“New Orleans, Lost & Found”, Art in America
In a recent exhibition and book, Robert Polidori, known for making startling images of
architecture around the world, turns his camera on post-Katrina desolation.
Press & Media
“Jim Richard at Oliver Kamm/5BE,” Art in America
For years, New Orleans painter Jim Richard has articulated an acidic social commentary through unpeopled interiors of the showy sort featured in domicile magazines. Many of his paintings employ an icy, synthetic palette to depict settings over-decorated with contrasting examples of historical and recent art. “These are the places,” one critic wrote, “where art goes to die.”
“NICOLE CHARBONNET at the Arthur Roger Gallery”, New Orleans Art Review
Nicole Charbonet’s current body of work, entitled, The Truth about God, deals with subjects such as the temporality of the material world and the power of nature. Charbonnet portrays these thoughts in a series of canvases, all done in mixed media and acrylic. Her works are at once alarming but offer a sense of calm in their soft, fresco like appearance, reminiscent of the colors of Pompeii, muted almost to a whisper with the patina of time.
“John Geldersma at the Arthur Roger Gallery,” New Orleans Art Review
THE ANCIENT ARCHETYPES of various European, Caribbean, Native American, and African cultures weave together this timeless exhibition of totemic carvings by John Geldersma. With simple wood and paint, the colors of which seem almost inspired by fire, he reaches into an understanding of humanity, the history of its culture, unmistakably modem because of its far reaching universality.
“Levity and Lace”, New Orleans Art Review
NOW, ASK YOURSELF, honestly, what kind of art would you imagine you would find when you read that an exhibition involving Waters and Flood was opening at the Arthur Roger Gallery this month?
“Aesthetic Ethnography,” New Orleans Art Review
With the sympathetic understanding of the insider and the objectivity of the ethnographer, artist Willie Birch furthers the social documentary tradition of photographers Helen Levitt, Roy de Carava, and Robert Frank.
“Thugs take a hacksaw to our spirit” New Orleans Times-Picayune
Art, by its very nature, is worth more than the ingredients that give it shape. A clay pot is worth more than the lump of clay from which it was formed, a painting more than the paint and canvas. Similarly, the bronze sculptures in John Scott’s eastern New Orleans studio were worth more than the bronze itself.
“Famed sculptor falls prey to thieves Works dismantled, carted out of studio”, New Orleans Times-Picayune
The thieves may not have known what exactly they stumbled onto when they climbed through a broken window of a nondescript warehouse in eastern New Orleans.
“Securing Abstraction”, The New Orleans Review
Allison Stewart is yet another abstract romantic, but her temperament is distinctive. Although she is conceptually allied with Marden and Dunbar— complete with an overmastering theme — she does not share their restraints.
“Douglas Bourgeois: Psychedelic Southern Gothic”, Juxtapoz
Douglas Bourgeois, both magician and mechanic, deconstructs and reconfigures reality as a hermetic and skewed detail-packed world. He is an artist of these times, this country, and, specifically, New Orleans.