Press & Media

“War and Leaves: Sculpture by Lin Emery”, Gambit Weekly

War and Leaves: Sculpture by Lin Emery by D. Eric Bookhardt, GAMBIT WEEKLY It all started with a spoon. Years ago, a silver spoon poised precariously on the rim of a tea cup began dancing unexpectedly as a thin stream of water cascaded onto its smooth, sleek surfaces from the faucet above. Lin Emery was…  Read More

“Dale Chihuly at L.A. Louver”, Art in America

Dale Chihuly’s stunning installation of large-scale sculptural works at L.A. Louver showed how simplicity can triumph in the hands of a master. Chihuly amassed hundreds of simple hand-blown units of various organic shapes into protean configurations of breathtaking beauty, mystery and even majesty. Read More

“Clyde Connell: 1901-1998”, Sculpture

Last April, one month before she died at the age of 96, the state of Louisiana designated its native daughter, sculptor Clyde Connell, a “legend.” According to the program notes for the Eighth Annual Louisiana Legends Award Banquet, “The person she is, the objects she creates, the moral beliefs she shares and the land she lives on integrate into one common strong impact on the individual seeing her work or visiting with her in her studio.” Read More

“Robert Colescott at Crown Point Press,” by Kathan Brown

Robert Colescott at Crown Point Press by Kathan Brown Robert Colescott is standing in the Crown Point Press studio in front of an almost-finished ambitious four-panel etching, answering questions from a small group of visitors. “It’s really about our sex life,” he confides. “Sex and race, those are my raw materials. That’s why they’re in…  Read More

“African Odyssey,” Tucson Weekly

Now mounted in a sumptuous exhibition at the University of Arizona Museum of Art, “Robert Colescott: Recent Paintings” first went up at the Venice Biennale a year and a half ago. The work of UA professor emeritus Colescott, these extravagantly colored, politically charged narrative paintings were the U.S. entry in the 1997 international art fair. Colescott was the first American painter since Jasper Johns in 1988 to be thus honored, and the first ever African-American artist to represent the U.S. with a solo show. Read More

“James Barsness at George Adams”, Art in America

For close to 10 years now, James Barsness has been making a name for himself as a creator of highly detailed, unusually complex and often frankly sexual art. His often tongue-in-cheek portrayals of physical appetite, merged with a masterful appreciation of materials, which here included ballpoint pen and acrylic on paper collaged onto canvas, make him an artist of accomplished idiosyncrasy. Read More

“Three Strong Shows Make Good Use of ”Installation” Concept”, The Times-Picayune

Anything goes in today’s art world – and frequently the first thing to go are the distinctions between painting, sculpture, architecture and other traditional disciplines. The resulting cross-breeds are tagged with the vague label of “installation art”, and encompass works whose only shared purpose is the attempt to create a total, theatrical environment from the sanitized spaces of the contemporary gallery. Read More