Monthly Archives: August 2013

“Tribute to late sculptor John Scott is concert highlight,” The Advocate

Scott’s large-scale sculpture graces many public places in New Orleans. His “Spiritgate,” for instance, stands at the entrance of the New Orleans Museum of Art. In 2005, the museum mounted a career retrospective of Scott’s work, art that reflects the city’s African-American, Caribbean and Creole heritage. “John Scott is a really big name here,” said Ko, Faubourg Quartet member and chair of NOCCA’s classical instrument department. “His sculpture is everywhere. And the artists we’re presenting in ‘The Art of Music,’ they were all influenced by John Scott.”

Like Ko, Scott saw the connection between various arts disciplines.

“He always talked about the relationship between music and art,” she said. “He believed art and music are not two different genres, but actually one thing. We are using our notes and they are using their pictures to make art.”

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“Roy Lichtenstein sculpture may replace Lin Emery sculpture at NOMA,” The Times-Picayune

The glinting silver sculpture by Crescent City artist Lin Emery that has stood in the reflecting pool in front of the New Orleans Museum of Art for years has been removed to make room for something new. Word among the city’s art scene insiders is that a newly acquired sculpture by pop master Roy Lichtenstein is slated for the premier spot.

In an email statement, NOMA director Susan Taylor acknowledged that the museum hopes to install “another major work by another major artist by the beginning of 2014,” but she did not confirm the identity of the sculptor.”

“The Lin Emery sculpture was recently removed from the pool in front of the museum in order to commence renovation and repair of the pool,” Taylor wrote. “We are delighted to be able to move her work into the Besthoff Sculpture Garden where, after conservation, it will be placed along the lagoon in visual proximity to the George Rickey and Kenneth Snelson sculptures – a fitting and permanent context for her work. Lin will also be honored at Love in the Garden on September 27 and, later in the fall, with an exhibition celebrating her work.”

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“Carnival Craft,” NOLA Defender

Bruce Davenport’s meticulously plotted Bruce Jr. Does the Parades involves ten gloriously large diagrams of revelers and marching bands from an aerial perspective, and seven specifically hung 11×14 details of Mardi Gras. Each framed paper piece is a crisp 60×40 and they are hung in regimented order, like their subjects are arranged in marching band formation. Davenport worked in marker and pen, but the resulting work feels like a reliquary document instead of a teenage notebook. Davenport takes the viewer through the stories of black New Orleanians by narrating the scenes in ballpoint pen.

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Gene Koss: Sunrise

Installation views from Gene Koss: Sunrise – August 2013 Exhibition at Arthur Roger Gallery.

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“The 6 shows not to miss at White Linen Night 2013,” The Times-Picayune

Bruce Davenport Jr. has taken his passion for New Orleans high school and college marching bands and translated it into a multi-layered personal language. Stand 10 feet from one of Davenport’s drawings and you will be struck by the artists’ command of stark geometric composition. Stand five feet from his drawings and you will be fascinated by his amazingly complicated hieroglyphic interpretation of Crescent City parades. Lean in for a close look and you’ll be able to read his personal and political musings, delivered with rap swagger. The whole effect is fascinating.

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