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Site #30: Jacqueline Bishop "Field Guide" Milne Boys Home, 5420 Franklin Ave; Gentilly

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Listen to Open Sound New Orleans' site-specific recording at the Milne Boys Home made during our first day of painting:
#53 "Birds And Insects During The "Field Guide Installation"

Click on photos to enlarge.

























ARTIST STATEMENT
"My vision for the Milne Boys Home was to paint the asphalt driveway with approximately 5000 simple black bird silhouettes that were individually cut from original drawings and applied with Industrial Zone and Marking paint directly onto the pavement. Much of my work focuses on the natural environment and its inherent connection to our lives. Considering there are approximately 460 bird species in Louisiana I will be stenciling a variety of these species in an effort to celebrate and raise consciousness about our unique and fragile environment.

The bird silhouettes covering the ground are designed to create a sense of birds in flight above, reminiscent of shadows coming from imaginary birds in flight. In reality these bird species would never interact with each other, but in this project the diversity of bird species migrating together symbolizes the need for human diversity to walk and work together to rebuild our landscape. The graphic nature of the black silhouettes can symbolize the absolutely critical state of our environment – it is a “black and white” issue that cannot be ignored. The eco-system that many of our native and migrant birds depend upon is under attack; as landscape changes or disappears the birds are threatened with extinction; many see this as the beginning of the end of life as we know it. Birds are important pollinators - they plant trees, flowers, fruit, eat biting insects, and deliver messages about our shared environment to those who are intuitive enough to listen. When powerful human leaders dismiss our wounded landscape, it is birds that can help regenerate it. Leading "Field Guides'" migration through the Milne Boys Home driveway are images of hummingbirds - which for the Biloxi Indians represented the symbol of truth. The word Biloxi means “First People”. This native tribe from Mississippi became nearly extinct, but the few survivors ended up in Louisiana.

After experiencing the power of Katrina while sitting in my house, the most immediate, haunting memory after the storm was the deafening silence. There were no birds for days. It seems appropriate that this project can bring attention to birds who in turn bring life to abandoned areas in post-K New Orleans. I hope that "Field Guide" will also support the Milne Foundation in their efforts to renovate this amazing property and reinvigorate the Milne Boys Home as a destination for academic study and community activism."

















ARTinACTION would like to thank the Milne Boys Home, Whole Foods Market, and the ARTinACTION volunteers who made "Field Guide" possible. Special thanks goes to Michelle Pontiff, Christian Rapeel, Laura Summers, and David Wray for their tireless devotion and hard work on behalf of "Field Guide".

Ms. Bishop is represented by the Arthur Roger Gallery in New Orleans.

Please also view ARTinACTION Site #26 "Black, White, Blue" which was initiated at the Milne Boys Home in the Spring of 2008.

Site #29: Morgana King "I Miss My Neighbors": 610 Lesseps, Upper Ninth Ward, New Orleans

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Since Hurricane Katrina, the city of New Orleans population has been cut down to roughly a third of its size, leaving neighborhoods full of abandoned houses. On top of people choosing not to return, the city has still not redeveloped public housing units at all – 2.5 years later. This is a major source of controversy because it is widely believed that the government, through its neglect, is intentionally keeping poor, black and elderly people from returning to their homes. One of these vacant small brick apartment buildings is across the street from my house, where I lived before the storm.


I spent the year after the hurricane away from New Orleans and missed everything about my old life. When I finally did return, I was saddened by how much it had lost - especially the people who were missing. Many slogans have been made into T-shirts and yard signs promoting levee protection, or railing against FEMA, and I was always trying to come-up with my own phrase that would sum up my feelings living in this strange abandoned place. It came to me one day, and I think it sums up my local feelings about the specific people I miss on my street and addresses the city's Housing Authority of New Orleans (HANO) inaction. I feel that this slogan is relevant to everyone in New Orleans. The slogan is: "I Miss My Neighbors".

I created a large handmade banner that stretched above the railing on the second floor balcony of the afore-mentioned abandoned building on my street. On the boarded up windows and doors of the building I painted remembrances of people who used to live there. Like the loud guy who lived in the corner apartment who would always shout "Hey Neighbor!" and "Howdy!" when I was on the street. Or the elderly lady who would sit on a chair on the balcony for hours and hours everyday. I don't intend for this work to be overtly political - I feel this statement is more about sharing a personal feeling.


Initially the first night the banner was up someone tore it down. I don't know who did it, but I was surprised, even pleased, to get such a strong reaction. I re-hung the banner and added two paintings - over the course of the week I added another one every night so that when my neighbors woke up a new portrait would have appeared. This went on until I finished. The work has since been completely torn down (HANO claim to be renovating the building now) (and how surprising is it that they had the energy and time to tear down this art but not to clean the yard/building and get new tenants in???) but I envision this project as on-going. I got a lot of support from my current neighbors telling me how much they appreciated it and agree with my feelings - in this way I feel like we've been reconnecting and rebuilding.

I have plans to reinstall the work and to have a block party celebrating it. Visitors can remember their neighbors who are not here anymore; we can share food and stories and those who want to will be able to create "I Miss My Neighbors" yard signs to take home or put in the yard of a missing friend. This will spread the slogan all over town and hopefully through this process of sharing our personal feelings we can keep some of our missing friends connected to us and New Orleans.

(ArtInAction would like to note that while population figures for the city of New Orleans show an increase and we now regularly read how the city's population is at 70% "pre-Katrina numbers", one must keep in mind that approximately 35% of our current population are new citizens and were not here before the storm.)

Site #28: Kathy Randels "Spaces In Between" 6860 General Diaz, Lakeview

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"Spaces in Between" is an account of events that took place in Kathy Randels’ birth home during her first 18 years. 6860 General Diaz became the pastorium of Lakeview 'Baptist Church in 1966 when her father James Richard Randels was their pastor. His family lived there until 1993. Subsequently, two other pastors and their families lived in the house. In the days following Hurricane Katrina, the house was submerged in 8’ of water. Two years later, the church has decided to sell the property. This will be the final performance of Spaces in Between.

In this performance Kathy Randels plays a spirit, The Black Lady, who leads the audience through all the rooms of the gutted house, sharing moments when she haunted the family, Kathy in particular. The piece is an extended monologue by The Black Lady, who directly addresses the audience. It is divided into sections based on the room in which she is speaking.

The Black Lady is a shape-shifter who dances in between the realms of the living and the dead. She is named for the color of her costume. (Crna Dama, in Serbian, does not have the same racial implications that “The Black Lady” has in American English.) Kathy inherited the character from Tina Milevojevic of Dah Teatar in Belgrade, Serbia, who created her for Dah’s original performance The Helen Keller Case. Randels took over that role in the fall of 1998/spring of 1999, but the performance came to an abrupt end in March 1999 when, while performing in New Zealand, NATO began bombing Serbia and Kosovo. Randels carried The Black Lady’s costumes and props home to the U.S. and has embodied her in several pieces since, including two performance protests. For Randels, The Black Lady has become an instrument for addressing social or governmental injustices.

"Spaces in Between" was originally created as a part of the first of "HOME, New Orleans? Lakeviews" community art events. "Spaces in Between" was conceived, written and performed by Kathy Randels. The installation was designed and created by Ms. Randels with Takako Uemura. Technical direction, lighting, and sound design were created by Sean LaRocca.

ArtInAction would like to thank Jan Gilbert for her generous support of this project.

Site #27: Rian Kerrane/Frahn Koerner/Anastasia Pelias "The Apostolic Project" 725 Forstall Street, Holy Cross

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"Searching the Holy Cross neighborhood for our ARTinACTION site location we were drawn to the gutted property at 725 Forstall Street. This 100 year old house with its beautiful live oak tree compelled us to use it as our site and ARTinACTION made this possible. While researching the site's history, a helpful neighbor, Mr. Albert Scott, told us the house had been the parsonage of the Upper Room Apostolic Church where Pastor Curtis Gales lived with his family before Hurricane Katrina. Thus began a process of outreach that deepened our connection to Holy Cross and informed this creative process.

The little white house that so grabbed our attention sits behind the boarded up
Apostolic Church, which until August 29, 2005 was an integral part of its neighborhood. Pastor Gales led the 100+ congregation devoted to community-based civic service, providing basic necessities to countless needy families throughout the years. Now living in San Antonio TX, Pastor Gales and his family remain exiled, like many of the Apostolic Church's congregation since the levee breaks of Hurricane Katrina. The church has not yet been able to re-open.

"The Apostolic Project" is installed in the former parsonage. The interior of the gutted house is filled with thousands of hand folded paper boats - a resonant symbol in a complex historical site. These sculptural boats were made collectively, many in collaboration with people from all over New Orleans - sharing this process added a vital layer of meaning to the work. Also included are representations of pomegranates which have a rich mythology in many cultures, symbolizing birth, death, and rebirth - perfect metaphors for a city struggling to rebuild post-disaster. A hand-made decorative crown is installed on the roof, honoring the church’s purposeful benevolence. This is intended to question the responsibility of a city consumed with catering to a tourist industry's idea of celebration while neglecting its own people, from whom tradition and celebration naturally emanate." - Artist/s Statement

ARTinACTION would like to thank Pastor Curtis Gales, Emmanuel Elam, and Marc Guilbeau whose generous support made this project possible.

Site #26: NOCCA Visual Art Renegades "Black, White, Blue" Milne Boys Home: 5420 Franklin Avenue, Gentilly: Unveiling: Mar 15

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ARTinACTION is pleased to announce Director Elizabeth Underwood's collaboration with a collective of NOCCA visual art students on the former Milne Boys Home site in Gentilly. In their efforts to address the Milne Boys Home's history of segregation as well as the city's negligence regarding the removal of the blue tarps installed on the Milne rooftops post-Katrina, the artists worked with old and new blue tarps to "segregate" the blue with the surrounding landscape. Creating obviously sculpted mixed-media works amongst the tattered remaining tarps, a narrative is initiated exploring the tension between good intentions and neglect. At what point do the traces of disaster become integrated into the "new" environment? How responsible is "the human hand" in the construction (or deconstruction) of the aesthetics of a post-disaster community? Should a community that is fighting for attention embrace or critique the signs of this lack of attention? By raising a blue tarp on the flagpole, the artists make an ironic and proud statement expressing the power of victims of disaster to not just survive but thrive.










































Milne Boys Home began in 1933 as a residential facility for troubled and needy boys. It was originally called the "Asylum for Wayward Orphans" and has gone through many incarnations - all proposing to tend to the needs of delinquent and impoverished young men. Since its inception, it has been under the jurisdiction of the Milne Trust, a private foundation that stipulates that the facility be run for boys. For some time now the City of New Orleans has been leasing the property from the Milne Trust.


ARTinACTION would like to thank Mary Len Costa, John Otis, Monty Burlingame, and the Milne Trust for their generous support of this project.