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New York Times

Andrew LaMar Hopkins portrays the significant role Creoles played in the civic life of New Orleans. “Edmond Dédé Piano Recital” (2019) shows the freeborn Creole musician and composer in his elegant salon.

The New York Times
A Painter Resurrects Louisiana’s Vanished Creole Culture
Andrew LaMar Hopkins celebrates the rich contributions of 19th-Century New Orleans in his folk art style (and drag).
By Elizabeth Pochoda

NEW ORLEANS — Dressed as his alter ego, the modish matron Désirée Joséphine Duplantier, the artist Andrew LaMar Hopkins is a familiar presence on this city’s arts scene. His paintings, faux naïf renderings of 19th-century life in the city — particularly the vanished culture of New Orleans’s free Creoles of color — also keep good company.


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NPR

Andrew LaMar Hopkins, Old Creole Days, 2018

NPR: Morning Edition
2020 Winter Show Highlights Artist Andrew LaMar Hopkins
Paintings by Andrew LaMar Hopkins, a self-taught folk artist based in New Orleans, are on display.
by Noel King

"When I walk around the French Quarter, I just - New Orleans. I'm inspired by looking at the beautiful architecture of a street scene with buildings from the early 19th century and imagining, what would this block look like 200 years ago?"


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W Magazine

Installation view of The Bed Chamber of Marie Catherine Laveau, in "Painting is Painting's Favorite Food," curated by Alison M. Gingeras, South Etna Montauk, 2020.

W Magazine
The Return of the IRL Gallery Show
Works by John Currin and Rachel Feinstein hang across the room from canvases by Andrew LaMar Hopkins, a self-taught artist from New Orleans who creates historical fantasies of free Creole people in the 19th century.
by Andrea Whittle

“They’re really beautiful paintings, but I also think it’s so interesting how he uses his identity as a Black, queer man living in New Orleans to revisit the past, and it’s a past that is certainly not spoken about in mainstream historical circles,” Gingeras said.  

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Biography

Biography 1

Portrait of Andrew LaMar Hopkins by Akasha Rabut for The New York Times

Andrew LaMar Hopkins (b. 1977 in Mobile, AL) paints meticulous, lush, minute depictions of 19th-century interior scenes and architectural set pieces based on the histories of free Creole people in New Orleans, the city he has called home for over a decade. Growing up in Alabama, Hopkins was particularly fixated on the Southern Creole culture to which his family is linked, and which the Civil War largely erased; Hopkins can trace his lineage to a major Creole family, descended from Nicolas Baudin, a Frenchman who received a Louisiana land grant in 1710. Drawing from this history and his expertise as an antiquarian, Hopkins carefully researches the architecture, material culture, and daily life of Creole populations in Southern cities circa 1830. Hopkins’ more recent works are set in Savannah, Georgia, where he currently resides. The self-taught Hopkins' pictorial compositions visually recall the paintings of Clementine Hunter, Grandma Moses, and Horace Pippin. Rendering interiors and exteriors with exquisite detail, and depicting both free Creoles of color and white Creoles, Hopkins deconstructs and reimagines an idealized antebellum history of Southern port cities—often injecting overtly homosocial scenarios or obvert references to queer culture, that excavate the often repressed histories of LGBTQ people in the antebellum south. Likewise, these queer characters echo Hopkins own biography and his parallel practice as a drag queen: his alter ego, Désirée Joséphine Duplantier, is a retro grande dame from New Orleans.

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