Press & Media

“Uncovering The Soul Stone: A Visit with Painter Francis Pavy”

The ancient cities of Italy and Greece were built around a center, the mundus, which was a pit covered by a great stone, called a “soul stone.” On certain days, the stone was removed, and the spirits of the dead rose from the pit which established the city’s relationship to its ancestral spirits.

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“Whitfield Lovell”, UTNE

In 1993 Whitfield Lovell sought respite from New York City at an artist’s retreat in an old Italian villa. But when he arrived, Lovell, an African American, was horrified to discover grotesque caricatures of black men and women decorating the building’s interior. Turns out the villa had been built by a prominent Italian slave trader with unusual tastes. Taking a personal and artistic risk, he began expressing his reaction in charcoal directly on the villa’s walls.

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“1822”, Contemporary Arts Center

In the fall of 2001, New Orleans artists Stephen Paul Day and Sibylle Peretti were approached about creating a site-specific installation for the fall of 2002, to be exhibited in the Contemporary Arts Center’s First Floor Galleries.

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“Radcliffe Bailey: Tides”, by Terri Sultan

Radcliffe Bailey’s exhibition “The Magic City” opened and closed at Blaffer Gallery on the same evening in June 2001, a victim of flooding brought about by Tropical Storm Allison. As torrents of rain closed roads and highways, causing bayous throughout the city to overflow, Bailey—unfamiliar with Houston—became stranded, and spent the night in his car before retuning to safety. All of Bailey’s paintings and installations are an intricate blend of personal experiences and historical references, and for “Tides” he has created a cycle of highly expressionistic visual tableaux that survey watery metaphors from a variety of perspectives.

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“New Paintings”, Anne Wilkes Tucker

For about a decade from the mid-seventies, Al Souza called his art “photoworks.” An image comes to mind of a yellow roadside warning sign with a pictograph of a photographer working, warning the viewer to beware. Souza himself is wary of photographs and, since the mid 1970s, he has rejected—in his own wry way—the notion that photographs offer a seamless representation of reality.

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“A Louisiana Life: Elemore Morgan Jr”, Louisiana Life

A Louisiana Life: Elemore Morgan Jr. An artist out-standing in the field by R. Reese Fuller, LOUISIANA LIFE When the sun is shining, Elemore Morgan Jr. stands in the rice fields with a piece of Masonite secured to an easel. He’s an upright praying mantis of a man with a straw lifeguard hat and a… 

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