A rising Troy (Trombone Shorty) Andrews graced the 2009 Congo Square poster. An emerging Terrance Osborne created two other prized Congo Square posters (2007 Philip Frazier; 2010 Uncle Lionel Batiste). The Congo Square poster project showcases promising artists deserving of wider exposure, while the classic Jazz Fest poster features established artists. The two talents twinned on this year’s Jazz Fest poster ascended from “promising” to “established” so rapidly that their accomplishments demanded timely recognition. We think the result was worth not waiting for.
Trombone Shorty’s 2010 breakthrough album, Backatown, led to his first Grammy® Award nomination, an international tour and multiple network television appearances. Major media critics point to him as the embodiment of New Orleans’ irreplaceable culture and its varied and eternally appealing musical magic. Andrews proves that New Orleans’ contributions to the arts remain vital and are not bound up in strictly traditional forms. To see Trombone Shorty perform is to experience the once-in-a-generation thrill that those who saw Buddy Bolden invent jazz must have experienced. Andrews brings an instrument typically relegated to a supporting role up front and imbues it with dynamic authority. Indeed, Trombone Shorty’s invigorating, genre-blurring exposition of New Orleans’ deep culture is a thrilling commentary on the irresistible nature of the city’s contemporary arts.
As Andrews was evolving toward iconic representation of New Orleans’s music, Terrance Osborne was absorbing and exploring the City’s visual heritage. Stemming from the vast wealth it amassed long ago as America’s major port and primary cotton and sugar broker (and fortunate in being passed over by urban renewal), New Orleans provides visual inspiration of singular classical proportions and saturated hues. Resembling what Trombone Shorty does with music, Osborne transmutes that core into a freshly muscular American figurative painting that advances an aesthetic last brushed by Thomas Hart Benton – albeit passed through the soulful prism of America’s most fascinating city. His contrapuntal palette enhances slightly surreal forms and impossible juxtapositions. The intuitive manner in which he illuminates his canvases has earned him a place in the esteemed line of notable figurative artists to be inspired by New Orleans.
This work shows Osborne maturing into a highly confident and singular artist. His golden dawn setting imagines Trombone Shorty on the porch of his old house in Treme, rousing the City with his horn. Details, such as the battered tuba lying in the foyer of his house, reveal bits about Andrew’s biography, while other elements speak of the neighborhood he and Osborne shared growing up. The 2012 Jazz Fest poster captures two authentically significant New Orleans cultural trajectories at once, framing the simultaneous ascendency of Trombone Shorty’s music and Terrance Osborne’s art. This limited edition silk-screened print is a must-have for collectors of the series and for any fan of the music and art of these two stars and the city that animates them.
10,000 Numbered prints on archival paper, 19” x 35”
2,500 Artist-signed & numbered prints on 100% rag paper, 20” x 37”
750 Artist signed and pencil remarqued, signed by Trombone Shorty & numbered Remarque prints on 100% rag paper, 21” x 39”
300 Artist-overpainted and signed, signed by Trombone Shorty & numbered C-Marque canvas screen prints, suitable for stretching, 26” x 40”