Dawn DeDeaux at MASS MoCA
Dawn DeDeaux opens a new exhibition May 28, 2017 as part of the grand opening of Building 6 at the Massachusetts Museum of Contemporary Art (MASS MoCA).
Gallery News
“Gallery owner Arthur Roger donates his extensive personal art collection to NOMA,” The Times-Picayune
On June 1, Arthur Roger’s personal collection of paintings, sculptures, drawings, photographs and mixed media pieces will be taken off his walls, packed away and carted over to the New Orleans Museum of Art. He recently donated more than 80 pieces to the museum, including works by national and regional artists such as Luis Cruz Azaceta, Willie Birch, Douglas Bourgeois, Robert Colescott, George Dureau, Robert Gordy, Deborah Kass, Catherine Opie, Robert Polidori, Holton Rower and John Waters, among others.
“Trailblazing New Orleans gallerist Arthur Roger gifts his collection to NOMA,” New Orleans Museum of Art
Pride of Place: The Making of Contemporary Art in New Orleans showcases renowned art collector and gallery owner Arthur Roger’s transformational gift of his entire personal art collection to the New Orleans Museum of Art (NOMA). Spotlighting one of the city’s most groundbreaking contemporary art collections, the exhibition explores the rise of modern and contemporary art in New Orleans.
“Galleries celebrate a musical jam session for art on Julia Street,” The Advocate
Arthur Roger, 432-434 Julia St., leads with a one-two punch: Edward Burtynsky’s cerebral and formally precise large-scale photographic landscapes in one gallery space will be accompanied a few doors down by Christopher Saucedo’s Pop art-inflected canvases and drawings in which classic American cartoon and superhero imagery is used as a trenchant commentary on current events.
“Exhibition Pick: Luis Cruz Azaceta,” Pelican Bomb
Luis Cruz Azaceta’s current show at Arthur Roger Gallery, “On The Brink,” makes a statement on contemporary social and political issues. But first, one might get distracted by the artist’s flashy abstract style. Azaceta’s process of stacking primary and secondary colors in the form of polygonal shapes is eye-popping. Azaceta was born and raised in Cuba, to whose vibrant culture one may attribute his neon color palette.
“Pride of Place brings Arthur Roger’s donated collection to NOMA,” New Orleans Museum of Art
[Arthur] Roger’s personal collection of more than eighty paintings, photographs, and sculptures reflects the gallery’s storied forty-year history as well as Roger’s skill and sophistication as an art collector. Bringing together artworks Roger has collected from the 1970s through today, Pride of Place unfolds as an evolving narrative about place, identity, and belonging in New Orleans’ contemporary art scene over the course of the last four decades.
“Dawn DeDeaux: Our Future,” New Orleans Art Review
I CLEARLY REMEMBER walking through Dawn DeDeaux’s installation MotherShip III: The Station near the intersection of Elysian Fields and St. Claude Avenues. It was close to the end of the biennial (as it was structured then) in the late afternoon, overcast, with temperatures in that New Orleanian limbo area between warmth and chill.
“Review: Luis Cruz Azaceta’s geometric paintings at Arthur Roger Gallery,” Gambit
On the Brink seems an unusual title for a geometric abstract painting show. The crisp geometry of traditional art deco, op art or minimalist design, like the sleek lines of modern architecture and furniture, all epitomize a kind of optimistic rationalism, but Luis Cruz Azaceta was forever marked by the chaos that characterized the Cuban revolution and his life as a youthful refugee.
Gene Koss Installation at the Ogden / Barnes Residence
February 2017 Installation of Gene Koss’ Sculpture Wheel at the Ogden / Barnes Residence in New Orleans, Louisiana.
“Dawn DeDeaux,” 4Columns
The work in DeDeaux’s I’ve Seen the Future and It Was Yesterday excavates a sense of industrial utopianism—that ominous diving suit, for example, or is it a space suit?—which is both ironic and real. DeDeaux captures that sense with images of those nineteenth- and early-twentieth-century structures made when it seemed like the great works of mankind were all signs of progress and would last forever.