Our Living Past: An Array of of Platinum Portraits of Southern Music Makers
This photography exhibition by Tim Duffy and the Music Maker Relief Foundation features palladium portraits of Music Maker Partner Artists. Highlighting Music Maker as a hub for cultural preservation, artists such as Ironing Board Sam, Sharon Jones, and Taj Mahal are among the collective of musicians featured in Our Living Past. The exhibition itself was produced through collaboration with renowned publisher Steven Albahari of 21st Editions and was also sponsored by Cathead Vodka, a dedicated supporter of Music Maker artists. Our Living Past debuted at the Atrium Gallery of the Hartsfield Jackson Airport in Atlanta, GA on November 20th, and has been booked to travel on through 2018. It opens on March 3, 2017 in Alexandria, Louisiana, and will be on view through May 27th, 2017, and will be on view at AMoA during business hours on Saturday May 26th, during The Little Walter Music Festival (May 26-27), held annually in Downtown Alexandria. As part of the exhibition, Alexandria Museum of Art will present an AMoA Afterhours musical performance on May 18th, from 6:30-8:30pm, featuring Music Maker Partner Artist Pat “Mother Blues” Cohen (whose photo is in the exhibition). Since the age of six, Pat was surrounded by music. Her blues classroom was on the porch of her uncle’s house where one played the guitar and the other played the harmonica. Music Maker assisted Pat through the New Orleans Musicians Fund, and she toured with the Music Maker Blues Revue in Australia, Europe, and the U.S. In 2014 Music Maker helped Pat Cohen get a vehicle so she could make it to her gigs. Admission is free for AMoA Members, and $5 for non-members. Advance tickets may be purchased at themuseum.org/motherblues. The exhibition features original portraits of traditional Southern musicians, whose careers have been reignited through their work with Music Maker. The images were captured by Duffy himself and give a glimpse into the rich historical narrative and vital culture of southern traditional music. Duffy's life work, to preserve this culture, now takes on a tangible form through Our Living Past, and the importance of such a work is already gaining recognition. A recent headline from a piece published in TIME reads "These Portraits of Southern Blues Musicians Prove That Blues Is Not Dead." The article stresses how Duffy's work is re-contextualizing the narrative in which Blues musicians are often discussed.