Press & Media

“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

Courtney Egan in “Digital Nature” at the Los Angles County Arboretum and Botanical Garden


Natural Discourse and the Los Angeles County Arboretum present a spectacular evening of animation, light and sound in the garden. A group of acclaimed contemporary artists have been invited to project their work onto the rich canvas of the botanical garden. With themes as diverse as invasive exotics, natural pigments, plant tropism and an ancient Chinese poem, these digital and video works explore the intersection of horticulture and technology. Read More

“Review: From the Estate: George Dureau at Arthur Roger Gallery,” Gambit

George Dureau Wilbert with Hook, Vintage silver gelatin print, 20 x 16 inches

Two years after his death, George Dureau is finally getting the recognition he deserved but never really pursued. For an art photographer, having an Aperture Foundation large-format monograph devoted to your work is the gold standard of recognition, and when Aperture published George Dureau, The Photographs last month, it assured his place in photography’s pantheon, a position further enhanced by his inclusion in upcoming museum symposiums at New York’s Museum of Modern Art and elsewhere. Read More

“george dureau’s tender and powerful portraits of new orleans’ disenfranchised communities,” i-D

Fred Temnel, 1975 © George Dureau, Courtesy Arthur Roger Gallery and Higher Pictures

Dureau was born in New Orleans’ Irish Channel neighborhood in 1930, about four miles from the city’s French Quarter, where he spent the majority of his life making paintings, sculptures, and photographs — both in the studio and on the street. Forty years of Dureau’s portraits have recently been published in a new Aperture book, The Photographs, a volume that arrives over 30 years after Dureau’s only other book was published in 1985. Read More

“A New Orleans Photographer’s Eye for Male Beauty and Imperfection,” The New Yorker

Ricky Garner, 1989

[George] Dureau began taking pictures in the nineteen-sixties, with a Hasselblad. He did not think of photography as a “total” artistic medium, the way drawing and painting were, but his photographs are his best work, maybe because it’s the work he cared less about. His drawings and paintings are romantic in a different way; they are too suffused with his sensibility, or self-regard. The camera gave him a certain distance, and the pictures a moral ambiguity or weight that’s missing in his other work… Read More