Presenting Membership
Donations above $3000

  • Invitations to monthly events including artist studio visits, private collection visits, curatorial-led tours, and other members-only events
  • Invitations to all May openings and programs
  • Free admission to May fundraising parties*
  • Discount on all artwork of 20%*

*Discount fair market values will be deducted from your total annual donation.

Tameka Norris Round Table

Artist round table moderated by Kalamu ya Salaam
Monday, November 10th, 7pm
Location: Orange Couch Cafe
(2339 Royal Street, in the Marigny, across the street from May Books).

As part of Prospect.3: Notes for Now, May gallery & residency debuts a feature-length film and a video installation by New Orleans-based artist Tameka Norris. Meka Jean: How She Got Good follows a semi-autobiographical protagonist as she struggles to define herself in relation to her surroundings. How She Got Good is a collage of fragments—in the forms of music videos, soap operas, and high-art films—that highlights moments when Meka Jean’s identity breaks down and reveals itself in new ways, confusing distinctions between the real & the scripted and between the self & others.

Norris deconstructs Meka Jean even further through a multi-channel installation composed of production footage, underscoring the inherent performativity of art and identity and tracing the evolution of the character herself.

How She Got Good is equally a film about New Orleans, a city undergoing rapid socio-economic shifts alongside Meka Jean’s constantly changing conceptions of herself. The Meka Jean Project extended into real communities in the Ninth Ward through its primarily local cast and crew.

Audible, Visible Volumes

Audible, Visible Volumes was performed at May gallery in August of 2012.
A full length DVD of the two performances Make Your Bed (17:55), by Brita Everett and Seth Laucks; and Rail (11:48) by Philippe Landry, was released as a signed limited edition and a non-signed edition. The DVD sleeves were custom designed, printed and assembled by Alaric Garnier, Constance and May.

Signed Limited Edition ($300 + s&h) Pay with PayPal
Regular Edition DVD ($35 + s&h) Pay with PayPal

A Walk With…

A Walk With… is a biweekly newspaper documenting Lotte Geeven’s residency at May, from February 3rd to April 11th, 2014. Each issue focusses on a specific aspect of Geeven’s investigations and research throughout the city, thanks to walks and talks with various community members and specialists.

Issue #1: PDF
Issue #2: PDF
Issue #3: PDF
Issue #4: PDF
Issue #5: PDF

Produced with the generous support of the Mondriaan Fund, Rosa Mary Foundation, The Netherlands Americas Foundation, The Joan Mitchell Foundation, and the Season and Presenting Members of May.

May resident artist: Lotte Geeven assisted by Mary Crockett
Artistic Director: Keene Kopper
Publication Director: Émilie Lamy
Graphic Designer: Alaric Garnier
Photographs: Émilie Lamy

The River

“This is a book of borrowed excerpts of poetry describing the 2320.2 mile current of The Great Mississippi River. The 440 page book navigates from one voice to another, through history, past the muddy riverbanks, through valleys, okra fields and plantations. This portrait has been constructed with hundreds of poems mentioning the river, capturing words about the water and arranging them state by state, from the source of the river to the delta. The pagination and placement of the text are identical to the originals.” – Lotte Geeven, Spring 2014, New Orleans

Order your copy online on Blurb’s website, here. It will be shipped directly to you.

The audiobook can be found here on Soundcloud. Thank you to Christophe Jackson for his voice!

With the generous support of the Mondriaan Foundation, Netherlands Americas Foundation, the Rosa Mary Foundation, Michael Wilkinson and the May Season Members.

Bob Snead

Bob Snead is a native of Charleston, SC where he graduated Cum Laude in 2002 from the College of Charleston with a BA in Studio Art.  Soon after with a group of fellow grads, he formed Redux Contemporary Art Center in Charleston and remained founding director of the organization until 2005 when he left to pursue graduate studies at Yale University School of Art.  After receiving his MFA in painting and printmaking in 2007, he helped form the traveling artist collective Transit Antenna and spent the next two years developing community based art projects all over North America.  He has exhibited with Jack Tilton Gallery and Deitch Projects in New York, and his work can be seen in New Orleans at the Ogden Museum and Jonathan Ferrara Gallery.  In 2011 he was named a distinguished alumnus of the College of Charleston for his extensive work with non-profit arts organizations, and he is currently a board member of the New Orleans literary and visual arts organization, Press Street, as well as an organizing member of Antenna gallery.
bob.transitantenna.com/portfolio

Tameka Norris

Tameka’s work in many ways encapsulates and represents the relationship between the multi-generational, existing black communities and the New Orleans “Transplants.” Her time away from the city has allowed her to see from a different perspective the -sometimes strange- ways in which these communities engage with each other. Her liberty to speak in a tongue-in-cheek manner about something that is so commonly the elephant in the room, is part of what makes her work challenging for everyone who sees it, from every demographic. It is this type of challenging, sometimes subversive and passive-activist work that May gallery & residency wants to foster as the gallery & residency program develops.
www.tamekanorrisart.com

Nicolas Sassoon

The work of Nicolas Sassoon makes use of various computer-based aesthetics to generate fantasized visions of architectures, landscapes and domestic environments. While most of Sassoon’ s work is published online through the format of animated gifs, the artists has in collaboration with other artists, architects, curators, music producers, and fashion designers, materialized this web-based practice in a diverse range of mediums such as sculpture, prints, textiles, and site-specific installations. Sassoon’ s work often explores the material application of immaterial concepts, through a practice that investigates the manner in which virtual spaces and thinking can (or cannot) be inscribed within the physical realm.
Nicolas is a member of the online collective Computers Club. Nicolas has shown in various international venues and events such as the Miami Art Fair (US), the Tokyo Art Fair (JP), Today Art Museum (CN), Portland Art Museum (US), Cincinnati Art Museum (US), 319 Scholes (US), Eyebeam (US), Every Letter in the Alphabet (CA), Charles H.Scott Gallery (CA), Western Front (CA), TINBOX Contemporary Art Gallery (FR), LMD Galerie (FR), the Berlin Fashion Week (DE), and MU Eindhoven (NL). Nicolas lives and works in Vancouver BC, Canada.
nicolassassoon.com

MOMO

Born in San Francisco, MOMO has travelled most of his life, lived in New York for six years and currently keeps a studio in New Orleans. He has collaborated with Marie Lorenz, Melissa Brown, Piet Dieleman, Eltono, and Yohji Yamamoto. In 2008 Rojo published his first monograph “3AM-6AM”, in 2012 Studio Cromie published his second, “In 74 Pieces”. In 2009 Y-3/Adidas produced the “MOMO” shoe after a collaborative F/W Y-3 show on a 5000 sq ft catwalk mural. Arts residency The Studios of Key West hosted his “Public Art in Private Spaces” project in Key West, Florida in 2010. In 2011 the Fountainhead Residency in Miami hosted production of his “Miami Paintings” series.

momoshowpalace.com

Alli Miller and Trey Burns

Alli Miller (b. 1985, New York) is an artist and designer working between Brooklyn and New Orleans. Alli’s work is premised on the investigation of liminal moments to underscore the psychosexual and relational aspects of display and consumerism. As material, she utilizes voices and powers surrounding the artwork: for example, the pedestal, the ad space, the archive. In the ritual of her practice, she invents and draws upon systems of mythology to contextualize production, while employing the faculty of humor to compose material slippage. Alli received a BFA from Cooper Union in 2008 and studied with visiting artist Marjetica Potrč at the Fondazione Antonio Ratti (Como, Italy) in 2006.
www.allimiller.com

Trey Burns (b. 1984, Goldsboro, NC) received an MFA in Painting & New Media from Savannah College of Art & Design in 2008. Interested in reportage and documentation, his work has explored concepts of Americana through video and photography. Trey’s work has been exhibited internationally and is currently working on several multi-media collaborations.
www.treyburns.me

Derek Larson

Derek Larson is from Seattle and received his MFA from the Yale School of Art and has exhibited in the US and internationally, recently he presented his Memes project at the Finnish Museum of Photography in Helsinki. He has participated in a number of residencies including the Yale Norfolk Program and Arteles in Finland. His work has been featured in the Seattle Times, NY Arts Magazine and Rhizome @ The New Museum in New York.

Thomas Grill

Thomas Grill is a Vienna-based media artist and researcher of sound, with particular focus on electroacoustic performance.
Grill’s works range from interactive audiovisual installations to instrumental compositions and improvisations. Grill studied technical physics in Linz, as well as computer music and electronic media in Vienna and Graz and then received his doctorate in composition and music theory at the University for Music and Performing Arts, Graz. He currently develops open-source media software and is a Postdoc researcher at the Austrian Research Institute for Artificial Intelligence (OFAI).

grrrr.org

Lotte Geeven

Lotte Geeven (1980) is a multi-media artist from Amsterdam creating tailor-made portraits of sovereign places. These simple portraits with a graphical character aim to envelope the magic of autonomy and explore complex matter & power beyond our control related to a specific place. For example The sound of the earth – a sound recording from the deepest open hole in the planet- is a portrait of the abstract deep earth. Or the work Sovereign – an upside down Jaguar spinning on it’s back in slow motion in an empty parking lot- is an exploration of the ambiguous character of this sovereign location.
www.geeven.nl 
and 
www.galeriewest.nl

Susan Bowers

Susan Bowers described her art as, ‘a monkey on her back.’ Her background is in art history, painting and printmaking.  While getting an art history degree at Tulane University, New Orleans, Louisiana in the 1990’s she started taking ceramic classes.  She taught Art History at Tulane and Xavier University before becoming interested in computer art. She worked in computer graphics and animation for sometime before losing interest. She resumed working in ceramics 7 years ago and has renewed her passion for the primordial medium.
modernpromethea.com

Clark Gordon Allen

Clark Gordon Allen is an artist hailing from the California Bay Area, transplanted to New Orleans in 2011. He works pseudonymously under the name Sink Stuart- a matter indebted entirely to the fact that his proper name presented in any order remains utterly “un-googleable” and that this loathe adjective, a phonetic baby word, commands an awkward modern precedence. His photography and illustrations, generally focus on modern American convenience, sloth, and tendencies toward low moral altitude, blending misanthropy with the absurd. His work has been published in The SF Bay Guardian, The Stranger, and Maximum Rock n Roll, has been exhibited in San Francisco, Seattle, and New York City, and he has fallen into the ever expanding group of artists who have had their designs appropriated by Urban Outfitters.

sinkstuart.tumblr.com

residency

The May residency hosts three to four artists or curators each year for between three weeks and three months. May invites potential residents to submit proposals, and accepts proposals on an ongoing basis.

All residencies culminates in a three month exhibition which is produced by the resident-artist and May’s production team. Additionally, May hosts artists round tables and other educational programming which occur concurrently with each exhibition. All educational programming is open to the public and is moderated by local and international arts specialists or specialists in fields related to the exhibition.

While applications are generally accepted on an ongoing basis, we are currently not accepting applications. We are in the process of redesigning the program application process. Thank you, and check back again soon!

the space

May is excited and proud to be the first contemporary, international production artist residency program and exhibition space in the Greater New Orleans area. May is currently preparing its new location at 750 Carondelet Street at the intersection of Julia Street. The new location will open publicly with the opening reception of Dave Greber’s exhibition at May on March 24th, 2016!

Architectural plans coming soon!

about

This past year at May brought some very exciting headway. It is because of your dedicated support that May was able to make such amazing progress. May presented the work of artist Tameka Norris as an official venue for Prospect 3. For May, becoming an official venue for Prospect 3 was a goal among many which served as motivation to achieve many smaller, but very important foundation-building goals.

Since 2012, May has produced nine solo exhibitions. All of which have established May as a unique space for experiencing contemporary art as distinctly intended by its artists. May has been setting a standard for the production and exhibition of contemporary art within a non-institutional, multi-sensory spacial envelope. May does not set forth standards of presentation or architectural rules which are replicated from exhibition to exhibition. We deliberately make this choice because we believe that the branding, aesthetics and intent of the institution are a distraction from the artist’s intent—we want the art to speak for it self. Concurrently, our publications bring transparency to the artist’s intent and process. However, we don’t impose interpretations on our audience. An artist could deliberately choose to use an institutional aesthetic in their installation, but that choice is a pre-rationalized one—it is a choice that precedes the physical production of their desired art experience. In architecture, the practice rests upon two principal constraints: the creative intent of the architect and the programmatic, functional needs of the client within their chosen site. Reflected within the framework of the institution of contemporary art, the role of the institution should be to provide the artist with the tools necessary to fulfil both the creative intent, and the functional needs within the given space. The curator should simply assist the artist in deliberate art place-making, versus only providing a place to hang artwork, or a pedestal to place sculpture—though, the latter could be a deliberate need of the artist’s intent!

The white-box model of art presentation was one which represented creative freedom from the institutionalized art museum codes of conduct; it was thus a continuous clean slate for new art, media and ideas. But for too many, the white-box now also embodies sentiments of exclusivity, and it now unavoidably has self constructed artist codes of conduct. As art presenters we can no longer afford to use exclusivity as a tool to elevate the value of contemporary artwork; that approach is dysfunctional. The intent and products of our contemporary artists must be made more accessible and conceptually unencumbered if we truly hope to convey our artist’s ideals. We need to elevate contemporary art to a position in society where it is a legitimate player in the evolution of our global culture, where the current, long standing owner of that title is pop-culture.

I look forward to your committed support and please visit us soon!

Best Regards,

Keene Kopper

Mary Dixie Anderson

Mary Dixie Anderson is a New Orleans native with a long history of involvement in the local arts community. Anderson attended the New Orleans Center for Creative Arts while working for the Contemporary Arts Center as an Art Educator and Preparator. She then went on to study painting and science at Maryland Institute College of Art and Johns Hopkins University. During her time in school, Anderson developed passion for culinary arts and beverage industry. After working for more than 10 years as a chef, sommelier and mixologist, she now works as a beverage program consultant in and around New Orleans.

BAMBOULA NOLA

a sound art exhibition presented by Howard-Tilton Memorial Library /
Tulane University & May books October 25th 2014 — January 25th 2015

Music is an essential element of New Orleans. The swing of jazz defines its origins and the pulse of bounce frames its present. But the sound of the Crescent City turns a rich cultural space into a dynamic listening chamber. Its neighborhoods, avenues and canals organize New Orleans into a field of junctures that generate the hum of river traffic at the French Quarter or the roar of life at Claiborne-and-Esplanade. From the Mississippi River to Lake Pontchartrain spontaneous sound sculptures are found at every corner.

BAMBOULA NOLA is a transdisciplinary sound art exhibit. Founded on New Orleans composer Louis Moreau Gottschalk’s Bamboula, Op. 2, the exhibit brings together twelve artists working in sound, from technology and composition to visual and conceptual, and spreads them out all over Tulane University’s Uptown campus, as well as creating a listening satellite site located at May Books. The two spaces erect a bridge across the city making visitors aware of the possibilities of sound and location. In the same way Bamboula reflects a compositional process overlapping social space and sound appropriation, BAMBOULA NOLA presents artists working in or having produced work in the context of New Orleans, employing sonification, field recordings or various other methods of pushing the boundaries of sound as an expressive form.

BAMBOULA NOLA will be hosting various roundtables and other events. Keep your ears and eyes open!

Artists Jane Cassidy, Matthew Thompson, Justin Peake, Spencer Topel, Peter Leonard, William Thompson IV, Christopher Trapani, Generic Art Solutions, Rick Snow, Lotte Geeven, Thomas Grill, Philippe Landry

Main exhibition space 1st Floor Lobby,
Howard-Tilton Memorial Library at Tulane University 7001 Freret St.
Friday through Sunday: 12-6pm

Satellite space May Books 2402 Royal St.
Tuesday through Friday: 10am-6pm Saturday: 12pm-6pm Sunday: 12pm-5pm

Very special thanks to The New Orleans Jazz and Heritage Foundation

Phone 337 280 3561
Email phil.a.landry@gmail.com

For information on events, artists, and happenings please visit our website: http://bamboulanola.tumblr.com

Tameka Norris
MEKA JEAN: HOW SHE GOT GOOD

As part of Prospect.3: Notes for Now, May gallery & residency debuts a feature-length film and a video installation by New Orleans-based artist Tameka Norris. Meka Jean: How She Got Good follows a semi-autobiographical protagonist as she struggles to define herself in relation to her surroundings. How She Got Good is a collage of fragments—in the forms of music videos, soap operas, and high-art films—that highlights moments when Meka Jean’s  identity breaks down and reveals itself in new ways, confusing distinctions between the real & the scripted and between the self & others.

Norris deconstructs Meka Jean even further through a multi-channel installation composed of production footage, underscoring the inherent performativity of art and identity and tracing the evolution of the character herself.

How She Got Good is equally a film about New Orleans, a city undergoing rapid socio-economic shifts alongside Meka Jean’s constantly changing conceptions of herself. The Meka Jean Project extended into real communities in the Ninth Ward through its primarily local cast and crew.

 

Derek Larson
₮A₦₮RI₡ ₩€A₤₮h

What can you do when opportunities become out of reach, and when your choices dwindle to fewer and fewer? Current psychological research actually suggests that having fewer choices will make you happier and, conversely, having too many options is stressful. So how important is it to empower yourself? What about economic free-will and the idea that hard work will lead to success? What can one individual do? What are your options? Can you even empower yourself? Stare into the Yantra prints… Meditate on the layered currencies of the world. Feel the wealth of the world inhabit your body. Find faith in spiritual healing again, like when you used to read the Tao. That was a short and rocky time in your life but try remember the comfortable loneliness. Find your previous self, the one that didn’t have any money and didn’t care. Didn’t know how to care. No caring. That’s you. You’re free to float across the landscape, like that time you drove across the country with your old friend whom you’ve lost touch with. Let go… and enter the tantric economy. It isn’t worth it.

—Derek Larson

Alli Miller & Trey Burns
WESSEL CASTLE

“In the situation of supermodernity, part of this exterior is made of non-places, and parts of the non-places are made of images.”
— Marc Auge, Non Places: An Anthropology to Supermodernity

The May Gallery is proud to present “Wessel Castle”, an exhibition from the archives of Alli Miller and Trey Burns. A portmanteau of Tom Wesselmann and White Castle, “Wessel Castle” is an ongoing collaborative archive from our travels and commutes into the megatexture of the American landscape. With a nod to the legacy of pop art and culture jamming, we examine sign culture within the grammar of public space through the framing of that which is liminal, hyperbolic, and humorous. Through the act of collection, we create typologies in order to explore their possibilities.
These images explore the ferment of message within the sign-scape. In turn, sculptural works draw parallel between the advertisement space and that of the gallery as a place for appraisal. As site, sign and pedestal share a tendency to mimic the “lived spaces” of the real in order to create new, often perverse, meaning. These hybridized forms invert the conceit of muséal display with the improvised style present in local and handmade signage.

AN ELEPHANTINE TEPEE SERVES ESPRESSO ROADSIDE, TRADING ITS SKIN FOR A STUCCO SHELL

A WAFFLE HOUSE, SHUTTERED BECAUSE OF A SHIFTING DEMOGRAPHIC, NOW BOASTS TOP DOLLAR FOR YOUR GOLDJEWELRY

A PAINTING SLUNG ON AN ABANDONNED SHIPPING CONTAINER REFLECTS THE METAPHYSICS OF ITS SURROUNDS

Clark Allen & Bob Snead
FAMILY DOLLAR GENERAL TREE

This location is being monitored and recorded for your safety and convenience. Thank you for shopping at Family Dollar General Tree.

This is where we work. We would rather you stay away but Corporate needs you here. You are a number. Corporate requires numbers and we require Corporate. You require our stock and our stock is required on shelves. We receive performance reviews based on how well we move the shelves’ stock straight from Corporate. Maybe we’ll get a raise. Who knows? Corporate needs to calculate the numbers first. They will give you what they say you want, and we want it too, but first we’d better stock the shelves.

Don’t steal. Don’t loiter. Just buy something and leave. We couldn’t imagine why you’d want to loiter here anyhow. Didn’t you hear the announcement when you walked in the door? They are watching us and we are not a corner store, though Corporate insists that we project our pride in being as convenient as one. We display this pride via our khakis and our collared shirts, the shirts are embroidered with a stylish and discreet company logo. Our first of these shirts is generously donated by Corporate, and so we launder these shirts with care using Tide with Bleach Alternative, the finest detergent according to our circular. In the event of eventual desaturating, wrinkling, or frumpiness of the garment, Corporate will generously deduct ten nontaxable dollars from our paycheck for a crisp replacement- a convenient arrangement, as one would expect from such convenient stores.

We find ourselves in a closed circuit, the infinite loop of Uroboros reflecting the illusion of inexhaustible resources, which we assume everyday by walking through the magnetic theft prevention system. Regional nuances are observed; for what would New Orleans be without the fleur de lis? However this is secondary to Corporate’s goal. Thusly, our primary spectacle is the brands we are built upon, and the waste built upon that.

Thank you for shopping at Family Dollar General Tree. Have a nice day.

—Clark Allen and Bob Snead

Nicolas Sassoon
GREEN WAVES

For his solo exhibition at May gallery & residency, Nicolas Sassoon will present a series of large scale video projections and sculptures derived from a recent body of digital animations titled Green Waves.

Green Waves originally stems from a series of screen based animations depicting abstracted moving bodies of water through the use of moiré and hard edge pixel patterns. The animations are part of a large ongoing project titled Patterns, where Sassoon studies the representation of the natural by encoding it into abstracted digital forms.

For the exhibition at May gallery, Green Waves  unveils a central moment within Sassoon’s current research; when his animated work extends to the material realm as contemplative sculptures and immersive video projections, taking form as imaginary portals inside the space. In Green Waves, each work evokes large surfaces of liquid by using multiple streaks of hard edge pixels moving slowly together, emulating an experience of landscape detached from nature through an illusory and mesmerizing display.

Thomas Grill WORLD
CONSTRUCTION VARIATION: EMPTY VESSEL

“Vernazza, Italy, is a small village in the Cinque Terre region, situated on the rugged Ligurian coast. The town’s church, Santa Margherita d’Antiochia, built in 1318 directly on the harbor, opens its entrance to the main square, Piazza Marconi with cafes and access to the town beach. When I visited the church in the summer of 2005, its door was wide open, inviting all the everyday noises from outside: the chatter of people sitting in the cafes, the yelling of market vendors, children’s noises of playing at the beach, etc. And all those noises would be captured, reflected and transformed by the church hall’s architecture to become a wonderfully sweet and unholy turmoil of sound occupying the large space, only most vaguely reminding of the noises’ external origins.” – Thomas Grill

World Construction, Variation: Empty Vessel is part of an ongoing series of site-specific compositions and sound installations. It will consider May’s raw, industrial interior as a vessel to resonate noises leaking in from the outside. The title is a reference to Alvin Lucier’s work Empty Vessels, which amplified the resonances that were created within empty bottles due to outside sounds. Grill’s project appropriates sounds from May’s environs and then reconstructs them in May’s concrete space through the use of 100 loudspeakers and 40,000 watts of amplification.

 

Momo
BUTT JOINTS

“May is a raw bunker-like space by the St Claude Rail Yard, perfect for oversized installations. Butt Joints describes the method of marrying plywood together that will help us build something large yet simple within May’s space. Paint applied to these wooden forms will demonstrate my mural techniques and concerns, with the aim of revealing something about paint in space and our sensual experience of it.

I’m very happy to create a show in New Orleans. I’ve been visiting when I wasn’t living here, since 2001, and I owe a lot to this place and it’s great people.” – MOMO

Butt Joints is a solo exhibition comprised of all new context specific artwork. MOMO’s current creative trajectory has led him further into color theory, abstract geometric constructions, and layering. MOMO’s work is typically considered outdoor art, or work made for the public, lending to its broad accessibility and popularity. Additionally, his work is so visually and conceptually accessible, making it easy and enjoyable to view and relate to. His exhibition at May will consist of a floor to ceiling wall mural, colorful large scale hanging sculptures, paintings on canvas, prints, and signed limited edition zines.

Born in San Francisco, MOMO has travelled most of his life, lived in New York for six years and currently keeps a studio in New Orleans. He has collaborated with Marie Lorenz, Melissa Brown, Piet Dieleman, Eltono, and Yohji Yamamoto. In 2008 Rojo published his first monograph “3AM-6AM”, in 2012 Studio Cromie published his second, “In 74 Pieces”. In 2009 Y-3/Adidas produced the “MOMO” shoe after a collaborative F/W Y-3 show on a 5000 sq ft catwalk mural. Arts residency The Studios of Key West hosted his “Public Art in Private Spaces” project in Key West, Florida in 2010. In 2011 the Fountainhead Residency in Miami hosted production of his “Miami Paintings” series. http://momoshowpalace.com/

 

Susan Bowers
TRIPTIX

“I felt like I could wait for illumination about what to do in life, but instead, I deliberately make forms. These forms reflect the world that I inhabit, but they do not reflect my own character. The only explanation for this is that who or what I am has remained a secret kept even from myself. Certain ideas intrigue me. One is the idea of a secret sacrifice so cruel that it is unbearable. Thinking about it, I realize no one can see oneself as cruel–not even a sadist who can say that flagellation is mean. By this I mean: authenticity is an impossible secret to keep. I can see sacrifice emanating from life forms. My art exists to give pleasure and does not attempt to judge. These ideas are the trace of a smudge on the glass I am looking through.” —Susan Bowers

Susan Bowers described her art as, ‘a monkey on her back.’

Her background is in art history, painting and printmaking.  While getting an art history degree at Tulane University, New Orleans, Louisiana in the 1990’s she started taking ceramic classes.  She taught Art History at Tulane and Xavier University before becoming interested in computer art. She worked in computer graphics and animation for sometime before losing interest. She resumed working in ceramics 7 years ago and has renewed her passion for the primordial medium.

James Folsom

James E. Folsom III is originally from Cullman, Alabama. After graduating with a B.A. in photography from Bard College he returned to his home state to work as part of a team in a statewide election. James moved back to New York City where he was immersed in the art scene as a photographer and art handler for two years before moving to New Orleans where he is currently enrolled at Loyola University New Orleans College of Law as a 2015 juris doctor candidate with a focus in Technology, and Entrepreneurship. James aims to continue his work within art, technology, and politics.

partnerships

May accepts monetary and in-kind donations from individuals corporation and other cultural organizations.

If you are interested in partnering with May, please contact gallery@mayneworleans.com for more information.

2016 partners:

The Andy Warhol Foundation for the Visual Arts
Printed Matter, Inc.
BOOKMACHINE / one star press
Dinner Lab
Copa Airlines
The Domain Companies
Riso, Inc. USA

2014 partners:

Prospect New Orleans
The Mondriaan Foundation
The Netherlands Americas Foundation
The Joan Mitchell Center
Riso, Inc. USA
Tin Roof Brewery
Pearl Wine Co

crédits

Website designed by Alaric Garnier and built by Anthony Kim with WordPress. Typeset in Antique No 525. This typeface was designed by Alaric Garnier for May New Orleans, after the eponymous font from the American Type Founders catalogue (1923). Board of Directors portraits by Bryan Tarnowski. All exhibition and gallery photos by Keene Kopper. All content © May New Orleans 2014; May Gallery, Inc. 2014.

Alaric Garnier

Alaric Garnier (b. 1988) is a French graphic designer, type designer and sign writer. He graduated from the school of fine arts of Lyon in 2013, with a MA in graphic design. He worked as a sign painter with Sean Barton in Seattle, as a graphic designer at John Morgan Studio in London and the design firm, Maquette & Mise en Page in Paris. He opened his own studio in Paris in 2014, and practices mainly in the cultural field, often collaborating with artists on assignments or self initiated projects. With a strong interest in the history of letterforms, printing processes, and vernacular arts, his practice revolves between the fields of design and craftsmanship, while working on visual identities, typefaces, books, websites, signage systems, posters or handpainted signs and lettering. Since April 2012, he has been in charge of May’s visual identity, exhibition posters design, publications, signage, website and the typeface you are looking at right now.

www.alaricgarnier.fr

Keene Kopper

Keene Kopper (b. 1979) trained and worked as a design architect in Massachusetts (‘03-’05) and then in New York City for Kohn Pedersen Fox Architects (‘05-’09). While working as a design architect for six years he maintained his artistic practice, producing artwork, and curating arts-specific events. He moved to New Orleans in 2008. As a curator, Keene specializes in working with artists to create all new, original context specific art installations, publications and educational programming. The resulting exhibitions are often executed as immersive architectural, social, political or sensory interventions.

Through his experiences with various artist residency programs, and through the influence of other international arts galleries, museums, and institutions of critical thought and education, he was inspired to create a new artist residency program in New Orleans. The program focuses primarily on the production of large scale context specific installation art, publicly accessible exhibitions and education programming, publishing and bringing access to creative source publications. He and May gallery’s Board of Directors were the initiators and incubators of May books, which was a specialty art and magazine bookshop, founded by Émilie Lamy, located in the Marigny neighborhood of New Orleans, now called The Stacks. Keene founded May gallery & residency, the first contemporary art production residency in Greater New Orleans, in 2012

our mission

May gallery & residency was conceived to bring transparency and accessibility to contemporary art and the process of its production—documenting and presenting our international resident–artist’s intent, their concept, and the resulting art experience.

Located in New Orleans, May produces original, context specific artworks and installations for public exhibition by international contemporary artists, and concurrently provides educational public programming to New Orleans and Southeastern United States. May’s educational programing teaches critical thought through public discussions, publishing, exhibitions and by actively integrating international resident-artists into the surrounding communities. All educational programming and entrance to exhibitions are free and open to the public. Throughout the year, May hosts a number of publicly accessible events to attract new audiences to the world of contemporary art.

May provides art practitioners with the resources to achieve a higher level of professional and creative development, encourage a greater acknowledgment, understanding and value of contemporary art, and create awareness of the cultural, built and natural environments of New Orleans and the Southeast. May’s goal is to seek links between the arts, other areas of cultural production, and the sciences, as well as to include art as a contributing voice in the global intellectual, social and political discourse.

May gallery & residency (May Gallery, Inc.) is an IRS 501c3 organization.