Blackness has long been attractive to edgy white American artists, but New Orleans seems a magnet for a certain kind of shameless, tone-deaf racist art scammer. In 2014, one wealthy New Orleans white woman in her fifties gave herself the name “Ti-Rock Moore” and launched a successful art career founded on depicting Black suffering and racist imagery.
In an interview with nola.com arts writer Doug MacCash, Moore said her “privileged” white upbringing gives her an “acute” perspective on American racism. Moore made news in 2015 when some less acute viewers took issue with her life-size rendering of Ferguson police-violence victim Michael Brown’s corpse, which she’d arranged face-down on an art gallery floor. Condemnation came from many quarters, including Brown’s father, who called the artwork “disgusting.”
Moore was unfazed. “I know how necessary this art installation is,” she said. “I know it’s important.”
The Shotgun is thrilled to present an exclusive and entirely real roundtable with honored representatives from Eris, Witches and Heiress, three of downtown’s most notorious underground parades. Eris has been around since 2005, with Witches coalescing in 2012 and Heiress forming in 2013 in the wake of (and partly in reaction to) the 2011 NOPD assault on Eris. We spoke to these anonymous spokesfolx about how their no-throwing bullshit parades have been adapting to the changing landscape of New Orleans.
SHOTGUN: Can you start us off by describing your 2019 theme?
ERIS: Our theme for the year is “The Triumph of Safety.” It’s what we spend the bulk of our meetings obsessing neurotically over, and of course Eris is the Goddess of playing it safe.
That said, there were some within Eris who felt “The Splendor of Silent Respect” was an important theme, and since we’re all pathologically conflict-averse we did our best to accommodate that by folding these themes into one another, like a beautiful lacework polyhedron woven by iridescent caterpillars wearing tiny flower crowns.