Press & Media

“Gallery owner Arthur Roger donates his extensive personal art collection to NOMA,” The Times-Picayune

May 17, 2017

On June 1, Arthur Roger’s personal collection of paintings, sculptures, drawings, photographs and mixed media pieces will be taken off his walls, packed away and carted over to the New Orleans Museum of Art. He recently donated more than 80 pieces to the museum, including works by national and regional artists such as Luis Cruz Azaceta, Willie Birch, Douglas Bourgeois, Robert Colescott, George Dureau, Robert Gordy, Deborah Kass, Catherine Opie, Robert Polidori, Holton Rower and John Waters, among others.

“This 16-year-old Photog Documents the Lives of Malibu Rich Kids,” Galore Magazine

May 11, 2017

When you think high school photographer, you probably think of a teen who loves taking selfies and “epic” sunset pics, but Brent McKeever is a different story. The 16-year-old Malibu-based photographer has shot for brands like Brandy Melville, Frankie’s Bikinis, and Planet Blue; and he regularly works with models who are signed with Wilhelmina and NEXT.

David Yarrow – Human Nature

May 11, 2017

BY MARIKO FINCH for Sotherby’s | 11 MAY 2017 David Yarrow has a photographic career spanning more than thirty years. From his origins in sports photography, in recent years he has travelled the globe documenting the most remarkable aspects of human nature and the animal kingdom with his distinctive eye. Famous for his ‘close-up’ approach,…

“Exhibition Pick: Luis Cruz Azaceta,” Pelican Bomb

April 15, 2017

Luis Cruz Azaceta’s current show at Arthur Roger Gallery, “On The Brink,” makes a statement on contemporary social and political issues. But first, one might get distracted by the artist’s flashy abstract style. Azaceta’s process of stacking primary and secondary colors in the form of polygonal shapes is eye-popping. Azaceta was born and raised in Cuba, to whose vibrant culture one may attribute his neon color palette.

“HORROR VACUI: An Interview With Douglas Bourgeois,” The Iron Lattice

April 5, 2017

In spite of his relative seclusion in rural Louisiana, Douglas Bourgeois never wants for inspiration. On almost every inch of wall space in his simple cottage in St. Amant hangs the artwork of his friends and contemporaries. His art studio, lined with orderly shelves of assorted objets, could double as a curio shop. His curiosity lies at the heart of his creative vitality; the bold colors and elaborate and peculiar details of his paintings indicate a man who is dazzled by the world around him.

New Orleans Artists Talk About Their Work In The “Living With Climate”

April 4, 2017

New Orleans Artists Talk About Their Work In The “Living With Climate” Exhibition At Crevasse 22 | River House | Free Event with Jacqueline Bishop, Tina Freeman, and Allison Stewart

“Dawn DeDeaux: Our Future,” New Orleans Art Review

March 31, 2017

I CLEARLY REMEMBER walking through Dawn DeDeaux’s installation MotherShip III: The Station near the intersection of Elysian Fields and St. Claude Avenues. It was close to the end of the biennial (as it was structured then) in the late afternoon, overcast, with temperatures in that New Orleanian limbo area between warmth and chill.

“Review: Luis Cruz Azaceta’s geometric paintings at Arthur Roger Gallery,” Gambit

March 16, 2017

On the Brink seems an unusual title for a geometric abstract painting show. The crisp geometry of traditional art deco, op art or minimalist design, like the sleek lines of modern architecture and furniture, all epitomize a kind of optimistic rationalism, but Luis Cruz Azaceta was forever marked by the chaos that characterized the Cuban revolution and his life as a youthful refugee.

Gene Koss Installation at the Ogden / Barnes Residence

February 17, 2017

February 2017 Installation of Gene Koss’ Sculpture Wheel at the Ogden / Barnes Residence in New Orleans, Louisiana.

“Dawn DeDeaux,” 4Columns

February 10, 2017

The work in DeDeaux’s I’ve Seen the Future and It Was Yesterday excavates a sense of industrial utopianism—that ominous diving suit, for example, or is it a space suit?—which is both ironic and real. DeDeaux captures that sense with images of those nineteenth- and early-twentieth-century structures made when it seemed like the great works of mankind were all signs of progress and would last forever.