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Contemporary Arts Center, New Orleans 2015–16 Season Might a painting absorb and emit the properties of our cinematic and screen culture? What becomes of a color field if infected like a personal computer? How do pictures we recognize from books and films construct alternative histories? The varied practices of Jacqueline Humphries, James Hoff, and Adam Pendleton demonstrate a defining quality of contemporary visual culture— that the image is a subject of perpetual transformation and translation. It both emanates from and leads—elsewhere. It is with relentless commitment to the formal qualities of their respective mediums that the artists of this season engage with histories of film, sound, literature, technology, and performance for their image-making. To frame the work of this season, I echo the proposition of artist Adam Pendleton, himself first trained as a painter, who has explained: “I’ve always thought of a painting as a space for performance and textual interventions/ realities.” It is with curiosity and inquiry that we open with two exhibitions on painting and begin a broader conversation about the interdisciplinary potential of historic mediums. Andrea Andersson The Helis Foundation Chief Curator of Visual Arts
It is my intention to share performance techniques that capture the imagination of artists and audiences living and working in the 21st century. The work of contemporary music ensemble ETHEL brings new compositions to our stage alongside the EPA film, Documerica—American photography reflecting changes in environment and place that was captured nearly 40 years ago but that remains relevant today. Visual art and performance merge in an eight-hour happening for How to Build a Forest, as the construction, destruction, and subsequent reconstruction of an artificial forest scene explores our human relationship to habitat. Romanian, Obie-nominated director Cosmin Chivu— working with iconic performance artist Mink Stole, a cast of local artists led by actress Donna Duplantier, and the Louis Ford Band—creates a new production of Tennessee Williams’ seldom produced play, The Mutilated, to serve as a catalyst for sharing ideas about experimentation and innovation in contemporary theater. Original compositions by the worldrenowned Guadalajaran band, Troker, provide the score to one of Mexico’s most important films, The Grey Automobile, in an intimate look at the seminal silent film re-imagined for modern audiences. Soundtrack ‘63 illustrates the importance of history, conflict, and conversation in addressing society’s most intractable challenges, while the season gracefully concludes with the impeccable violinvirtuosity of Grammy Award-winning Regina Carter. Interspersed throughout our expansive Season are a variety of public programs—lectures, seminars, residencies, and more—specially selected to enhance our audience’s engagement with the work presented. We hope you will join us on this remarkable journey. Raelle Myrick-Hodges Curator of Performing Arts
Cover: (Detail) Jacqueline Humphries, Alpha3, 2014. Photograph: Courtesy of the artist and Greene Naftali, New York
August 1– November 1, 2015
REVERB: Past, Present, Future
October 2, 2015 7:30pm
ETHEL’s Documerica October 23–29, 2015
How to Build a Forest
November 19–21, 2015 7:30pm
Tennessee Williams’ The Mutilated
November 19, 2015– February 28, 2016
Jacqueline Humphries
November 19, 2015– February 28, 2016
James Hoff: B=R=I=C=K=I=N=G
December 11, 2015 7:30pm
The Grey Automobile Live Score by Troker December 12, 2015 7:30pm
Troker In Concert January 16–18, 2016 7:30pm
Soundtrack ’63
April 1– June 16, 2016
Adam Pendleton: Becoming Imperceptible
March 11, 2016 7:30pm
Regina Carter’s Southern Comfort
www.cacno.org
As I begin my third year as Director and CEO of the Contemporary Arts Center, New Orleans, I am thrilled to welcome and introduce our new curator, Dr. Andrea Andersson. With this hire, Andersson takes on the position of The Helis Foundation Chief Curator of Visual Arts, joining me and our Curator of Performing Arts Raelle Myrick-Hodges to complete the artistic leadership team of the CAC. With our particular emphasis on artists working at the intersection of two vibrant aesthetic traditions—the performing and the visual arts— our curators play a critical part in realizing the CAC’s commitment to continue as one of the nation’s preeminent producers and presenters of contemporary art. While you peruse the diverse program offerings we present in the coming pages, I know you will become as excited as we are about the work we have in store for you this season. I look forward to seeing you often at the CAC for what promises to be a year filled with provocative and inspiring experiences to feed the creative spirit in all of us. Neil A. Barclay Director and CEO
Photo: Sara Essex Bradley
Casey Parkinson, Transcendence, 2013–2014. Photograph: Courtesy of the artist
ON VIEW: August 1– November 1, 2015 REVERB: Past, Present, Future, explores the evolution of art and artistic practices in New Orleans and its surrounding region over the last decade. Taking the 10th anniversary of Hurricane Katrina as its chronological starting point, it positions the vast social, economic, and political reverberations of this monumental event as a catalyst for change, revitalization, determination, and creative innovation among the region’s artistic community.
REVERB: Past, Present, Future Guest curated by Isolde Brielmaier, Director of the Contemporary Art Initiative, the public art platform at Westfield World Trade Center, New York.
REVERB traces the aesthetic fissures and openings that grew out of a physical breach. From large-scale installations, interactive video, and handcrafted textiles to historical reenactment and photorealism, the works in this exhibition convey the generative and revitalizing activity that occurred throughout a decade of tremendous change in New Orleans. Uncovering work by artists of diverse backgrounds and generations who work across a range of media, REVERB evidences the ever-expanding boundaries of contemporary artistic practice as well as the undeniable relationship, both historical and current, of New Orleans art production to local, national, and global dialogues. This project is supported in part by an award from the National Endowment for the Arts.
CONVERSATION Geographies September 17, 7pm A discussion about the social impact of aesthetic innovation and participation in local communities such as the St. Claude District and the Oretha Castle Haley Corridor.
Support for this exhibition is provided by the Sydney & Walda Besthoff Foundation.
enlisted the composer Mary Ellen Childs, Grammy Awardwinning jazz drummer Ulysses Owens Jr., Chickasaw Nation’s Jerod Impichchaachaaha’ Tate, and James Kimo Williams, to create a work that seamlessly fuses contemporary composition with striking projections by artist Deborah Johnson. Paired with ETHEL’s original works, the commissioned music demonstrates a range of American styles, genres, and techniques— blues, jazz, Native American traditional, bluegrass, and oldtime string band—as images and sound work in tandem to explore Americans’ connection to their environment and the residual effects of their lives therein.
October 2, 2015 7:30pm
ETHEL’s Documerica Tickets: $25–$40 Performed by ETHEL; Directed by Steve Cosson; Corin Lee, Violin; Kip Jones, Violin; Ralph Farris, Viola; Dorothy Lawson, Cello
WORKSHOP Ensemble Work October 2, 10am
This project is supported in part by an award from the National Endowment for the Arts.
Musical arrangement workshop with Tulane and Loyola Universities’ ensemble students.
Top: Mark Kingsley. Center and bottom: Stephanie Berger
ETHEL’s Documerica is a multimedia interweaving of music and life that uses Documerica— the landmark visual and musical snapshot of America in the tumultuous 1970’s that was commissioned by the Environmental Protection Agency—as inspiration. The original project that was assembled by the agency amassed the work of more than 15,000 photographers nationally in order to document America’s life, culture, and landscape. ETHEL’s Documerica presentation utilizes more than 3,000 images from this vintage collection that is currently housed in the National Archive. To compose their distinctive iteration of Documerica, ETHEL
October 23–29, 2015
How to Build a Forest
Photograph: Paula Court, 2011
Conceived by PearlDamour + Shawn Hall Sound by Brendan Connelly
How to Build a Forest is a polysynthetic, interdisciplinary hybrid of a project. Part visual art installation and part theater performance, this durational event unfolds over eight hours. Beginning in an empty space, visual artist Shawn Hall and theater/performance artists Katie Pearl and Lisa D’Amour—along with a four-person crew—work meticulously to construct, dismantle, and remove an elaborately fabricated forest. Inspired by 100 trees lost at a Louisiana family home following Hurricane Katrina, How to Build a Forest is also strongly informed by the ecological consequences of the 2010 BP oil spill in the Gulf of Mexico. Through visual art, performance, and sound design, How to Build a Forest articulates the disconnect between urban dwellers and the natural world. The “forest,” made of fabric and
This project is supported in part by an award from the National Endowment for the Arts.
found materials, reflects the deeply interconnected relationship between humans and nature…how they live in it, rely on it, use it, and consume it. Using performance to explore our connection to a fragile environment, the artists expose both the creative and destructive processes that can apply to an art installation, a natural ecosystem, or the landscape of an entire city.
CONVERSATION Forest and Water in Dialogue: Artists and Scientists Contemplate the Gulf Coast October 27, 7pm
The Emerging Markets program is a partnership between the Association of Performing Arts Presenters and Creative Capital, and is supported by the National Endowment for the Arts.
This program is supported in part by a grant from the National Performance Network Community Fund. For more info: npnweb.org
“Viruses, like art, need a host, preferably a popular one.” –James Hoff CONVERSATION November 18, 7pm
ON VIEW: November 19, 2015– February 28, 2016
Join James Hoff for a performative lecture on “viral” production. Hoff will follow with a DJ set.
James Hoff: B=R=I=C=K=I=N=G B=R=I=C=K=I=N=G is the first solo museum presentation of work by James Hoff (b. 1975, Fort Wayne, Indiana). As co-editor and publisher of Primary Information*, Hoff has long explored competing forms and networks of distribution. Hoff’s recent “virus paintings” and sound works exhibit an inevitable development of his engagement with technology, popular and political culture, and the intentional and unintentional disruptions therein. “Bricking,” the title of his exhibition, is a term used to describe the overload of an operating system when infected with malware, which renders it useless, at least, for its originally intended purposes. Hoff generates his virus paintings and sound works through a process of digital conversion, subsequent infection of his image files by a computer virus, and transference back to canvas or aluminum. To Support for this exhibition is provided by the Sydney & Walda Besthoff Foundation.
locate Hoff’s recent work in the long tradition of painting demands a reappraisal of the medium beyond its Modernist material imperatives of paint on canvas and within a digital context, in which any form, whether visual, verbal, or sonic, can be reduced to and reorganized as an arrangement of code. Most shocking, however, is that Hoff’s intentional acts of corruption yield a kind of noise that appears as phenomenal facsimile of the painterly surfaces that defined American Abstraction of the last century. And his sound works invite easy listening and recall familiar dance beats. Derived from nefarious sources, they figure innovation as invasive mutation, cloaked in the familiar vocabularies of popular culture. *Primary Information is a NYC-based press dedicated to the circulation of artists’ books and out-of-print editions. The Stacks bookshop at the CAC will present a wideselection of titles from the imprint during the exhibition and beyond.
James Hoff, Skywiper No. 58, 2015. Photograph: Courtesy of the artist and Callicoon Fine Arts, NY
“I think a painter’s first job is to get someone to look at a painting. Perhaps it’s about motion and light. Having a heightened sense of the painting changing in front of your eyes gives it an almost cinematic quality—light moves across the surface and makes new images before your eyes.” —Jacqueline Humphries
Top: Jacqueline Humphries, O, 2015. Photograph: Courtesy of the artist and Greene Naftali, New York Bottom: Jacqueline Humphries, Alpha4, 2014. Photograph: Courtesy of the artist and Greene Naftali, New York
ON VIEW: November 19, 2015– February 28, 2016
Jacqueline Humphries Organized by Amanda Donnan, Assistant Curator of Contemporary Art for the Carnegie Museum of Art.
ROUNDTABLE DISCUSSION 1960’s Abstraction January 21, 7pm Roundtable discussion about 1960’s abstraction with The Helis Foundation Chief Curator of Visual Arts Andrea Andersson and local abstract artists and scholars.
Support for this exhibition is provided by the Sydney & Walda Besthoff Foundation.
Over the course of her nearly 30year career, Jacqueline Humphries (b. 1960, New Orleans, Louisiana) has emerged as a singular force in contemporary art, an influential “artist’s artist” whose signature abstract works in metallic and ultraviolet pigments must be experienced firsthand. Jacqueline Humphries is the artist’s first solo museum exhibition in nearly a decade and the very first to be held in her hometown. Comprised of entirely new works, the exhibition is the most extensive presentation to date of both her silver and blacklight paintings. Humphries’ densely layered, atmospheric canvases activate, and are activated by, the space around them. The muted metallic surfaces of the silver paintings respond to shifting natural light and change with the movements of the viewer, positioning abstract painting as a theatrical, time-based art. The black-light paintings reveal their true nature—and actually emit light—only when “excited” by ultraviolet bulbs. These paintings, hung in a darkened environment, immerse viewers in spectacular fluorescence, and amplify their awareness of viewing and being viewed by others. Both bodies of works self-consciously engage the history of art and refer to popular culture as well, melding the drips, zips, and dots of mid-century abstraction with psychedelia and cinema’s silver screen.
November 19–21, 2015 7:30pm
Tennessee Williams’ The Mutilated Written by Tennessee Williams; Directed by Cosmin Chivu Featuring: Mink Stole & Donna Duplantier With: Donald Lewis, Evan Spigelman, Nick Shackleford, Carmen Barika, Cameron Mitchell-Ware, Kaycee Filson, Hannah Pepper-Cunningham, Lori DeLeon Music by: Jesse Selengut; Musicians: Louis Ford Band
Written in 1966 and labeled as part of a double-bill of one-act plays entitled Slapstick Tragedy, this later play by Tennessee Williams takes place in the New Orleans French Quarter on Christmas Eve 1948. On a night filled with carols, misfits, sailors, hookers, cops, quarter rats, grifters, secrets, betrayals, and wine, Trinket Dugan is a Texas oil heiress and cancer survivor hiding away at the Silver Dollar Hotel. Celeste Delacroix Griffin is a hustler in every sense of the word who—by discovering a deep, dark secret of the heiress Dugan—jumpstarts the two on a humorous journey that will, in all hopes, resuscitate their friendship in just enough time to share a mystical experience that will change their lives.
This project is supported in part by an award from the National Endowment for the Arts.
In doing so, it demonstrates how thin the line is between the dreadful and the joyful in a clever character rendering of humanity’s penchant for finding a laugh in tragic circumstances. Bringing to life the classic character Trinket Dugan is the legendary actress Mink Stole, who got her start in film working with John Waters, and who has since evolved to be one of his renowned Dreamlanders, having been featured in all of Waters’ films to date. FILM SCREENING November 11, 7pm The CAC will screen John Waters’ Desperate Living, a film about a murderous housewife and her maid who go on the lam, ending up in the city of Mortville, a shantytown for fugitives. Post-screening talk with actress Mink Stole.
Drawing by Tennessee Williams ©The University of the South Opposite: Mink Stole, Photo © Scott Wynn
Tickets $25–$40
December 11, 2015 7:30pm
The Grey Automobile Live Score by Troker
Photograph: Oh! Estudio
The Grey Automobile: Story by Enrique Rosas & Miguel Necoechea; Written by Juan Manuel Cabrera & José Manuel Ramos; Directed by Enrique Rosas
The Grey Automobile is considered one of the most important cinematic works in silent film history. First seen in 1919, it tells the tale of police and outlaws in a tumultuous action film. With a musical score by one of Guadalajara’s most eclectic and adventurous groups, Troker—a jazz, rock, and world music band from Jalisco, Mexico— The Grey Automobile arrives in New Orleans for the first time with this extraordinary live soundtrack performance.
CONVERSATION December 11, 2015 After their performance, Troker will lead a conversation about The Grey Automobile and its continued impact in cinema. This performance is funded in part by a grant from South Arts in partnership with the National Endowment for the Arts and the Louisiana State Arts Council.
December 12, 2015 7:30pm
Troker In Concert Tickets $25–$40 Arturo “Tiburón” Santillanes, Saxophone; Gilberto Cervantes, Trumpet; Christian Jiménez, Piano; Samo González, Bass and Contrabass; Frankie Mares, Drums; Humberto “DJ Zero” López, Turntables
Troker shifts gears for a live set of original music in a performance that merges avant-garde jazz, prog rock, and hip hop, with elements of cumbia, mariachi, and funk.
Abiodun Oyewole of The Last Poets. Chen Lo and Asante Amin recreate the year 1963 in a live documentary with an 18-piece orchestra, live video installation, and a host of dynamic performance artists whose work breathes new life into the sights and sounds that shaped the music of an era—allowing a modern audience to re-think, re-new, and re-mix their conceptions of the past.
January 16–18, 2016 7:30pm
Soundtrack ’63 Tickets $25–$40 Soul Science Lab in collaboration with Junebug Productions & 651 ARTS
FILM SCREENING Soundtrack for a Revolution Date TBA Soundtrack for a Revolution explores the civil rights struggle through the powerful and stirring songs that inspired a generation. A story circle with former Civil Rights Movement participants will follow the film.
Junebug Productions and the CAC present Soundtrack ’63. Originally commissioned and produced by 651 ARTS.
Photograph: Xy-Fy Fotography
Soundtrack ‘63 is a multi-media, live music performance that takes the audience back in time with a cultural and artistic retrospective of the Civil Rights Movement from 1963 to the Black Lives Matter Movement. Originally produced by 651 ARTS and developed by Creative Director Chen Lo, Soundtrack ’63 premiered in 2013 as part of the Movement ’63 series. This performance of Soundtrack ‘63 will feature the untold and under-told stories of New Orleans’ civil rights history. It includes performances by local artists alongside commentary by Dr. Cornel West and Sonia Sanchez, and performances by
“Southern Comfort is as likely to be savored by Americana acolytes as by Carter’s existing jazz audience, but she’s unafraid to play fast and loose with any notion of what exactly Americana is.” —JazzTimes
Film stills: Southern Comfort
Regina Carter’s Southern Comfort is a collection of songs that pays homage to her grandfather’s roots as a coal miner in Alabama. While simultaneously celebrating the joyous folk music that infused her early childhood, Southern Comfort traces blues, gospel, spirituals, folk, and country music as they evolved alongside jazz, R&B, and many other global influences from the latter half of the 20th century. In what began as a tribute to her family and their Appalachian roots, this cultural melting pot of an album establishes Carter’s chameleon-like fluidity in moving between and within genres, featuring her own interpretations of Cajun fiddle music, early gospel, and coal miner’s work songs alongside other, more contemporary, tunes. Considered the foremost jazz violinist of her generation, Carter is internationally known as a violinist in multiple genres of music and is a recipient of the MacArthur Fellowship for her recent work in the creation of this album. With Southern Comfort, Regina Carter achieves the great feat of making the past present.
CONVERSATION Folk Music in Coastal Louisiana March 12, 2pm Join Regina Carter alongside regional musicians for a conversation about traditional folk music in and out of coastal Louisiana.
March 11, 2016 7:30pm
Regina Carter’s Southern Comfort Tickets $25–$40 Marvin Sewell, Guitar; Will Holshouser, Accordion; Jesse Murphy, Bass; Alvester Garnett, Drums
On the heels of the artist’s presentation at the 56th International Art Exhibition in Venice, Italy, the Contemporary Arts Center is proud to organize the largest solo museum presentation of Adam Pendleton’s (b. 1984, Richmond, Virginia) work in the United States. Including film, wall paintings, ceramics, silkscreens (on mylar, plexiglass, steel, and canvas), Adam Pendleton: Becoming Imperceptible frames the artist’s oeuvre as a complex dialogue between culture and system, a body of work invested in the perpetual cross-referencing of aesthetic and social histories. At the center of this exhibition are the found images, which have served as the artist’s source material throughout his practice. Reframed, reconditioned, and perpetually reoccurring, these images have been described by the artist as “indistinct.” And yet, harvested from the artist’s personal library, from texts and films ranging from The Short Century: Independence and Liberation Movements in Africa 1945–1994 and “Black Dada Nihilismus” by LeRoi Jones (later re-identified as Amiri Baraka) to Jean-Luc Godard’s Sympathy for the Devil, the images serve as bedrock for Pendleton’s artistic practice and connect his form of abstraction with the history of the America Civil Rights Movement, the pre-war Avant-Garde, La Nouvelle Vague in film, and Minimalist and Conceptualist art practices of the 1960s.
Becoming Imperceptible takes its name from the writings of Gilles Deleuze and Félix Guattari, with whose philosophical works Pendleton has long engaged, and positions Pendleton’s practice as a kind of counter-portraiture. If traditional portraiture figures the subject in contrast to or against its background, Pendleton’s works aim to disappear or camouflage the subject amid constantly alternating surfaces. Becoming Imperceptible welcomes its audiences at once into the history of Civil Rights and Black Resistance movements, Black aesthetic tradition, and the historical avant-garde. It calls on histories that have indelibly shaped American culture as it opens up a rigorous conversation about system and form in the European, African, and American avant-gardes of the last century. ON VIEW: April 1– June 16, 2016
Adam Pendleton: Becoming Imperceptible
Support for this exhibition is provided by the Sydney & Walda Besthoff Foundation and the John T. Scott Guild. The Andy Warhol Foundation for the Visual Arts
Adam Pendleton, Satomi, 2009. Film still: Courtesy of the artist and Pace Gallery, New York and London
CONVERSATION
“To go unnoticed is by no means easy.” —Gilles Deleuze and Félix Guattari
Visualizing the Panthers April 21, 7pm A conversation with scholar Colette Gaiter on Emory Douglas and the visual politics of the Black Panther Party.
Co-presented with the New Orleans Film Society
Southern Circuit Tour of Independent Filmmakers The Southern Circuit Tour of Independent Filmmakers is a program of South Arts. Screenings are supported in part by a grant from South Arts in partnership with the National Endowment for the Arts. Free for CAC & NOFS Members $8 General Admission Southern Circuit brings the best of independent film to communities across the South. The tour takes the audience away from their televisions and computers to connect them with independent filmmakers. Southern Circuit transforms watching independent films from a solitary experience into a communal one.
There will be a Q&A and reception with the filmmaker after each screening.
September 16, 2015, 7pm The Short Films of Ian Samuels Myrna the Monster
Narrative, 2014, USA, 14 min.
Caterwaul Narrative, 2012, USA, 14 min.
The Eyes and the Ice
Narrative, 2011, USA, 11 min. A heartbroken alien living in L.A., an aging fisherman who has an intimate relationship with a lobster, and a gay man struggling with the age gap between him and his partner make up some of the fascinating and complex characters in Ian Samuels’ short films.
November 4, 2015, 7pm Orion: The Man Who Would Be King
dir. Jeanie Finlay, Documentary, 2015, UK, USA, 88 min. Orion tells the stranger-than-fiction story of the rollercoaster rise and tragic fall of Jimmy Ellis, an unknown singer who was plucked from obscurity and thrust into the spotlight as part of a crazy scheme that had him masquerade as Elvis back from the grave.
December 16, 2015, 7pm Movement and Location
dir. Alexis Boling, Narrative, 2014, USA, 94 min. A woman from the future, marooned in modern-day Brooklyn, must fight to keep the life she once had from destroying the new life she has built. A science-fiction thriller, the film addresses the lives we make for ourselves—and how far we’ll go to maintain them.
February 17, 2016, 7pm Almost There
dir. Aaron Wickenden/Dan Rybicky, Documentary, 2014, USA, 93 min. Shot over the course of eight years, Almost There profiles Peter Anton, an elderly outsider artist living in squalid conditions, whose life changes when two filmmakers discover his incredible body of work—and his complicated and controversial past.
March 16, 2016, 7pm The Trials of Muhammad Ali
dir. Bill Siegel, Documentary, 2013, USA, 93 min. Oscar-nominated filmmaker Bill Siegel follows Ali’s lifelong journey of spiritual transformation, from his Louisville roots, through his years in exile, to receiving the Presidential Medal of Freedom. It traces his path from poet, to pariah, to global ambassador for peace.
April 13, 2016, 7pm Ghost Town to Havana
dir. Eugene Cor, Documentary, 2015, USA, Cuba, 86 min. Two baseball coaches—in West Oakland and Havana, Cuba—share parallel experiences as they mentor their boys through the toughest of circumstances. It is an enlightening story of poverty, sports, and race—and the role of mentors in the lives of at-risk youth.
At the Center In addition to our Season’s regular schedule of programming, the CAC is proud to house and support a variety of presentations by our partner organizations. September 23, 2015 Hip Fest presents Vijay Iyer on piano with his trio, Fieldwork— Steve Lehman on saxophone, and Tyshawn Sorey on drums. Featuring guest pianist Fabrizio Puglisi. October 15–21, 2015 New Orleans Film Society presents the 2015 New Orleans Film Festival December 4 & 5, 2015 LUNA Fête performances by Miwa Matreyek LUNA (Light Up NOLA Arts) Fête is a visionary initiative by the Arts Council New Orleans
May 2016 Birdfoot Festival & Residency Ongoing The Distillery Artist Residency featuring Kesha McKey and Scott Heron
Photo: Sara Essex Bradley
Join the CAC
Photo: Sara Essex Bradley
By joining the CAC today, you’ll receive discounts on performing arts tickets with priority seating for performances, free gallery admission to visual arts exhibitions year-round, free admission to monthly filmscreenings co-presented by the NOFS, and much more. Visit cacno.org, join, and enjoy the art of our time as a member of the CAC.
The Stacks at the CAC
Open since October 2014, The Stacks is the only independent bookstore in New Orleans that focuses on visual and graphic arts, architecture, photography, music, and creative source material. Run by French-born Émilie Lamy, The Stacks offers a curated selection of contemporary art books, exhibition catalogues, monographs, artist books, theory publications, and a wide range of international magazines. In October 2015, The Stacks moves to the CAC. www.thestacks-books.org
Photo: Hunter Holder
CAC Events & Fundraisers August 1, 2015 Whitney White Linen Night October 3, 2015 CAC’s Art for Arts’ Sake| Downtown Spring 2016 CAC’s SweetArts
Rent the Center The CAC ranks as one of New Orleans’ most unique spaces for private and corporate entertaining, and film locations. Our event space features 30,000 square feet of turn-of-the-century warehouse spaces, and the award-winning architecture of our atrium, galleries, and theaters. cacno.org/facility-rental
Education The CAC offers a year-round slate of education programs including Artist Exchange Field Trips, Summer Arts Camp, and Teens@CAC programs. cacno.org/education
Chloe Swidler, Bhakti, 2015.
CAC Support The CAC is Supported by Arts Council New Orleans; Ralph & Susan Brennan; Ford Foundation; The Helis Foundation; Louisiana Division of the Arts; National Endowment for the Arts; The Selley Foundation; The Wallace Foundation; Whitney Bank Major In-kind Support AOS; Corporate Realty; Eskew + Dumez + Ripple; Hunt Telecom; The New Orleans Advocate; Nola Paint & Supplies Education & Public Programs Support City of New Orleans | Edward Wisner Donation; Cox Communications; Emeril Lagasse Foundation; The New Orleans Jazz & Heritage Foundation, Inc. Performing Arts Support Association of Performing Arts Presenters; The Boettcher Fund; National Performance Network; South Arts Visual Arts Support Sydney & Walda Besthoff Foundation; John T. Scott Guild; The Andy Warhol Foundation for the Visual Arts
Business Arts Fund Members Arthur Roger Gallery; Avita Pharmacy; Callan Contemporary; Jonathan Ferrara Gallery; The Law Offices of Matt Greenbaum; LeMieux Galleries; Merrill Lynch; Morris Bart, LLC The CAC is supported in part by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council. Funding has also been provided by the National Endowment for the Arts, a Federal agency. The CAC is supported in part by a Community Arts Grant made possible by the City of New Orleans and administered by the Arts Council New Orleans.
CAC Staff Neil A. Barclay Director and CEO Allison Abney External Affairs Manager Andrea Andersson The Helis Foundation Chief Curator of Visual Arts Lindsay Barfield Exhibitions Manager and Chief Preparator Jessica Chevis Institutional Giving Manager Christine T. Dunaway Development and Membership Manager Jennifer Francino Visual Arts Manager Michele Frentzos Financial Services Supervisor Lisa Kirwin Building Manager Philippe Landry Cafe Manager Jebney Lewis Resident Technical Director Shelley Middleberg Associate Director of Rentals and Hospitality Services Courtney Mouton Finance Associate Raelle Myrick-Hodges Curator of Performing Arts Sam Oliver Manager of Executive Affairs Lindsay Owens Associate Director of External Affairs Colin Roberson Patron Services Coordinator
Nanette Saucier Associate Director of Finance and Human Resources Alysia Savoy Performing Arts Manager Mariana Sheppard Interim Associate Director of Education and Public Program
Board Officers Steve Dumez Chair Gregg Porter Vice Chair Debbie Brockley Treasurer Staci Rosenberg Secretary
Board of Trustees Bryan Bailey Judy Barrasso Dawn Barrios Valerie Besthoff Pamela Bryan Winston Burns Jacquee Carvin Leslie Castay Sandra Chaisson Nicole Eichberger Vaughn Fauria Jonathan Fawer Krystle Ferbos Yotam Haber Grant Harris Elizabeth Hefler Mark Jeanfreau Colleen Levy Kathleen Loe Rhesa McDonald Orelia Minor Kelly Juneau Rookard Patrick Schindler Robyn Dunn Schwarz Hank Torbert Wayne Troyer Gretchen Wheaton Sarah Wood David Workman Bush Wrighton
Trustees Emeritus Sydney J. Besthoff Patricia Chandler Thomas B. Coleman Sandra Garrard Barbara Motley Jeanne Nathan Michael J. Siegel MK Wegmann
Gallery Info
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