Dureau, on the other hand, was a people person, not an aesthete like either Mapplethorpe or Weston. His pictures breathe, they pulse, they are hot with the blood and sweat of the sitters who joined him in his apartment on Esplanade Street in the city where he was born, and sometimes posed with props that were part of his personal effects. Edward Lucie-Smith, who wrote a fine introduction to a book of Dureau’s photographs published in the 1980s, compared the artist’s ability to transform these autobiographical encounters into photographically classical pictures with the writing strategies of Baudelaire, most notably in the Tableaux Parisiens of Les Fleurs du Mal. Read More
George Dureau: Artist Spotlight – Advocate.com
Earlier this summer, Higher Pictures in New York exhibited a selection of George Dureau’s photographs of New Orleans locals shot between 1973 and 1986. Dureau traveled in both the high art world and allowed his work to be displayed in the legendary leather/SM magazine Drummer. With a cult-like following, George Dureau’s photographs are a striking [...] Read More