Press & Media

“Artist George Dureau left his mark on the French Quarter like few others,” The Advocate

The Vieux Carre’s figurative freak flag dropped to half-staff last week when news circulated that one of the district’s last remaining embodiments of local color had faded to black. George Dureau, one of the city’s most nationally recognized artist and a major player in the local arts scene from the 1970s through the ’90s, was dead at 83, having succumbed to Alzheimer’s disease.

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“Remembering George Dureau,” Hyperallergic

NEW ORLEANS — When news of George Dureau’s death was announced by his gallery this past Monday afternoon, word traveled quickly among my extended circle of friends and professional acquaintances in New Orleans. Within a few hours, my Facebook feed was full of images of Dureau’s work, personal reminiscences, and links to quickly sketched obituaries (the longer tributes would come later) in the New Orleans Advocate and Times-Picayune.

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“New Orleans artist George Dureau dead at 82,” Gambit

George Dureau, the painter and photographer who captured French Quarter denizens for decades using camera and brush, died today around noon, according to Arthur Roger, the art gallery owner who was Dureau’s longtime friend. Dureau was 82 and had been in poor health. “It’s been a long journey. It’s been a remarkably peaceful one. He was very restful,” Roger told Gambit this afternoon.

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“Gallery Walk,” New Orleans Art Review

Over at Arthur Roger Gallery, the red pastel figure drawings and glass sculptures of New Mexico-based James Drake’s “Can We Know the Sound of Forgiveness” and the multidimensional poured paintings of Holton Rower ‘s “Viscous Resin Extruding From the Trunk” evoke styles of the past.

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“Whiteman: Vicarious Regions,” New Orleans Art Review

“Dreams from the bristles of the artist’s brush… I probe be­ yond the confines of the finite to create an infinity…Living dreams.” Arshile Gorky’s words, in 1942, at the start of his late, most eloquent, phase. The quote occurred to me during my initial visit to Edward Whiteman’s new exhibition of abstract pictographs (recently at Arthur Roger); it returned during my second.

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