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X-WR-CALDESC:Events for Ogden Museum of Southern Art
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DTSTART;TZID=America/Chicago:20231201T100000
DTEND;TZID=America/Chicago:20231201T170000
DTSTAMP:20260501T034810
CREATED:20201201T192946Z
LAST-MODIFIED:20220426T143753Z
UID:10004953-1701424800-1701450000@ogdenmuseum.org
SUMMARY:O First Friday
DESCRIPTION:On the first Friday of every month\, college students can explore the world’s largest collection of Southern art free of charge. The discount is redeemable on-site. Just present your college ID at the Museum’s visitor services desk to See the South!
URL:https://ogdenmuseum.org/event/o-first-friday-2/2023-12-01/
CATEGORIES:Education Events for Adults,Events for Adults
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DTSTART;TZID=America/Chicago:20231209T140000
DTEND;TZID=America/Chicago:20231209T153000
DTSTAMP:20260501T034810
CREATED:20231109T160042Z
LAST-MODIFIED:20231109T204123Z
UID:10005514-1702130400-1702135800@ogdenmuseum.org
SUMMARY:Rediscovering the Creoles of Color in the Prairie Regions
DESCRIPTION:Country Cousins or Agricultural Leaders? Creoles of color in the prairie regions of Louisiana (St. Landry Parish\, Evangeline Parish\, St. Martin Parish) have largely been overlooked for their city (New Orleans) dwelling cousins. Their accomplishments include their role in contributing to international commerce and their signature Louisiana cuisine\, often referred to as “Cajun.” These people of African descent lived in rural outposts\, but supplied the cash crops that made the port of New Orleans one of the largest in the United States. Family\, finance and legacy were core elements for these seldom discussed allied families of color. \nJoin historian Alex Lee for an in-depth presentation on St. Landry Parish patriarch\, Martin Donato Bello (1760-1848) and his legacy. Bello’s portrait by Aimable-Désiré Lansot is currently on view in Knowing Who We Are: A 20th Anniversary Exhibition. \nFree\, but advanced registration requested. \nRegister\nMartin Donato Bello (1760 – 1848)\nFree Man of Color \nAimable-Désiré Lansot\, Martin Donato Bello\, 1841\, Oil on canvas\, 46 x 40 inches\, Private Collection \nMartin Donato Bello was a prosperous planter and private banker born on October 22\, 1760 in New Orleans\, Louisiana to Marie Jeanne Tailliefert\, a woman of mixed African ancestry and Donato Bello\, an Italian-born Spanish soldier. It is unclear whether Martin or his siblings were born enslaved or free due to the fact there is no known dated manumission for his mother. It is known that Marie Jeanne Tailliefert was enslaved by Martin’s father\, Donato Bello\, at some point in time. However\, as early as November of 1784\, Martin is listed as a free man of color\, and is seen purchasing property located along Bayou Teche. \nBoth his mother and father had moved from New Orleans into the land rich prairie regions near Opelousas in St. Landry Parish. Donato Bello was listed as the Lieutenant of the Infantry and Major of the Militia of said parish. This position could have been appointed to him because of his satisfactory military service under Governor Bernard de Galvez during Spanish Louisiana’s involvement in the American Revolution known as “The Galvez Expedition.” Whatever the incentive was for the relocation\, Martin and his family seemed to have prospered greatly. His mother\, Marie Jeanne\, was now married to a free man of color named George Bolard from Boston. His father Donato Bello had also married a woman named Suzanne Moreau of Mobile\, Alabama. While the relationship between Marie Jeanne and Donato Bello seemed to have dissolved\, records reflect continued business dealings between Donato\, his children of color and their white half siblings. \nIn April of 1800 Martin Donato formalized his marriage with a free woman of color named Marie Duchesne. Marie was also born in New Orleans around the year 1760 and was the child of a white father\, Louis Duchesne dit Castillion\, and a formerly enslaved woman named Nannette St. Laurent. Martin and Marie’s marriage contract stated that there were over $18\,000 in assets coming into the union. This included land\, a plantation with a newly constructed cotton gin and enslaved people. Martin and Marie would go on to have at least 8 children and would further accumulate sizable holdings including thousands of acres of land and at least two plantations dependent upon a workforce of about 100 enslaved individuals. \nThe history of formerly enslaved people becoming enslavers is complicated and paradoxical. Records do indicate that Martin was responsible for liberating at least 20 enslaved individuals. One of the earliest instances was in 1799 when Martin loaned money to an African-born enslaved man named Jacques in order for him to purchase his freedom. In Martin’s will dated September of 1847\, he acknowledged some of his previous manumissions in efforts to validate the individual’s freedom. He made special provisions for an enslaved woman named Julie who was living in his home\, and with whom he had several children. In total\, he manumitted 13 individuals upon his death. Two of these individuals were twin sisters Olympe and Meurice. It has subsequently been discovered via DNA testing that these women were his grandchildren through his son\, Auguste Donato. It should be noted that Martin left his heirs what would be today’s equivalent of about 4 million dollars. He also warned should any of his heirs contest his wishes\, including the liberation of enslaved people\, that they would be disinherited. \nThe legacy of Martin Donato did not end in 1848. His descendants would go on to become civic activist and leaders during Reconstruction-era Louisiana\, and would advocate for the voting rights of people of African descent. They were instrumental in creating infrastructure that allowed for the advancement of said people. Martin’s descendants are dispersed all over the United States as well as Europe and Mexico. This portrait painting was lost for many years until it was located in California and returned to Louisiana in 2020 for the first time in about a century. \n– Alex Lee\nHistorian\, Genealogist\, Archivist \nAbout Alex Lee \nAlex Lee has been an active researcher and genealogist for over fifteen years. His passion is connecting families to their Southwest Louisiana heritage. His extensive knowledge of early Louisiana families and history have allowed him to identify hundreds of the formerly enslaved on Louisiana’s plantations and to trace their lineage to modern-day descendants. He has amassed an unparalleled collection of photographs and personal histories dating back to the 1800’s. Alex’s research has been featured in publications such as “ESPN\,” “Sports Illustrated\,” “Kreole Magazine” and regional newspapers. His research has appeared in stories on NBC\, Sirius XM\, local TV stations and numerous social media platforms.
URL:https://ogdenmuseum.org/event/rediscovering-the-creoles-of-color-in-the-prairie-regions/
CATEGORIES:Education Events for Adults,Events for Adults,Special Event,Workshops + Talks
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DTSTART;TZID=America/Chicago:20231215T173000
DTEND;TZID=America/Chicago:20231215T180000
DTSTAMP:20260501T034810
CREATED:20231120T151129Z
LAST-MODIFIED:20231127T152628Z
UID:10005524-1702661400-1702663200@ogdenmuseum.org
SUMMARY:Gallery Talk
DESCRIPTION:Enjoy extended museum hours as Richard McCabe\, Curator of Photography\, leads a walkthrough of the Museum’s current exhibition\, Knowing Who We Are: Photography from 1940 to Present. This exhibition is part of the larger exhibition Knowing Who We Are: A 20th Anniversary Exhibition\, which celebrates Ogden Museum’s 20th anniversary. McCabe will discuss the South’s role in shaping national and international trends within the photographic arts over the last 80 years. \nPhotographers included in the exhibition include: Clarence John Laughlin\, Roland L. Freeman\, Kael Alford\, William Eggleston\, Sally Mann\, Keith Calhoun and Deborah Willis. \nThis Gallery Talk is free and open to the public. The talk will be followed by a reception and opening for CURRENTS and PhotoWALK\, taking place from 7  to 9 p.m.  \nlearn more about CURRENTS\n\nAbout Knowing Who We Are: Photography from 1940 to Present \nThe agrarian old South depicted in the depression-era photographs of photographers such as Walker Evans is all but gone. The modern “New South” is a region which is intrinsically tied to a global community. This exhibition follows the trajectory of documentary and fine art photographic traditions practiced in the American South from the 1940s to the present. These photographs represent diverse perspectives and experiments within the medium\, and reflect the depth and complexity of the region. \nAs the South has changed socially\, politically and economically\, Southern photography has evolved to reflect the values of the region. The ways in which photographs are made\, viewed and shared are in a constant state of reinvention. Throughout this technological evolution\, remaining steadfast at the core of Southern photography is a strong storytelling tradition. The use of the camera to tell stories is the dominant thread that unites the photographs in Knowing Who We Are: Photography from 1940 to Present. Within the storytelling tradition\, themes of identity\, place\, time\, memory\, family\, myth and reality resonate as much today as in the past. \nEvolving conceptual and aesthetic movements within Southern photography have both mirrored and influenced international trends. Beginning in the 1940s\, the straight or objective photograph – a product of Modernism – dominated the medium. French-born Henri Cartier-Bresson photographed the American scene in meticulously composed geometric studies. Elemore Morgan Sr. documented industry\, farming and the landscape of his rapidly changing Louisiana. In opposition to the straight photograph\, Southern Gothic literature and the European Surrealist movement of the 1920s and 30s influenced Surrealism practiced by Southern photographers Clarence John Laughlin and Ralph Eugene Meatyard in the 1940s through 60s. Straight photography in the 1950s and 60s was infused with an amplified social consciousness informing the documentary tradition that captured the burgeoning civil rights movement sweeping across the South in the work of Gordon Parks\, Ernest Withers and Roland L. Freeman. \nThe 1960s and 70s saw the rise of street photography to become the most popular form of fine art photography practiced worldwide. During this era\, William Claxton\, Michael P. Smith and Ralston Crawford photographed the lively street culture of New Orleans encapsulated within jazz funerals\, second line parades and Mardi Gras. Memphis based photographer William Eggleston merged a street aesthetic with vivid color for his landmark 1976 Museum of Modern Art exhibition that ushered in the eventual acceptance of color photography as an art form equal to traditional black and white. In the 1980s and 90s the black and white photographs of Sally Mann marked a return to Romanticism and a focus on the lush beauty of the Southern landscape and intimacy of family. \nThe 1990s was a time of innovation in digital and computer imaging that changed photography forever. Digital processes soon overtook traditional film and darkroom processes that had dominated the medium since 1839. Digital and computer technologies also created access to photography for a much broader segment of society. The 2000s saw new voices emerge who combined elements of photojournalism and fine art photography to investigate the diverse racial and cultural landscape of the region. L. Kasimu Harris uses his camera as a tool of preservation while capturing the gentrification of Black spaces in New Orleans. Along Louisiana’s Gulf Coast\, Kael Alford photographs the Native American communities on the front lines of climate change and rising sea levels. In rural Alabama\, Michael Meads used the camera to document his community and to explore masculinity and sexuality in his Eastaboga series. \nIn 1940 photography was considered a marginalized art form. Today\, photography rivals the popularity of painting and sculpture within the pantheon of fine art. Since Roger Ogden’s original donation of 600 works of art in 2003\, Ogden Museum of Southern Art’s permanent collection of paintings\, drawings\, prints\, sculpture and photographs has grown to more than 4\,000 works acquired through the generosity of artists\, patrons and collectors. Ogden Museum’s permanent collection of more than 1\,500 photographs represents one of the most important and comprehensive collections of American Southern photography in the world. \nRichard McCabe\nCurator of Photography\, Ogden Museum of Southern Art \n/// Feature photo: William Eggleston\, Blue Parking Lot\, ND\, Dye Transfer Print\, 15.75 x 20 inches\, On Loan from William Griener
URL:https://ogdenmuseum.org/event/gallery-talk-9/
CATEGORIES:Education Events for Adults,Events for Adults,Gallery Talks
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