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.
Exhibition Dates: May 4 – 25, 1996 Opening Reception: Saturday, May 4 from 6–8 pm Gallery Location: 432 Julia Street, New Orleans, LA 70130 Hours: Monday – Saturday, 10am –…
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.
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.
Exhibition Dates: March 30 – April 28, 1996 Opening Reception: Saturday, March 30 from 6–8 pm Gallery Location: 432 Julia Street, New Orleans, LA 70130 Hours: Monday–Saturday, 10 am–5 pm…
Lin Emery: Borrowing The Forces Of Nature by Edward Lucie-Smith, New Orleans Museum of Art, 1996
Inside Gene Koss’ studio featuring “Bridge” for his December 1995 Exhibition at Arthur Roger Gallery
An exhibit of Lin Emery’s sculpture is always a rare treat, and her latest work, at Arthur Roger Gallery, 432 Julia St., is no exception.
Visions are tricky things. Timing is all-important, it seems. For instance, no one had visions in the 1950s; it just wasn’t done. But by the late 1960s, people were having visions all over the place.
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.