Press & Media

“New Orleans Photographer and Artist George Dureau Has Died,” The Advocate

The artist and photographer’s work ranged from the erotic to the unsettling. He was a mentor of Mapplethorpe and a long-time contributor to Drummer magazine. Long-time icon of the creative world of New Orleans, George Dureau died Monday (April 7) morning at the Walden Healthcare Center in Kenner according to NOLA.com. He was 84. Read More

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“New Orleans artist George Dureau dead at 82,” Gambit

George Dureau, the painter and photographer who captured French Quarter denizens for decades using camera and brush, died today around noon, according to Arthur Roger, the art gallery owner who was Dureau’s longtime friend. Dureau was 82 and had been in poor health. “It’s been a long journey. It’s been a remarkably peaceful one. He was very restful,” Roger told Gambit this afternoon. Read More

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“George Dureau, New Orleans master painter and photographer, has died,” The Times-Picayune

Ogden Summer Family Fair at the Ogden Museum of Southern Art Saturday August 23, 2008. Artist George Dureau. (Photo by Steven Forster, NOLA.com | The Times-Picayune archive)

Artist George Dureau, master of mythic painting and hyper-realistic photography died Monday morning (April 7) at the Waldon Health Care Center in Kenner, where he was being treated for advanced Alzheimer’s disease. He was 83. Read More

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“Jammin’ on Julia, art gallery street party Saturday (April 5),” The Times-Picayune

Jammin’ on Julia, the annual spring street party in the New Orleans Arts District takes place from 6 to 9 p.m. Saturday (April 5). Look for a dozen exhibitions of regional and national artworks augmented by live music in many galleries along Julia Street and nearby. As always, the wide selection of art will hold something to satisfy most taste. Read More

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“Homesketch, Review: Bunny Matthews’ Cartoons Show NOLA, A-Z,” NOLA Defender

Bunny Matthews new show “The People of New Orleans from A to Z” hangs at the Arthur Roger Gallery throughout March until April 19th, celebrating a closing reception on Saturday the 5th. The series reads like a children’s A to Z book of illustrations on uniformly 17×14 paper, ink, and colored pencil renderings. It is exciting to see cartoon caricatures on the walls at Arthur Roger. The surge of acceptance for comic-style drawing is a late 20th, early 21st century advent, owing nearly everything to New Orleanian George Herriman. Herriman’s “Krazy Kat” strip would be an inspiration to Robert Crumb and eventually Abstract Expressionist Philip Guston. Beginning with the lampooning caricature of Honore Daumier, Daumier’s caricatures have only entered into fine arts education post-feminism. Read More

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

Bunny-Matthews-Zulu

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

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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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“Richard Baker Kicks Out the Jams,” Hyperallergic

Installation view, “Richard Baker: Holiday” at Tibor de Nagy Gallery (all images courtesy Tibor de Nagy Gallery, New York)

For the past decade, Richard Baker has developed two distinct but related bodies of work, one in oil and the other in gouache: the oil paintings depict tabletops covered with all sorts of printed ephemera and bric-a-brac; the gouaches are of book covers and, more recently, record covers. In 2012, however, Baker began breaking down the neat division between the oil paintings and works on paper by making something silly — a Whoopee cushion — out of paper and painting it pink. Read More

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“30 Americans,” Contemporary Arts Center New Orleans

Robert Colescott's cartoon-like painting 'Sunset on the Bayou' is a darkly comical take on the imprecision of racial identity in old Louisiana (Rubell Family Collection, Miami).

30 Americans showcases works by many of the most important African American artists of the last three decades. This provocative exhibition focuses on issues of racial, sexual, and historical identity in contemporary culture while exploring the powerful influence of artistic legacy and community across generations. Read More

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