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THE

Defender Picks

 

Jeudi

July 20th

Ogden After Hours

Ogden Museum, 6PM

Ft. Renshaw Davis

 

Stuart McNair

Mahogany Jazz Hall, 6PM

Early Blues to Zydeco

 

Sober Social

Nola Yoga Loft, 7PM

A change of pace

 

Movie Screening

Tigermen Den, 7PM

A showing of Chantal Ackerman's No Home Movie

 

Literature Reading

Dogfish Reading Series, 7PM

Kay Murphy &  Megan McHugh

 

Cards Against Humanity

Bad Wolf Bar, 7PM

Let’s be horrible together

 

Toonces

Gasa Gasa, 8PM

Ft. KLYPH & Zigtegbra

 

Y’acht Rock 80s Night

One Eyed Jacks, 830PM

Ft. Where Y’acht and DJ White Wine

 

Eclectic Selection

Hi Ho, 9PM

Ft. DJ Pr_ck

 

The Vibe Session

Neo Jazz School of Music, 9PM

Live Neo Jazz, Soul, R&B

 

Theodile

Bar Redux, 9PM

Southern Soul to melodic Folk

Vendredi

July 21st

Friday Pop Up

Drifter Hotel, 1PM

By Lucille’s Roti Shop

 

Louisiana Sportsman Show

Superdome, 3PM

Back in NOLA after 12 years

 

Dinner and a ZOOvie

Audubon Park, 6PM

A showing of Moana

 

Summer Nerd Movie Nights

Tubby & Coo’s, 7PM

A showing of The Neverending Story

 

John Waters Film Festival

NOMA, 7PM

A showing of Pink Flamingos

 

Leonardo Hernandez Trio

Casa Borrega, 7PM

Great food, great music

 

Comedy F#@k Yeah

The Dragon’s Den, 8PM

Ft. Shane Torres

 

New Rebel Family

House of Blues, 8PM

Ft. AYO, The Other LA, Akadia, and Ventruss

 

Mia Borders Trio

Foundation Room, 9:30PM

Open to the public

 

Alligator ChompChomp

The Circle Bar, 10PM

Crunchin’ on those notes

 

Foundation Free Fridays

Tips, 10PM

Ft. Walter “Wolfman” Washington + The Fortifiers

 

Spektrum Fridays

Techno Club, 11PM

Ft. Mikel Douglas + Dozal

SAMEDI

July 22nd

Ice Cream Social

Longue Vue, 10AM

Plus adoptable pets from the SPCA

 

Veggie Growing Basics

Hollygrove Market, 1PM

Grow your own food

 

National Hot Dog Day

Dat Dog, 3PM

Raffles, ice cream and more

 

Cocktails and Queens

Piscobar, 6PM

A queer industry dance party

 

Immersive Sound Bath

Nola Yoga Loft, 7PM

Soothing 3D Soundscapes

 

Paul Mooney

Jazz Market, 8PM

Also ft. music by Caren Green

 

New Orleans Beatles Festival

House of Blues, 8PM

Come together, right now

 

Christmas in July

The Willow, 8PM

Ugly sweaters and peppermint shots

 

HOUxNOLA

Three Keys, 9PM

With Coolasty ft. Jack Freeman and more

 

Particle Devotion

Banks St Bar, 9PM

Ft. Paper Bison +  Tranche

 

Cesar Comanche

Art Klub, 9:30PM

Ft. Ghost Dog, Knox Ketchum and more

 

Gimme A Reason

Poor Boy’s Bar, 10PM

Ft. Savile and local support

 

Techno Club

Techno Club, 10PM

Ft. Javier Drada, Eria Lauren, Otto

 

DIMANCHE

July 23rd

From Here to Eternity

Prytania Theatre, 10AM

The 1953 classic

 

Eight Flavors

Longue Vue, 12PM

Sarah Lohman will discuss her new book

 

Book Swap

Church Alley Coffee Bar, 12PM

Bring books, get books

 

Urban Composting

Hollygrove Market, 1PM

Learn about easy composting

 

Brave New World Book Club

Tubby & Coo’s, 2PM

Open to all

 

Gentleman Loser

The Drifter Hotel, 3PM

A classic poolside rager

 

Mixology 101

Carrolton Market

With Dusty Mars

 

Freret Street Block Party

Freret St, 5PM

A celebratory bar crawl

 

Mushroom Head

Southport Music Hall, 6PM

+ Hail Sagan and American Grim

 

Glen David Andrews

Little Gem Saloon, 8PM

Get trombone’d by the greatest

 

Hot 8 Brass Band

The Howlin Wolf, 10PM

Brass music for a new era

 

Church*

The Dragon’s Den, 10PM

Ft. KTRL, Unicorn Fukr, RMonic


'Thalassa, thalassa!'

Two Local Art Exhbits Explore Linking Power of the Sea



NoDef Art Writer Kathy Rodriguez reviews Swoon's Thalassa at NOMA and mara/thalassa/kai: the SEA, a travelling group exhibition at UNO's St. Claude Gallery. 

 

In the Anabasis, Xenophon – a Greek essayist and historian concurrent with Socrates – relates the trials of ten thousand Greek merchants lost after a battle with the Persians. A famous scene from his account describes the resounding cry of the Greeks who, after losing hope and sight of their homeland, finally approach Greek settlements on the coast of the Black Sea. Their mouths open wide, straining their tear-stained cheeks with the bellowing call, “Thalassa, thalassa!” or, “the sea, the sea!”

 

 

 

mara/thalassa/kai: the SEA
Where UNO St. Claude Gallery, 2429 St. Claude Ave.
When Saturdays & Sundays through July 31
Tickets Free
 
              ______
 
 
Swoon's Thalassa
Where Great Hall, New Orleans Museum of Art, City Park
When Tues. - Sun., 10 a.m. - 5 p.m., through Sept. 25
Tickets $10 adults (free Wednesdays)

Xenophon suggests the emphasis of the ocean in Greek life with this description of overflowing relief. The call is to thalassa, the water, not the settlements surrounding it. This speaks of the power of the water, its gravitational pull, as well as a society (among many) that places great economic, cultural, and historical significance on the ocean. Thalassa is also the name of the primordial sea goddess who represents the Aegean Sea, that elongation of the Mediterranean that stretches across the eastern coast of the Greek mainland. Yet another characterization of the Aegean: a waterway among multitudinous islands. Despite all its different names, the ocean is a great connecting force, linking land masses and their civilizations. Our contemporary societies are rooted in the civilizations established by ancient cultures, and it is these societies that projected a specifically female identification with the ocean as it relates to the goddess herself, cycles, and a source of nourishment.

 

Two exhibitions currently on view in New Orleans explore the subject of Thalassa with widely varying approachse. At its off-campus gallery on St. Claude Ave., the University of New Orleans hosts mara/thalassa/kai: the SEA, a group effort of Anastasia Pelias, Rian Kerrane, and Melissa Borman, with works in various media Now in New Orleans from Denver, the show moves next to Minneapolis, a city as spotted with lakes as the Aegean is strewn with islands. Thalassa, a monumental installation by New York artist Swoon, is a temporary, site-specific installation at New Orleans Museum of Art. All of the artists are female, which in part informs their singular interpretations on the shared theme of representing historical ties and individual identity with the iconography of the ocean.

 

Out of the three artists included the summer expo at UNO St. Claude, Pelias is most directly linked with Thalassa. Her video piece, titled Alati, Greek for salt, is a broad leap from the more formal abstract expressionist paintings and found-object collages familiar to her work. The video is an amalgamation of continuously looping, brief moments filmed on the Aegean island Skopelos, where her mother was born. Pelias symbolizes her family ties with intimate close-up shots of vegetation, rock formations, and moving water. She savors these moments, like the anonymous mouth that relishes worn sea rocks at the beginning of the video. The mundane images of local scenery, captured by friends and family and interspersed with an erratic soundtrack of washing waves, picture the soil in which Pelias’ history is rooted and the water which is such a strong part of her heritage. Though representational images, they are abstractions of her family’s growth from this landscape.

 

Like Pelias, Kerrane traces her own matrilineage in a recurring installation of a cast iron deck chair. In this manifestation, the frame of the chair is stretched with a swath of knit red hair meant to symbolize her grandmother. It anchors a sea of translucent plastic sheets that writhe over oscillating table fans. The plastic formally references the scintillating movement of semi-opaque waves, and the fans create a gentle sound likened to water. But, the sheets are bunched and flattened on the floor over snaking cords, making this association a bit of a conceptual stretch. The colorlessness of the plastic might symbolize the wasting of a memory, particularly of the ocean, which was near her grandmother’s home in Dun na Mara (“Fort of the Sea”), Ireland. Still, it almost seems too blunt, or even careless, compared to the obvious concern given to the chair.

 

Borman’s small-scale photographs mounted on aluminum detail the formal differences in color, size, and shape of ocean waves. They read like a story board, less about the specific lineage described by her two counterparts and more like stills narrating a personal experience. She took these at an up-close vantage point while swimming near Mexico using a little waterproof camera, licking the lens to keep it clean. These are the most directly personal images in the expo, as they document intimate and multiple encounters between the force of water and artist. They show a balance of power between the uncertain and ever-changing waves – and the dangers they might conceal – in the vulnerable but intrepid photographer. Borman documents cycles of change in her record of the waves over several days, archiving these memories with the greatest care.

 

At NOMA, Thalassa literally looms over the viewer, similar to the waves that overtook Borman’s vision. Caledonia Curry, better known by her alias Swoon, took over a Mid-City warehouse to prepare the monumental figure. From the ceiling of NOMA’s great hall, she and her small army of assistants installed the massive portrait, which stretches tentacles assembled from oceanic diecuts, intensely colored linoleum prints, and neutral-toned cloth and paper strips to the banisters framing the mezzanine. At first glance, Thalassa’s hopeful upward gaze appears to be Swoon’s own. Though a compelling idea, the face of the goddess actually belongs to performance artist Naima Penniman, half of the duo Alixa +Naima, who created a piece based on Katrina. Still, the resemblance indicates Swoon’s attachment to the water. Last year, millions of barrels of oil frothed into the Gulf of Mexico while Swoon worked on various humanitarian projects in Haiti. Her empathy for New Orleans and the Gulf during and after this disaster springs from her personal history as a native of Daytona Beach, Florida. With her site-specific representation of the goddess, Swoon suggests a protective and concerned force, differing from the destructive characterization water has earned locally.

 

Like the ocean, the subject of Thalassa literally links these artists. Somehow, they are all linked with New Orleans too. Pelias is a citizen of the city, who also earned her graduate degree at University of New Orleans like Kerrane. Borman is familiar with New Orleans through Kerrane, and the context of her photographs suggests an absence of boundaries. As member of a military family, her peripatetic existence has asked her to call many places home – New Orleans could be one. Swoon is linked to the city both through tragedy and concept. The sheen of oil that stretched over the Gulf grew into an awful island that almost linked our distant coasts. But the water underneath it constantly connects the shores, and Thalassa herself is a reminder that there is care and concern for our plight. Like the water, history ever changes, and – as represented by the work of these artists - art is the means to record those changes as they shape and define our existence.

 

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Contributors

Renard Boissiere, Evan Z.E. Hammond, Naimonu James, Wilson Koewing, J.A. Lloyd, Nina Luckman, Dead Huey Long, Joseph Santiago, Andrew Smith, Cynthia Via, Austin Yde

Photographers


Art Director

Michael Weber, B.A.

Editor

Alexis Manrodt

Listings Editor

Linzi Falk

Editor Emeritus

B. E. Mintz

Editor Emeritus

Stephen Babcock

Published Daily