It was like meeting an old friend in a new and unfamiliar place. In this case, the old friend was Ida Kohlmeyer, or, rather, her paintings and sculpture. When she died six years ago at 84, she was probably New Orleans’ best- known artist, having been shown routinely here as well as New York, London and other world culture capitals for several decades.
Gene Koss sits in his glass studio in New Orleans, working on vast glass sculptures and wondering how he ever got this far from the farm.
Renowned American figurative painter Robert Colescott died on June 4, 2009 at his home in Tuscon, Arizona at the age of 83.
I appreciated Stephen Sollins’s recent works at Brian Gross Fine Art for their sense of discovering poetry in everyday sources – and the artist’s labor-intensive techniques.
While John Alexander’s achievement as a painter continues to win accolades, his prowess as a consummate draftsmen has only recently emerged. This latent recognition should come as no surprise. Invariably, painters resort to paper to record an impression, producing works that make up in spontaneity what by intention they lack in finish.
The ancient cities of Italy and Greece were built around a center, the mundus, which was a pit covered by a great stone, called a “soul stone.” On certain days, the stone was removed, and the spirits of the dead rose from the pit which established the city’s relationship to its ancestral spirits.
In 1981 Douglas Bourgeois painted Blue Christmas, a work featuring Elvis Presley lying back on a bed beside a fully lit and decorated Christmas tree. Hanging in the blue-draped window just behind him is a bushy holiday wreath.
Douglas Bourgeois hails from St. Amant, Louisiana, where he has lived and worked since 1981 and where his family has resided for several generations. That would seem to make him the kind of artist who, some years ago, would have been labeled “regional.”
Although he was raised on a small farm in the rural southern Louisiana community of St. Amant, Douglas Bourgeois grew up at a time when living in a remote area did not necessarily mean isolation from the cultural trappings of the big city.
In 1993 Whitfield Lovell sought respite from New York City at an artist’s retreat in an old Italian villa. But when he arrived, Lovell, an African American, was horrified to discover grotesque caricatures of black men and women decorating the building’s interior. Turns out the villa had been built by a prominent Italian slave trader with unusual tastes. Taking a personal and artistic risk, he began expressing his reaction in charcoal directly on the villa’s walls.