Press & Media

“Five Video Artists: Krzysztof Wodiczko, Diana Thater, Jocelyn Taylor, Janet Biggs, and Dawn Dedeaux”, Performing Arts Journal

Dawn Dedeaux employs various media, including photography, print, film, and video in her efforts to make political art that goes beyond mere documentary reportage. Like Sister Helen Prejean, the subject of Tim Robbins’s Dead Man Walking, a very conventional film, she is from New Orleans and very concerned with the underclass, specifically black youths abandoned to lives of violence and incarceration. Read More

“Jesús Bautista Moroles”, Southwest Art

In the spring of 1980, sculptor Jesús Bautista Moroles was trekking up a mountainside in Italy when he found his artistic way. Under his feet lay a footpath, a carpet of grass dotted with marble steps. The steps bore a worn patina, polished by centuries of feet padding over the stone, often by men bound for work in the quarries. Read More

“Terminal Degree: The Works of Dawn Dedeaux”, Thread Waxing Space

Dawn Dedeaux has been a student of political economy. Departments of political economy have not as yet been established in the traditional university and as a result she has had to pursue these studies in the public housing facilities and prisons of New Orleans that offer the most up to date variants of the curriculum and where admission requirements and rankings are commensurate with the local murder rate. Read More

“Visions of the Natural Mind”, Gambit Weekly

How do we think, with the brain or with the mind? If a voice in your head whispers “brain,” stop and consider why we think. To make decisions, obviously —”yet most essential life decisions are not made consciously. We do not tell our blood how much oxygen to absorb through our lungs; our body does that for us. Read More

“Douglas Bourgeois”, New Orleans Times-Picayune

Nine small paintings equal two years’ work for Louisiana artist Douglas Bourgeois-a pace that seems positively speedy when one encounters his meticulously rendered pieces at Arthur Roger Gallery, 432 Julia St. Detailed and delicate as the interiors of watches, these panel paintings are testaments to obsessive craftsmanship and its power to capture the vivid obsessions of our dreams. Read More

“On Gordy’s Last Works,” New Orleans Art Review

Few artists are willing to expose their souls on the very surface of their work. It takes extraordinary courage. Painter Robert Gordy (1933-1986), in the last years if his life, after a 30-year career ushered chiefly by a beautiful but emotionally harnessed style, had that courage. He also had the skill and intelligence to wield such a personal enterprise into something that would daunt no one, all the while ringing with authenticity. The consequence was a new unfettered posture and a new series of works – mostly portrait heads and mostly monotypes. Read More

“Traditions”, Gambit Weekly

LAST MONTH, while the Contemporary Arts Center’s “Body Photographic” attempted nobly to survey the range of today’s camera artists working with the figure – the most traditional of subjects – some other galleries took on tradition too, but more generally. And their efforts seemed especially insouciant, as if traditionalism were as much the order of the day as any remnants of the avant-garde. In short, as if the distinction no longer mattered. It was an encouraging sight. Read More