Press & Media

“Pard Morrison”, ARTnews

Offering a fitting visual elegy to Donald Judd and Agnes Martin, Pard Morrison borrowed from each of their sensibilities to advance the Minimalist esthetic.

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“Hotel Rooms Become Overnight Stars”, The New York Times

As a staging area, a hotel room is hard to beat. With an anonymity so universal it yields a strange familiarity, its seductive blend of utility and fantasy can meet almost any need. The F.B.I. has used hotel rooms for sting operations. Couples rent them for trysts as they’re falling in love, for respite when they split apart. Travelers sleep in them.

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“No Bones About It”, The Times-Picayune

When New Orleans’ post-Katrina Latin-American population eventually revs up its celebration of the Day of the Dead, I guarantee the rest of us will be dressing up as skeletons, sucking on sugar skulls and picnicking in the cemeteries right beside them.

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Mixed (Media) Messages

By Benjamin Genocchio for The New York Times “Tremendous World” is the apt title of Lesley Dill’s exhibition now at the Neuberger Museum of Art, where extremely large, dramatic works cover the walls of the gallery, some of them up to 60 feet long and 20 feet high. The show is not a retrospective, but… 

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“This land is our land,” National Post

Eighty percent of Canadians live in cities, but you wouldn’t know it from our art collections. From the Group of Seven in the east to Emily Carr in the west, the canon depicts our land as one of wilderness and farms, not freeways. It’s this absence of the pictured urban, in part, that makes John Hartman’s Cities series so affecting: It shows we can have beautiful paintings of Calgary, Vancouver and Toronto, rather than just the parks adjacent to them. Yet Hartman doesn’t rehash clichéd, neon-flashed, bass thumping visions of urban life. Rather, he portrays cities as organic entities. Leah Sandals spoke to Hartman at his Lafontaine, Ont., abode.

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“Robert Polidori,” BOMB

I met Robert Polidori through a photograph he had taken of the Versailles restoration. It captivated me. Seeing so many layers of history in one image was astonishing. So was being spurred to imagine Versailles as a real dwelling defined by the remnants of its inhabitants, and all the changes in history they and it had undergone.

This was the ’90s, when many photographers making art were constructing their own subjects or creating intellectual images that involved visual sleight of hand. The straightforward voluptuousness of Robert’s photo stood in stark contrast to all this. It was this originality and this lushness that enchanted me.

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Douglas Bourgeois New Orleans, Art Papers

Douglas Bourgeois may be the most successful obscure artist in America. His smallish paintings command respectable prices—for their size, by New York standards—and his most recent show of over one hundred paintings, drawings, and collages sold quickly Arthur Roger Gallery; November 4—December 12. 2006].

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