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Chandra McCormick & Keith Calhoun, stills from The Right to Return series, 2006-
From their website: As New Orleans recovered from Hurricane Katrina, Calhoun and McCormick took waterlogged negatives and made a new body of work that literally captures the moment when the levees broke. In spite of the horrors of this event, the colorful and wordless abstraction of this process suggests a way forward, and a hope for the return of lost beauty.
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Chandra McCormick
Chandra McCormick, "The Prayer, Phoenix, LA River Parish," 1986, Archival Pigment Print, (Ogden Museum of Southern Art)
Keith Calhoun and Chandra Mckormick, the keepers of culture.
NEW ORLEANS — Biennials, triennials, and other, similarly grand periodic art exhibitions are a funny thing; both local and global, they must balance an engagement with their home places alongside a broader artistic conversation. “For these kinds of exhibitions to be successful, they have to have some relationship to where they are,” Franklin Sirmans, artistic director of the current and third iteration of Prospect New Orleans, told The Art Newspaper last fall. How Sirmans has gone about achieving that relationship in his show, Prospect.3 (P3 for short), as well as how successfully, is open to debate; a good chunk of the triennial consists of static work arranged in ways that don’t feel particularly enlightening inside established artistic institutions, where its connection to the larger world feels minimal. (Comparisons to Prospect.1 are inevitable, if not entirely fair — like pitting a current partner against a first love.) Among the exceptions, however, are two exhibitions at the Ogden Museum of Southern Art.
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P.3 Blog | Meet P.3 Artists Chandra McCormick & Keith Calhoun
'“Don’t you know that slavery was outlawed?” “No,” the guard said, “you’re wrong. Slavery was outlawed with the exception of prisons. Slavery is legal in prisons....” [More]
