Press & Media

Gordon Parks’s Color Photographs Show Intimate Views of Life in Segregated Alabama

Department Store, Mobile, Alabama,1956

by Jacqui Palumbo for Artsy When the U.S. Supreme Court outlawed segregation with the Brown v. Board of Education decision in 1954, there was hope that equality for black Americans was finally within reach. “But it was a quiet hope, locked behind closed doors and spoken about in whispers,” wrote journalist Charlayne Hunter-Gault in an essay for  Gordon Parks’s Segregation Story (2014). “For… 

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“Arthur Roger Gift Adds Several Works by African American Artists to the NOMA Collection,” The New Orleans Tribune

Arthur Roger has donated 80 works of art from his personal collection to the New Orleans Museum of Art. This stunning gift to the community is made even more important by the breadth of the backgrounds of the artists whose works he has shown and represented at his gallery, Arthur Roger Gallery. He was a pioneer in showing contemporary art by local artists, women artists, and African American artists when other galleries had not begun showing any of these.

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“Pride of Place at NOMA,” Art e-Walk

Over the years, Arthur Roger nurtured artists through his art gallery opened in 1978 and in doing so, helped shape and promote the art scene of his native city. Joining the list of benefactors, he recently gifted his sizable art collection accumulated over four decades to the New Orleans Museum of Art. The eighty-seven objects, including paintings, sculptures, videos, photographs, are on display this Summer for the exhibition Pride of Place: The Making of Contemporary Art in New Orleans, curated by Katie Pfohl, Curator of Modern and Contemporary Art at NOMA.

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“Gallery owner Arthur Roger donates extensive contemporary art collection to NOMA,” The Advocate

[Arthur Roger’s] donation — paintings, sculpture and photography by local and national luminaries of modern art — comprises a new NOMA exhibit, “Pride of Place: The Making of Contemporary Art in New Orleans.” The exhibit opens Friday and runs through Sept. 3. In the exhibit’s 143-page catalog, museum Director Susan M. Taylor describes the gift as “transformational.” It “significantly expands” NOMA’s contemporary art holdings and “reaffirms the museum’s commitment to the work of local New Orleans artists,” she said.

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Arthur Roger Gallery at Art Miami 2016

The Arthur Roger Gallery is very pleased to be a part of Art Miami this year. At Booth B100, we are exhibiting works by John Alexander, Luis Cruz Azaceta, David Bates, Jacqueline Bishop, Douglas Bourgeois, Robert Colescott, Stephen Paul Day, Lesley Dill, James Drake, Troy Dugas, George Dureau, Lin Emery, Vernon Fisher, Tim Hailand, Whitfield Lovell, Deborah Luster, Gordon Parks, Holton Rower, and Amy Weiskopf.

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“Forget the Coasts. Look to the Hinterlands,” The New York Times

Southern Accent: Seeking the American South in Contemporary Art questions and explores the complex and contested space of the American South. One needs to look no further than literature, cuisine and music to see evidence of the South’s profound influence on American culture, and consequently much of the world.

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“Birch/Davenport/Parks,” New Orleans Art Review

IT’S DIFFICULT TO place exhibits in New Orleans at this time of this year outside of the context of The Storm. The subject looms like heavy billowing clouds, densely gray and thickly churning, an extended horizontal weight floating and staying just above our heads. Many of us are walking with eyes cast down, or otherwise away from the reminders of ten years gone. At New Orleans Museum of Art, it is an apt title for an exhibit comprised of work not necessarily about Katrina. At Arthur Roger Gallery, the concept also appears to be at the heart of three exhibitions.

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“Stories and History,” Art e-Walk

For the new “art year” in New Orleans kicked off during White Linen Night, Arthur Roger Gallery presents an exhibition featuring three generations of African American artists, including the famous Life magazine photographer Gordon Parks born in 1912 and the native artist Bruce Davenport in 1972. The show gathers a large collection of works from Willie Birch and introduces new pieces from Whitfield Lovell.

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