tag:blogger.com,1999:blog-14241377868932996372024-03-05T09:46:20.973-06:00coupcommuniqueCoup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comBlogger80125tag:blogger.com,1999:blog-1424137786893299637.post-44788133765714140872017-08-05T11:51:00.001-05:002018-03-03T17:46:17.253-06:00COUP REOPENS AFTER HIATUSToday, Saturday, August 5, Coup begins its new charge as a production and management assistant to my son the artist Blaine Capone ( www.blainecapone.art ). An ongoing exhibit of his works for sale is presented in the front galleries. The rest of the space is used as inventory storage and as a workshop. Whenever you are in the area, please stop in to say hello. Though I don't post regular hours, I plan to be working most Wednesday, Saturday, and Sunday afternoons and with notice, am happy to meet at other times.<br />
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Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-73931478315900979812017-07-20T22:15:00.000-05:002018-03-03T17:45:18.354-06:00FARMING, ART in NEW HAMPSHIREI have just returned from Rindge, New Hampshire which is on the south central border of the state where I helped Blaine set up his new studio and discussed his upcoming project. He and his partner Paige and their daughter Sylvia have recently moved into a farmhouse built in the early 20th century. His studio is on the second level of the attached barn which was traditionally used for hay storage during the winter. Blaine instead plans to use the ground floor for his hay along with the rest of his farm paraphernalia. While there, my limited strengths were also put to use for bush clearing, post setting, fence building, horse tending, and various other chores regularly performed by country folk!<br />
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Coup's gallery space has an ongoing exhibit of works by Blaine. Stop by and check out the adjusted prices compiled in an effort to assist Blaine in his exciting New England venture. I don't post regular hours but plan to be at the gallery on Wednesday, Saturday, and Sunday afternoons. Text me at 504-722-0876 or email me at ken@coupdoeilartconsortium.com if you'd like to make sure that I'm there when you plan to visit ! <br />
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Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-42836957353701351412017-06-10T17:09:00.000-05:002017-06-10T17:09:10.168-05:00GOOD LUCK TO CHRIS, ALICE and OSCAR!Chris's show was essentially a SELL OUT! Thanks to everyone who came to take home a work. Chris, Alice, and Oscar will be in Baton Rouge for the week, then to Berlin to start their new lives! Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-5088226107511650562017-05-17T13:45:00.000-05:002017-05-17T23:26:15.404-05:00COUP RELAUNCHES<div style="text-align: center;">
Delayed by familiar tribulations, Coup relaunches with the farewell exhibit: </div>
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<b><i>Coup d’oeil Art Consortium</i> </b>is pleased to welcome the return of <b>Chris Dennis</b> in June for a special two day exhibition of paintings, spanning his exhibition history with the gallery.<br />
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<span class="s1">All works are available for purchase and due to the time frame, Coup is willing to offer these works at a heavily discounted price in the hope Chris can lighten his load and raise enough funds to ship the remainder of his families’ belongings to Berlin.</span><br />
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<span class="s1">Chris Dennis joined Coup while it was still in its infancy, back in 2009. In that time he participated in numerous group shows and salons at the gallery, was featured at art fairs in Miami and New York, and presented three well received solo shows: <i>*Any similarity to persons living or dead is entirely intentional</i> (2009), <i>detritus </i>(2011) and <i>Please Be Quiet, Please</i> (2013).</span><br />
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<span class="s1">New Orleans is a hard town to turn your back on, and when Chris left Louisiana in 2010 he left behind many belongings and a lot of paintings, leaving the door open for a possible return. </span></div>
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<span class="s1">But after three years in Auckland, New Zealand and three in Zürich, Switzerland, Chris has settled with his family in Berlin where his wife now holds a position at the University of Potsdam. He now maintains a studio in the building that was once the center for espionage development for the East-German Ministry of State Security.</span><br />
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<span class="s1">Recently, Chris has exhibited in group and solo shows across Europe and New Zealand including Auckland, Berlin, London, Brighton, Saint Gallen and Zürich. In 2016 he presented <i>MOTIF/MOTIVE</i>, (his most ambitious solo show to date), at the <i>Jedlitschka Gallery</i> in Zürich, Switzerland and in May 2017 he had a solo booth at the 25</span><span class="s3"><sup>th</sup></span><span class="s1"> anniversary of the <i>Huntenkunst</i> in the Netherlands. </span><br />
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<span class="s1">Please join us on the evening of<b> Friday June 9</b></span><span class="s3"><b><sup>th</sup></b></span><span class="s1"><b>, 2017 from 5pm – 8pm</b> and on <b>Saturday June 10</b></span><span class="s3"><b><sup>th</sup></b></span><span class="s1"><b> from 10am -2pm.</b> Chris will be in the gallery from early Friday morning hanging the show, so if you are unable to make the opening, please stop by anytime during the day to view the work, say hello or goodbye, and perhaps save him the trouble of putting a piece on the wall. </span><br />
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<span class="s1">A pdf catalogue is available by request from the artist (www.chrisdennisart.com) at <a href="mailto:cdennisart@gmail.com"><span class="s4">cdennisart@gmail.com,</span></a> or by contacting the gallery. Chris is eager for his work to find a home and will consider any offers to do so, giving the most favorable terms to the larger works which obviously are more expensive to ship.</span><br />
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<span class="s1">For further questions, enquiries, or to reserve an artwork please contact Chris or the gallery.</span><br />
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</style>Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-25865619913063766192016-11-06T16:35:00.001-06:002017-08-07T12:09:32.281-05:00COUP IN RECONFIGURATION MODETo its chagrin, Coup ended up taking a hiatus which is lasting longer than expected. However, progress toward reopening is happening, and it seems as if we'll be reopening after the holidays. The format will be different in that Coup will be involved in management and production assistance of my son the artist Blaine Capone.Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-39288094991318410422016-07-23T19:46:00.000-05:002016-07-23T19:46:05.527-05:00SUMMER HIATUS<div class="separator" style="clear: both; text-align: center;">
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COUP is taking a hiatus during which it will be reconfiguring its mission. </div>
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Thanks to all of its friends who have been so tireless in their support. </div>
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Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-38441079603753475452016-05-01T16:53:00.000-05:002016-05-01T16:53:24.679-05:00The Advocate's Steven Forster captures the fun at the opening reception for Dona Lief's " And the Beat Goes On "<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.theneworleansadvocate.com/beaucoup/15534590-171/steven-forsters-party-central-dona-lief-at-coup-doeil" target="_blank">http://www.theneworleansadvocate.com/beaucoup/15534590-171/steven-forsters-party-central-dona-lief-at-coup-doeil</a>Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-35162397127187108582016-04-19T08:06:00.000-05:002016-04-19T08:06:25.799-05:00DONA LIEF: And the Beat Goes On<span style="font-size: large;">The opening reception of Dona Lief's portraits of musicians sets the stage for a jazzy time in New Orleans. </span><br />
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<br />Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-64882465193909176612016-04-02T17:33:00.001-05:002016-04-02T17:33:24.215-05:00FOCI Arts presents contemporary music concert for the closing of The BEAUTY FOOLS | Saturday, April 9<div style="background-color: white; border: 0px; color: #404040; font-family: calluna-sans-1, calluna-sans-2, sans-serif; font-size: 15px; line-height: 22.5px; margin-bottom: 1.5em; outline: 0px; padding: 0px; vertical-align: baseline;">
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<span style="border: 0px; font-family: inherit; font-size: 22px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">ANODE 16.2: Weston Olencki</span></div>
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FOCI Arts’ series ANODE (“Artistic New Orleans: Discussions and Extensions”) returns in 2016 with San Francisco-based contemporary music trombonist Weston Olencki. Olencki specializes in hyper-extended instrumental technique, intensive performance physicality, and re-definition of the performing body. His ANODE 16.1 program will feature some of the most imaginative music of today, including work by Aaron Cassidy, Andrew Greenwald, Evan Johnson, Michelle Lou, Timothy McCormack, Philip Schuessler, and Katherine Young. Olencki’s severe commitment, unimpeachable focus, and stunning technique make him one of the most thrilling young performers in American contemporary music. He has performed with some of the country’s most significant new music ensembles, including Ensemble Dal Niente, Fonema Consort, and Wild Rumpus, and is a recipient of a prestigious Stipendenpreis from the Internationales Musikinstitut Darmstadt. His visit to New Orleans promises to explore the very outer reaches of the musically and humanly possible.</div>
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ANODE 16.1 will consist of a performance and preconcert talk by Olencki and New Orleans-based composer Ray Evanoff at Southeastern Louisiana University on April 7, 2016, and a concert presented in conjunction with Versipel New Music in New Orleans on April 9, 2016 at Coup d'oeil Art Consortium. Details and full program to be announced soon.</div>
Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-14993600851250900112016-04-02T17:20:00.002-05:002016-04-02T17:20:48.274-05:00What's Left Behind: "The BEAUTY FOOLS"Check out the review of The BEAUTY FOOLS by Benjamin Morris of Pelican Bomb:<br />
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http://pelicanbomb.com/art-review/2016/whats-left-behind-the-beauty-fools<br />
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<br />Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-28871468221997126622016-03-13T17:49:00.000-05:002016-03-13T17:49:05.035-05:00FOCI Arts: ANODE 16.1: Speech and SongSaturday evening FOCI Arts ( https://fociarts.com/ ) brought Omaha-based soprano Amanda Deboer Bartlett and New Orleans-based poet Lauren Capone to Coup. Ms. Bartlett performed works of contemporary music composers George Aperghis and Ray Evanoff, and Ms. Capone read poems from her collection <i>The Hat Lady Equation</i> as well as selected works from a few of her favorite poets. The performances were experienced alongside Coups current exhibit The BEAUTY FOOLS.<br />
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<br />Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-90301060395827278942016-03-09T13:55:00.000-06:002016-03-09T13:55:41.646-06:00The BEAUTY FOOLS opened on Saturday, March 5<div class="separator" style="clear: both; text-align: center;">
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<br />Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-56304841231369893162016-03-09T13:33:00.000-06:002016-03-09T13:33:25.279-06:00Coup artist CHRIS DENNIS has solo exhibit in Zurich<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><b>Jedlitschka Gallery</b></span></div>
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<span class="s1"><b></b></span><br /></div>
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<span class="s1">Seefeldstrasse 52. 8008 Zürich</span></div>
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<span class="s1">Tel. +41 (0)44 252 35 30</span></div>
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<span class="s1">info@jedlitschka-gallery.ch</span></div>
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<span class="s2"><a href="http://www.jedlitschka-gallery.ch/">www.jedlitschka-gallery.ch</a></span></div>
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<span class="s1">Press Release:</span></div>
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<span class="s1">The Jedlitschka Gallery is pleased to present the first solo exhibition of paintings in Zürich, by the artist Chris Dennis.</span></div>
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<span class="s1">The exhibition will run from March 31st 2016, through May 21st, 2016 with an opening reception on Thursday, March 31 from 5pm to 8 pm. The artist will be in attendance.</span></div>
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<span class="s1"><b>MOTIF/ MOTIVE</b></span></div>
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<span class="s1">New Paintings by <b>Chris Dennis</b>.</span></div>
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<span class="s1">“<b>When I said I paint the same things again and again because I think about the same things again and again, did you think I was joking?</b>” </span></div>
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<span class="s1">Chris Dennis paints his images within a visual world he began to construct in 1996, when he produced a series of paintings based on a collection of short stories by <b>Bret Easton Ellis</b> called <b>The Informers</b>. His figures, with animal heads, are not some other-worldly creatures from Science fiction. They are masks or disguises. The likeness may be hidden but the choice of animal tells its own truth. From here, Chris explores ideas about biography /autobiography, authorship and the unreliable source.</span></div>
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<span class="s1">MOTIF/ MOTIVE is an exhibition presented literally in two halves and depicts a split in the mind of ‘the Painter’. This fugue state, not unlike that portrayed by <b>David Lynch</b> in his film, <b>Lost Highway</b> blurs the line between truth and untruth, fantasy and reality.</span></div>
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<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">The left hand side of the gallery displays 9 panels that appear considerably larger to anyone aware of Chris’ previous work. Familiar figures with the heads of fish are placed in landscapes surrounded by water and dominated by an empty horizon. He, sometimes she, sometimes a couple look out on dark water and stormy skies, that threaten pain that is hinted at in paintings titled, A Lake and Promises, Promises but is clearly visible on the skin of the female figure in The Sting.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Around their feet, the shoreline is littered with the past - used matches, crusted, old and splattered paint. And then there is the text. Does it explain, confuse or simply amuse?</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">On the wall opposite are more numerous, smaller paintings, hung erratically at strange sight-lines. Our eyes dart around as we voyeuristically spy a series of female figures with bird heads. WE are focused on THEM. Their surroundings are clumsily dismissed or ignored and are interspersed with panels of bright white and bare plywood that is ubiquitous in the gallery and art fair. Something is unattainable in these images, be it from the covetous gaze of the viewer, or the wingless, figures who cannot escape the confinement of their cramped compositions.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">These 2 sides collide in the centre. A single portrait (the largest piece in the show) looks down on the not too comfortable chair, cell phone, Starbucks, paperback, left behind by a ‘Gallerina’ or ‘Museumsaufsicht’.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Drifting sand invades from the left, littered with the detritus produced by these very paintings that will in time bury all trace of the other.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Chris Dennis Moved to Zürich in 2013 and joined the gallery soon after. Born (1974) in The South of England he received his BA (Hons) from the University of Wolverhampton in 1996. He has lived in Berlin and New Zealand and spent 13 years in the United States, earning in 2000, his MFA from the University of Art College in San Francisco. He has exhibited continuously, in cities including London, Brighton, San Francisco, New York, New Orleans, Baton Rouge,</span></div>
<div class="p1">
<span class="s1">Nashville, Miami, Berlin, Auckland, St. Gallen and Zürich.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">On Friday, May 13th at 6pm, there will be a Q&A with the artist, hosted by Dr. Mark Staff Brandl. Visitors will be invited to submit questions throughout the duration of the exhibition, on-line and via a box on the chair of the installation.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<br />
<div class="p1">
<span class="s1">Please contact the gallery with further questions or enquiries.</span></div>
Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-8487386725775741972016-02-24T16:30:00.001-06:002016-03-09T13:43:15.947-06:00HUSBAND AND WIFE PUBLISH FOUND MANUSCRIPT DETAILING A FORGOTTEN NEW ORLEANS<!--[if gte vml 1]><v:shapetype id="_x0000_t75"
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<b> </b><o:p></o:p></div>
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<b>FOR IMMEDIATE RELEASE</b><b> </b></div>
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<b>THE BEAUTY FOOLS</b><b> </b><br />
<b><br /></b>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQmLrL3domWHbxQQL4pq2E8YIsJCkjw5Dwb47zzq9LPZ5bfQoetGvCt9yvK2OqG3-TegnhLYmxdIuGYEOVVyrO3RydCOfDRVQb1C3cmC-I1UfOXywoU5K2DhA7koZLLQpIdOai-6eJOg/s1600/TBF_invitation_print_front_final_notrimmarks5x7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQmLrL3domWHbxQQL4pq2E8YIsJCkjw5Dwb47zzq9LPZ5bfQoetGvCt9yvK2OqG3-TegnhLYmxdIuGYEOVVyrO3RydCOfDRVQb1C3cmC-I1UfOXywoU5K2DhA7koZLLQpIdOai-6eJOg/s400/TBF_invitation_print_front_final_notrimmarks5x7.jpg" width="285" /></a></div>
<b><br /></b></div>
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<b><i>After Seven Years </i>The Beauty Fools <i>Is Released With An Art Exhibition<o:p></o:p></i></b></div>
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<br /></div>
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<b><u>Book Release and Opening Reception<o:p></o:p></u></b></div>
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<b>Saturday, March 5<sup>th</sup> · </b><st1:time hour="18" minute="0"><b>6:00 p.m. to 9:00 p.m.</b></st1:time><b><o:p></o:p></b></div>
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<b>Coup d’oeil Art Consortium, </b><st1:street><st1:address><b>2033 Magazine Street</b></st1:address></st1:street><b><o:p></o:p></b></div>
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<st1:city><st1:stockticker>NEW</st1:stockticker>
ORLEANS</st1:city>—After the chaos of Hurricane Katrina, a
package arrived on the Lower Garden District doorstep of New Orleans-based
editor Timothy Alan Weeks and artist Lala Rascic. Inside the package, sent from
All Souls, <st1:country-region>England</st1:country-region>,
was a manuscript and a handwritten message that read simply, “Please
understand.” O<a href="https://www.blogger.com/null" name="_GoBack"></a>ver the following seven years, Weeks edited
the manuscript down to 100,000 words and Rascic brilliantly illustrated the
characters and their environs to create <i>The
Beauty Fools</i>, a sprawling “Southern Baroque” tale that follows its
protagonists through celebration and collapse in 1990’s <st1:city>New
Orleans</st1:city>. <o:p></o:p></div>
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<br /></div>
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“When I
first read the manuscript, I felt that this was quite possibly the greatest
literary find since <i>A Confederacy of
Dunces</i>,” said Weeks.<o:p></o:p></div>
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<br /></div>
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<i>The Beauty Fools </i>team produced a limited
pre-edition run of 300 copies designed in collaboration with the award-winning
Hamper Studio in <st1:place><st1:city>Zagreb</st1:city>, <st1:country-region>Croatia</st1:country-region></st1:place>.
This exquisite volume is shaped and proportioned as an oversized box of tarot
cards, placed in an embossed and gold foiled box. In addition to the book, each
box contains a small deck of colorized illustrations from the book, expanding
on the tarot card theme. The pre-edition run will be available exclusively at
Coup d’oeil Art Consortium at a price of $36.00 per book.<o:p></o:p></div>
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<br /></div>
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To accompany
the launch of the book, Coup d’oeil Art Consortium (2033 Magazine Street) in
New Orleans will host a month-long exhibition featuring multimedia
installations inspired by <i>The Beauty
Fools, </i>a series of limited edition intaglio prints based on the book’s
illustrations, and a series of events and readings. <i>The Beauty Fools </i>exhibition will open to the public on Saturday,
March 5<sup>th</sup> from <st1:time hour="18" minute="0">6:00 PM</st1:time> to <st1:time hour="21" minute="0">9:00 PM</st1:time> and run through Saturday April, 9<sup>th</sup>
on Monday, Wednesday, Friday, and Saturday from <st1:time hour="14" minute="0">2:00
PM</st1:time> to <st1:time hour="18" minute="0">6:00 PM.</st1:time> Copies of
the pre-edition and limited-edition intaglio prints can be reserved by calling
the gallery at (504) 722-0876.</div>
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<i>The Beauty Fools </i>team will also launch a
Kickstarter campaign to take pre-orders for the first edition and paperback
edition of the volume. <o:p></o:p></div>
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<b><br /></b></div>
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<b><br /></b></div>
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<b>ABOUT <i>THE BEAUTY FOOLS<o:p></o:p></i></b></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<b><u>Synopsis<o:p></o:p></u></b></div>
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<i>The Beauty Fools </i>is the tale of Blake
Kennedy, a young cynic who says “<i>Why?
Why? Why?” </i>until the charming Eliot Dejan and beguiling Miss Peaches teach
him how to say “<i>Why Not?” </i>and whisk
him away on a wild jaunt. Eliot and Miss Peaches, who embody the adage that <i>living well is the best revenge</i>, soon
introduce Blake to Doctor Kookie, a tarot card reader and slick street mystic
who guides the group on a crazed trip to the Mexican desert. The story – about
being young and having fun – takes place against the backdrop of famous (and
infamous) New Orleans landmarks: the Sazerac Bar of the Roosevelt, the
Victorian Lounge at the Columns Hotel, Jazz Fest, Commander’s Palace, Orpheum
Theater, Moonwalk, Napoleon House, R-Bar, Rocky & Carlo’s, and ends
tragically on Mardi Gras in the Royal Street courtyard that is now Café Amelie.
A tale about learning to fly – and flying too high.<o:p></o:p></div>
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<br /></div>
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<i>“I’m constantly
fussing that contemporary novels are always 50 pages too long, and this story
was no different. Late one night at John Paul’s Bar, I wagered a friend that I
could make this glorious mess into magic. I always wanted to be Max Perkins.
And I finally found my Fitzgerald”<o:p></o:p></i></div>
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<i> –Timothy Alan Weeks<o:p></o:p></i></div>
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<br /></div>
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<b><u>Illustrations<o:p></o:p></u></b></div>
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<i>The Beauty Fools </i>contains 14
illustrations developed over a period of three years by visual artist Lala
Rascic. The illustrations are rendered in black and white, as they appear in
the book. The challenge of working on <i>The
Beauty Fools </i>was that the project was executed from scratch for a text from
an anonymous author. Rascic took inspiration from the book’s language to create
illustrations that were full and rich. <o:p></o:p></div>
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<br /></div>
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<i>“The overall idea was
to represent the iconic </i><st1:city><st1:place><i>New Orleans</i></st1:place></st1:city><i> with its famous checklist of places, but also a rebellious, fun-loving,
and sometimes melancholic youth set loose on the </i><st1:place><st1:placename><i>Crescent</i></st1:placename><i> </i><st1:placetype><i>City</i></st1:placetype></st1:place><i> and beyond.” <o:p></o:p></i></div>
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<i>– Lala Rascic<o:p></o:p></i></div>
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<br /></div>
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<b><i><u>The
Beauty Fools </u></i><u>at Coup d’oeil Art Consortium<o:p></o:p></u></b></div>
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This
exhibition will use a space conventionally reserved for the display of the
visual arts to bring focus to text and enliven the generic model of a book
launch. <o:p></o:p></div>
<div class="ListParagraphCxSpFirst" style="margin-bottom: 0.0001pt; text-align: center; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]-->The fourteen illustrations from <i>The Beauty Fools </i>will be released as a
series of intaglio prints in a limited edition of five. The black and white
edition will be printed on 14 x 20 in. acid free rag paper and signed and
numbered by artist Lala Rascic. One exhibition edition will be displayed at the
gallery, the remainder will be available for sale as an edition or
individually.<o:p></o:p></div>
<div class="ListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt; text-align: center; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]-->A multimedia installation will bring words from
the book to life in a blacked out room of the gallery. Artifacts from the
production of the book and the accompanying illustrations will be displayed,
documenting the process.<o:p></o:p></div>
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<b><i>“We wanted to explode
all the possibilities in a gesamkunstwerk exhibition that draws from all the
textual and visual elements of </i>The Beauty Fools<i> book and its story.”<o:p></o:p></i></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<i><b>–Timothy Alan Weeks
and Lala Rascic<o:p></o:p></b></i></div>
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<br /></div>
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<b><u>Timothy Alan Weeks and Lala Rascic<o:p></o:p></u></b></div>
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<b><u><br /></u></b></div>
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<b>Timothy Alan Weeks</b>
is an editor, analyst, and project manager for a virtual company with numerous
Fortune 500 clients. Weeks was previously a financial analyst and editor for
both a Dutch and Belgian startup, and before that covered EU central bank
policy while living in <st1:country-region>Germany</st1:country-region>.
Besides writing sundry freelance articles for European business and lifestyle
magazines, he edited and published the English edition of a Swiss travel book.
Weeks is also the publisher of the <i>Wise
Mullet</i> children’s books series, which are based on the <st1:place><st1:placetype>Gulf</st1:placetype>
<st1:placetype>Coast</st1:placetype></st1:place>.<o:p></o:p></div>
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<br /></div>
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<b>Lala Rascic</b> is a
multimedia artist working across disciplines that include performance, video,
installation, and painting. Her work has been exhibited internationally and is
part of both private and public collections, including <st1:country-region>Croatia</st1:country-region>'s
<st1:place><st1:placetype>Museum</st1:placetype> of <st1:placename>Contemporary
Art</st1:placename></st1:place>. Rascic was awarded artist residencies at the
Rijksakademie in <st1:city>Amsterdam</st1:city>,
Platform Garanti in <st1:city>Istanbul</st1:city>,
KulturKontakt in <st1:city>Vienna</st1:city>, and Cité
des Arts in <st1:city>Paris</st1:city>, and in 2013 was
the recipient of a Future of Europe award in <st1:city>Leipzig</st1:city>.
Rascic divides her time between her native <st1:city>Sarajevo</st1:city>,
<st1:city>Zagreb</st1:city>, and <st1:city>New
Orleans</st1:city>, where she is a member of artist-run Good
Children Gallery on <st1:street>St. Claude Street</st1:street>. <o:p></o:p></div>
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<!--[endif]-->Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/00749883590669309978noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-56103225338936241632016-02-24T15:58:00.000-06:002016-02-24T16:24:02.499-06:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPHWftMDt4uMOxOI7HFMjATUvH7XcFbBt3gN55kqKIdSQMptHj2UGAGqVZcqk1k9HxZI-8rPfSVjKDFZVUkYmhAKmOcbxPYZhopeakA3u3gt2ATt5f2YKgKIR6DWO8fndZkahhYhrhYs/s1600/TBF_posterupdated+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPHWftMDt4uMOxOI7HFMjATUvH7XcFbBt3gN55kqKIdSQMptHj2UGAGqVZcqk1k9HxZI-8rPfSVjKDFZVUkYmhAKmOcbxPYZhopeakA3u3gt2ATt5f2YKgKIR6DWO8fndZkahhYhrhYs/s640/TBF_posterupdated+copy.jpg" width="414" /></a></div>
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Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/00749883590669309978noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-52189368140699596722016-01-06T15:31:00.000-06:002016-01-06T15:53:00.556-06:00Linda Troeller 'The Chelsea Years'<div class="pb-sig-line hasnt-headshot has-0-headshots hasnt-bio is-not-column" style="box-sizing: border-box; padding-bottom: 20px;">
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The <a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=6250307292" href="https://www.facebook.com/washingtonpost/" style="color: #3b5998; cursor: pointer; text-decoration: none;">Washington Post</a> shares what it was like to live in the Chelsea Hotel through the eyes of <a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=318325874917091" href="https://www.facebook.com/LindaTroellerPhotography/" style="color: #3b5998; cursor: pointer; text-decoration: none;">Linda Troeller Photography</a> 'The Chelsea Years'<br />
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<img src="https://external-dfw1-1.xx.fbcdn.net/safe_image.php?d=AQCPQW9DANexOVQ1&w=487&h=255&url=http%3A%2F%2Fwww.washingtonpost.com%2Fnews%2Fin-sight%2Fwp-content%2Fuploads%2Fsites%2F35%2F2015%2F12%2Fchelsea01.jpg&cfs=1&upscale=1&sx=0&sy=272&sw=1800&sh=943" /></div>
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<span style="font-size: 13.5pt;"><b><a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwpo.st%2F8Du11&h=YAQHdRLCs&enc=AZP13rBkbVojp1l2Gfe5FtcmFtdjTeMW9gVcbt7y5FkUoHV3JHkbaTZ88sA2hS1rWKC9M6PZIAu_kapYYzkGoP_ZqrXds26uxGnU7eETWs4WQh0PITpY4DRtqkohCSha4gtIRvxg3J1COaVbXNho1Jfqi3SzQcQ__KX19Vmme9Rh7vJWm1ycpNTXPi1cQTlD5i4&s=1"><span style="color: #141823;">These photos
show what it was like to live in New York’s legendary Chelsea Hotel</span></a><o:p></o:p></b></span></div>
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<b><span style="color: #141823; font-family: Helvetica; font-size: 10.5pt;">“Living in the </span><st1:place><st1:placename><span style="color: #141823; font-family: Helvetica; font-size: 10.5pt;">Chelsea</span></st1:placename><span style="color: #141823; font-family: Helvetica; font-size: 10.5pt;"> </span><st1:placename><span style="color: #141823; font-family: Helvetica; font-size: 10.5pt;">Hotel</span></st1:placename></st1:place><span style="color: #141823; font-family: Helvetica; font-size: 10.5pt;">” is a treasure
trove of memories.<o:p></o:p></span></b></div>
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<span style="color: #141823; font-family: Helvetica; font-size: 10.5pt;"><b>https://www.washingtonpost.com/news/in-sight/wp/2016/01/04/these-photos-show-what-it-was-like-to-live-in-new-yorks-legendary-chelsea-hotel</b>/</span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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</article>Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/00749883590669309978noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-35131561932110316372015-12-16T15:33:00.000-06:002015-12-16T15:33:17.800-06:00Linda Troeller's 'The Chelsea Years <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsHLxybTdf8fH2PXWtMaLl1j_IQ-goIcxvsgDrtY0qwq2ezAi73BJgMhGGKusjKEr9mHGOLY9i43J2Zzj66jL9pCLZ-Zq82-NszwRUzBxm8gUvPG2xAzOA6iqs511S7ia5kGAkkpBgCVM/s1600/finallindaTpostcard2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsHLxybTdf8fH2PXWtMaLl1j_IQ-goIcxvsgDrtY0qwq2ezAi73BJgMhGGKusjKEr9mHGOLY9i43J2Zzj66jL9pCLZ-Zq82-NszwRUzBxm8gUvPG2xAzOA6iqs511S7ia5kGAkkpBgCVM/s640/finallindaTpostcard2.jpg" width="414" /></a></div>
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<b><span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; text-align: start;"> </span><a class="profileLink" data-hovercard="/ajax/hovercard/user.php?id=1185009627" href="https://www.facebook.com/coupdoeil.artconsortium" style="background-color: white; color: #3b5998; cursor: pointer; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; text-align: start; text-decoration: none;">Coup D'oeil Art Consortium</a><span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; text-align: start;"> is privileged to feature Linda Troller's photographic revelation of life in a unique oasis from her internationally acclaimed book 'Living Inside the Chelsea Hotel'</span><br style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; text-align: start;" /><span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; text-align: start;">Schiffer Publishing , along with a restrospective representation of her distinguished books, exhibits , films , and lectures.</span><br style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; text-align: start;" /><span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; text-align: start;">(Reception with book signing)</span></b></div>
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<br />Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/00749883590669309978noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-45282366327616142412015-12-16T15:22:00.002-06:002015-12-16T15:22:49.734-06:00Featured Artist/Blogger Emily Farranto reviews our last exhibition Taylor Bonds 'Good Country People'<br />
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Good People</h3>
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<tr><td class="tr-caption" style="font-size: 12.32px; text-align: center;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">James Taylor Bonds Good Country People 48 x 48 in</span></td></tr>
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<span style="font-family: "arial";"><b><span class="Apple-style-span" style="color: #444444; font-size: medium;">James Taylor Bonds<o:p></o:p></span></b></span></div>
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<span style="font-family: "arial";"><b><span class="Apple-style-span" style="color: #444444; font-size: medium;"><i>Good Country People</i><o:p></o:p></span></b></span></div>
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<span style="font-family: "arial";"><b><span class="Apple-style-span" style="color: #444444; font-size: medium;">Coup d’oeil, New Orleans</span></b><o:p></o:p></span></div>
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<span style="color: #444444; font-family: "arial";">To Ken Capone, the director of Coup d’oeil (with whom I have had many conversations about art) I said, I don’t think I <i>like</i> these paintings...but I don’t think these paintings are trying to make me like them. For that I totally respect them.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="color: #444444;"><span style="font-family: "arial";">The characters in these paintings are, well, off-putting. Some are pitiable, inspiring the urge to politely look away. Others are kind of scary. You want to look away but you don’t. These figures, often nude, sometimes clothed in sober neutrals do <i>not</i></span><span style="font-family: "arial";"> look like good country people. In fact, even the country itself looks bereft of natural beauty. Take another route altogether if you can, but definitely don’t stop your car around here. <o:p></o:p></span></span></div>
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<span style="color: #444444; font-family: "arial";">I don't know if any of these characters belong to Flannery O'Connor's short story <i>Good Country People</i> or even if the show is referring to this story, but they certainly share the author's sensibility and the looming air of malice in so many of her stories. </span></div>
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<span style="color: #444444; font-family: "arial";">Content aside, most of these works are painted with a narrow palette. The couple that aren't seem like they might belong to an adjacent but different body of work. The breakdown of space is complicated, the figure/ground relationship somewhere between convincing and not convincing. The surface is reserved; only occasional brushmarks rise to a texture.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="color: #444444;"><span style="font-family: "arial";">Believing a couple of the works were painted in oil, I thought maybe the artist used some low-quality oil paint. Then I learned that they were acrylic. This fact can account for flatness as well as the stiffer articulations of flesh and other textures. I have to admire what the artist accomplished in acrylic but I wonder if the attraction part of the attraction/repulsion response would be even stronger with optical complexity and luminosity of oil paint. And there are passages in the <i>The Chosen</i></span><span style="font-family: "arial";"> (oil on canvas), in which the flesh gets really fleshy, not quite Lucian Freud fleshy, but fleshy</span>.</span></div>
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<span class="Apple-style-span" style="color: #444444;"><span style="font-family: "arial";">This work is sort of haunted by art historical ghosts, though I find associations hard to pin down. The palette and composition sort of echo Thomas Hart Benton. The flavor of southern gothic reminded me of George Rodrigue’s pre-Blue Dog group portraits (which, in spite of myself, I find kind of interesting) <i>Good Country People</i></span><span style="font-family: "arial";"> also reminded me of a Picasso painting. two actually, that I was recalling as one:<i> Boy Leading a Horse </i></span><span style="font-family: "arial";">and <i>Family of Saltimbanques</i></span><span style="font-family: "arial";">. Maybe it was the strangely posed figures, the rigid nudity, or the psychological heaviness. (By the way, I don’t really like Picasso’s paintings but you won't hear me argue that he was a genius.)</span></span></div>
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<span class="Apple-style-span" style="color: #444444;"><span style="font-family: "arial";">So while I cannot say I <i>like</i></span><span style="font-family: "arial";"> these paintings this artist has my attention and respect. In the end I see something really important: the evidence of work, of hours and hours of labor and consideration, highly developed skills, and most significantly an artist pursuing his own strange vision on a scale that isn’t playing around.<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="color: #444444;"><span style="font-family: "arial";">One more point, not about the artwork but about the gallery, Coup d’oeil. On a local level, weird is okay but ugly is not. Not this kind of ugly. Not naked hillbilly ugly. In addition to acknowledging the artist’s chops and guts, I have to appreciate Ken Capone who owns a commercial (as in <i>for</i></span><span style="font-family: "arial";">-profit) gallery. He encourages artists to pursue their work as they feel compelled to even if (I imagine) profits might not follow. This work must be a hard sell for the kind of local art buyers who hang artwork in their dining rooms. One might not want to eat, sit, or sleep below a painting like <i>The Chosen</i></span><span style="font-family: "arial";"> but Ken will show it anyway. And he deserves real props for that. <o:p></o:p></span></span><br />
<span class="Apple-style-span" style="color: #444444;"><span style="font-family: "arial";"><br /></span><span class="Apple-style-span" style="font-family: "arial";">(Some nice person should buy this painting and gift it to the Ogden.)</span></span></div>
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Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/00749883590669309978noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-8240467440104388842015-12-16T15:20:00.001-06:002015-12-16T15:20:09.764-06:00James Taylor Bonds 'Good Country People'<div style="text-align: center;">
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<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18.76px;"><b>This body of work by James Taylor Bonds is a depiction of a temporary people in a temporary place, both marred by ongoing strife. Presented is a fictional society in a state of flux, living among the ruins of the American South trying to make sense of long forgotten cultural relics.</b></span></div>
Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/00749883590669309978noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-40087725997676751122015-08-05T17:09:00.000-05:002015-08-06T09:39:14.892-05:00 Welcome Our New Gallery Assistant !<div class="separator" style="clear: both; text-align: center;">
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Welcome to our New Team Member:</div>
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Gallery Assistant <a href="http://paulmichael-wright.artistwebsites.com/index.html?tab=about" target="_blank">Paul Wright</a></div>
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<em><span style="color: white; font-style: normal; mso-bidi-font-family: Arial; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>Please join Coup d’oeil Art Consortium in welcoming Paul Wright as our newest team member. Paul is taking on the Gallery Assistant position as of Aug 3<span style="font-size: small;"><sup>rd</sup>. Paul comes to us as a <span style="mso-spacerun: yes;"> </span>New Orleans native</span></span></em><span style="color: white; mso-bidi-font-family: Arial;">, where he has had seven years experience in fine arts/design as a YA/YA and NOCCA <span style="mso-spacerun: yes;"> </span>alumni which offered him ample opportunities to hone his skills in creating, practicing, and demonstrating art. As an artist and as a youth advocate during those past six years<em><span style="font-style: normal; mso-bidi-font-family: Arial; mso-bidi-font-style: italic;">, he identified opportunities for improvement, made constructive suggestions for change, and helped brainstorm solutions.<o:p></o:p></span></em></span></div>
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<span style="color: white;">Wright works predominantly in the medium of acrylic painting portraiture, but also exercises skill in sculpture and large-scale installations. NOCCA alumni, Wright also studied illustration at Parsons the </span><st1:place><st1:placename><span style="color: white;">New</span></st1:placename><span style="color: white;"> </span><st1:placetype><span style="color: white;">School</span></st1:placetype></st1:place><span style="color: white;"> for Design and received training at The Cow House Studios in </span><st1:place><st1:city><span style="color: white;">Wexford</span></st1:city><span style="color: white;">, </span><st1:country-region><span style="color: white;">Ireland</span></st1:country-region></st1:place><span style="color: white;">. <span style="mso-spacerun: yes;"> </span>Exhibited spaces include The Guggenheim Museum Theater, George Rodrigue Gallery, The Contemporary Arts Center, and The 5 Press Gallery. He has also been recently announced Emerging</span><span lang="EN" style="color: white; mso-ansi-language: EN; mso-bidi-font-family: Helvetica;"> Artists-in-Residence at The Joan Mitchel Center here in </span><st1:city><st1:place><span lang="EN" style="color: white; mso-ansi-language: EN; mso-bidi-font-family: Helvetica;">New Orleans</span></st1:place></st1:city><span lang="EN" style="color: white; mso-ansi-language: EN; mso-bidi-font-family: Helvetica;">. <o:p></o:p></span></div>
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<span style="color: white;">In addition to his experience and exuberant personality, he has a solid educational foundation and a passion for art. He is extremely enthusiastic about the focus on New Orleans Contemporary art and welcomes the opportunity to contribute to our ongoing success at Coup d’oeil. Please feel free to stop by the gallery to meet our newest team member and exhibition “</span><st1:place><st1:placename><span style="color: white;">Summer</span></st1:placename><span style="color: white;"> </span><st1:placetype><span style="color: white;">City</span></st1:placetype></st1:place><span style="color: white;">.” We are thrilled to have him on board!<o:p></o:p></span></div>
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Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/00749883590669309978noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-71236073837613104382015-06-05T14:35:00.001-05:002015-06-05T14:35:45.277-05:00bread&butter reading VOL. 2Thanks to everyone who came out Saturday for the second in the bread&butter reading series. Carin Chapman, Jen Hanks, Spencer Silverthorne, and Clare Louise Harmon helped us become a little more human by sharing their work with us. Look out for upcoming entries by these superstar readers at FOCI Arts online publication, <a href="http://fociarts.com/foci-words/">FOCI Words</a>.<br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-83881971065965324232015-05-25T17:38:00.000-05:002015-05-25T17:38:39.188-05:00Gothamist reviews SELECT NYGothamist published <a href="http://gothamist.com/2015/05/17/photos_video_select_art_fairs_brash.php#photo-1">a review of SELECT NY</a> in Chelsea. Thanks to Scott Lynch for including us! <br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-4930918674120253202015-05-16T12:45:00.003-05:002015-05-16T12:45:55.108-05:00BUSTED in New YorkCoup is in Chelsea! This week we installed a series of bust portraits by Blaine Capone at SELECT Art Fair in NY. Have a look:<br />
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<br />Coup d'oeil Art Consortiumhttp://www.blogger.com/profile/10940953375733313890noreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-23054863677979970282015-04-27T20:42:00.000-05:002015-04-27T20:42:22.687-05:00CRUX opens with a musical performanceOn April 17, Coup opened CRUX, a site specific installation by Blaine Capone that was originally designed for the SELECT Art Fair during Miami Basel of December 2014.<br />
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We were thrilled to celebrate with a musical performance by flutist, Orlando Cela, an event sponsored by the New Orleans arts organization, <a href="http://fociarts.com/">FOCI Arts</a>.<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1424137786893299637.post-90726781139551156332015-02-25T17:11:00.000-06:002015-02-25T17:11:14.553-06:00feature in Art VoicesWe are positively thrilled with Anna Broome's article on Coup artist, Blaine Capone in the spring issue of <i>Art Voices</i>! Here's a preview—look for it in print soon! Check out what the magazine has published previously on their website: <a href="http://artvoicesmagazine.com/">artvoicesmagazine.com</a><br />
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