Ogden Museum of Southern Art

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Southland

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  • ← Artists and Sense of Place Residency Stories from New Orleans East: The Shape of a New Day
  • CURRENTS 2023: A New Orleans Photo Alliance Member Showcase →

Southland


Elemore Morgan, Sr., Mississippi River from the Bluffs (Near Port Hudson, LA.), 1962, Gelatin silver print, 16 x 20 inches, Gift of the Roger Houston Ogden Collection, 2003.1.385


April 20 – September 22, 2024

When one thinks of American landscape photography, the first region of the country that comes to mind is usually the West. The iconic photographs made in the late 19th century by Timothy O’Sullivan and Carleton Watkins, captured the majestic views of the West’s endless wide-open expanses and formed the visualization of manifest destiny. In the 20th century, America’s most important and famous landscape photographer, Ansel Adams, visually defined the dramatic scenery of Western landscape in art and popular culture through the Half Dome in California’s Yosemite National Park and the moon rise over Hernandez, New Mexico.

Unlike the West, the American South is not well known as a subject of landscape photography. Perhaps, this is due to the Southern landscape not being as visually dramatic or as photogenic as the West.  The Appalachian and Ozark mountains of the South are beautiful, but cannot compete visually with the much more rugged and higher peaks of the West’s Rockies, Tetons and Sierra-Nevada mountains. The sandy dunes of the Atlantic Ocean and Gulf of Mexico beaches that ring the South are much more sublime when compared to the roaring waves, rocky beaches and jagged cliffs of the Pacific Ocean.

The landscape in Southern art is much more about the romantic idealization of a place. Place along with time, are the central components of Southern art, music and literature. Within Southern art, place can be actual, imaged or metaphysical. When O’Sullivan and Watkins were documenting the virgin Western landscape, the lands of the American South (east of the Mississippi River) had been almost entirely tamed for hundreds of years through European settlement. The settlement came with European romantic ideas of art and literature. The 18th century European concept of Romanticism in art and literature (which had an emphasis on imagination, idealization and emotion) were first infused into Southern landscape painting and later into photography.

Southland examines the role photographs have played in the visualization of the natural landscape of the American South. The exhibition explores the many technical and aesthetic methods photographers have employed in approaching the subject of the Southern Landscape. Highlighting the marshlands in Louisiana, the beaches of Florida, the flatlands of the Mississippi Delta and the mountains of North Carolina and Virginia, the exhibition shows the landscape of the American South is as diverse as the people and culture of the region. Southland not only investigates the topographical physical characteristics of the land of the American South, but the metaphysical and emotional role romanticism plays in the understanding of landscape photographs made of and about the American South.

Haga clic aquí PARA TRADUCIR AL ESPAÑOL Support Southland

Contributing Sponsor

Ella West Freeman Foundation

Supporting Sponsor

Eugenie & Joseph Jones Family Foundation

Host Committee

Sesthasak Boonchai
Claire Elizabeth Gallery
William Dunlap & Linda Burgess
Steven Montgomery & Brian Weatherford
Betsy Nalty & Dick Simmons
Don and Lola Norris
Roger H. Ogden & Ken Barnes
Alan Rothschild
Warwick and Jessica Sabin
Troy Scroggins
Micki Beth Stiller
Donna Vitter
Erica Washington
Penny Weaver in honor of Euphus Ruth

CONTRIBUTOR

Debra J. Fischman


GALLERY

John Folsom, Maurepas Swamp VI, 2022, Pigment print, 48 x 40 inches, Gift of Courtney Bombeck, 2022.5.1
Lisa Elmaleh, Paurotis Palms, 2010, Gelatin silver print from Collodion negative, 20 x 24 inches, Gift of the artist, 2014.11.1
Frank Relle, Soileau, 2014, Pigment print, 40 x 60 inches, Promised gift of Roger Houston Ogden and Ken Barnes
Sonja Rieger, Stormy View Over Birmingham, 1992, Iris print, singer editions print, Somerset velvet paper, 30 x 37.5 inches, Gift of the artist, 2022.23.6
Sandra Russell Clark, Untitled from Louisiana Dreamscape, 1985, Hand colored infrared photograph, 16 x 16 inches, Gift of the Roger Houston Ogden Collection, 2003.1.94
C.C. Lockwood, Oaks and Hyacinths, 1989, Cibachrome photographic print, 20 x 24 inches, Gift of the Roger Houston Ogden Collection, 2003.1.330
George Yerger, Lone Tree, Mississippi Delta, 2002, Digital print of a toy camera negative, 20 x 20 inches, Gift of George Yerger and Leslie Addison, 2006.10.1
Charles Muir Lovell, Trees in Swamp, Greenville, North Carolina, 1993, Gelatin silver print, 11 x 14 inches, Gift of Charles Lovell, 2021.5.20
Kael Alford, Indian Land with Oil Boom After BP Oil Spill, South of Pointe-aux-Chene, Louisiana, 2010, Archival pigment print, 20 x 20 Inches, Gift of Edwin Robinson, 2018.11.5
Chuck Hemard, The Beginning, 2009, Chromogenic prints, 40 x 96 inches, Gift of the artist
Debbie Fleming Caffery, Burning Cane, 1999, Silver gelatin print, 21 x 21 inches, Gift of Arthur Roger Gallery, 2015.28.1
Lynne Buchanan, The Only Choice is to Follow the Light, 2020, Palladium print, 10 x 15 inches, Gift of Peter David Halstead
Doug Eng, Leaning Forest, Hywy 71 Kinard, Florida, 2019, Pigment print, 20 x 30 inches, Museum purchase with funds provided by Melanie Johanson and Greer Prather
Doug Eng, Altar of Light, 2014, Pigment print, 16 x 24 inches, Museum purchase with funds provided by Eve Masinter and Monica Frois in memory of Shirley Rabe Masinter
Raymond Thompson, Portal #78.412 Blue Cotton, Snow Hill, NC, 2022, Pigment print, 30 x 40 inches, Museum purchase with funds provided by Monique and Warren Gardner
David Freese, Towhead of Island 34, South of Osceola, AR, 2018, Pigment print, 18.75 x 12.5 inches, Promised gift of Bill Press and Elana Auerbach, 2023.35.1
William Christenberry, Kudzu with Red Soil Bank, Near Akron, Alabama, 1978, 1978, Dye-Transfer Print, 20 x 24 inches , Gift of Dr. Richard Flax and Dr. Katherine Alley, 2019.12.3
William Christenberry, Winter View of Kudzu, Near Akron, Alabama, 1981, 1981, Dye-Transfer Print, 20 x 24 inches , Gift of Dr. Richard Flax and Dr. Katherine Alley, 2019.12.10
Richard Sexton, Prevalent, Landscape, 2001, Pigment print, 25 x 72 inches, Promised gift of the artist
Jim Zietz, Gulf Storm II Pensacola Beach, FL, June 1989, 1989, Pigment print, 16 x 16 inches, Gift of the artist 2024.2.3
Jim Zietz, Gulf Storm IV Pensacola Beach, FL, June 1989, 1989, Pigment print, 16 x 16 inches, Gift of the artist, 2023.7.3
Jim Zietz, Panama City Beach #1, FL, November 2002, 2002, Pigment print, 16 x 16 inches, Gift of the artist, 2024.2.4
Jim Zietz, Panama City Beach #4, FL, November 2003, 2003, Pigment print, 16 x 16 inches, Gift of the artist, 2024.2.6
Louviere + Vanessa, The Forest and the Tree from the series“Folie á Deux”, 2009, Cinegraph 3,550 super 8 film stills, with handmade light box and a brass key light switch, 18 x 22 inches, Gift of Jeff Louviere and Vanessa Brown, 2021.3.1
Trenity Thomas, Sevierville Dirt, 2021, Archival pigment print, 11 x 14 inches, Museum purchase with funds provided by Jessie and Beau Haynes and Family
Doug Eng, Cypress on Suwannee Sill, 2014, Archival pigment print, 51 x 16 inches, Museum purchase with funds provided by Carlos Carmona and David Pine
Christa Blackwood, Saucido, 2013, Tri-mono print photogravure, 18 x 24 inches, On loan from the artist
David Freese, Moonlight over the ExxonMobile Refinery Along I-110, Baton Rouge, LA, 2018, Pigment print, 18.75 x 12.5 inches, Gift of Bill Press and Elana Auerbach, 2023.35.7
Ben Depp, Pelicans in Scofield Bay, 2018, Pigment print, 22.5 x 30 inches, Gift of Zeph, Cayla and Harry Hardy in memory of Jeannette Gottlieb Hardy
Richard Sexton, Phoenix Ferns, Quadtone pigment print, 15 x 15 inches
Richard Sexton, Capitulation, 2006, Pigment print, Promised gift of the artist
Eugene A. Delcroix, Spring in Swamp, 1925, Gelatin Silver Print, 11 x 14 inches, Gift of the Roger Houston Ogden Collection, 2003.1.1078
Franz Jantzen, Panoramic View of the Paw Paw Bends I, II, and III, 1996, Gelatin silver print, 16 x 20 inches, Gift of Hemphill Fine Arts, Washington, DC, 2005.22.2a-c

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Museum Hours

Come See the South 7 Days a Week!

Monday: 10:00 a.m. - 5:00 p.m.
Tuesday: 10:00 a.m. - 5:00 p.m.
Wednesday: 10:00 a.m. - 5:00 p.m.
Thursday: 10:00 a.m. - 5:00 p.m.*
Friday: 10:00 a.m. - 5:00 p.m.
Saturday: 10:00 a.m. - 5:00 p.m.
Sunday: 10:00 a.m. - 5:00 p.m.

The last admission to the Museum is 4:45 p.m.

*Thursday admission from 10 a.m. - 5 p.m. is free to Louisiana residents, courtesy of The Helis Foundation

Current Exhibitions

  • Artists & Sense of Place Residency Contemporary Congo: African Rhythms in Jazz
  • Matt Scobey: Case Study Selected Works 2018-2025
  • The Unending Stream: Chapter I

See The Collection

Yellow FogWilbert Tillman, Preservation HalluntitledUntitledLive Oak on the Amite River (Near Clio, La)Lana Turner

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