The Arthur Roger Gallery is pleased to present an exhibition of work by Rob Wynne. The exhibition will be on view at Arthur Roger@434, located at 434 Julia Street, from November 5 – December 24, 2016. The gallery will host an opening reception Saturday, November 5 from 6-8 pm.
Distant Voices in a Foreign Language is Vernon Fisher’s first exhibition with the gallery and features multiple bodies of work from the past decade. Patricia Mora describes the artist’s work as “rigorous, yet thoroughly fun-infused, excursions that are analogous to solving for ‘x.’”
Amy Feldman creates seemingly simple, large-scale gray abstractions notable for their visual impact and droll sense of humor. She explores how images and signs are perceived and distilled, and then draws attention to humanness in her work through its iconic language and subtle variation.
City Portraits – New Orleans presents paintings of aerial views of the city and the surrounding parishes. The small- to large-scale works on panel and linen reflect the artist’s unique and vibrant color palette, and reveal his enduring esteem for the city and her contours. Unique to this new body of work is the addition of incorporated portraits of revered local musicians.
This exhibition includes small- to large-scale oil paintings on panel and linen, as well as medium-scale collages with watercolor on paper which reveal the artist’s continued exploration of landscape painting and the complex connections between climate change, species extinction and migration.
In his second exhibition with the gallery, photographer David Leventi presents his images of the interiors of world-famous opera houses juxtaposed with images of the interiors of the last remaining domed prisons. Together, they are a study in contrasts – the lavish social theaters versus stark dwellings of incarceration and deprivation. Astonishingly, the architectural similarities between the two venues momentarily obscure fundamental differences in their operations. One such difference is that of observation – the audience of many observing a few versus the few observing the many. The large-scale, painting-like prints allow the viewer the experience and emotion of being surrounded by the various spaces. The artist employs large-format Arca-Swiss cameras to ensure that his compositions are architecturally symmetrical and emphasize Euclidean geometry.
The four large-scale works in this exhibition are tributes to renowned heavyweight boxer champion Muhammad Ali. Each vivid color marker drawing, rendered in the artist’s celebrated style, is a variation of a common composition – an aerial view of a boxing match. Bordering this narrative are snapshots of Ali in action, along with memorable quotes such as, “Float like a butterfly, sting like a bee.” Customary in Davenport, Jr.’s works are the scrawlings of his personal thoughts and observations – scattered throughout in pockets of quiet spaces.
Muhammad Ali was one of the most photographed figures of the 20th century. Well known are the images of the braggart, the charmer, the ferocious fighter, however this exhibition of nine medium-scale photographs by Gordon Parks captures a softer side of the boxer – relaxed and introspective – further revealing Parks’ ability to connect with the people he photographed and the implicit trust between subject and photographer.
This exhibition features small- to large-scale painted representations of artist studios on Plexiglas and wooden panels. Among them are the artist’s own studio, those of friends, as well as those of famous artists Balthus and Jackson Pollock.
Random Precision in the Metric of Time presents a new body of work that reveals unexpected variances through time-based media and processes. Manifestations of rhythmic arrangements are explored using various media, either through movement or layers of materials accumulated over time.