Kristin Meyers | Facing Up to Tough Issues in Louisiana Contemporary Annual Group Show
Kristin Meyers is an interdisciplinary artist using installation and mapping ritual in sacred systems. Weaving ritual practice with non traditional materials to explore energies. The recent works examine the essence of spirituality and the dynamics within through a multitude of systems. She has exhibited in the U.S. and internationally including Arte Americas, Contemporary Art Center and Ogden Museum of Southern Art New Orleans. Residencies include AIR Vallauris, and Lorenzo Di Medici. Publications include Sliver of Stone, and Make 8elieve – Grimiore. She was raised in Chicago and New York City and studied at Parsons School of Design and The School of the Art Institute of Chicago. Contributed public installations in Rome, Italy and Vallauris, France. Currently lives and works in New Orleans and Miami. Works are held in private collections in the U.S. and internationally.
kristin meyers, artist, art, sculpture, sculptor, painter, new orleans, miami, ps satellite project, prospect new orleans, p4, vallauris, barrister's gallery, italy, france
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Ogden Museum - Louisiana Contemporary 2017

15 Aug Facing Up to Tough Issues in Louisiana Contemporary Annual Group Show

By: John D’Addario

Source: The New Orleans Advocate

‘In the art world, summer group shows are usually the visual equivalent of a bottle of rosé: easy to enjoy but not very demanding. But this year’s installment of the Ogden Museum of Southern Art’s annual Louisiana Contemporary exhibition is not that kind of group show.

‘Now in its sixth year, the group exhibition has become a sort of snapshot of the currents of the regional contemporary art scene, as well as a distillation of the particular curatorial interests of its annual guest juror. This year, the show was juried by independent curator Shantrelle P. Lewis, who in her opening statement for the exhibition discusses how her experience as a native New Orleanian was central to her curatorial process.’



‘Others, like Abigail Smithson’s “Record of Hope & Loss” — made of discarded pieces of old basketball nets — address those experiences in more subtle and abstract ways, while James Flynn’s “Portable Monument to Harriet Tubman” and Kristin Meyers’s “Bone Shepard” use traditional forms to evoke the presence of ancestors.’
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