Showing posts with label 1501 Canal Street. Show all posts
Showing posts with label 1501 Canal Street. Show all posts

Thursday, February 4, 2016

You are Welcome to Vieux...






If Jazz Was a Color, What Color Would it Be?
By Jacquelyn Hughes Mooney©97

 
 
Blue as in 'mo better?
Cobalt, azure teal,
Sapphired, indigoed midnight sky?

If jazz was a color..it'll fire up red hot!
Cinnamon salsa, mustard tinged lavender lace.
Improvising multiple patterned hues & blues..

RHYTHMS!!

Effortless blacks & whites!
Shading elegant brocades in smoky velvet
Coltraned…

Billie, Sarah, Duke.
Fly a way Bird!
Groove on Wash- ing- ton!
(No Kenny G here)!

Miles awake,
Miles high!
Miles wide

Colors erupting like a Cannonball!
If jazz was a color, the color would be what the eyes see...
Blue! As in mo betta…
Yeah
All rights reservedJHM ©97

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Friday, September 11, 2015

At Rhythm & Hues_ Changed Waters extended to Sept 26th.



We are happy to say that Changed Waters: Thrown Rocks, Building Castles exhibition has been extended to Sept 26th!





(l to r): Artists Madeline Corey Thomas, Claudia Washington & Isarealle Johnson



Ransom McCormick, artist

Wednesday, August 26, 2015

I just Stumbled on This from Ten Years Ago.

http://archive.wfmynews2.com/news/local/story.aspx?storyid=88700


Katrina Exhibit Opens At Moses Cone

9:56 AM, Aug 28, 2007   |   0  comments
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Greensboro -- "Recovering My Soul: Reinventing My Life past Katrina" will hang at The Moses H. Cone Memorial Hospital from Aug. 28- Sept. 30. "Recovering My Soul…" features the works of Bennett College Artist in Residence Jacquelyn Hughes Mooney as well as Vita Jones, Sterline Ritchie Lacey, Marcia Walls, Kichea Burt and Karen Bethea and featured pieces from a traveling exhibit on Katrina.

"One thing I have discovered as this story unfolds is the overwhelming number of people who have something to say," Mooney says. "Not only citizens of the Gulf Coast living elsewhere, but friends, family and others who stood by in horror and worry for their loved ones who where valiantly trying to survive those tragic days."

This exhibit features about a dozen pieces of art, including photography. It is the latest exhibit in the Community Art program, which displays the works of a different artist from the community each month. The works are displayed along the main hall off of patient admitting on the east side of the hospital.

"Art and healthcare are a natural marriage," Shawn Houck, Corporate Events Specialist says. "Healthcare can heal the body and art can heal the spirit."

There will be an observation at Bennett College Wednesday night, August 29 at 6:30. It's called "Katrina: A Time of Prayer, Hope & Victory."
WFMY News 2

Saturday, July 4, 2015

Up! Up and Away!~Lydia's 1st Purple Moon exhibition closes Monday July 6th...




I absolutely enjoyed working with the artists in both Phase One and Phase Two of Lydia's 1st Purple Moon.  It is always a challenge not unfamiliar to most artists to get their work out there to be viewed.  The purpose in Rhythm & Hues @ 1501 has been from a standpoint of caring. To give both new, emerging and yes even established, seasoned working artists an opportunity a window a moment to express themselves.

I was not expecting when I proposed to HRI Properties back in Nov 2014 to set up some art for a few weeks while waiting their new tenants Dunkin' Donuts to come in to open up that 8 months later we would still be here!  Many thanks you are issue routinely to both companies as we happily accomodate.  It has been a win-win for all parties.

We operate with zero operational money outside of my ability and skill to find a way out of no way!  No I do not get paid for this, I am purely volunteering.  There have been moments when I had planned to close down because as with anything there will always be detractors; ones who play armchair quarterbacks or resent the fact you put it all out there.

My intentions were for my fellow senior neighbors to have something lovely to look at as they came off the elevators and for the pedastrian traffic as well as the tourist riding our streetcars when they see this historic building and its seasoned tenants they have a sight to behold!

I plan to do as such with the upcoming "Changed Waters:Thrown Rocks, Building Castles" opening August 1-Sept 7th.














Add caption
Joseph Parker, artist










l to r: Joseph Parker (door) "Waters" Michele Lambert, "I'm Standing in the Shadows no More"~Laura Borders





(foreground) "The Nail Shop"~ Ransom McCormick, artist





Silk River Metals, artist










 
 


Tuesday, June 30, 2015

Changed Waters exhibition: Introducing artists Valentine Pierce







Ms Valentine Pierce, artist

Both works are mixed media about Katrina. The images came from photographs I took around the city when I came back in December of 2005. The poem/prose are from about a dozen notebooks I had written over the course of about two years from August 2005 to January 2007 that became a work called, "Hell and High Water: A Writer's Notebook on America's International Disgrace." My goal when I started the project was just to document but, as with all projects, it took on a life if it's own.

I used photography, paint, paper, cardboard and old frames. That is, I used what was left after Hurricane Katrina ravished the city.
"3 Dead" was written on a house in the Ninth Ward. I don't remember, beyond the broad event of the hurricane what generated the prose. It is 18"w x 15.5"h.
"Standing Still": The photo is from the Ninth Ward; the poem was born as a result of standing in the middle of Tulane and Broad photographing with absolutely no traffic. Anyone who knows this city knows you can't just pull over anywhere near Tulane and Broad and stand in the middle of the street with a camera. It is 19"w x 14.75"h.

Thursday, April 16, 2015

Lesson Learned...


NOTE:I stumbled upon this article I saved from eight years ago.  As I am working on the Changed Waters exhibition I thought this still has merit was worthy of repeating and applying as we approach the 10th anniversary of Hurricane Katrina and Rita...



KAT RPT: the ten most important lessons learned - two years of katrina
========================================================

The Ten Most Important Lessons Learned
- Two Years of Katrina
By Bill Quigley 

One.  Build and rebuild community.

When disaster hits and life is wrecked, you immediately seem to be on your
own.  Isolation after a disaster is a recipe for powerlessness and depression. 
Family, community, church, work associations are all important – get them up
and working as fast as possible.  People will stand up and fight, but we need
communities to do it.  Prize women – they are the first line of community
builders.  Guys will talk and fight and often grab the spotlight, but women will
help everyone and do whatever it takes to protect families and communities.

  Powerful forces mobilize immediately after a disaster.  People
and politicians and organizations have their own agendas and it helps them if
our communities are fragmented.  Setting one group against another, saying one
group is more important than another is not helpful.  Stress and distress is
high for everyone, but community support will multiply the resources of
individuals.  Build bridges.  People together are much stronger than people alone.


Two.  Self-reliance.

Your community must be ready to re-settle your property as soon as possible
and care for those most in need. Prioritize help for the elderly, the sick,
children and women, especially the poor. The prime cure for helplessness is
taking control over your own life and joining others to fight for justice.
            Groups and people will want to treat you like a victim – say you
are traumatized and incapable of making basic decisions about yourself.  They
will tell you they know best and act like they know best. Tell them to get
lost.


Three.  Tell your own story.

 Sharing our stories, successes and failures, is a way to connect
and educate ourselves.  Connecting with others nationally and internationally
who have been through disasters is the very best thing that you can do. 
Disasters and the corporations that cause them and profit from them do not respect
national boundaries.  Look for global justice connections.  Learn from those
who have been through this before.  They will tell you - do not let anyone say
who you are or what is best for your community – say it yourself.
Those in power will blame circumstances outside their control for what
happened and inevitably they will blame the victims of the disaster.  Those in
power will tell the people’s story in ways that makes the powerful look good.   If
others do not tell the truth – you do it and get your stories out.  Real
allies help lift up the voices of the people.


Four.  Value every single human life equally.

Every religion and human rights recognizes that every single person is
entitled to human dignity.  There are no forms to fill out, no criteria to meet. 
Every single person no matter their race or gender or economic situation has
equal value.  Every person has the right to participate in the response to the
disaster equally.  Every single person and family has the right to repair and
rebuild and participate in the decisions being made.

 The exact opposite occurs after a disaster.  The people with
economic and political power get together and decide what has to happen.  They
also decide which people are “worthy” of getting help first.   They consider
poor working people disposable and movable. Since this is an emergency, they say
there is not time to allow regular people to participate in the decisions. 
If every single person is not treated equally before the disaster hits, they
certainly should not expect to be treated fairly after.

Five.  Don’t wait for a leader – become one.

  Resist the tendency to think someone else is going to come save
you.  There is no leader out there.  We must each become leaders and followers
in order to bring about the change that is needed.  Each of us is challenged
to get beyond our pre-disaster comfort zone.  New leadership is essential to
avoid just repeating the mistakes that contributed to the disaster.

  Those who work for human development instead of real estate
development will be repeatedly criticized as “obstructionist” by those who do not
value every life equally.   Be prepared for these criticisms.  That is what
they said about Mandela, Gandhi, ML King.  Good company.


Six.  Prepare for a Love-Hate Relationship with the Government.

After disaster, only the government has the resources to help fix major
problems for the social good.  We must hold them accountable and demand that the
public sector mobilize and assist in an equitable way.

At the same time, we cannot wait for the government. Nor can we necessarily
listen to the government. After a disaster, the government will immediately be
manipulated by those in power.  We must both critique the government and
build our own alternative community supports.


Seven.  Government will help businesses first and second and third, and if
there is anything left, maybe fourth.


Who is in charge of government before the disaster?  Governments will look
to privatize the public sector – housing, health, education, transportation,
every system after a disaster.  That was what they wanted before the disaster,
so the disaster offers them an opportunity to move their plans into action.
Corporations see disasters as opportunities.  They look for valuable land
that poor people were living on before the disaster. They decide that there is a
better economic use for that land.  Then they will push the government to
come up with some excuse to take the land for other uses.

You will quickly see that those with power and money before the disaster end
up with more power and more money after the disaster.   You will see that 98%
of the money distributed in a disaster ends up enriching corporations.  Our
most colorful example is the blue tarps that the government put on the roofs of
houses after Katrina.  The main contractor, Shaw Group, got $175 a square to
put on the tarps.  They subcontracted the work out to another corporation for
$75 a square.  The second corporation subcontracted the work out to a third
corporation for $30 a square.  Who in turn subcontracted it out again to guys
who did the work for $2 a square.  Two dollars a square for the actual worker is
less than 2 percent of what the government paid out – guess who got the
money.

Wonder why the Gulf Coast is not fixed up yet? This is not an accident.  It
is not that the system isn’t working.  It is working for the benefit of those
who create and fund and manipulate it.  Read Naomi Klein’s THE SHOCK DOCTRINE:
The Rise of Disaster Capitalism.
  It spells it out in detail.
If government works primarily for corporations before the disaster, after
the disaster it will be a hyper corporate-friendly environment.     


Eight.  Disasters reveal the structural injustices in our communities in
race, gender and class and are thus learning and action opportunities.


 Wonder about the role of race, class and gender in society? 
Watch what happens when disaster strikes.  Who is left behind during the
disaster?  Who is left behind in the repair and rebuilding and planning and
decision-making?  Disasters illuminate injustices.

 There is tremendous educational opportunity to look at what
really matters in our society after a disaster.  The curtains are pulled back. 
The bandages are ripped off.  Our histories of injustice are laid bare for all to
see.  International human rights create great opportunities to reframe the
justice discussion.

  But just looking is insufficient.  Join in solidarity with the
same folks who are left out.  If a disaster can be an opportunity for those
interested in unjust economic advantage, why cannot we change the pattern and
make it an opportunity to redistribute justice in our communities and right the
wrongs that created what all can now see?

         
Nine.  A justice-based reconstruction will not be funded.

 Money will flow.  Charities, churches and governments will send
money for charitable help.  If your community is trying to create a more just
community than the one destroyed by the disaster, there will not be funding
for that.  If you are trying to make the community fairer for and with the poor,
the elderly, and those who lived in unjust circumstances before the disaster –
get ready to raise your own funds for your organization.  Funding for
charity will come, but funding for justice will not.

We must insist on some transparency and accountability from the
non-profits and foundations and others who have raised and spent billions in
the names of those in distress.  They cannot be allowed to operate like
multi-national corporations – they must open their books and involve people in their
decision-making.

Solidarity not charity is one of the great demands to come out of Katrina
from the Common Ground collective.  Another is “Nothing about us without us is
for us” from Peoples Hurricane Relief.

After Katrina, it again became clear that decades of oil
development has literally destroyed the natural protections around the gulf coast. 
Yet the disaster actually enriched the oil companies who helped cause it,
creating their biggest year of profit in some time.  Yet, do you hear the voices of
those calling out for the oil corporations to be held accountable for what
they have caused?  Those voices are small and unfunded.  But they, like so many
others calling for justice, are out there and will one day be heard.


Ten.  Love is the answer – justice work is a commitment for the long haul.

    
When disaster hits, there is a natural urge to work around the
clock to try to set things right.  After a few weeks or months, it will become
clear that is not sustainable.  Working 24 hours a day is going to make you as
crazy as the government.  No one likes a crank – even if they are working for
justice.

Building communities of resistance and working for human
development is long-term work.  Love is a tremendous source of energy.  But we have to
love ourselves as well so we can keep living this resistance with others.  We
have and will continue to make mistakes.  We have to get back up, dust
ourselves off, forgive ourselves and others, and get back to working in community to
create a more just world.

 It is important to laugh too.  Remember that last job held by
the guy in charge of disasters for the entire US government was as head of an
association of dancing horses!  We can’t make this stuff up.
We have to love and laugh along with our tears and rage and keep learning
new lessons.


Bill is a human rights lawyer and law professor at Loyola University New
Orleans.  He can be reached at Quigley@loyno.edu

Wednesday, February 18, 2015

Seasoned en Vieux exhibtione will close February 27th~There Still Time to See a Different View.


Featiring Michele Wallace on wall and Amina Dada on pillars.
 
 


A Different angle

Ransom McCormick's "Uncle Lionel"



 

Rearranged


Silk Rivers Metals

(Top) Karel Sloane Boekbinder (Bottom) Jeff Todd (right) Ha'Sohn Gorden's "Ms. Rosa"
Silk Rivers Metal











 
l to r: Sheila Pipps, Michele Lambert & Corrie Boudreaux (floor)









"Paris"~ Michele Lambert & "Spirited"~ Saundra Dymond




 

In Every Nook and Cranny: (Top) Sweet Olive Sunrise~ Karel Sloane Boekbinder.  Center: Vieux Carre~Jeff Todd. Bottom Mardi Gras Indian Drew. (R) Silk Metal Rivers & Han'Sohn Gorden























 

A Different View.




 
Jeff Todd, artist





 



Tuesday, February 10, 2015

And the Lioness Spoke...

Lydia's Purple Cloth Quilting Community: And The Lioness Spoke
Jacquelyn Hughes Mooney

(Each Tuesday) | 6:00-8:00 p.m.
NO CLASS February 17, 2015 - Mardi Gras
Ashé Cultural Arts Center | 1712 Oretha Castle Haley Blvd., NOLA
Free and open to the public

Quilting continues! We're excited to have more time to work on creations that will hang, not only at Ashé, but also at the Galerie 1501, a pop up gallery located at 1501 Canal Street . How's that for motivation?   The focus in the name change with the classes becoming part of the Ashe's regular lineup is on Lydia, Biblical figure, who was a seller of purple clothShe was very hospitable Christian woman, entrepernurial, creative, quite prosperous, and a visionary. She sold her wares  to the rulers of her time, the clergy and the wealthy.
 
 
The color purple, in ancient times, was and still is a difficult process to produce.  Having that skill allowed Lydia to provide not only for herself sn d her household, but the community around her.  That is why the renaming of the classes as such is appropiate.
 
 
The talented quilting class participants are still creating incredible pieces. Bring your imagination and join in the fun for a series of quilting workshops led by visual poet artist Jacquelyn Hughes Mooney. These workshops will provide participants with opportunities to incorporate their own compelling personal stories as they produce vibrant, jazzy, contemporary, quilted textile collages. Finished quilts will be formally exhibited at the Ashé Cultural Arts Center opening March 3-April April 24,2015 entitled "Standing in the Shadows (no more)". 
 
 
 It will also have a second component at the  Galerie  1501 on Canal Street located in the historic Texaco building.  That exhibition entitled "Lydia's 1st Purple Moon: A Seasoned HeART is located at 1501 Canal Street from March 10-May 10,2015. supported in goodwill by the franchise owners Dunkin Donuts & HRI Properties..
 
 
 Karel SLoane Boekbinder,artist
The Ashe Quilt
 
 
 

Saturday, December 27, 2014

Seasoned en Vieux: Like a Kid in a Candy Store

What I am always amazed about is being even more amazed at the talent of the numerous artists, especially those over 60 and the volume, light & display of their talents they dare show. 
 
I'm like a kid in a candy store!
 
 
 
 
 
(l to r) Terrence Osbourne's "Uptown House" Aminah Da Da's "Silhouette" (paper quilling) & Silk Rivers Metal's "Cocoon"
 

 
Closeup of "Uptown House" Terrence Osbourne
 
 
"Silhouette" ~ Aminah Da Da (paper quilling)
 
 

 
Aminah Da Da (Top-Bottom) holding some of her Paper Quilling Ornaments
 

Assistant, Slyvia Robinson holding Aminah Da Da's "Silhouette"

 
Paper Quilling Ornaments~ Aminah Da Da




"Friendship Dance" ~ Marietta Johnson closeup
 
 
 


"Friendship Dance"~Marietta Johnson 42x52 Machine quilted
 
 

"Love en Deux"(r) "Friendship Dance"(l) "~Marietta Johnson 42x52 Machine quilted
 

 
 "Diaspora"~Marietta Johnson 42x66 Machine quilted
 

 
"Love en Deux" ~Marietta Johnson 45x52 Machine quilted
 
 
 
 
 
"Treble Clef" ~Marietta Johnson 43x50 (closeup) Machine quilted
 
 
"Treble Clef" ~Marietta Johnson 43x50 Machine quilted