December 14, 2013- January 5, 2014

December 14, 2013- January 5, 2014

Room 1+2:


A group show of photographic works featuring interventions, disruptions, and inciting events. 

Curated by Lee Deigaard & AnnieLaurie Erickson


Hannah Smith Allen
Bryan Anselm
Pinky Bass
Caleb Charland
Neal Cox
Lee Deigaard
Malcolm Easton
Adam Eckberg
AnnieLaurie Erickson
Jill Frank
Courtney Johnson
Kevin Kline & Bruce Schultz
William Lamson
China Langford
Craig Roper
Maria Levitsky
Adam Montegut
Takeshi Moro
Adam Neese
Jack Niven
Ellen Stern
Josh Winegar
Matt Shain
Shelley Wood
Pinky Bass
Jill Franks
Adam Montegut


AnnieLaurie Erickson earned her BFA in photography from the Rhode Island School of Design, her MFA in photography from the School of the Art Institute of Chicago and completed additional studies at the Ludwig Foundation in Cuba and SPEOS Photographic Institute in Paris. She is currently the Assistant Professor of Photography in the Newcomb Art Department at Tulane University.  Her work has been shown nationally and internationally including at the Boston Center for the Arts, and CentrePasquArt, Bienne, Switzerland. AnnieLaurie was on faculty at the School of the Art Institute of Chicago from 2007-2010, where she developed a special topics course on the intersections of art and science in lens-based media. She has presented her artwork and teaching at both the College Art Association national conference and the Society for Photographic Education national conference.  AnnieLaurie’s most recent projects focus on exploring how photography and science are capable of showing us things that we couldn’t previously see. The work attempts to reinterpret the nature of sight through optical complication, represent the iconic decay of vision through time, and address the visual world as illusory.

Lee Deigaard graduated from Yale University with a major in fine arts and earned graduate degrees from the University of Michigan School of Art and Design and from the University of Texas at Austin where she held a Michener Fellowship in Creative Writing.In 2012 she won the Clarence John Laughlin Award for photography for her series of nocturnal images of animals "Unbidden". In 2013, she has had solo shows at the Alexandria Museum of Art, the Acadiana Center for the Arts, the University of New Orleans, and the Contemporary Art Center in New Orleans where her multi-level video, photographic, and sculptural installation "SubMERGE" remains on view through Feb 2, 2014. Her solo show of photography "Trespass" opens at the Ogden Museum of Southern Art in January 2014.  Other group shows she has curated at The Front include "Latin for Crab": a group show under the sign of Cancer considering the female body-its armor, its flesh- from perspectives of illness, mortality, and recovery; "You Beautiful Bitch": women artists making work about their animal companions; and "Standing Heat: I am I because my [little dog] knows me" with the performance artist Holly Hughes including works by international artists exploring companion animal relationships. 

Room 3:

JoAnne Carson
Re-wilding the Dream 

The theme of nature has become an increasingly loaded subject matter for artists. The 19th Century preoccupation with the “wonders of nature” has given way to the 21st Century’s anxiety of nature’s fragility and an uncertainty of what is “natural” in an age of cloning and genetic engineering. The desire for sublime experiences of splendor and awe is still with us, although the tradition of spiritual wonder as seen through the lens of nature appears to be an exhausted model. The shift from “organic” to “synthetic” nature is a defining factor of our age. This longing for authentic experience coupled with the knowledge that an Arcadian vision is forever in the past is the primary theme of my work.

Room 4:

Kant Smith
Lawss of the Land

Lawss of the Land is an exploration of that peculiar pride of America: the individual citizen's right to keep and bear arms. While evoking the laws set forth in the Constitution, Lawss of the Land also alludes to laws left unwritten and unspoken: the symbolic laws, inscribed in culture and language itself. The gun is perhaps the most explicit and coherent embodiment of the Symbolic Law, as the ultimate consolidation of power vis a vis the body. Lawss of the Land seeks to undermine the gun's symbolic authority by ridiculously and horrifically asserting the gun's own corporeality.