Sarah Schacht looks at how Luis Cruz Azaceta addresses sociopolitical issues through his abstract paintings.
Marjorie Rawle looks at Peter Sarkisian’s experimental take on video in his current show at Jonathan Ferrara Gallery.
Allison Glenn looks at the ways Kenneth Josephson highlights often overlooked details. “Photography Is,” a survey of his work, is on view at the New Orleans Museum of Art.
Marjorie Rawle unpacks the way David Thomas Colannino’s solo show at The Front questions the ways history is told.
Ashley L. Voss looks at how Ken Tate uses paint and found imagery to critique the commercial fashion industry in his exhibition at Steve Martin Fine Art.
Mara Hussey looks at the unique visual language of Joshua Edward Bennett’s current exhibition at Good Children Gallery.
Jacob Kiernan visits Jill Stoll’s large-scale installation at AIA New Orleans, which shows the interconnectivity of architecture and collage.
Ashley L. Voss looks at Lorna Williams’ sculptures, on view at Barrister’s Gallery, that draw on the body for inspiration.
Jacob Kiernan highlights his favorites from the Ogden Museum of Southern Art’s annual juried exhibition.
Ashley L. Voss looks at James L. Hayes’ current exhibition at UNO St. Claude Gallery, which takes a close look at the process of bronze sculptural casting.
Charlie Tatum reflects on the function of objects at the New Orleans Museum of Art’s first exhibition of Modern design.
Jacob Kiernan places Scott Andresen’s recent collages, currently on view at Good Children Gallery, in a long history of carefully repairing broken and worn household items.
Ashley L. Voss looks at a recent series of works by Madeleine Wieand, currently on view at The Front, and thinks about how we make sense of our memories.
Ann Hackett visits Vanessa Centeno’s solo show at The Front and reflects on the vicissitudes of summer.
Ann Hackett reflects on a history of female mentorship that’s being celebrated in an exhibition at Tulane University’s Newcomb Art Museum.
Maricela Murillo visits an exhibition at Jonathan Ferrara Gallery that turns art history on its head.
Megan Koza Young looks at an exhibition that’s drawing attention to a self-taught artist who lived and worked in Central City.
Benjamin Morris visits two alumni shows, by artists Maxx Sizeler and Frahn Koerner, at UNO St. Claude Gallery.
Bonnie Gabel reflects on a performance at the Theatre at St. Claude that challenges our perceptions of drag.
Micaela Frank reflects on the ways that Jim Richard’s exhibition at Arthur Roger Gallery connects his work with that of his former students.
Brooke Schueller visits an exhibition that documents the swamp-buggy subculture of South Florida.
Megan Koza Young visits Meg Turner’s current exhibition at Scott Edwards Gallery, which documents the present with historic photographic processes.
Bonnie Gabel visits a performance and exhibition at The Front that asks us to take a second look at our surroundings.
Benjamin Morris looks at Mitchell Lonas’ current exhibition at Callan Contemporary, which evokes the mesmerizing shapes of starlings in flight.
Taylor Murrow visits an exhibition of works by Kathleen Ariatti Banton, who takes inspiration from the topography of New Orleans.
Brooke Schueller visits an exhibition by Miro Hoffmann that asks viewers to get their hands dirty.
Charlie Tatum visits Jacqueline Humphries’ solo show at the Contemporary Arts Center, which features two recent bodies of work.
Laurence Ross visits Michael Meads’ solo exhibition at the Ogden Museum of Southern Art, which carouses through a world of sex, death, and religion.
Julien Burns looks at Abdi Farah’s solo exhibition at Staple Goods, which anticipates the pageantry of Super Bowl 50 and Fat Tuesday.
Benjamin Morris visits Aron Belka’s exhibition at LeMieux Galleries documenting southeastern Louisiana’s fishing communities.
Jacob Kiernan visits a group exhibition at Antenna that explores the seven heavenly virtues and seven deadly sins.
An exhibition at the Historic New Orleans Collection documents the changing city over the course of an architect’s prolific career.
Brooke Schueller visits an exhibition that reimagines Carleton Watkins’ nineteenth-century photographs as sugar-coated landscapes.