“Strange Alchemy,” Gambit Weekly
Strange Alchemy By Eric D. Bookhardt, GAMBIT WEEKLY The objects on view are all too familiar, though not necessarily reassuring. Wrecking balls, ladders and water, lots of water, offer no…
Monthly Archives: March 2010
“Gallery Walk,” New Orleans Art Review
Gallery Walk James Surls at Arthur Roger by Karl F. Volkmar, New Orleans Art Review The organic, monumental wood and steel sculptures of James Surls dominate the main gallery at…
“Sculptor James Surls Puts A Magnificent Seven On The Rice Campus,” Houston Press
James Surls, the sculptor who had seven of his art pieces installed at Rice University last month, enlightened a crowd there recently about his art philosophy and the ideas behind his plant-like sculptures.
“Prestidigitations & Permutations,” The New Orleans Art Review
Gregory Scott’s Outside the Frame mixed media work is more fun than walking through one of the old fun houses at the state fair or a mystery spot along the highway leading to a popular vacation site.
“Gregory Scott,” ArtNews
Gregory Scott’s ingenious painting-photo-video amalgams use humor to help blur the lines between mediums.
“Artist Gregory Scott at Arthur Roger Gallery,” The Times-Picayune
What would surrealist René Magritte be doing if he were alive today? I bet he would be doing pretty much what Chicago-based artist Gregory Scott is doing.
“Recent Work by Whitfield Lovell and Visions From the South,” Gambit Weekly
Recent Work by Whitfield Lovell and Visions From the South BY ERIC D. BOOKHARDT Excerpt: Whitfield Lovell collects old photographs of African-Americans, often decked out in their best suits and…
“Recent Work by Whitfield Lovell and Visions From the South,” Gambit Weekly
Whitfield Lovell collects old photographs of African-Americans, often decked out in their best suits and posed formally before the camera. Displaying fine draftsmanship, he recreates their images on wooden planks and then incorporates antique symbolic objects in his eloquent sculptural assemblages. Deuce is emblematic: A black couple from a century ago posed with a Victorian chair. Extending from the front of the sepia wooden planks is a tabletop covered in antique lace and vintage silverware. The vintage objects and eerily photographic images contribute to a resonant sense of “presence” that allows us entry into a time and place different from our own, yet so familiar that we can readily relate.
“The Art of Allusion and Illusion,” New Orleans Art Review
Shifting gears, in James Drake’s grand baroque theater drawing, Dancing in the Louvre, the elegantly simulated moldings mediate the viewer’s imaginative transgression of the proscenium plane. The gown that overflows into the foreground space, the dynamic diagonal and counterpoint of the dancers’ elegantly dressed forms, and the two point perspective defined by the pedestal at the left and the voyeur couple on the right serves to establish a continuum from the viewer’s real world space through the fore,
middle, and implied distance.
