Good Children Gallery

Image courtesy of Good Children Gallery

Image courtesy of Good Children Gallery

This post was submitted by Good Children Gallery, part of the fast-growing St. Claude Arts District. The St. Claude Arts District has openings on the second Saturday of every month.

This year, the International Sculpture Center is holding their conference in New Orleans from October 1-4. In addition to viewing the museums ISC is partnering with, like the Contemporary Arts Center and the Ogden, a visitor would be mistaken to overlook a space like Good Children.   The gallery is located on 4037 St. Claude Avenue and held its first exhibition in February of 2008.

Good Children is distinct from other galleries since it is a collective that is artist-run. Soon after Katrina, a handful of artists decided to rent a building where they didn’t have to worry about selling things or being represented by a gallerist. Other collective galleries emerged in the same neighborhood around the same time like The Front and Antenna that lacked a traditional structure and, along with Good Children, transformed the St. Claude Arts District as the site of more experimental, avant-garde work in New Orleans.

There are fifteen members of Good Children. A majority of these conceptual artists focus on sculpture. The art on display during International Sculpture Center’s Conference will be the product of Generic Art Solutions (G.A.S.) and their time at the Rauschenberg Residency this summer. G.A.S. is the collaboration of Tony Campbell and Matt Vis. In the past, G.A.S. has gone to national and international art fairs in matching ‘Art Police’ uniforms to give to out tickets to artists in violation. G.A.S. has also reenacted old masters paintings like Géricault’s “The Raft of Medusa” and daVinci’s “The Last Supper” through tongue-in-cheek photographic self-portraits.

Sophie T. Lvoff is one of nine New Orleans Artists selected for Prospect.3 this October. A recent show by Lvoff included large color photographs of New Orleans as well as “Untitled Still Life (Hell’s Bells/Sulfur/Honey),” a video where the poisonous Hell’s Bells plant, sulfur, honey, a glass, and a black cat are slowly placed on a table–all ingredients for the Louisiana Voodoo spell that can solve one’s problems.

Nina Schwanse’s recent exhibition at Good Children made headline news for blurring nonfiction and persona. Schwanse’s show included letters, paintings, video, and photographic self-portraits as Veronica Compton, prisoner for attempted murder as a result of her relationship with Kenneth Bianchi the ‘Hillside Stranger.’

Dan Tague’s work was recently commissioned for the Snowden article by the New York Times. Tague’s tiny sculptures made by folding dollar bills so they reveal text like ‘cyber warfare’ have been a photographic series he’s practiced since 2005.

Aaron McNamee has been featured in Artforum International for his body of work that laments the New Orleans newspaper no longer being a daily paper through giant gravestone-like planks and minimalist cubes formed with adhesive and The Times Picayune as his only materials. His solo show Middle Digit is currently on view at Good Children.

Aaron McNamee, “Middle Digit”, Photo courtesy of Good Children Gallery

Aaron McNamee, “Middle Digit”, Photo courtesy of Good Children Gallery

Stephen Collier has past work titled “Group Activity” where members of Good Children collaborated to throw green bottles of beer against the wall, and the pieces were gathered to make three sculptures. He has an ongoing series of mixed media work created with a layer of black plywood, a layer of sheetrock, and a layer of a xeroxed image of a brick wall where parts of the surface are either peeled back to the first layer or painted on with symbolic imagery or attached with found objects to make a face-like image.

Brian Guidry, in addition to working in multiple media and being the curator for Acadiana Center for the Arts in Lafayette, makes paintings with a haunting geometry and a color palette directly sampled from his native landscape.

Srdjan Loncar has created his own medium, photosculpture, and developed an ongoing series “Fix-a-Thing” where he plasters cut up photographs onto broken objects in the city. In Prospect.1, Loncar’s piece featured an actual silver Toyota Camry, the most popular car in America, topped by styrofoam-flames covered with red, orange, and yellow zoomed-in photographs of Wal-Mart products.

Malcolm McClay is a performance-based artist whose most recent piece, “Ekstasis,” lined the gallery space with stacked books, contained poetry scrawled on walls, and featured the artist creating a series of red, yellow, and blue ink-blot-like paint marks on the walls with his entire body as the paintbrush.

Jessica Bizer is an abstract painter who, in the show A Homeland We’ve Never Seen, uses risk-taking technique like airbrush, cut-paper, black marker, and acrylic to transform bright canvases into layered battles of push and pull. Her most recent exhibition was the Good Children Takeover!! show at Secret Project Robot in Brooklyn.

Lala Raščić has had a recent installation titled “Whatever the Object” where three found pages of an unidentified book were analyzed in a video by three reciting actresses, one cryptic sentence is translated and re-interpreted in Croatian, English, and German, and next to the video monitor hang ninety-seven glass plates with this sentence in golf-leaf paint.

Daphne Loney is a sculptor who was featured in Prospect.1.5 in a piece where a life-scale black bear mauls a unicorn, and in January, she exhibited “The Winter of Our Discontent” at Good Children where actual-size deer cower next to two-dimensional paintings of their predators.

Christopher Saucedo is a sculptor who deals primarily with the concept of liquids. Recently, at Acadiana Center for the Arts, he has shown “Family-Portrait in Exact Weight and Volume Only,” a piece in which each member’s likeness is recorded via nickel-plated steel and polished bronze cylinder weights.

Jayme Kalal creates three-dimensional scenes and characters as the co-founder of the Scary Toesies puppet troupe, which was recently exhibited at Who is Pulling the Strings in the New Orleans Contemporary Art Center. He also is the author of the water organ used by Swoon’s Dithyrambalina project, the New Orleans Music Box.

Ca$h & Carry is the title of the upcoming exhibition at Good Children Gallery. During this fundraiser show, each piece will be priced at fifty dollars. It features artwork from all gallery members as well as their curated invitees. The opening takes place on June 14, 2014 in New Orleans, and a closing reception will occur on July 6th.

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