“Up East, Down Home”, Gambit Weekly
Lesley Dill’s Radiance illustrates her fondness for mantra meditation in which words are repeated, for different words keep showing up on repeated viewings.
Press & Media
“Leslie Dill: Poetic Forms”, New Orleans Art Review
Leslie Dill is known for her unusual combinations of word and image, body and text, performance and poetry. She is not alone in undertaking such investigations, but her handling of these questions is unusually skillful. The practice of mixing word and image remains something which is often done clumsily at best and which tends to be, not always unreasonably, dismissed.
“Homage to a Krewe,” New Orleans Art Review
Homage to a Krewe by Simeon Hunter, New Orleans Art Review IN HER LATEST piece, Hommage to Ste. Anne, Ersy Schwartz delights, surprises and intrigues us, offering an open invitation…
“Inner and Outer Light”, Gambit Weekly
In Mirlitons and Cherry Tomatoes, darkroom perfectionist David Halliday gets playful.
“SERIOUS FUN: NEW MINIMALISM IS CHAMPIONED AT RULE”, Westword
Rule Gallery director Robin Rule has a taste for art with a less-is-more aesthetic, and she has made her place on Broadway Denver’s “minimalist central.” Over the years, she’s showcased first-generation minimalists from New York, including Carl Andre and Mary Obering, as well as local practitioners, notably Clark Richert, the dean of geometric painters in the region. Sometimesthough only rarelyRule takes a risk with an emerging local artist who is doing a contemporary take on minimalism.
“Small Packages”, The Times-Picayune
Remember when you were a kid and you used to lay on the carpet so that your eyes were even with your toy soldiers or dinosaurs or doll house. It changed your whole perspective — literally and figuratively. You were part of the scene, part of the action, and the big world around you didn’t count anymore. It’s a universally known form of little kid surrealism.
“Filmmaker John Waters brings photographic art to Soho”, The Villager
“I always feel that if you asked me what movie that is from that the work has failed,” says filmmaker John Waters about his new photography retrospective at the New Museum of Contemporary Art.
“Lesley Dill at George Adams – New York”, Art in America
Language as an instrument of perfect paradox, a medium of both exposure and concealment, has been Lesley Dill’s subject for many years. This exhibition included work both more physically condensed and more ethereal than she has shown before.
“INSIDE ART”, Gambit Weekly
Hommage to Ste. Anne is Ersy Schwartz’ parade of bronze and wood miniature figures and floats, some arranged en masse to evoke the Mardi Gras marching parade that serves as its namesake. Others, variants of those designs, are presented individually atop stark white pedestals in the rear chamber. The little floats, and the figures that ride atop or alongside them, are very much in the spirit of the actual parade, yet are far more fastidious than the event itself. They are, in fact, very Ersy, an artist whose deftly precise touch recalls artists ranging from Bosch to Beardsly.
“Louisiana Blend”, Art in America
As Louisiana”s leading fantasy-based realist painter, Douglas Bourgeois deserves both a broader audience and more probing analysis. In the wake of his first retrospective, “Baby-Boom Daydreams,” he is likely to get both.