John Alexander, a Texan, first gained prominence as a regionalist specializing in lush, painterly depictions of swamp and cartoonish paintings of humans and animals that satirized the conflict between civilization and the wild. His new landscapes, painted over the last two years, look back at the bayou but also study the woods and waters around eastern Long Island, his current home.
Ida Kohlmeyer, an abstract painter known for colorful pictographic canvases, died on Friday at the Touro Infirmary in New Orleans. She was 84 and lived in Metairie, La., a suburb of New Orleans.
Dawn Dedeaux employs various media, including photography, print, film, and video in her efforts to make political art that goes beyond mere documentary reportage. Like Sister Helen Prejean, the subject of Tim Robbins’s Dead Man Walking, a very conventional film, she is from New Orleans and very concerned with the underclass, specifically black youths abandoned to lives of violence and incarceration.
In the spring of 1980, sculptor Jesús Bautista Moroles was trekking up a mountainside in Italy when he found his artistic way. Under his feet lay a footpath, a carpet of grass dotted with marble steps. The steps bore a worn patina, polished by centuries of feet padding over the stone, often by men bound for work in the quarries.
Dawn Dedeaux has been a student of political economy. Departments of political economy have not as yet been established in the traditional university and as a result she has had to pursue these studies in the public housing facilities and prisons of New Orleans that offer the most up to date variants of the curriculum and where admission requirements and rankings are commensurate with the local murder rate.
How do we think, with the brain or with the mind? If a voice in your head whispers “brain,” stop and consider why we think. To make decisions, obviously —”yet most essential life decisions are not made consciously. We do not tell our blood how much oxygen to absorb through our lungs; our body does that for us.
Nine small paintings equal two years’ work for Louisiana artist Douglas Bourgeois-a pace that seems positively speedy when one encounters his meticulously rendered pieces at Arthur Roger Gallery, 432 Julia St. Detailed and delicate as the interiors of watches, these panel paintings are testaments to obsessive craftsmanship and its power to capture the vivid obsessions of our dreams.
Few artists are willing to expose their souls on the very surface of their work. It takes extraordinary courage. Painter Robert Gordy (1933-1986), in the last years if his life, after a 30-year career ushered chiefly by a beautiful but emotionally harnessed style, had that courage. He also had the skill and intelligence to wield such a personal enterprise into something that would daunt no one, all the while ringing with authenticity. The consequence was a new unfettered posture and a new series of works – mostly portrait heads and mostly monotypes.
An exhibit of Lin Emery’s sculpture is always a rare treat, and her latest work, at Arthur Roger Gallery, 432 Julia St., is no exception.
Visions are tricky things. Timing is all-important, it seems. For instance, no one had visions in the 1950s; it just wasn’t done. But by the late 1960s, people were having visions all over the place.