Press & Media

“On the Death in New Orleans”, Art in America

One month after my rapid exodus from New Orleans, I return to a city dead. Yet there are familiar sights in the maze of debris: I see the work of Leonardo Drew in the matted rolls of wet housing insulation, Cy Twombly scratches in the enamel of wind-tossed cars, Keith Sonnier configurations in the twisted neon signs knotted with plastic bags, a Richard Serra monument in the mammoth, rusted, severed barge at an intersection . . . and on and on the story goes.

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“Rites of Trespass”, Gambit Weekly

Are we trespassing? Jacqueline Bishop thinks we are, but not in the usual sense of the word. A well-traveled, widely exhibited artist who teaches an Art and Ecology course at Loyola, Bishop has something subtler yet more fundamental in mind — a sense that, in our race to remake the world in our own techno image, we have become ever more estranged from our origins in nature, and so, in some sense, from ourselves.

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“Allison Stewart at Arthur Roger”, Art in America

Beset by overbuilding, subsidence and erosion, the Louisiana coastline is disappearing at an alarming rate: a total of more than 900,000 acres has been lost since the 1930s, according to the Louisiana Coastal Area Final Study Report released in November 2004. It was a coincidence, but not a negligible one, that Allison Stewart’s show of new paintings was on view the same month.

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“Whitfield Lovell”, Bomb

The Interior of the “Object” of the home, the objects that furnish these homes, the objects that absent people once used: chairs, beds, glasses, guns, medicine bottles, tools, tubas and record players are in the foreground, while reserved, watchful figure seem to be inside the walls that envelop us as we enter someone’s long abandoned home.

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“Jacqueline Bishop’s Art Reveals Man’s Rift With The Earth”, New Orleans Times-Picayune

Jacqueline Bishop, whose new exhibit “Trespass” is on display at Arthur Roger Gallery, considers herself an ecologist and an artist. For years her jewel-like hyper-detailed paintings have dealt with the plight of rain forest beasts and birds, she’s traveled to Brazil several times to witness the loss of habitat firsthand, she teaches an art and ecology class at Loyola University, and lectures at ecology conferences across the country and around the globe.

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“Circle Dance: The Art of John Scott”, Louisiana Cultural Vistas

In his efforts to recount the picturesque scenes and bodily sensations of Congo Square — an open space for slaves in antebellum New Orleans — author Henry Edward Durell (under the nom de plume Henry Didimus) invoked a flood of images in the preceding epigraph. Geometrical shapes meet human bodies in this descriptive whirl of music-making and dancing. The interminable, incessant sounds of drumming, singing, crying, shouting, and rhythmic pounding are conceived as a form of music that, on the face of it, has no end.

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