Gallery News

“Gallery owner Arthur Roger donates extensive contemporary art collection to NOMA,” The Advocate

[Arthur Roger’s] donation — paintings, sculpture and photography by local and national luminaries of modern art — comprises a new NOMA exhibit, “Pride of Place: The Making of Contemporary Art in New Orleans.” The exhibit opens Friday and runs through Sept. 3. In the exhibit’s 143-page catalog, museum Director Susan M. Taylor describes the gift as “transformational.” It “significantly expands” NOMA’s contemporary art holdings and “reaffirms the museum’s commitment to the work of local New Orleans artists,” she said. Read More

John Waters and Arthur Roger in Conversation

Pride of Place: The Making of Contemporary Art in New Orleans (on view June 23–September 3, 2017) celebrates Arthur Roger’s gift of his entire personal art collection to the New Orleans Museum of Art. The exhibition catalogue features a conversation between John Waters and Arthur Roger. Read More

Dawn DeDeaux at MASS MoCA

Dawn DeDeaux opens a new exhibition May 28, 2017 as part of the grand opening of Building 6 at the Massachusetts Museum of Contemporary Art (MASS MoCA). Read More

“Gallery owner Arthur Roger donates his extensive personal art collection to NOMA,” The Times-Picayune

On June 1, Arthur Roger’s personal collection of paintings, sculptures, drawings, photographs and mixed media pieces will be taken off his walls, packed away and carted over to the New Orleans Museum of Art. He recently donated more than 80 pieces to the museum, including works by national and regional artists such as Luis Cruz Azaceta, Willie Birch, Douglas Bourgeois, Robert Colescott, George Dureau, Robert Gordy, Deborah Kass, Catherine Opie, Robert Polidori, Holton Rower and John Waters, among others. Read More

“Trailblazing New Orleans gallerist Arthur Roger gifts his collection to NOMA,” New Orleans Museum of Art

Arthur Roger

Pride of Place: The Making of Contemporary Art in New Orleans showcases renowned art collector and gallery owner Arthur Roger’s transformational gift of his entire personal art collection to the New Orleans Museum of Art (NOMA). Spotlighting one of the city’s most groundbreaking contemporary art collections, the exhibition explores the rise of modern and contemporary art in New Orleans. Read More

“Galleries celebrate a musical jam session for art on Julia Street,” The Advocate

christopher saucedo

Arthur Roger, 432-434 Julia St., leads with a one-two punch: Edward Burtynsky’s cerebral and formally precise large-scale photographic landscapes in one gallery space will be accompanied a few doors down by Christopher Saucedo’s Pop art-inflected canvases and drawings in which classic American cartoon and superhero imagery is used as a trenchant commentary on current events. Read More

“Exhibition Pick: Luis Cruz Azaceta,” Pelican Bomb

Luis Cruz Azaceta’s current show at Arthur Roger Gallery, “On The Brink,” makes a statement on contemporary social and political issues. But first, one might get distracted by the artist’s flashy abstract style. Azaceta’s process of stacking primary and secondary colors in the form of polygonal shapes is eye-popping. Azaceta was born and raised in Cuba, to whose vibrant culture one may attribute his neon color palette. Read More

“Pride of Place brings Arthur Roger’s donated collection to NOMA,” New Orleans Museum of Art

arthur roger

[Arthur] Roger’s personal collection of more than eighty paintings, photographs, and sculptures reflects the gallery’s storied forty-year history as well as Roger’s skill and sophistication as an art collector. Bringing together artworks Roger has collected from the 1970s through today, Pride of Place unfolds as an evolving narrative about place, identity, and belonging in New Orleans’ contemporary art scene over the course of the last four decades. Read More

“Dawn DeDeaux: Our Future,” New Orleans Art Review

I CLEARLY REMEMBER walking through Dawn DeDeaux’s installation MotherShip III: The Station near the intersection of Elysian Fields and St. Claude Avenues. It was close to the end of the biennial (as it was structured then) in the late afternoon, overcast, with temperatures in that New Orleanian limbo area between warmth and chill. Read More