Browse Exhibits (6 total)

Once Upon a Canvas: Exploring Fairy Tale Illustrations from 1870-1942

A student-run exhibition of fairy tale illustrations from Tulane’s Special Collections and from the Amoss Collection, Howard-Tilton Memorial Library; in conjunction with the course “GERM 3670: Grimm Reckonings, The Development of the German Fairy Tale,” offered during the Spring semester 2013 by the Department of Germanic & Slavic Studies at Tulane University.

Fairy Tale Illustrations: Making Fantasy an On-the-Page Reality

From the beginnings of oral tradition to contemporary literature, no other art form has proven its resilience like that of the fairy tale. Its flexibility allows it to take many forms from legend to epic and from myth to folk tale. For generations these stories have piqued our interest, entertained us, and all the while exercised a form of pedagogy. Countless authors and collectors have tweaked and manipulated these tales, adapting them for any time or place in history.

As of the late 19th century and into the early 20th, these tales have come alive on paper and canvas, further impressing their significance on the collective human psyche. When one envisions an ogre, fairy, witch, or beast, one has the imaginations of the artists showcased in this exhibit to thank. Their labors represent the contemporary manifestations of age-old traditions.

Read more from our student created brochure.

“The Brothers Grimm (1855)”

Learn more about the Brothers Grimm

 

 “Charles Perrault (1671)” 

Learn more about Charles Perrault.

Few things stoke the reader’s imagination like a skillfully crafted image. Since
the Brothers Grimm revolutionized the folk tale tradition with their collection of stories,
illustrations have served to illuminate the characters and places readers have
come to love. Although they have served to elaborate and clarify text, they have
done something more magical: at a basic level, the fairy tale illustration has added
to the mystique of simple tales, creating visual representations of characters and
endowing simple phrases with unexpected beauty.

Read more from our student-created panels.

 

Charlee LaChatte and Friends: Collecting Cats at Tulane

This exhibit is meant to explore and celebrate the cat collections at Tulane. While it may seem unusual to have such objects in university collections, it should not surprise us that artists and writers have responded to human interest in the subject. In the cases in this room you will find a selection of the books acquired with the Charlee LaChatte endowment in Rare Books as well as examples of the holdings of the William Ransom Hogan Jazz Archive and the Louisiana Research Collection (LaRC).

The Charlee LaChatte book collection has centered on Anglo-American literary production between 1880 and 1960, though there are examples as far back as the sixteenth century. The books vary greatly in their representation of cats, but most often pertain to themes of childhood, innocence, role-playing, and the relationships between humans and animals.

These materials challenge us to think about what is or is not included in the definition of a “rare book" and why people create and collect “cute” books.

Sudarios

This online exhibit is sponsored by The Latin American Library (LAL) at Tulane University. In September 2013, Erika Diettes exhibited samples of her work in the LAL gallery in conjunction with the Library’s annual Open House.  

SHROUDS (Sudarios) is the result of multiple theoretical concerns, an infinity of technical quests, and an observation of the world from a certain context.

My decision to create this work stems from questions which have remained from previous photographic series, but are the consequences of the same process that began with my series SILENCES (Silencios, 2004), which deals with survivors of the Second World War who live in Colombia.

These questions are also to be found in DRIFTING AWAY (Río Abajo, 2007-2008), a series which deals with the victims of forced disappearance, and BY FORCE OF BLOOD (A Punta de Sangre, 2009), another series in which I examine the idea of the search for the bodies of the disappeared by their families who, in the midst of despair, find a ray of hope in the vultures that might lead them to the remains of their loved ones. To date I have received the testimonies of more than 300 victims of the violence in Colombia. They have confided intimacies of this violence to me: not only its harrowing details but the way they rebuild their lives and keep going despite what they have suffered.

Many times, with my camera, I have been a witness of the moment when people have to close their eyes as they recall the event which divided their life into two parts. The intention of the SHROUDS series is to enable the spectator to enter into and walk through these impenetrable and apparently alien worlds, when s/he observes that moment in which these women close their eyes because they find no other way to communicate the true dimension of the horror which they witnessed and the intensity of the sorrow to which they were subjected.

The women whose faces appear in SHROUDS were first-hand witnesses of acts of horror. They were forced to feel in their own flesh or in front of their own eyes that there is no difference between human beings and the most savage beasts of nature; or rather, that there is a difference and it is that we are the only species capable of mass murder and the only ones who do not adapt to our own kind.1

 

1. Nikolaas Timbergen, cited by Erich Fromm, Anatomía de la destructividad humana. Mexico:  Siglo Veintiuno Editores, 1975; 2004. p. 35.  

 

Erika Diettes is a visual artist who lives and works in Bogotá.  She works mainly with photography to explore issues of memory, pain, absence and death.  She has a Master’s degree in Anthropology from Universidad de los Andes (Bogotá), with a Licenciatura in Visual Arts and Communication from Pontificia Universidad Javeriana de Bogotá.  She has authored several essays on artistic representation in times of war, and her photographic and essayistic production has been included in various books, newspapers and journals.  Her work is part of the permanent collection of several major museums and has been exhibited at the Museums of Modern Art of Bogotá, Cali, Medellín and Barranquilla, the Museum of the University of Antioquia, the National Museum of Colombia, the Museum of Contemporary Art in Santiago de Chile, Centro Cultural recoleta in Buenos Aires, De Santos Gallery and Houston Museum of Art.  Her most recent work, Sudarios, participated in the 2012 Fotofest Biennal, the Festival de la Luz in Buenos Aires, the Ex Teresa Arte Actual in Mexico City, and the Ballarat Foto Biennale in Australia among others.  Erika Diettes’ photographs also have been exhibited in other spaces linked to rememoration processes developed by several victims’ movements in Colombia.

, , , , ,

People and Places

 

The photographs of Abbye A. Gorin

1937 to 2000

Music Illustrated: The Songbooks of the Original Dixieland Jazz Band

An exhibition featuring photographs of the Original Dixieland Jazz Band's songbooks and publications spanning the career of their founder and cornetist Dominic James "Nick" LaRocca.

, ,

The Free Southern Theater and the Black Arts Movement

Originating as a community theater group based in Jackson, Mississippi, in 1963, the Free Southern Theater (FST) became a cultural arm of the Civil Rights Movement. Upon moving to New Orleans in 1965, the FST became a major influence on Black Theater, both locally and nationally. As part of a community-wide celebration honoring the 50th anniversary of the founding of the FST, this exhibition highlights the struggles and triumphs of the Theater and its place within the Black Arts Movement of the 1960/70s. The FST story, as well as that of the Black Arts Movement, is told through photographs, play scripts, programs, books, literary magazines, flyers, and more.

This digital exhibition is based upon the exhbition entitled "The Free Southern Theater and the Black Arts Movement" held at the Amistad Research Center in New Orleans from January 6-April 25, 2014. The digital version was created by the Amistad Research Center and is hosted by the Tulane University Digital Prepositorty. For more information, contact the Amistad Research Center at info@amistadresearchcenter.org or (504) 862-3222. 

, ,