Press & Media

“Sleepwalking on Water,” The Wall Street Journal

The Canadian photographer Edward Burtynsky has rolled out his “Water” project this fall with the synergistic marketing aggression of a Hollywood blockbuster. Seven galleries in six cities and three countries have been selling gigantic examples of the work, which offers his global perspective on water and civilization. Some prints are 10 feet across. “Watermark,” a feature-length documentary he co-directed with Jennifer Baichwal, has opened in select cities across Canada. The big, handsome and pricey catalog ($128), published by Steidl, even has an interactive iPad app.

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“Miami art show helps spotlight New Orleans artists and galleries,” The Advocate

If you’re an art aficionado, you know that the place to be in early December is Miami, where the international art show “Art Basel — Miami Beach” fills dozens of pavilions with works by artists from nearly every continent. The event and its satellite shows, ending today, attract nearly 60,000 people over six days. It’s the only annual art show that the Arthur Roger Gallery in New Orleans takes part in.

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“Defying Gravity: Talking with Lin Emery,” Art Voices Magazine

In the more than half-a-century span of her career, Lin Emery has come to be recognized as one of America’s foremost kenetic sculpture artists. She has received world-wide commissions for some three dozen architectural-scale polished aluminum sculptures, each inspired by the forms and forces of nature. In 2012, Hudson Hills Press published a coffee-table tome detailing more than sixty years of work. It’s a beautiful book, heavy and dense with glossy photographs, one that attempts to encapsulate a lifetime of dedicated labor.

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“Our America: The Latino Presence in American Art,” Smithsonian American Art Museum

Our America: The Latino Presence in American Art presents the rich and varied contributions of Latino artists in the United States since the mid-twentieth century, when the concept of a collective Latino identity began to emerge. The exhibition is drawn entirely from the Smithsonian American Art Museum’s pioneering collection of Latino art. It explores how Latino artists shaped the artistic movements of their day and recalibrated key themes in American art and culture.

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“Review: Edward Burtynsky’s Water,” Gambit

In south Louisiana, we know a thing or two about water. Not only are we surrounded by it, the air we breathe is often permeated with it, so our relationship with water is intimate. But intimate relationships often have elements of surprise, and while Edward Burtynsky’s photographs, which occupy two floors of gallery space at the Contemporary Arts Center (CAC), are often too spectacular to be truly intimate, they do pack a tsunami of surprises. His sweeping amphibious landscapes, whether all natural or shaped by human intervention, can be startlingly abstract, and if the proliferation of large-scale photographs in recent years has already shown us how painterly such images can be, many of Burtynsky’s works bear a striking resemblance to abstract canvases.

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“Lin Emery: In Motion,” New Orleans Museum of Art

For twenty-five years, Lin Emery’s Wave, 1988 has welcomed visitors to the New Orleans Museum of Art from the lily pond in front of the main entrance. The sleek, multi-faceted sculpture that sprung from the water is composed of seven interconnected arms, which seem to simultaneously move independently and collectively. Not only striking, the work is a study of mathematics and engineering. This fall, NOMA has moved Wave into the Cascade Garden Pool in the Sydney and Walda Besthoff Sculpture Garden, which allows Emery’s signature touch of movement to be visible from both the Pine and Oak Groves.

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“Lecture and Exhibition by New York Artist Lesley Dill,” LSU College of Art + Design

Acclaimed New York artist Lesley Dill will present a lecture entitled “We Are Animals of Language” as part of the LSU College of Art + Design Paula G. Manship Endowed Lecture Series. Lesley Dill is one of a series of visiting artists participating in LSU School of Art’s 2013–14: Malleable Language exhibition season, whose theme is the visual and critical exploration of the artistic tradition of intermingling text and image. Her works in sculpture, photography, and performance use a variety of media and techniques to explore themes of language, the body, and transformational experience. Dill has called herself a “matchmaker of words and images,” and she often pulls from the poems of Emily Dickinson and other poets and writers to create sculptural costumes, mannequins, and floor-to-ceiling backdrops covered in interweaving black text and images.

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