Press & Media

“On Gordy’s Last Works,” New Orleans Art Review

March 31, 1996

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.

“Lin Emery’s Sculptures Sizzle with Kinetic Energy”, The times-Picayune

June 16, 1995

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.

“Visionaries, Angels, and Blue-Chip Saints”, Gambit Weekly

April 25, 1995

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.

“Traditions”, Gambit Weekly

March 23, 1995

LAST MONTH, while the Contemporary Arts Center’s “Body Photographic” attempted nobly to survey the range of today’s camera artists working with the figure – the most traditional of subjects – some other galleries took on tradition too, but more generally. And their efforts seemed especially insouciant, as if traditionalism were as much the order of the day as any remnants of the avant-garde. In short, as if the distinction no longer mattered. It was an encouraging sight.

“Learning from Black Male”, Art in America

March 3, 1995

“The ‘Black Male’ show at the Whitney Museum is one of the liveliest and most visually engaging exhibitions to have appeared in New York this season…

“The Colors of Carnival: Kohlmeyer in top form”, New Orleans Times-Picayune

January 27, 1995

Ida Kohlmeyer was a fine golfer and a 37-year-old mother of two with a businessman for a husband when she began studying art at Newcomb College in the 1950s.

“The paper trail: Artist adds a new dynamic,” The Times-Picayune

December 23, 1994

If the term “works on paper” conjures images of intimately scaled art objects — from postage stamps to origami sculptures—then it’s time for you to visit Edward Whiteman’s splendid new installation of wall-sized mixed media drawings at Arthur Roger Gallery, 432 Julia St.

“Art after Stonewall,” Art in America

June 19, 1994

My first big art experience was the Gertrude Stein portrait by Picasso at the Metropolitan when I was about eight. It was also my first big sex experience.

“James Barsness: Mill Valley”, ARTnews

March 16, 1994

In the last ten years Jim Barsness has moved from the West Coast to the East Coast and back again. Nothing in his work seems to correspond obviously with these changes.

“Douglas Bourgeois at Arthur Roger Gallery”, Catalogue essay

December 20, 1993

Douglas Bourgeois grew up Catholic in a rural hamlet in southeast Louisiana. Born in 1951, he attended a parochial elementary school where he served as an altar boy, and in his teens enrolled in a training facility for future priests. Today, Bourgeois is not a churchgoer and eschews organized religion.