Ten Years Gone Exhibition at NOMA Booklet

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GONE MAY 29 – SEPTEMBER 7, 2015 Ten Years Gone is organized by the New Orleans Museum of Art and is sponsored by an anonymous donor. Additional support is provided by Mr. and Mrs. John Bertuzzi, Tim L. Fields, Esq. and an anonymous donor.

The accompanying publication is made possible

by American Can Company Apartments.

This exhibition brings together six contemporary artists whose work engages with the broad themes of time, memory, loss and transformation. Timed to coincide with the tenth anniversary of Hurricane Katrina, the exhibition seeks to situate the significance of the past decade within a larger context of human endeavor and life experience through the work of Willie Birch, Dawn DeDeaux, Isabelle Hayeur, Spring Hurlbut, Nicholas Nixon, and Christopher Saucedo. Eschewing images of destruction or ruin that often follow in the wake of tragedy, the exhibition focuses instead on more profound and metaphoric ways of memorializing tragedy and thinking about community recoveries. While some of the works were created in response to Hurricane Katrina, others were a response to different specific events or to more persistent issues such as ecological concerns or personal family life and loss. On display in these galleries, elsewhere on the second floor, and in the Great Hall, Ten Years Gone creates a series of spaces and juxtapositions that offer a chance to reflect upon the larger issues that an anniversary of a catastrophic event engenders.

Some events will never fade from the collective map of human memory. We ensure their eternal presence by returning to them again and again, publicly in exhibitions and memorials and privately in the solemn silence of our own thoughts. Whether man-made or natural, these events consume our consciousness, often defining a community or culture and sometimes profoundly altering humanity’s course. Under the best circumstances, we learn from these moments and wisdom replaces folly or compassion takes the place of misunderstanding. But whatever the case, the future is never immediately certain: it is only with the passage of time that the way these events define us becomes clear. As the tenth anniversary of Hurricane Katrina approaches, the question of how that event defined New Orleans looms large. In the scope of this city’s existence, however, ten years is only a small crucible by which to measure the successes or failures of its recovery. Accordingly, Ten Years Gone invites you to consider the present moment as both an ending and a beginning, a chance to reflect on the past but also engage with the future.

ON THE COVER Isabelle Hayeur | Manatee Drive 05, 2013 Inkjet on polyester, 59 x 40 in. | Image courtesy of the artist

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GONE MAY 29 – SEPTEMBER 7, 2015 Ten Years Gone is organized by the New Orleans Museum of Art and is sponsored by an anonymous donor. Additional support is provided by Mr. and Mrs. John Bertuzzi, Tim L. Fields, Esq. and an anonymous donor.

The accompanying publication is made possible

by American Can Company Apartments.

This exhibition brings together six contemporary artists whose work engages with the broad themes of time, memory, loss and transformation. Timed to coincide with the tenth anniversary of Hurricane Katrina, the exhibition seeks to situate the significance of the past decade within a larger context of human endeavor and life experience through the work of Willie Birch, Dawn DeDeaux, Isabelle Hayeur, Spring Hurlbut, Nicholas Nixon, and Christopher Saucedo. Eschewing images of destruction or ruin that often follow in the wake of tragedy, the exhibition focuses instead on more profound and metaphoric ways of memorializing tragedy and thinking about community recoveries. While some of the works were created in response to Hurricane Katrina, others were a response to different specific events or to more persistent issues such as ecological concerns or personal family life and loss. On display in these galleries, elsewhere on the second floor, and in the Great Hall, Ten Years Gone creates a series of spaces and juxtapositions that offer a chance to reflect upon the larger issues that an anniversary of a catastrophic event engenders.

Some events will never fade from the collective map of human memory. We ensure their eternal presence by returning to them again and again, publicly in exhibitions and memorials and privately in the solemn silence of our own thoughts. Whether man-made or natural, these events consume our consciousness, often defining a community or culture and sometimes profoundly altering humanity’s course. Under the best circumstances, we learn from these moments and wisdom replaces folly or compassion takes the place of misunderstanding. But whatever the case, the future is never immediately certain: it is only with the passage of time that the way these events define us becomes clear. As the tenth anniversary of Hurricane Katrina approaches, the question of how that event defined New Orleans looms large. In the scope of this city’s existence, however, ten years is only a small crucible by which to measure the successes or failures of its recovery. Accordingly, Ten Years Gone invites you to consider the present moment as both an ending and a beginning, a chance to reflect on the past but also engage with the future.

ON THE COVER Isabelle Hayeur | Manatee Drive 05, 2013 Inkjet on polyester, 59 x 40 in. | Image courtesy of the artist

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WILLIE BIRCH (American, b. 1942)

In the wake of Hurricane Katrina, both the man-made and natural worlds were profoundly transformed. Many of these changes were large-scale and easily noticeable, but in terms of the natural world, even changes on the micro level had an impact at a macro scale. Willie Birch noticed that, in his own backyard, hundreds of small mounds of packed mud began to appear, along with kinds of vegetation that had never existed on that plot of land. The mounds, small temporary dwellings produced by crawfish dislodged by the changing ecosystem, became for Birch symbols of displacement in general, while the wildflowers seemed to represent resilience.

Memorializing these temporary natural subjects, Birch cast the mounds as bronze sculptures, and created intricate drawings of the vegetation that take on a slightly menacing air, emphasizing encroachment or colonization. Displayed together in this exhibition, the crawfish dwelling sculptures and drawings of plant-life pose more general questions about the social components of community recoveries.

TOP IMAGE: Willie Birch | Crawfish Dwelling, 2009 | Bronze Image courtesy of Willie Birch and Arthur Roger Gallery BOTTOM IMAGE: Willie Birch | Wildflower, 2009 | Acrylic and charcoal on paper | 8 x 12 in. | Image courtesy of Willie Birch and Arthur Roger Gallery

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WILLIE BIRCH (American, b. 1942)

In the wake of Hurricane Katrina, both the man-made and natural worlds were profoundly transformed. Many of these changes were large-scale and easily noticeable, but in terms of the natural world, even changes on the micro level had an impact at a macro scale. Willie Birch noticed that, in his own backyard, hundreds of small mounds of packed mud began to appear, along with kinds of vegetation that had never existed on that plot of land. The mounds, small temporary dwellings produced by crawfish dislodged by the changing ecosystem, became for Birch symbols of displacement in general, while the wildflowers seemed to represent resilience.

Memorializing these temporary natural subjects, Birch cast the mounds as bronze sculptures, and created intricate drawings of the vegetation that take on a slightly menacing air, emphasizing encroachment or colonization. Displayed together in this exhibition, the crawfish dwelling sculptures and drawings of plant-life pose more general questions about the social components of community recoveries.

TOP IMAGE: Willie Birch | Crawfish Dwelling, 2009 | Bronze Image courtesy of Willie Birch and Arthur Roger Gallery BOTTOM IMAGE: Willie Birch | Wildflower, 2009 | Acrylic and charcoal on paper | 8 x 12 in. | Image courtesy of Willie Birch and Arthur Roger Gallery

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DAWN DEDEAUX (American, b. 1952)

In DeDeaux’s Water Markers works, photographic images of water seem to hover, as if frozen in time, within tall polished acrylic slabs.

Leaning against the gallery walls, the shadows of the translucent water images in the pieces are cast on the surfaces behind and around the solid monoliths, creating a play between the permanent and the momentary, between the palpable and the intangible.

Although these pieces were created in response to Hurricane Katrina (the water line in each piece corresponds to an actual water level in New Orleans after the levee breaches) they exist today as both memorials to that past moment and as cautionary sentinels for the future, recasting the rising waters of Katrina as a permanent ecological challenge.

In this exhibition, the Water Markers will be interspersed throughout the galleries, often juxtaposed with artworks from different centuries and of different media in order to create a set of conversations that shift back and forth across time, embedding this contemporary artist’s reference to the recent past within a broader framework of human representation of landscape and life.

This installation also attains a performative aspect: the viewer’s relationship to the water line shifts as each piece is encountered, from a position of dominance to one of great vulnerability. At the same time, this widespread installation mirrors the pervasive effect of any natural disaster, echoing the site-less (or at least multi-site) nature of any large scale event.

Dawn DeDeaux | Water Markers, 2006 – 2010 Polished Acrylic Slabs with Embedded Digital Images Courtesy of the artist and Arthur Roger Gallery

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DAWN DEDEAUX (American, b. 1952)

In DeDeaux’s Water Markers works, photographic images of water seem to hover, as if frozen in time, within tall polished acrylic slabs.

Leaning against the gallery walls, the shadows of the translucent water images in the pieces are cast on the surfaces behind and around the solid monoliths, creating a play between the permanent and the momentary, between the palpable and the intangible.

Although these pieces were created in response to Hurricane Katrina (the water line in each piece corresponds to an actual water level in New Orleans after the levee breaches) they exist today as both memorials to that past moment and as cautionary sentinels for the future, recasting the rising waters of Katrina as a permanent ecological challenge.

In this exhibition, the Water Markers will be interspersed throughout the galleries, often juxtaposed with artworks from different centuries and of different media in order to create a set of conversations that shift back and forth across time, embedding this contemporary artist’s reference to the recent past within a broader framework of human representation of landscape and life.

This installation also attains a performative aspect: the viewer’s relationship to the water line shifts as each piece is encountered, from a position of dominance to one of great vulnerability. At the same time, this widespread installation mirrors the pervasive effect of any natural disaster, echoing the site-less (or at least multi-site) nature of any large scale event.

Dawn DeDeaux | Water Markers, 2006 – 2010 Polished Acrylic Slabs with Embedded Digital Images Courtesy of the artist and Arthur Roger Gallery

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ISABELLE HAYEUR (Canadian, b. 1969)

In her Underworlds series, Hayeur uses a watertight encasement for her camera to visually explore the placid, fecund waters in bayous and swamps and the turbid waters of industrial canals and high traffic waterways. In her images, the line of the water’s surface becomes a place of tension, at once a threat and a lure, and reminds us of the fragility of ecological balance. The natural distortion that occurs when photographing through water produces a strange sense of scale, with small rocks, shells, or underwater plant life often dwarfing the larger man-made structures above. The end result is an unsettling relationship between above and below, between nature and culture that challenges any assumption about humanity’s dominance over its environment. The pictures on display here were made in Florida, New Jersey, New York, and Louisiana (some made while a resident at the nearby Studio in the Woods), linking together a variety of threatened ecosystems that range in appearance from tranquil and primordial to toxic and turbulent.

Isabelle Hayeur | Mississippi 02, 2013 | Inkjet on polyester, 63 x 48 in.

Courtesy of the artist

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ISABELLE HAYEUR (Canadian, b. 1969)

In her Underworlds series, Hayeur uses a watertight encasement for her camera to visually explore the placid, fecund waters in bayous and swamps and the turbid waters of industrial canals and high traffic waterways. In her images, the line of the water’s surface becomes a place of tension, at once a threat and a lure, and reminds us of the fragility of ecological balance. The natural distortion that occurs when photographing through water produces a strange sense of scale, with small rocks, shells, or underwater plant life often dwarfing the larger man-made structures above. The end result is an unsettling relationship between above and below, between nature and culture that challenges any assumption about humanity’s dominance over its environment. The pictures on display here were made in Florida, New Jersey, New York, and Louisiana (some made while a resident at the nearby Studio in the Woods), linking together a variety of threatened ecosystems that range in appearance from tranquil and primordial to toxic and turbulent.

Isabelle Hayeur | Mississippi 02, 2013 | Inkjet on polyester, 63 x 48 in.

Courtesy of the artist

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SPRING HURLBUT (Canadian, b. 1952) In Hurlbut’s video piece, Airborne, the artist, wearing a respirator mask and opens a container whose contents emerge like smoke and continue to drift and dissipate for several minutes. This process is repeated five times, prefaced each time by a person’s name or names, and presented slightly slower than actual time. The presence of personal identity at the beginning of each segment provides the first key to unlocking what each segment represents: the smoke-like substances visible in the video are the cremated remains of deceased acquaintances, including the artist’s father. In combining the personal with the profound, the artist has created a piece in which endings are re-staged as beginnings and the reductive finality of death is animated into a vibrant, and often very elegant, afterlife.

Spring Hurlbut | Airborne, 2008 | Color video, 19 minutes 40 seconds Courtesy of Georgia Scherman Projects, Toronto, Canada

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SPRING HURLBUT (Canadian, b. 1952) In Hurlbut’s video piece, Airborne, the artist, wearing a respirator mask and opens a container whose contents emerge like smoke and continue to drift and dissipate for several minutes. This process is repeated five times, prefaced each time by a person’s name or names, and presented slightly slower than actual time. The presence of personal identity at the beginning of each segment provides the first key to unlocking what each segment represents: the smoke-like substances visible in the video are the cremated remains of deceased acquaintances, including the artist’s father. In combining the personal with the profound, the artist has created a piece in which endings are re-staged as beginnings and the reductive finality of death is animated into a vibrant, and often very elegant, afterlife.

Spring Hurlbut | Airborne, 2008 | Color video, 19 minutes 40 seconds Courtesy of Georgia Scherman Projects, Toronto, Canada

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CHRISTOPHER SAUCEDO (American, b. 1964)

In Saucedo’s group of Floating World Trade Center images, the site of an international tragedy is represented as an almost ineffable presence, in tufts of white linen pulp pressed into the deep blue of a cotton paper. For Saucedo, the site is also extremely personal.

His brother, a New York City Fireman, perished in the collapse of the towers. In each of these works, the iconic structures float with a weightlessness that eschews the ponderous physicality of the actual buildings. Instead they function as a visual form of memory, recognizable but intangible, bringing an all too real past into an eternal and surreal present. As Christopher Saucedo has said about these works: “I wanted the work to exist outside of time; it had to be both before and after September 11th.”

Christopher Saucedo | Floating World Trade Center, 2011 Linen pulp on cotton paper | Courtesy of the Artist and LeMieux Galleries

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CHRISTOPHER SAUCEDO (American, b. 1964)

In Saucedo’s group of Floating World Trade Center images, the site of an international tragedy is represented as an almost ineffable presence, in tufts of white linen pulp pressed into the deep blue of a cotton paper. For Saucedo, the site is also extremely personal.

His brother, a New York City Fireman, perished in the collapse of the towers. In each of these works, the iconic structures float with a weightlessness that eschews the ponderous physicality of the actual buildings. Instead they function as a visual form of memory, recognizable but intangible, bringing an all too real past into an eternal and surreal present. As Christopher Saucedo has said about these works: “I wanted the work to exist outside of time; it had to be both before and after September 11th.”

Christopher Saucedo | Floating World Trade Center, 2011 Linen pulp on cotton paper | Courtesy of the Artist and LeMieux Galleries

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NICHOLAS NIXON (American, b. 1947)

In 1975, Nixon produced a single photograph of his wife, Bebe, and her three sisters. Unexpectedly, this event marked the beginning of a forty year project that, as of last year, now consists of forty individual photographs—one made each year—of the Brown sisters.

Through these photographs, we are introduced to the aging process, a process unkind in its inevitability. But as unavoidable as the conclusion of this project might seem to be, these pictures also trace a story about the persistence of life and family. A quiet fortitude emerges in this expression of sisterhood: even as they increasingly give in to the weight of time—crossed arms and independent stances in the earlier images give way to their reliance on each other for physical and emotional support—they seem to become more resolved and unified, confronting the camera with more confidence, even defiance. And although the pictures collectively seem to reveal a great deal about their lives, they withhold more than they expose.

Each picture represents a reliable marker of a passing year, but it is the space between the pictures in which the lives are truly lived. It is this push and pull, between absence and presence, between the visible and the imagined, that gives this project its immense weight.

Nicholas Nixon | The Brown Sisters, New Canaan, Connecticut, 1975 © Nicholas Nixon, courtesy Fraenkel Gallery, San Francisco

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NICHOLAS NIXON (American, b. 1947)

In 1975, Nixon produced a single photograph of his wife, Bebe, and her three sisters. Unexpectedly, this event marked the beginning of a forty year project that, as of last year, now consists of forty individual photographs—one made each year—of the Brown sisters.

Through these photographs, we are introduced to the aging process, a process unkind in its inevitability. But as unavoidable as the conclusion of this project might seem to be, these pictures also trace a story about the persistence of life and family. A quiet fortitude emerges in this expression of sisterhood: even as they increasingly give in to the weight of time—crossed arms and independent stances in the earlier images give way to their reliance on each other for physical and emotional support—they seem to become more resolved and unified, confronting the camera with more confidence, even defiance. And although the pictures collectively seem to reveal a great deal about their lives, they withhold more than they expose.

Each picture represents a reliable marker of a passing year, but it is the space between the pictures in which the lives are truly lived. It is this push and pull, between absence and presence, between the visible and the imagined, that gives this project its immense weight.

Nicholas Nixon | The Brown Sisters, New Canaan, Connecticut, 1975 © Nicholas Nixon, courtesy Fraenkel Gallery, San Francisco

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EXHIBITION CHECKLIST SPRING HURLBUT Canadian, b. 1952 Airborne, 2008 Color video, 19 minutes 40 seconds Courtesy of Georgia Scherman Projects, Toronto, Canada

CHRISTOPHER SAUCEDO American, b. 1964 Floating World Trade Center [1], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [2], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [3], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [4], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries, Floating World Trade Center [5], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [6], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [7], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [8], 2011 Linen pulp on cotton paper (eight pieces) 60 x 40 in. (each) | Courtesy of the Artist and LeMieux Galleries, Floating World Trade Center [9], 2011 Linen pulp on cotton paper | 60 x 40 in.

Museum purchase, 2014.40 Floating World Trade Center [10], 2011 | Linen pulp on cotton paper | 60 x 40 in.

Museum purchase, 2014.41

WILLIE BIRCH American, b. 1942 Wild Flowers in Backyard, 2009 Acrylic and charcoal on paper 63 x 94 in. (diptych) Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #3, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #4, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #5, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #8, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #1, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #2, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #3, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #4, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #1, 2013 Bronze, 6-1/2 x 7 x 5 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #2, 2013 Bronze, 7-1/2 x 5-1/2 x 4-3/4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #3, 2013 Bronze, 9-1/2 x 7-1/2 x 5 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery

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Crawfish Dwelling #6, 2013 Bronze, 7-1/4 x 4 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #7, 2013 Bronze, 7-1/2 x 4 x 3-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #8, 2013 Bronze, 7-1/4 x 4 x 4-1/4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #9, 2013 Bronze, 5 x 6-1/4 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #11, 2013 Bronze, 4-3/4 x 7 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #12, 2013 Bronze, 3-3/4 x 6-1/4 x 5 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #13, 2013 Bronze, 6-3/4 x 5 x 4-3/4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #14, 2013 Bronze, 2-1/2 x 9 x 6-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #15, 2013 Bronze, 5 x 5 x 4-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #16, 2013 Bronze, 6 x 5-1/2 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #17, 2013 Bronze, 4-1/4 x 9-1/2 x 7 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery

Crawfish Dwelling #18, 2013 Bronze, 4 x 5 x 6-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery

NICHOLAS NIXON American, b. 1947

ISABELLE HAYEUR Canadian, b. 1969

The Brown Sisters, 1975-2014 Forty gelatin silver contact prints Each: 7-3/4 x 9-5/8 inches (image), 8 x 10 in. (sheet) | Courtesy of the Fraenkel Gallery

Manatee Drive 05, 2013 Inkjet on polyester 59 x 40 in. | Courtesy of Ms. Isabelle Hayeur

Port Richmond 01, 2011 Inkjet on polyester 40 x 36 in. | Courtesy of Ms. Isabelle Hayeur

DAWN DEDEAUX American, b. 1952 Rushed in Near Ten..., 2015 (Commission commemorating the 10th anniversary of Hurricane Katrina for the New Orleans Museum of Art) Polished Acrylic Slab with Embedded Digital Images, 118 x 29 x 2 in.

Courtesy of the Artist and Arthur Roger Gallery Over Six Feet of Water..., 2007 | Polished Acrylic Slab with Embedded Digital Images 84x24x2 in.

Collection of Tim Fields Topped Out at Eight..., 2007 Polished Acrylic Slab with Embedded Digital Images 96 x 10 x 2 in. | Courtesy of the Artist and Arthur Roger Gallery Not Too Bad… Almost Four…, 2006 Polished Acrylic Slab with Embedded Digital Images 48 x 12 x 2 in. | Courtesy of the Artist and Arthur Roger Gallery

Etang 04, 2013 Inkjet on polyester 36 x 36 in. | Courtesy of Ms. Isabelle Hayeur

Substances, 2012 Inkjet on polyester 46 x 42 in. | Courtesy of Ms. Isabelle Hayeur Manatee Drive 04, 2013 Inkjet on polyester 54 x 48 in. | Courtesy of Ms. Isabelle Hayeur Death in absentia 6, 2011 Inkjet on polyester 40 x 72 in. | Courtesy of Ms. Isabelle Hayeur Mississippi 03, 2013 Inkjet on polyester 29 x 84 in. | Courtesy of Ms. Isabelle Hayeur Jean Lafitte 02, 2013 Inkjet on polyester 52 x 40 in. | Courtesy of Ms. Isabelle Hayeur Mississippi 02, 2013 Inkjet on polyester 63 x 48 in. | Courtesy of Ms. Isabelle Hayeur Turbulences 01, 2011 Inkjet on polyester 42 x 41 in. | Courtesy of Ms. Isabelle Hayeur

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EXHIBITION CHECKLIST SPRING HURLBUT Canadian, b. 1952 Airborne, 2008 Color video, 19 minutes 40 seconds Courtesy of Georgia Scherman Projects, Toronto, Canada

CHRISTOPHER SAUCEDO American, b. 1964 Floating World Trade Center [1], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [2], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [3], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [4], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries, Floating World Trade Center [5], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [6], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [7], 2011 Linen pulp on cotton paper | 60 x 40 in.

Courtesy of the Artist and LeMieux Galleries Floating World Trade Center [8], 2011 Linen pulp on cotton paper (eight pieces) 60 x 40 in. (each) | Courtesy of the Artist and LeMieux Galleries, Floating World Trade Center [9], 2011 Linen pulp on cotton paper | 60 x 40 in.

Museum purchase, 2014.40 Floating World Trade Center [10], 2011 | Linen pulp on cotton paper | 60 x 40 in.

Museum purchase, 2014.41

WILLIE BIRCH American, b. 1942 Wild Flowers in Backyard, 2009 Acrylic and charcoal on paper 63 x 94 in. (diptych) Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #3, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #4, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #5, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Dwelling #8, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #1, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #2, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #3, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Wild Flower #4, 2009 Acrylic and charcoal on paper, 8 x 12 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #1, 2013 Bronze, 6-1/2 x 7 x 5 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #2, 2013 Bronze, 7-1/2 x 5-1/2 x 4-3/4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #3, 2013 Bronze, 9-1/2 x 7-1/2 x 5 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery

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Crawfish Dwelling #6, 2013 Bronze, 7-1/4 x 4 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #7, 2013 Bronze, 7-1/2 x 4 x 3-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #8, 2013 Bronze, 7-1/4 x 4 x 4-1/4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #9, 2013 Bronze, 5 x 6-1/4 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #11, 2013 Bronze, 4-3/4 x 7 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #12, 2013 Bronze, 3-3/4 x 6-1/4 x 5 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #13, 2013 Bronze, 6-3/4 x 5 x 4-3/4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #14, 2013 Bronze, 2-1/2 x 9 x 6-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #15, 2013 Bronze, 5 x 5 x 4-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #16, 2013 Bronze, 6 x 5-1/2 x 4 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery Crawfish Dwelling #17, 2013 Bronze, 4-1/4 x 9-1/2 x 7 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery

Crawfish Dwelling #18, 2013 Bronze, 4 x 5 x 6-1/2 in.

Courtesy of Mr. Willie Birch and Arthur Roger Gallery

NICHOLAS NIXON American, b. 1947

ISABELLE HAYEUR Canadian, b. 1969

The Brown Sisters, 1975-2014 Forty gelatin silver contact prints Each: 7-3/4 x 9-5/8 inches (image), 8 x 10 in. (sheet) | Courtesy of the Fraenkel Gallery

Manatee Drive 05, 2013 Inkjet on polyester 59 x 40 in. | Courtesy of Ms. Isabelle Hayeur

Port Richmond 01, 2011 Inkjet on polyester 40 x 36 in. | Courtesy of Ms. Isabelle Hayeur

DAWN DEDEAUX American, b. 1952 Rushed in Near Ten..., 2015 (Commission commemorating the 10th anniversary of Hurricane Katrina for the New Orleans Museum of Art) Polished Acrylic Slab with Embedded Digital Images, 118 x 29 x 2 in.

Courtesy of the Artist and Arthur Roger Gallery Over Six Feet of Water..., 2007 | Polished Acrylic Slab with Embedded Digital Images 84x24x2 in.

Collection of Tim Fields Topped Out at Eight..., 2007 Polished Acrylic Slab with Embedded Digital Images 96 x 10 x 2 in. | Courtesy of the Artist and Arthur Roger Gallery Not Too Bad… Almost Four…, 2006 Polished Acrylic Slab with Embedded Digital Images 48 x 12 x 2 in. | Courtesy of the Artist and Arthur Roger Gallery

Etang 04, 2013 Inkjet on polyester 36 x 36 in. | Courtesy of Ms. Isabelle Hayeur

Substances, 2012 Inkjet on polyester 46 x 42 in. | Courtesy of Ms. Isabelle Hayeur Manatee Drive 04, 2013 Inkjet on polyester 54 x 48 in. | Courtesy of Ms. Isabelle Hayeur Death in absentia 6, 2011 Inkjet on polyester 40 x 72 in. | Courtesy of Ms. Isabelle Hayeur Mississippi 03, 2013 Inkjet on polyester 29 x 84 in. | Courtesy of Ms. Isabelle Hayeur Jean Lafitte 02, 2013 Inkjet on polyester 52 x 40 in. | Courtesy of Ms. Isabelle Hayeur Mississippi 02, 2013 Inkjet on polyester 63 x 48 in. | Courtesy of Ms. Isabelle Hayeur Turbulences 01, 2011 Inkjet on polyester 42 x 41 in. | Courtesy of Ms. Isabelle Hayeur

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NOMA | Museum M

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FIR ST FLOOR

NOMA | MUSEUM MAP

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H Denotes work of art in Ten Years Gone exhibition by Isabelle Hayeur

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H Denotes works of art in Ten Years Gone exhibition by Dawn DeDeaux

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Denotes works of art in Ten Years Gone exhibition by Spring Hurlbut

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H Denotes works of art in Ten Years Gone exhibition by Christopher Saucedo H Denotes works of art in Ten Years Gone exhibition by Willie Birch

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H Denotes works of art in Ten Years Gone exhibition by Nicholas Nixon SECON D FLOOR

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One Collins C. Diboll Circle City Park New Orleans, Louisiana 70124 (504) 658-4100 noma.org

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