PUT ON A POP-UP SHOW
presentation was first projected, resi-
dents of the lower Ninth Ward were still
displaced or living in FEMA trailers. “The
story had died down at that point, and
predictably the media had moved [on].
I wanted to remind the media that the
people of New Orleans still mattered.” He
didn’t seek a permit to use the space, he
says. “We went out and projected.”
Price, founder of the Seen/Unseen
project, which has organized projections
shown at Fovea Exhibitions in Beacon,
New York, and at New York City’s Bubble
Lounge, supplied the projector. Two pho-
tographers who had images in the show,
Alan Chin and Stanley Greene, helped
gather equipment, including chairs, ex-
tension cords, a generator (lent by a cou-
ple in the neighborhood) and gasoline.
New Orleans-based photographer Andy
Levin helped publicize the event.
Residents and press gathered to watch
the projection, and Price says, “For the
Above: Alan Chin’s photo of a fire on flooded
Napoleon Avenue was included in “Eyes on
Katrina.” Right: In 2007, “Eyes on Katrina” was
projected onto the lower Ninth Ward levee.
© ALAN CHIN
“When you have a gallery that has
overhead, you’ve got to show what
sells,” says Janene Outlaw. “Something
that might seem avant-garde and
strange seems more livable or familiar
when you see it in a home.”
most part it was well received.” The photographers were asked to show “Eyes on
Katrina” again in 2010, on the fifth anniversary of Katrina, at a commemorative
event residents were holding. The more
recent showing was projected on the side
of a newly rebuilt house, and benefited
from a supply of electricity as well as food
and drink.
ATTRACTING
A VARIED
AUDIENCE
When Janene Outlaw, former photo
editor-turned-independent art dealer, held
a pop-up exhibit at a luxury apartment
in Manhattan’s West Village last March,
she envisioned a one-night event to bring
together people from the worlds of art,
photography and real estate. “Like commerce meets fine art meets funky party,”
she says. A friend of Outlaw’s is a broker
for Town real estate, which sells high-end
properties. In the current economy, several
luxury homes were sitting empty. Outlaw
suggested using an unoccupied space to
exhibit photographers she wanted to help,
showing off both the space and the art to
potential buyers. Town liked the idea.
Among the available spaces, Outlaw
rejected one with high windows and little
wall space, but then saw an apartment that
was close to ideal, with “high ceilings and
gallery lighting,” she says. In keeping with
the non-traditional space, she chose three
artists who use photography in unusual
ways. John Patrick Salisbury embeds his images in acrylic, and then mounts them on
