“Review: Prospect.3 at the Contemporary Arts Center,” Gambit
Welcome to the world! There is a National Geographic quality about much of Prospect.3, which offers many windows on the far corners of the planet.
Welcome to the world! There is a National Geographic quality about much of Prospect.3, which offers many windows on the far corners of the planet.
With 18 different venues spread throughout New Orleans from small arts spaces in Treme and Central City to major museums such as the New Orleans Museum of Art, the contemporary art biennial Prospect.3 certainly doesn’t make it easy for an individual to stand out from the over 50 participating artists in the show. But Southern Louisiana artist Douglas Bourgeois does that with his bizarrely beautiful paintings…
Even the aisles are packed to the brim with installations, like Bob Snead’s “Family Dollar General Tree: Store #002,” 2011–2014, presented by New Orleans’s Arthur Roger Gallery.
On December 3, 2014, Arthur Roger was honored with a Community Arts Award from the Arts Council for his contribution to the arts and cultural landscape in New Orleans.
Louisiana master Douglas Bourgeois’ soul-satisfying paintings of pop stars and passionate music lovers may be the No. 1 crowd-pleaser at New Orleans’ international art festival, Prospect.3.
George Dureau, interviewed by author Jack Fritscher for the book “Mapplethorpe: Assault With a Deadly Camera,” at his home in New Orleans, April 8, 1991.
The Arthur Roger Gallery is very pleased to be a part of Art Miami this year. At Booth C1, we are exhibiting works by Luis Cruz Azaceta, Richard Baker, David Bates, Jacqueline Bishop, Robert Colescott, Stephen Paul Day, Lesley Dill, Troy Dugas, George Dureau, Lin Emery, Gordon Parks, Holton Rower and Bob Snead. The exhibition will be on view from December 3 – December 7, 2014 at the Miami Art Pavilion located in the Miami Midtown Arts District.
Launched two years after Hurricane Katrina had devastated large areas of New Orleans and the Louisiana Gulf Region, Prospect New Orleans was conceived as an international biennial to exhibit current artistic practices while contributing to the city’s cultural and economic recovery.
As the first impressions of standing amid a chaotic sea of colors and shapes was slowly beginning to resolve itself into individual entities and images, I began to sense an empathy between a vaguely discerned memory rising from within me and the artist’s work: that this was like an experience that had happened before, when first arriving and feeling overwhelmed by the oxymoronic diversity of this polysemous aggregation of cultures that is southwest Louisiana.
For artists, a casual stroll through most any New Orleans neighborhood is a lesson in habitual beauty: the ethereal mid-afternoon light, the sprawl of vegetation, the bright colors of the homes, even the elegance of decayed wood.