The Arthur Roger Gallery is pleased to present “Assorted Rags,” an exhibition of recent paintings by Texas-based artist Mark Flood. The exhibition will be on view from October 7th – 28th at the Arthur Roger Gallery, located at 432 Julia Street. Flood will be present at the opening reception hosted by the gallery on Saturday, October 7th from 6 to 8 pm in conjunction with “Art for Art’s Sake.”
The Arthur Roger Gallery is pleased to present “Unwatchable,” an exhibition of the most recent photographic work by John Waters. The exhibition will be on view from October 7th – 28th at the Arthur Roger Gallery located at 432 Julia Street. Waters will be present at the opening reception hosted by the gallery on Saturday, October 7th from 6 to 8 pm in conjunction with “Art for Art’s Sake.” Additionally, the artist will lead a walkthrough of his exhibition on Friday, October 6th at 6 pm.
The turn-of-the-century British occultist Aleister Crowley loved New Orleans, calling it “… the greatest city in America, with the best red light district this side of Cairo, a beacon of civilization surrounded by an intriguing wildness.”
Artifacts of a bygone era—barn doors, a spinning wheel, tin snips, playing cards, a revolver, a tin cup—are culled by Whitfield Lovell for his tableaux. All are worn smooth by the hands of individuals long dead, for whom these were means of diversion, labor, self-defense or sustenance. Lovell animates the lost narratives embedded in these personal effects with shadowy charcoal portraits based on anonymous studio photographs, some drawn directly on the artifacts, others on aged wood boards.
Annie Dillard wrote that “Appealing workplaces are to be avoided. You need a room with no view so imagination can meet memory in the dark.”
Nicole Charbonnet grew up playing hide-and-seek in the majestic, crumbling aboveground Lafayette cemetery in New Orleans. Today, she still lives in New Orleans, creating layered images on paper and canvas in which the present hides within the past like a child crouching between tombstones.
Tthe thing that distinguishes Polidori’s photos is the thing that is missing from them: people. Instead, the French-Canadian photographer, who once lived in New Orleans’s Gentilly neighborhood, illustrates the lives affected by Hurricane Katrina through the city’s abandoned buildings.
In a powerful new body of photographs, sculpture and installation, John Waters continues his investigations of film history and contemporary politics. Primarily known as the filmmaker behind such cult classics as Pink Flamingos, Polyester and Pecker, Waters has been making “fine” art since the early 1990s. In it, he tackles both cinematic themes and political events by building narratives, frame by frame, from early commercial films. In this publication, Waters shares the method by which he constructs each work as if he were making a personal guidebook, so that his snapshots, color photographs and handwritten notes indicating composition are re-created as if in their original plastic organizational sleeves. Neither the art world, celebrity miscreants, politicians or Waters himself are spared in these incisive new works. An essay by Brenda Richardson examines Waters’s history, as well as each work, in brief and brilliant detail.
Exhibition Dates: August 5 – September 23, 2006 Opening Reception: Saturday, August 5 from 6–8 pm, in conjunction with White Linen Night Location: 432 Julia Street, New Orleans, LA 70130 Hours:…
For the past ten years, Birch has been documenting the African American culture of his native New Orleans in large-scale sculpture and drawings that emphasize body language, dress codes, and everyday rituals. His guileless polychrome sculptures evoke both social history and emotion. His use of talismans give the viewer a window to another time, be it through old construction nails symbolizing power and strength to a small West African paper mach, stool that stands apart as a symbol of nobility. Dedicated to the children of New Orleans, this is the first publication to examine Birch’s career whose re-imagining of African and Southern folk art inspires thought provoking discussions as well as contemporary sculpture and design. It includes two essays and an interview with the artist, as well as color reproductions of key works dating from 1968-2004.