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NOMA (5 p.m.)
Michael Marshall Lectures
The Allways Lounge, (10 p.m.)
Local musician Thomas Johnson’s new project, Killer Whale, experiments with synthesizers, digital machines and electronic instruments
Blue Nile, (11 p.m.)
Renowned trombonist Winston Turner performs with his eight-member band on the Nile stage.
Siberia, (9 p.m.)
Georgia based band Jucifer, pioneers of sludge/doom metal
Gasa Gasa (9 p.m.)
With Freedom Speaks and Royal Bandits
House of Blues (8 p.m.)
Outlaw country superstar
Maple Leaf Bar (10:30 p.m.)
Trombonist Sammie Williams and friends
Oak Wine Bar (9 p.m.)
Soulful songstress performs in the Riverbend
Twelve Mile Limit (10 p.m.)
One Eyed Jacks, 9 p.m.
Paul Janeway leads the sextet from Alabama. Cover is $12.
Circle Bar, 10 p.m.
Indie rock quartet Yellow just released their latest album Cosmos in February
Casa Borrega (8 p.m.)
Local songwriters join forces on O.C. Haley
Saturn Bar (10 p.m.)
Makers of "snack rock" since 2011
Siberia (9 p.m.)
Masters of the Obvious bring their “caveman pop” to St. Claude
Gasa Gasa (8 p.m.)
With the Belle Game and Starlight Girls
"Your Hood" (All Day)
NOLA Trash Mob asks litter abaters to spend a few minutes cleaning, and send before & after photos
House of Blues (9 p.m.)
Plus The Movement and Natural Vibrations
Congo Square (2 p.m.)
Every week in one of New Orleans’ most historic spots
Hot 8 Brass Band
Howlin’ Wolf Den (10pm)
Weekly gig from some of the city’s best in brass
Sunday Youth Music Workshop
All ages workshop with Johnny Vidacovich. Bring your instruments!
Cajun Fais Do Do
Bruce Daigrepont is playing the washboard and getting you to bed early
Krewe du Guza
Le Bon Temps Roule (10pm)
Sunday Funday weekly gig from the husband and wife duo
Joe Krown feat. Russell Batiste and Walter "Wolfman" Washington
Maple Leaf (10pm)
Weekly gig on Oak with Krown on the organ, Washington firing up the guitar strings, and Batiste on the drums.
Iles of Light
Bill Iles' Transcendental Forests
Painter Bill Iles reigns in Southern terrain to controlled, comprehensive and complex works. His oil paintings depict forest scenes of Southwestern Louisiana, inspired by the land around Lake Charles and Dry Creek, the small town where he was born.
Those who have ventured out of New Orleans and had the chance to see Southern fall landscapes will appreciate his body of work showing in March at the Cole Pratt Gallery (3800 Magazine St.)
Featured in the Louisiana Endowment for the Humanities publication A Unique Slant of Light: the Bicentennial History of Art in Louisiana, Iles is a prolific artist with a secure spot in our country’s perspective of the natural world. However, he does not leave the viewer with any lofty impressions. Kind and open, he has a generous personality and thoughtful perspective on his life work.
“Our ability to see is such a precious gift,” he says. And it’s easy to see how much he has devoted his life to this gift. On the day he delivered his paintings to the gallery, we talked about light and vision. It’s clear that his eyes are as important a tool to him as his brush. His paintings deal a lot with perception and putting down human vision into concrete images.
We talked about how when the daylight is fading, and there’s barely any light left in the sky. It’s really our imagination that gives color to the outline of grass and trees, he said.
“We think we see more color than we actually do,” he said.
The muted blues and greens of the bark of the trees in Late Autumn are a good example of this phenomenon, and in Dusk falls on the Winter Woods he pushes the palette almost to the point of being monochromatic.
Repetitive and meditative, his color palette and composition express a certain serenity that doesn’t actually exist in reality. Given the complexity and often unideal nature of life, his work aims to harmonize the chaos of the woods. His emotional attachment to these scenes stems from his childhood in the woods of Lousiana, where his father would take him hunting.
Unwilling to shoot the animals, he would “hide out” in a corner of the woods, observing. These formative years were the beginning of a life-long exploration of wilderness. In a press release issued by the Cole Pratt Gallery, Iles quotes Emerson’s essay On Nature: “In the tranquil landscape, and especially in the distant line of the horizon, man beholds somewhat as beautiful as his own nature.”
Iles is heavily influenced by transcendental thought, and like other artists before him like Poussin or William Morris, he seeks to make sense of reality by creating a harmonious and balanced image.
The “line of the horizon” that Emerson wrote about is a significant reference for Iles to choose. Unlike many other landscape artists, who begin their work by painting the background sky or water, Iles intuitively starts his paintings with the foreground image, like the way our eye works. In a few of his paintings, like "Embankment Viewed from the Creek," we have to concentrate and struggle to make out the brush and trees before we arrive in the distance.
In a 2010 article for myneworleans.com, John R. Kemp writes of Iles: “Muted beech trees in the foreground of his paintings act almost as barriers that viewers must breach before emerging into the distant sunlight and bright colors.”
Looking at his work definitely requires a certain amount of time and focus because his vegetation sometimes borders on abstraction. The reward of doing this is stepping back and making sense of the assembly of colors and textures, and realizing that there are some bigger pictures in the horizon of Iles’ paintings.
Dead Huey Long, Emma Boyce, Ian Hoch, Sarah Esenwein, Will Dilella, Chris Rinaldi, Lianna Patch, Phil Yiannopoulos, Cate Czarnecki, Mary Kilpatrick, Norris Ortolano, Joe Shriner
Michael Weber, B.A.
Assistant Managing Editor
B. E. Mintz
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