Sharing our stories. Each week, Pelican Bomb brings you exhibition reviews, great features, intelligent interviews, and more.
Allison Glenn reflects on visibility and performance in Rashaad Newsome’s recent exhibition at the Contemporary Arts Center.
Joseph Bradshaw visits an exhibition at the New Orleans Museum of Art that explores obstruction in photography since the medium’s earliest days.
Charlie Tatum looks at how Mickalene Thomas riffs on art history to let black women determine how their bodies are presented.
In anticipation of Valentine’s Day next week, we’re highlighting a few artworks exploring the ups and downs of love, sex, and relationships.
Tina Orlandini reviews a recent performance from Junebug Productions that examines the cultural legacy of the African diaspora in present-day New Orleans.
Allison Glenn visits Dr. Charles Smith’s African American Heritage Museum and Black Veterans Archive in Hammond, where the artist aims to tell forgotten histories of the African diaspora.
Joseph Bradshaw contemplates the influence of Max Ernst and Roberto Bolaño on Norah Lovell’s recent paintings.
Ashley L. Voss thinks about how photographer Matthew Finley captures the vulnerability of his models in his current show at Martine Chaisson Gallery.
Laurence Ross writes about Anastasia Pelias’ abstract depictions of the female musicians who have influenced her.
Curator Claire Tancons talks to Delaney Martin of New Orleans Airlift about the Music Box Village’s permanent home, an upcoming project on Lake Pontchartrain, and the ethics of creating art in New Orleans.