Gallery News

James Drake: Anatomy of Drawing and Space (Brain Trash) at MCASD


James Drake: Anatomy of Drawing and Space (Brain Trash) at the Museum of Contemporary Art San Diego – July 10 through September 21, 2014 Read More

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“Dale Chihuly’s intricate sculptures seem to wiggle and grow,” New Orleans Advocate

Chihuly 2014 Installation View

Over his nearly five-decade career as a visual artist, Dale Chihuly has become almost as well-known for being a successful and canny entrepreneur as for his colorful and intricately wrought glass creations. Read More

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“Southern Masters: David Bates,” Garden & Gun

David Bates

In 1982, when David Bates painted the monumental Ed Walker Cleaning Fish, he still made his living teaching art history at Southern Methodist University, where he’d gotten both his undergraduate degree and his MFA. The “little red house” in which he and his wife, the painter Jan Lee Bates, lived at the time, had walls so small he jokes that one could have made a nice easel for the 84-by-72-inch portrait. “I never really counted on making a living doing this,” Bates says, adding that it was the teaching salary that freed him up to make pictures of subjects that spoke to him. “That’s why I could paint an old black guy cleaning fish with a bucket of fish guts at his feet. Because I never thought anybody was going to buy something like that.” Read More

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“New Orleans: The Last Bohemia,” National Geographic Traveler

Visual artist Jacqueline Bishop in her New Orleans studio. (Photo by Andrew Evans, National Geographic Travel)

I first met Jacqueline Bishop down in Cuba, where we both found Havana reminiscent of her own hometown, New Orleans. A seasoned traveler and visual artist, Jacqueline takes her inspiration from the natural world and its wettest places, be it Bangladesh, the Amazon, or her own beloved Louisiana swamps. Read More

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“Artist George Dureau left his mark on the French Quarter like few others,” The Advocate

Photo provided by Sarah Benham – George Dureau, the artist in repose, in his Esplanade Avenue residence and studio in 1977

The Vieux Carre’s figurative freak flag dropped to half-staff last week when news circulated that one of the district’s last remaining embodiments of local color had faded to black. George Dureau, one of the city’s most nationally recognized artist and a major player in the local arts scene from the 1970s through the ’90s, was dead at 83, having succumbed to Alzheimer’s disease. Read More

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“Gallery Walk,” New Orleans Art Review

James Drake:  Big Baby, 2010. Pastel on paper, 90 x 52 in. Arthur  Roger Gallery.

Over at Arthur Roger Gallery, the red pastel figure drawings and glass sculptures of New Mexico-based James Drake’s “Can We Know the Sound of Forgiveness” and the multidimensional poured paintings of Holton Rower ‘s “Viscous Resin Extruding From the Trunk” evoke styles of the past. Read More

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“Whiteman: Vicarious Regions,” New Orleans Art Review

New Orleans Art Review: February/March/April

“Dreams from the bristles of the artist’s brush… I probe be­ yond the confines of the finite to create an infinity…Living dreams.” Arshile Gorky’s words, in 1942, at the start of his late, most eloquent, phase. The quote occurred to me during my initial visit to Edward Whiteman’s new exhibition of abstract pictographs (recently at Arthur Roger); it returned during my second. Read More

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“Review: The People of New Orleans from A to Z,” Gambit


In 1920s Germany, a photographer named August Sander did a very German thing: He published a catalog of the German people. Like a field guide to birds, its subjects ranged from bankers to beggars, posed in their work clothes. Although initially well received, it was banned when Adolf Hitler came to power because Sanders’ people didn’t look like his idea of a “master race.” Fortunately, no one ever mistook New Orleanians for a master race, so Bunny Matthews’ drawings, The People of New Orleans From A to Z, are available for all to see. Rendered in his traditional post-psychedelic baroque caricature style, Astrologer captures the zoned-out gaze of a bejeweled lady in a turban as she peers into the wonders and terrors of the future. The Drunk, by contrast, sees little beyond his martini, but The Fisherman, depicted with the oil rig-studded waters of the Gulf behind him, clutches a redfish as proudly as the father of a newborn babe who worries about the future. Read More

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Lin Emery: In Motion at New Orleans Museum of Art


View Lin Emery’s work in motion from her exhibition Lin Emery: In Motion at the New Orleans Museum of Art Read More

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“Art review: Dual David Bates exhibits show different sides of the artist,” Dallas News

This painted bronze titled, "Man in Red Chair", 1994, is on display at the Nasher Sculpture Center in Dallas. The Modern and the Nasher Sculpture Center, present a joint exhibition of the work of artist David Bates, of Dallas, on view February 9 through May 11, 2014. The exhibition is a retrospective of Bates's work installed in both locations with an emphasis on painting in Fort Worth and sculpture and works on paper in Dallas. This is the first collaboration between the two museums. Shot on Wednesday, February 12, 2014. David Woo/Staff Photographer

David Bates is without question Dallas’ most venerated artist and, at 61, definitely worthy of a serious museum reappraisal. Artists often have mixed feelings about such things, since so many significant retrospectives have the aura of museum funerals rather than progress reports. So, it was with a bit of trepidation that David Bates, whose work has found its way into important collections from New York to Hawaii, said OK to a two-museum retrospective of his career at the Modern Art Museum of Fort Worth and the Nasher Sculpture Center in Dallas. Read More

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