Gallery News

“Real Abstract: Simon Gunning’s painting of Southern Louisiana transcend the ordinary,” The Advocate

Simon Gunning, The Saline in Lavender and Green. Image courtesy of Ogden Museum of Southern Art. Photograph: Will Crocker

New Orleanians have always enjoyed seeing themselves portrayed on the stage. Witness the perennial popularity of shows like “And The Ball and All,” not to mention the innumerable productions of “A Streetcar Named Desire” that have been mounted over the decades. To some extent, that’s been true of our tastes in visual arts as well. You never have to look very far to see a Rodrigue or a Michalopoulos poster on someone’s wall. But the deep pleasures afforded by Simon Gunning’s paintings go far beyond just local interest. Read More

“Review: Almost Eudaimonia and Sister I’m a Poet,” Gambit


There is an old controversy in art and science regarding the way some mystics and schizophrenics see the world as a glowing network of interwoven patterns. Is it a nutty hallucination or were they on to something? Similar patterns in the work of schizo mystic genius artists such as Walter Anderson or Vincent Van Gogh also turn up in the work of psychedelic researchers as well as recent explorations of quantum physics and fractal geometry. Read More

“Up Close: Narrative Painting,” Art in America

Willie Birch, Large Hose on Wall, 2013 | Charcoal and acrylic on paper | 60 x 48 inches

Last year, I stood in Arthur Roger Gallery, the prominent commercial venue on New Orleans’s Julia Street where Birch has exhibited since 1993, observing his drawings of the Seventh Ward, acrylic-and-charcoal works on paper in velvety grisaille. I recognized familiar anti-monuments—a watering hose coiled against peeling clapboard, a forlorn pair of tennis shoes flung over an electric wire—from the artist’s historically black, working-class neighborhood, located only five miles from the gallery, but seemingly a world away. Read More

“Museum-goers can get ‘face to face’ with the human condition,” The Vermilion

Portraits by Willie Birch line a wall at the Paul and Lulu Hilliard University Art Museum. Photos by Haoua Amadou/The Vermilion

“Face to Face: a Survey of Contemporary Portraiture” by Louisiana Artists is one of the recently exhibited selections available for viewing at the Paul and Lulu Hilliard University Art Museum this fall season. The exhibit, which opened Sept. 9, features a set of “12 nationally and internationally acclaimed artists working in a variety of media,” as cited by the museum’s website. Read More

Driving Forces: Sculpture by Lin Emery at Georgia Museum of Art


Driving Forces: Sculpture by Lin Emery at Georgia Museum of Art | October 01, 2016 – April 02, 2017 | This exhibition features kinetic sculptures by the internationally recognized New Orleans artist Lin Emery. Four large-scale sculptures, made to move in the wind, will be on view in the Jane and Harry Willson Sculpture Garden, while smaller sculptures will be exhibited indoors. Read More

“Edward Burtynsky and Robert Polidori’s Shared Visions,” The Wall Street Journal

ABOVE AND BEYOND | Edward Burtynsky’s Chino Mine #1 (2012), taken in Silver City, New Mexico, on view this fall at New York’s Howard Greenberg Gallery Photo: © Edward Burtynsky, courtesy of Nicholas Metivier Gallery, Toronto/Howard Greenberg Gallery, and Bryce Wolkowitz Gallery, New York

STARTING IN THE 1990S, advances in digital technology made it easier for photographers to print their work at previously unimaginable sizes. The result was a golden age of vast pictures—typified by the work of artists such as Andreas Gursky—with the kind of impact previously limited to painting or films. But in these social-media–saturated times, when we’re constantly thumbing through palm-size images shared freely on Instagram, Twitter and Facebook, is there still a meaningful place for photographs measured in feet? For Edward Burtynsky and Robert Polidori, two of today’s most esteemed practitioners of large-scale photography, the answer is unequivocally yes. Read More

“The artist said to have influenced Mapplethorpe the most,” DAZED


George Dureau was born in 1930, raised and, for the most part, stayed in New Orleans his entire life – leaving only to serve in the army and also to briefly study architecture. He began drawing when he was young, encouraged by his mother to capture courtyard scenes and magnolias. As an adult, he moved to the French Quarter and lived as one might have in Paris at the same time. Read More