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27th ANNUAL NO DEAD ARTISTS

International Juried Exhibition of Contemporary Art

new and recent works by 15 Contemporary Artists

August 30 – October 14, 2023

KATIE CHANCE, Roxanne, 2021

KATIE CHANCE

Roxanne, 2021

layered vellum and ink mounted on foam board

24h x 36w in

60.96h x 91.44w cm

 

'Girls' is a series of line-contour drawings by artist Katie Chance, abstracting sensuous female figures from amateur pornography. Through blind creation, she challenges objectification, giving these women new life and engaging viewers in discussions about privacy, controversy, and the female body.

KATIE CHANCE, Julie, 2020

KATIE CHANCE

Julie, 2020

watercolor, ink, and chalk pastel on watercolor paper

30h x 22w in

76.20h x 55.88w cm

 

'Girls' is a series of line-contour drawings by artist Katie Chance, abstracting sensuous female figures from amateur pornography. Through blind creation, she challenges objectification, giving these women new life and engaging viewers in discussions about privacy, controversy, and the female body.

KATIE CHANCE, Ella, 2023

KATIE CHANCE

Ella, 2023

watercolor, gouache and ink on watercolor paper

25h x 18w in

63.50h x 45.72w cm

 

'Girls' is a series of line-contour drawings by artist Katie Chance, abstracting sensuous female figures from amateur pornography. Through blind creation, she challenges objectification, giving these women new life and engaging viewers in discussions about privacy, controversy, and the female body.

KATIE CHANCE, Julienna, 2023

KATIE CHANCE

Julienna, 2023

watercolor, ink and gouache on watercolor paper

24h x 18w in

60.96h x 45.72w cm

 

'Girls' is a series of line-contour drawings by artist Katie Chance, abstracting sensuous female figures from amateur pornography. Through blind creation, she challenges objectification, giving these women new life and engaging viewers in discussions about privacy, controversy, and the female body.

KATIE CHANCE, Lucille, 2023

KATIE CHANCE

Lucille, 2023

watercolor, ink and gouache on watercolor paper

24h x 18w in

60.96h x 45.72w cm

 

'Girls' is a series of line-contour drawings by artist Katie Chance, abstracting sensuous female figures from amateur pornography. Through blind creation, she challenges objectification, giving these women new life and engaging viewers in discussions about privacy, controversy, and the female body.

KATIE CHANCE, Bethany, 2022

KATIE CHANCE

Bethany, 2022

watercolor and gouache on watercolor paper

14h x 11w in

35.56h x 27.94w cm

 

'Girls' is a series of line-contour drawings by artist Katie Chance, abstracting sensuous female figures from amateur pornography. Through blind creation, she challenges objectification, giving these women new life and engaging viewers in discussions about privacy, controversy, and the female body.

KATIE CHANCE, Mandy, 2022

KATIE CHANCE

Mandy, 2022

watercolor, ink and goauche on layered vellum and watercolor paper

11h x 14w in

27.94h x 35.56w cm

 

'Girls' is a series of line-contour drawings by artist Katie Chance, abstracting sensuous female figures from amateur pornography. Through blind creation, she challenges objectification, giving these women new life and engaging viewers in discussions about privacy, controversy, and the female body.

REGULAR CONCRETE, The Bottle 1916, 2022

REGULAR CONCRETE

The Bottle 1916, 2022

custom concrete mixture

2.50h x 5.25w x 9.75d in

6.35h x 13.34w x 24.77d cm

unique, open edition

 

The iconic bottle packs a very popular beverage. It was a forbidden symbol of an American lifestyle in the Eastern Bloc. It was a sweet caffeinated drink in the Western Bloc.

REGULAR CONCRETE, The Music Player 2004, 2022

REGULAR CONCRETE

The Music Player 2004, 2022

custom concrete mixture

2h x 2.75w x 5d in

5.08h x 6.99w x 12.70d cm

unique, open edition

 

The best selling digital music player in the world. This device offered more than just a fulfillment of one's need for music. In the period in which it came to the market, it offered a whole new mindset and also a status symbol, depending on the owner's location.

REGULAR CONCRETE, The Handheld Gaming Console 1989, 2022

REGULAR CONCRETE

The Handheld Gaming Console 1989, 2022

custom concrete mixture

1h x 5.25w x 7.25d in

2.54h x 13.34w x 18.42d cm

unique, open edition

 

The earliest gender-friendly console in history, almost 50/50 ratio of female to male players. In its time it was the best selling handheld gaming device in the world. Came to the market months before the Berlin Wall was torn down.

REGULAR CONCRETE, The Smartphone 2007, 2022

REGULAR CONCRETE

The Smartphone 2007, 2022

custom concrete mixture

1.50h x 5.25w x 6d in

3.81h x 13.34w x 15.24d cm

unique, open edition

 

The iconic professional smartphone of the pre-touchscreen era. Before all smartphones started to look and work the same, carrying one of these was a statement on its own. Seen in hands of Hollywood stars, Fortune 500 CEOs and the world leaders.

REGULAR CONCRETE, The Phone 2000, 2022

REGULAR CONCRETE

The Phone 2000, 2022

custom concrete mixture

1.50h x 3.75w x 5.75d in

3.81h x 9.53w x 14.61d cm

unique, open edition

 

The most iconic phone from the early 2000s, also the best selling one. This relatively cheap device of mobile communication brought the luxury of owning a mobile phone to masses.

REGULAR CONCRETE, The Video Game Console 1985, 2022

REGULAR CONCRETE

The Video Game Console 1985, 2022

custom concrete mixture

1.50h x 6w x 3.75d in

3.81h x 15.24w x 9.53d cm

unique, open edition

 

The best selling video game console of its time. It helped to revitalize the almost extinct gaming industry in the mid-80s by allowing third-party developers to anticipate.

GINGER WILLIAMS COOK, Nonviable, 2023

GINGER WILLIAMS COOK

Nonviable, 2023

acrylic and neocolor artist crayons on canvas

28h x 22w in
71.12h x 55.88w cm

GINGER WILLIAMS COOK, Flora & Zephyr, 2023

GINGER WILLIAMS COOK

Flora & Zephyr, 2023

acrylic and neocolor artist crayons on canvas

28h x 22w in
71.12h x 55.88w cm

GINGER WILLIAMS COOK, Fidus Amor, 2023

GINGER WILLIAMS COOK

Fidus Amor, 2023

acrylic and neocolor artist crayons on canvas

30h x 40w in
76.20h x 101.60w cm

GINGER WILLIAMS COOK, Ad Meloria, 2023

GINGER WILLIAMS COOK

Ad Meloria, 2023

acrylic & Neocolor II on Moulin Du Roy Deckle Edge paper

30h x 22w in
76.20h x 55.88w cm

GINGER WILLIAMS COOK, Change of Air, 2023

GINGER WILLIAMS COOK

Change of Air, 2023

acrylic & Neocolor II on Moulin Du Roy Deckle Edge paper

22h x 30w in
55.88h x 76.20w cm

GINGER WILLIAMS COOK, Summer & Autumn, 2023

GINGER WILLIAMS COOK

Summer & Autumn, 2023

acrylic on wood panel

20h x 16w in
50.80h x 40.64w cm

GINGER WILLIAMS COOK, The Archer, 2023

GINGER WILLIAMS COOK

The Archer, 2023

oil and acrylic on linen

48h x 30w in
121.92h x 76.20w cm

GINGER WILLIAMS COOK, Water Bearer, 2023

GINGER WILLIAMS COOK

Water Bearer, 2023

acrylic, tempera stick, and neocolor artist crayon on canvas

30h x 40w in
76.20h x 101.60w cm

GINGER WILLIAMS COOK, Change of Air, 2023

GINGER WILLIAMS COOK

Change of Air, 2023

acrylic, tempera stick, and neocolor artist crayon on canvas

30h x 40w in
76.20h x 101.60w cm

BECCA FUHRMAN, Boy Howdy, 2022

BECCA FUHRMAN

Boy Howdy, 2022

house-paint on upcycled drop cloth

81h x 45w in

205.74h x 114.30w cm

 

Keep it Moving is a large-scale triptych comprised of Boy Howdy, Knocking Knees, and So it Goes. The triptych explores gender, identity, and representation. Keep it Moving aims to connect with and represent the myriad of people and expressions that make up our experience as people; whether that be feeling turned upside down, like you want to let loose, or the need to redefine your sexuality.

BECCA FUHRMAN, Knocking Knees, 2022

BECCA FUHRMAN

Knocking Knees, 2022

house-paint on upcycled drop cloth

81h x 45w in

205.74h x 114.30w cm

 

Keep it Moving is a large-scale triptych comprised of Boy Howdy, Knocking Knees, and So it Goes. The triptych explores gender, identity, and representation. Keep it Moving aims to connect with and represent the myriad of people and expressions that make up our experience as people; whether that be feeling turned upside down, like you want to let loose, or the need to redefine your sexuality.

BECCA FUHRMAN, So it Goes, 2022

BECCA FUHRMAN

So it Goes, 2022

house-paint on upcycled drop cloth

81h x 45w in

205.74h x 114.30w cm

 

Keep it Moving is a large-scale triptych comprised of Boy Howdy, Knocking Knees, and So it Goes. The triptych explores gender, identity, and representation. Keep it Moving aims to connect with and represent the myriad of people and expressions that make up our experience as people; whether that be feeling turned upside down, like you want to let loose, or the need to redefine your sexuality.

BECCA FUHRMAN, Keep it Moving, 2022

BECCA FUHRMAN

Keep it Moving, 2022

house-paint on upcycled drop cloth

81h x 135w in

205.74h x 342.90w cm

 

Keep it Moving is a large-scale triptych comprised of Boy Howdy, Knocking Knees, and So it Goes. The triptych explores gender, identity, and representation. Keep it Moving aims to connect with and represent the myriad of people and expressions that make up our experience as people; whether that be feeling turned upside down, like you want to let loose, or the need to redefine your sexuality.

DIANA GEORGIE, Lover, 2021

DIANA GEORGIE

Lover, 2021

acrylic on canvas

36h x 36w in
91.44h x 91.44w cm

DIANA GEORGIE, Thanks, 2017

DIANA GEORGIE

Thanks, 2017

acrylic on wooden panel

36h x 36w in
91.44h x 91.44w cm

DIANA GEORGIE, Daydreaming, 2020

DIANA GEORGIE

Daydreaming, 2020

acrylic on wood panel

36h x 24w in
91.44h x 60.96w cm

DIANA GEORGIE, Right Place Right Time, 2019

DIANA GEORGIE

Right Place Right Time, 2019

acrylic on wooden panel

24h x 24w in
60.96h x 60.96w cm

SAMUELLE GREEN, Bloom (blue), 2022

SAMUELLE GREEN

Bloom (blue), 2022

paper, wire

50h x 84w x 13d in
127h x 213.36w x 33.02d cm

ISYS HENNIGAR, N'en Parlons Plus, 2023

ISYS HENNIGAR

N'en Parlons Plus, 2023

glazed porcelain, overglaze, ceramic decals, nickel, sterling silver

12h x 8w x 8d in

30.48h x 20.32w x 20.32d cm

 

N’en Parlons Plus (‘Let’s Not Talk About it Anymore’) considers unresolved stories, failed communication, and reptilian personifications. The form references that of perfume bottles and the title is excerpted from a French children’s song about war and a family of crocodiles.

ISYS HENNIGAR, Liquid State, 2023

ISYS HENNIGAR

Liquid State, 2023

glazed porcelain, overglaze, ceramic decals

15h x 8w x 8d in

38.10h x 20.32w x 20.32d cm

 

Liquid State explores myths of purity and contamination, jewelry lore, and the complex and contradictory symbolic legacy of pigs.

ISYS HENNIGAR, Like Milk From a Stone, 2022

ISYS HENNIGAR

Like Milk From a Stone, 2022

glazed porcelain, overglaze, ceramic decals, copper

10h x 8w x 4d in

25.40h x 20.32w x 10.16d cm

 

Like Milk From a Stone combines imagery from narratives within early science and ancient bestiaries linking milk and the moon. In form, the organic merges with references utility, suggestive of a process in motion.

ISYS HENNIGAR, Black Dog, White Horse, 2020

ISYS HENNIGAR

Black Dog, White Horse, 2020

glazed stoneware, overglaze, ceramic decals, cork

9h x 7w x 5d in

22.86h x 17.78w x 12.70d cm

 

Black Dog, White Horse combines together imagery surrounding animal omens and divination methods.

ISYS HENNIGAR, River Voice, 2020

ISYS HENNIGAR

River Voice, 2020

glazed stoneware, overglaze, ceramic decals

8h x 9w x 5d in

20.32h x 22.86w x 12.70d cm

 

The surface imagery on this piece explores the multispecies interaction implied by a fishing lure: invented insects, ducks, pheasants, humans, and fish in a constellation of artificial and living things. Playing with the conventions of vessels, the piece contains no opening, but a tunnel through the center.

SKIP HILL, Love Garden Down By The River, 2019

SKIP HILL

Love Garden Down By The River, 2019

acrylic enamel, Molotow inks, Sharpie oil-based inks, collage on wood panels

52h x 74w x 2d in

132.08h x 187.96w x 5.08d cm

 

Black boy navigating a lush verdant garden of flora with birds as witnesses.

SKIP HILL, Love Garden Party (Cocktails on the Grass), 2019

SKIP HILL

Love Garden Party (Cocktails on the Grass), 2019

acrylic paints, inks, collage on paper

35.50h x 40w x 2.25d in

90.17h x 101.60w x 5.72d cm

 

A cohort of girlfriends arrive stepping through the grass of a freshly manicured lawn, laughing and screaming into each other's embrace. A few enter gingerly, others even more aloof behind their Chanel sunglasses. Each had been lured by an invitation, by curiosity, and by the promise of chilled Dom Perignon, warm nihonshu, and a catered Japanese lunch including fresh sushi.

SKIP HILL, 'I Didn't Know Kitsune Would Be Here', 2019

SKIP HILL

'I Didn't Know Kitsune Would Be Here', 2019

acrylic paints, inks, collage on coated cold press paper. Framed, UV filtering glazing

21h x 28.50w in

53.34h x 72.39w cm

Framed: 26h x 34w x 1d in

66.04h x 86.36w x 2.54d cm

 

Two stylish girlfriends enjoying Japanese food and sake. One wears a mask from Japanese folklore. A vase with flowers sits in the middle of the frame.

SKIP HILL, Love Garden Party (Blue Shades), 2019

SKIP HILL

Love Garden Party (Blue Shades), 2019

mixed media inks, acrylics, collage, ballpoint pen on 140 lb. cold press watercolor stock

18h x 24w in

45.72h x 60.96w cm

Framed: 24h x 30w in

60.96h x 76.20w cm

 

Two girlfriends, sisters sitting together at a banquet table laden with floral arrangements, Japanese food and bottles of sake. Between sips of rice wine and gossip they pause to pose for a photo taken from across the table.

THRASYVOULOS KALAITZIDIS, Entities: Key, 2022

THRASYVOULOS KALAITZIDIS

Entities: Key, 2022

discarded polyurethane foam, acrylic paint

5.50h x 16w x 16d in

13.97h x 40.64w x 40.64d cm

 

Objects that are expected to perform a specific task are turned impotent. Hard metal is replaced by soft foam. I always thought that scissors and pushpins looked like dolls, combining generous curves with disciplinary lines. On the floor, they serve as a sitting lounge or performative props. The radiator key becomes a soft cushion.

THRASYVOULOS KALAITZIDIS, Entities: Pin, 2022

THRASYVOULOS KALAITZIDIS

Entities: Pin, 2022

discarded polyurethane foam, acrylic paint

21.50h x 21.50w x 50d in

54.61h x 54.61w x 127d cm

 

Objects that are expected to perform a specific task are turned impotent. Hard metal is replaced by soft foam. I always thought that scissors and pushpins looked like dolls, combining generous curves with disciplinary lines. On the floor, they serve as a sitting lounge or performative props. The radiator key becomes a soft cushion.

THRASYVOULOS KALAITZIDIS, Entities: Scissors, 2022

THRASYVOULOS KALAITZIDIS

Entities: Scissors, 2022

discarded polyurethane foam, acrylic paint

106h x 62w x 12d in

269.24h x 157.48w x 30.48d cm

 

Objects that are expected to perform a specific task are turned impotent. Hard metal is replaced by soft foam. I always thought that scissors and pushpins looked like dolls, combining generous curves with disciplinary lines. On the floor, they serve as a sitting lounge or performative props. The radiator key becomes a soft cushion.

THRASYVOULOS KALAITZIDIS, Entities: Brush, 2022

THRASYVOULOS KALAITZIDIS

Entities: Brush, 2022

wire, fabric, polyurethane foam, papier-mache of supermarket bags, paint, silicone, found object

100h x 28w x 12d in

254h x 71.12w x 30.48d cm

 

An artist on break. The neck of the brush is slightly twisted to give animation to the sculpture, resembling Fantasia's brooms. The wood of an actual brush is replaced with paper mache of supermarket bags sitting on top of chicken-wire filled with spray-foam. The bristles are sewn fabric filled with spray-foam and coated with paint and silicone. The metal part of the brush is replaced with foam.

ANDREW LEVENTIS, Ever Transient, 2021

ANDREW LEVENTIS

Ever Transient, 2021

oil on linen

72h x 48w in
182.88h x 121.92w cm

RYAN LEWIS, Everted Sanctuaries VII, 2019

RYAN LEWIS

Everted Sanctuaries VII, 2019

dual or single channel digital video

4min 44sec

RYAN LEWIS, Everted Sanctuaries VI, 2018

RYAN LEWIS

Everted Sanctuaries VI, 2018

single channel digital video

6min 10sec

RYAN LEWIS, Everted Sanctuaries V, 2017

RYAN LEWIS

Everted Sanctuaries V, 2017

dual or single channel digital video

5min 28sec

RYAN LEWIS, They the People, 2022

RYAN LEWIS

They the People, 2022

single channel digital video

2min 59sec

ROBERT MINERVINI, Half Light, 2019

ROBERT MINERVINI

Half Light, 2019

acrylic on canvas

60h x 48w in
152.40h x 121.92w cm

ROBERT MINERVINI, After the Flood, 2023

ROBERT MINERVINI

After the Flood, 2023

acrylic on canvas

40h x 30w in

101.60h x 76.20w cm

 

My work examines spatial environments and notions of utopia in large-scale, multi-layered paintings, murals, and public artworks. My works are invented spaces that revel in artificiality and allude to parallel realities. Through cityscapes, landscapes, and botanical still-life arrangements, I engage subject matter that addresses the ecological impact of humanity on the landscape, elements of growth, decay, and extinction in a contemporary context.

JACOB MITCHELL, July 24th, Sunset on Lake Pontchartrain, 2021

JACOB MITCHELL

July 24th, Sunset on Lake Pontchartrain, 2021

archival pigment print

20h x 16w in, Edition of 4

14h x 11w in, Edition of 6

JACOB MITCHELL, In the Swamp, 2021

JACOB MITCHELL

In the Swamp, 2021

archival pigment print

20h x 16w in, Edition of 3

14h x 11w in, Edition of 5

JACOB MITCHELL, Somewhere to Fall in Love, 2021

JACOB MITCHELL

Somewhere to Fall in Love, 2021

archival pigment print

20h x 16w in, Edition of 3

14h x 11w in, Edition of 5

JACOB MITCHELL, Pink Lemonade, 2020

JACOB MITCHELL

Pink Lemonade, 2020

archival pigment print

20h x 16w in, Edition of 3

14h x 11w in, Edition of 5

JACOB MITCHELL, After the Storm, 2020

JACOB MITCHELL

After the Storm, 2020

archival pigment print

20h x 16w in, Edition of 5

14h x 11w in, Edition of 6

JACOB MITCHELL, Street Light #13, 2018

JACOB MITCHELL

Street Light #13, 2018

archival pigment print

20h x 16w in, Edition of 4

14h x 11w in, Edition of 6

WOWSER NG, Gaze, 2022

WOWSER NG

Gaze, 2022

giclée print on Hahnemühle paper

39.37h x 29.53w in, Edition of 5

19.69h x 14.76w in, Edition of 15

WOWSER NG, Blessing, 2022

WOWSER NG

Blessing, 2022

giclée print on Hahnemühle paper

39.37h x 29.53w in, Edition of 5

19.69h x 14.76w in, Edition of 15

WOWSER NG, Crush, 2022

WOWSER NG

Crush, 2022

giclée print on Hahnemühle art paper

19.69h x 14.76w in, Edition of 5

WOWSER NG, The Vanishing Saviour, 2022

WOWSER NG

The Vanishing Saviour, 2022

giclée print on Hahnemühle art paper

24.80h x 17.72w in, Edition of 30

WENCKE UHL, Salt'n'Pepper, 2021

WENCKE UHL

Salt'n'Pepper, 2021

acrylic and paper on canvas

47.30h x 47.30w in
120.14h x 120.14w cm

WENCKE UHL, Photobomb, 2023

WENCKE UHL

Photobomb, 2023

acrylic, oil and paper on canvas

39.40h x 31.50w in
100.08h x 80w cm

WENCKE UHL, Girl With a Gold Dress, 2023

WENCKE UHL

Girl With a Gold Dress, 2023

arylic, oil and gold leaf on canvas

31.50h x 23.60w in
80.01h x 59.94w cm

WENCKE UHL, Rise and Shine, 2023

WENCKE UHL

Rise and Shine, 2023

acrylic, oil and paper on canvas

31.50h x 23.60w in
80.01h x 59.94w cm

JONATHAN FERRARA GALLERY proudly presents the 27th Annual NO DEAD ARTISTS International Juried Exhibition of Contemporary Art. For the 2023 installment of the exhibition, the gallery will display artworks by fifteen artists from and/or working across the United States, as well as: China, Germany, Greece, Italy, the United Kingdom, Russia, and Slovakia. The exhibition will be on view from 30 August through 14 October with an opening reception on 2 September (5-9 PM) in conjunction with the Arts District New Orleans’s (ADNO) First Saturday Gallery Openings. An additional reception will be held on Saturday, 7 October (5-9PM) in conjunction with the city-wide event Art for Arts’ Sake.

 

The NO DEAD ARTISTS exhibition was founded by Jonathan Ferrara in 1995 to give a voice to emerging artists. The exhibition’s name is derived from the old adage that artists never achieve success until they are dead. NO DEAD ARTISTS turns that notion on its head and often gives emerging artists their first break in the art world. In the 90’s, the exhibition was open to New Orleans-based artists and subsequently grew to include artists of Louisiana, then becoming a national juried exhibition in 2010. And in 2014, the exhibition went international. Now in its 27th iteration, the exhibition has been a springboard for numerous artists; leading to national press coverage, recognition, gallery representation, art fair exhibition, and acquisitions by museums and other prominent collections. Each year the gallery invites a panel of renowned arts professionals and collectors to select the newest creative talents from around the world.

 

The 2023 NO DEAD ARTISTS Jury

The panel of jurors for the 27th Annual NO DEAD ARTISTS reflects a somewhat different model than years past. For 2023, the JFG team has invited three previous participants in past years of the exhibition who remain represented artists of the gallery today.

 

KRISTIN MOORE  | | |  @kristinmooreart

NDA 2019 Finalist - A native Texan, Moore holds an MFA from Otis College of Art & Design in Los Angeles and BA in Art from St. Edward’s University in Austin. Kristin’s paintings can be found in collections across North America, Europe, Australia, and Asia. Solo exhibitions include Jonathan Ferrara Gallery in New Orleans, Commerce Gallery in Lockhart, St. Edward’s University in Austin, and Bolsky Gallery in Los Angeles. Select group exhibitions include the Tyler Museum of Art in Tyler, Jonathan Ferrara Gallery in New Orleans, Lorin Gallery in Los Angeles, and Talon Gallery in Portland. Kristin currently lives and works in Dallas, TX.

 

REWA  | | |  @artbyrewa

NDA 2018 Finalist - REWA was born and raised between Nigeria and England and received a BSc. in Physiology and Pharmacology from University College London (UCL). She previously worked as the Head of Corporate Development and Investor Relations for a Johannesburg Stock Exchange (JSE) listed company. Prior to this, she was the Specialty Insurance Executive for Old Mutual West Africa and a Management Consultant at Accenture (UK). Never having received formal art training, she is self-taught and developed her innate talent from a very early age. Growing up, her father encouraged her creative drive, his expansive art collection from West Africa, providing further impetus for her development. Her formal training as a physiologist / pharmacologist at UCL also prepared her for what has become an exciting journey; she learned to observe in greater detail and to seek deeper meaning. 

 

TRENITY THOMAS  | | |  @trenityjthomas

NDA 2020 Finalist - Thomas is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of genres including fashion, lifestyle, editorial, conceptual, sports, portraiture, and nightlife photography. As a photographer, Trenity uses his camera to capture the life and composition of still life around him. His photographs have a warmth to them that pulls the viewer into the scene as if they were present - a feature that has become characteristic of his photographic style. 

The 27th Annual NO DEAD ARTISTS Finalists

 

KATIE CHANCE – Austin, Texas

GINGER WILLIAMS COOK – Jackson, Mississippi

BECCA FUHRMAN – Seattle, Washington

DIANA GEORGIE – Los Angeles, California

SAMUELLE GREEN – Honesdale, Pennsylvania

ISYS HENNIGAR – Columbus, South Carolina

SKIP HILL – Tulsa, Oklahoma

THRASYVOULOS KALAITZIDIS – Baton Rouge, Louisiana

ANDREW LEVENTIS – Charlotte, North Carolina

RYAN LEWIS – Kalamazoo, Michigan

ROBERT MINERVINI – Florence, Italy / Oakland, California

JACOB MITCHELL – New Orleans, Louisiana

WOWSER NG – London, United Kingdom

REGULAR CONCRETE – Bratislava, Slovakia

WENCKE UHL – Bonn, Germany

 

Comprised of painting, photography, video, sculpture, ceramics, collage, printmaking, and installation, NO DEAD ARTISTS continues to exhibit a great diversity in media with a cohesive cross-section of the pulse of contemporary art. Presenting forty artworks by fifteen artists, this diverse symposium varies even more greatly in subject and purpose. Exhibition highlights include a wall-mounted paper sculpture by Samuelle Green, whimsical ceramics by Isys Hennigar, and four video works by Ryan Lewis. One of the most prevalent themes in the show is the approach to the figurative, with varying perspectives in the work of: Katie Chance, Ginger Williams Cook, Becca Fuhrman, Skip Hill, Wowser Ng, and Wencke Uhl; each with their own distinct and arresting approaches to rendering the human body. Another common theme of the show is an examination of the mundane and esoteric through the: “word portraits” of Diana Georgie, interactive installations by Thrasyvoulos Kalaitzidis, a photorealist painting by Andrew Leventis, the naturalistic paintings of Robert Minervini, photography by Jacob Mitchell, and sculptures from Regular Concrete.

 

For the grand prize of the exhibition, one of the selected jury winning artists will be awarded a solo exhibition at JFG in 2024. Previous recipient awardees include: Jenny Day (2017, Santa Fe, NM), Trenity Thomas (2020, New Orleans,LA ), Michael Tole (2021, Tempe, AZ), and Brandon V. Lewis (2022, Baton Rouge, LA). Not only have past finalists received solo shows at the gallery but some have also successfully continued on to exhibit at art fairs in New York, Miami, Basel (Switzerland), Leipzig (Germany), San Francisco, Houston, Seattle, and other traveling exhibitions and museums worldwide. These artists and the NO DEAD ARTISTS exhibition have garnered great interest from curators, museums, and press and have also been acquired by many prominent public and private collections. . . Stay tuned for the announcement of the 2023 winner at the close of the Exhibition.

 

For more information, press or sales inquiries please contact Gallery Director Matthew Weldon Showman at 504.343.6827 or matthew@jonathanferraragallery.com. Please join the conversation with JFG on Facebook (@JonathanFerraraGallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags: #NoDeadArtists, #NDA2023, #JonathanFerraraGallery, and #ArtsDistrictNewOrleans.