Carlos Rolón is internationally recognized for his paintings, sculptures, and installations that break down walls. Working with shattered glass, wrought iron fences, and construction cinderblocks, his art takes these barriers to access and transforms them into new points of entry. A continuation of a project begun in 2016 at the Museo de Arte de Ponce in Puerto Rico, Rolón’s project for NOMA explores the rich connections between New Orleans, Latin America, and the Caribbean through allusions to each region’s natural and built environments, bridging the divide between outside and inside, public and private, and local and global. Outside/In features work that combines an exuberant tropical flora with installations composed of fences and fragmented mirrors that offer opportunities for self-reflection and community engagement. A central component of this exhibition is Rolón’s Nomadic Habitat (Hustleman), a mobile cart inspired by the street vendors of New Orleans and the Caribbean that speaks to themes of class, commerce, immigration and survival. The cart will be activated by local artist collectives and community partner organizations on select days throughout the run of the exhibition.
Carlos Rolón: Outside/In is organized by the New Orleans Museum of Art and is sponsored by Cari and Michael J. Sacks, Robert Chase/Hexton Gallery, The Kabacoff Family Foundation, Library Street Collective, Salon 94, Eric and Cheryl McKissack, John and Amy Phelan, Nancy C. and Richard R. Rogers, and Peter Rogers. Additional support provided by Glenn and Amanda Fuhrman, Pan-American Life Insurance Group, Fran and Leroy Harvey, Julie and Kenneth Sacks, Jacki and Brian Schneider, and Charles L. Whited, Jr. This exhibition is a continuation of a project that began at the Museo de Arte de Ponce in Puerto Rico in 2016, and is produced in partnership with the Joan Mitchell Center and other community partners, including The Front, Good Children Gallery, Material Life Shop, Nuestra Voz, and Puentes New Orleans.
The accompanying publication is supported in part by the Elizabeth Firestone Graham Foundation.