4037 St. Claude Ave., New Orleans, LA 70117

The Good Children Gallery is pleased to announce its schedule for Prospect 1.5. A locally-focused version of
the Prospect Biennial series, Prospect 1.5 is a series of exhibitions that will take place throughout New Orleans
from November 2010 - January 2011. Good Children is one of thirteen official Prospect 1.5 venues curated by
Dan Cameron. Numerous satellite spaces will participate in Prospect 1.5 as well.

Good Children's exhibitions will feature a combination of gallery artists and artists who once lived in New Orleans
(or the region) and have a desire to renew their connection to the city. Please see the information below to learn
more about our current Prospect exhibition, the second of three shows.

Maximilian Toth
& Lala Raščić
December 11, 2010 - January 2, 2011

Opening: Saturday December 11, 6 - 9 pm

Maximilian Toth

War Party (above) Sharks and Minnows (below)

Lala Raščić

Images from Damned Dam, performace (above) and installation (below).

About the Artists:

Max Toth

Max Toth was born in New Orleans, LA. He received a BFA from Art Center, Pasadena and an MFA from Yale
in 2006. Toth makes large-scale canvases of sketchy figures on black backgrounds. His figures consciously
suggest a process, a fast rendering of a moment by which the raw physicality of a line describes both the potential
to uncover a narrative as well as the active presence of a narrator. Toth's subject is an updated suburban folk lore, mostly invovling teenagers causing trouble. Like all myths they serve to soothe the uncertainties of those who tell
and those who listen. Toth's paintings aim to describe the narration from both points of view.

Artist Statement
I make narrative work focused on the biographical and autobiographical snippets of my suburban upbringing. My
stories focus on the liminal moments of youth that are within the coming of age moments recounted at every gathering and holiday to remind us of specific turning points and moments of overlapped experience that help create us as individuals and our views and beliefs. I attempt to find the germs of where these moments, often aggressive, begin; sparks of self-definition; the start of things that will become much more significant later. These stories move freely in
time, truth, and morality keeping the past alive, informing the present and dictating the future. It seems that throughout history the same stories, arguably the same story, is being told and retold, only the punctuation and emphasis change.
I have learned to ride a bike and had my first youthful carnal explorations in the same graveyard, which also boasts
the bones of LouisaMay Alcott, Thoreau, Emerson and Hawthorne.

My paintings are line based figurative works on a slate black ground. Chalk, pencil, paint, markers and pastels, with
only specific color usage, alternate between detailed articulation and clouded abstraction. Making each story birthed from a celestial cloud like a planet that moves between its own defined edges and the cloud from which it came. The black space of the painting engulfs the viewer leading her from the specific singular event depicted to ones own experience and the familiar history of iconic images we have come to understand. We interweave the stories and characters with the influences we have come to know through church, movies, literature, cartoons, advertising, comic books and the works of old masters. The blackboard ground implies both a classroom lesson as well as an erasable surface upon which one can work out ideas, formulas, and balance equations. Or in short, attempt to make sense of what has been placed before them.

The images chosen often focus on those events particular to our most animalistic humanity— our physical and sensual interactions with each other and the world around us. It seems that this part of our humanity is what’s laid bare in the transitional moments of our lives when we molt our moral narrative and assumptions and strike out to find the
boundaries of our new mythologies How do you explain the beauty in watching a mailbox snapping off of its post and launching from the end of a bat in your hand while the car that carries you continues down the road?

Lala Raščić

Lala Raščić was born in Sarajevo, Bosnia & Herzegovina in 1977. She attended the School of Applied Art and
Design in Zagreb and Academy of Fine Arts in Zagreb. Lala Rascic's work draws upon the aesthetics of old time
radio plays where the performative act is the basis of assuming different identities. The artist often acts out multiple
roles while playing with realities and developing fictitious narratives in her projects.

The year is 2027. Tarik is a young engineer. Merima is his beloved. They can save the townspeople of Lukavac if
they broadcast the radio drama “Catastrophe” from the year 2000. Heroes and fairies, love and dystopia, rivers and lakes, dams and factories, BH and EU, epic geography and oral tradition: between these a future romance is shaped

(only in Croatian/Bosnian)

Lala Rascic’s project The Damned Dam departs from a real event when the broadcasting of the radio drama
Catstrophe caused a panic in the Bosnian town of Lukavac, similar to Orson Wells’s War of the Worlds. The motif of
the flood is embedded in the fictional narrative that is composed on the basis of field research on specific locations
and events in the region. The collected materials are processed as objects, video installations, audio recordings, a
blogand performances that form the elements of this modular project. The narrative strategies that the artist employs
in her work are, in the project The Damned Dam, informed by Bosnian traditions of oral literature. Based on the
study of these traditional forms, the artist delivers a fantasy love story set in the future that is intersected with socio-political connotations.

A series of public events that will take place in Sarajevo, Belgrade, Banja Luka and Zagreb premiered with a
storytelling performance of a lyric epic narrative as part of a three-evening performance series; 3 Damned Utopias:
3 Narrative Performances by Lala Rascic. In accordance with the tradition of oral storytelling, the narrative transforms with each performance, following the development of the narrative through the cities in which it is performed. The Damned Dam project will culminate with the Zagreb exhibition in which all the elements of this project-in-progress
will be collected in a multimedia installation.For Prospect 1.5 the project will be presented as a video installation. The video documents the artist on location, at the dam in Lukavac telling the story of Tarik and Merima repeatedly during
the course of one day, from morning until dark. Every rendition of the story varies slightly from the other.

BLOK, Zagreb, www.urbanfestival.hr
DELVE, Zagreb, www.delve.hr/weiyth
KONTEKST, Beograd, www.kontekstgalerija.org
PROTOK, Banja Luka, www.protok.org
SCCA, Sarajevo, www.scca.ba

supported by:
Ministry of Culture of Croatia, www.min-kulture.hr
J.P. Spreca, Tuzla