shows are designed to give the viewer mental and physical space to really spend time with the work, think about its meaning, and consider how they relate to what’s being presented. Last year it was gratifying to have that approach validated by a jury.”
To ensure that viewers will be able to fully explore “I Am: Money Matters,” the exhibition will officially open on August 21, a full month before the start of ArtPrize. In addition, The Fed Galleries will operate with extended hours for the duration of the competition: Tues-Thurs from 10am-8pm and Fri-Sat from 10am to 5pm.

Wednesday, October 15, 2014

David Buckingham Featured on the Cover of Coast Magazine

Coast Magazine's October cover features David Buckingham’s “Pretty Boy,” which was recently installed in City Hall of Newport Beach's Sculpture Garden 

Grand Opening of 5 Press Gallery ||| Featuring Work by Hannah Chalew and Bonnie Maygarden

Bonnie Maygarden, POS, 2014, enamel on pleather, 66" x 89"

Hannah Chalew, Absent I, 2013, pen and ink and thread on paper, 45" x 87" x 1.5"

[NEW ORLEANS, LA] -- The NOCCA Institute is proud to announce the grand opening of its newest project, 5 Press Gallery. The gallery focuses on artists with a connection to the New Orleans Center for Creative Arts, including present and former faculty, visiting artists, and alumni. It is located in the new NOCCA Forum at 5 Press Street, where the Faubourg Marigny neighborhood meets the Bywater.

5 Press Gallery's first show is Salutations, which opens with a silent auction and reception November 8 from 6pm to 9pm. Items that have surpassed their "buy it now" bids by 9pm will be marked sold. All other pieces will remain open for bidding through Sunday, November 16. Winning bidders will be contacted at the close of the show.

Artists participating in Salutations include faculty/former faculty Seth Boonchai, Terry DeRoche, Nikki Jackson, Jenny LeBlanc, Mary Jane Parker, Keith Perelli, Ann Schwab, and Michel Varisco, as well as alumni Nathan Arthur, Sally Caraway, Amanda Cassingham-Bardwell, Hannah Chalew, Emilie Gossiaux, Stephen Hoskins, Erica Lambertson, Jacob Martin, Bonnie Maygarden, Brandan Odums, Terrance Osborne, Megan Roniger, Ashley Teamer,and Carl Joe Williams. 

Admission to both the gallery and the opening reception is free, and the public is encouraged to attend. Inaugural gallery hours are Tuesday - Saturday, 12pm - 6pm. Amanda Cassingham-Bardwell is the gallery director.  

Stay tuned for the launch of 5 Press Gallery's official website and calls for upcoming shows.