/// October 12 - December 1, 2024
Working with first through fourth graders from KIPP: Leadership & KIPP: Morial, teaching artist Cori Ander explored biodiversity through biological illustration and watercolor painting. Cori Ander posed the question, “What is our place in our environment?” Students were encouraged to ponder how and when they interact with nature in their city and discussed how animals impact them and their culture.
Read More/// November 2, 2024 - February 2, 2025
A harbinger can be foreboding. The origins of this word, however, point towards a host, a harbor, or a scout who makes a safe space for others. Prospect.6:
The Future Is Present, The Harbinger Is Home looks to New Orleans as a signal of the future, in conversation with regions of the world that have long experienced the effects of climate change, labor migration and histories of colonialism. Together these places offer sanctuaries and indicators of the yearnings and tensions that will define our collective future.
Read More/// March 4, 2024 - February 23, 2025
Southern Contemporary is an exhibition that brings together thirteen works of art created in the past twenty years by artists working in the American South, encouraging a dynamic conversation between the excitement of recent acquisitions and the familiarity of permanent collection highlights. Emerging artistic expressions across a variety of mediums and techniques are included alongside artworks by mid-career and established artists.
Read More/// March 19, 2024 - October 31, 2028
Pulling from Ogden Museum of Southern Art's Permanent Collection, this year-round exhibition showcases Will Henry Stevens work from Southern Landscapes to abstract improvisations.
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![For “Prospect.6: The Future Is Present, The Harbinger Is Home,” @brianjungen created “The way of the world.”
Jungen's feather-laden table examines the many uses and layered meanings of bird feathers in Indigenous cultures of North America. He draws on his family's ranching and hunting background, as well as his Dane-zaa heritage, to highlight the disappearance of natural resources.
“The way of the world” utilizes traditional arrows with hardwood shafts and real bird feathers that were shot into an eighteenth-century Louisiana table. Jungen's table invites us to consider Indigenous authority and self-defense, especially in the face of ongoing settler-colonial control.
For example, in the United States, it is prohibited to use, possess or sell Bald and Golden Eagle feathers, even for Indigenous people, despite their profound religious and cultural significance. Only "eligible" members of federally recognized tribes can own eagle feathers, and the US government determines this eligibility.
Jungen probes the complexities of such legal parameters, which protect endangered birds but at the same time undermine Indigenous sovereignty.
@prospect_nola is on view at Ogden Museum and throughout the City of New Orleans through February 2
[Brian Jungen, “The way of the world is to bloom and to flower and die but in the affairs of men there is no waning and the noon of his expression signals the onset of night,” 2024, 250-year-old French colonial oak table from Baton Rouge, wood arrows, carbon steel points, feathers, artificial sinew, Courtesy of the artist]
This project was made possible through major funding from the Mellon Foundation and the National Endowment for the Arts Commissioned by Prospect.6](https://ogdenmuseum.org/wp-content/plugins/instagram-feed/img/placeholder.png)