Sunday, August 28, 2016
with how women are perceived. In her photographs, they are all fused into a single dreamlike image, so Kilim, below left, initially suggests a heap of oriental rugs, but a second glance reveals the female form obscured amid all the exotic patterns. In Dotty, a figure draped in a polka-dot fabric suggests a vintage Diane von Furstenburg fashion shoot arranged by a trendy ayatollah, and in Royal, a woman on a gold throne is swathed in blue silk that perfectly matches the satiny blue theater curtain behind her. But in Chandelier, top, a regal figure swathed in white against a black background wears a chandelier as a crown. By challenging our habitual expectations, Draped takes us on a mystery tour of the remote realms of the subconscious that we don't usually visit except in dreams.
Martine Chaisson Gallery, 727 Camp St., 302-7942; Soverign: New Work by Amaryllis DeJesus Moleski, Through Sept. 25,Foundation Gallery, 1109 Royal St., 568-0955;
Sunday, August 21, 2016
|The Makin' of a Melody by Jeffrey Cook|
|Riva, 1970, by Noel Rockmore|
|Thistle, 1955, by Walter Anderson|
|Going Home, 1992, by Willie Birch|
Sunday, August 14, 2016
Callan Contemporary, 518 Julia St., 525-0518.
Sunday, August 7, 2016
A colorful French Quarter character known for his flamboyant paintings populated by stylized mythic creatures rendered in Creole earth tones, he was also an influential photographer who in the 1970s mentored the iconic New York photographer, Robert Mapplethorpe. What set them apart, and led to Dureau's posthumously elevated status, was his remarkably empathetic vision. The prosthetic arm in his portrait of Wilbert Hines, top, is initially jarring, but its cold presence provides a contrasting foil to Hines' stoic yet fiery pathos. Similarly, the open gaze on the face of BJ Robinson, above left, suggests an equilibrium unfazed by his truncated body. Bohemians and street people provided a steady supply of athletic or voluptuous models for his paintings, and his photographs of hunky, sculptural black guys were celebrated as more sensitive counterparts to Mapplethorpe's colder sensationalism—but it was Dureau's ability to show us the strength and dignity, amid vulnerability, of marginalized people that ensures his place in art history. His theatrical personality could come across like a pompous artist-aristocrat in a Marcel Proust novel despite his modest Mid City roots, but his disarmingly extroverted playfulness enabled him to incorporate whoever he met into his operatic, mythic universe in which everyone was a magical creature. That quality made him easy to take for granted even as he created some of the most psychologically profound photographs of the latter 20th century. ~Bookhardt / From the Estate: Work by George Dureau, Through Sept. 17, Arthur Roger Gallery, 432 Julia St. 522-1999.
Saturday, August 6, 2016
Cosmosis: Video by Ben Long and Jack Schoonover
We all live in outer space—the earth is but a minor planet of a lesser star in the depths of the universe. We also live in inner space—everything we experience comes to us through the senses that are part of the neural systems of our body and mind. Artists work with inner and outer space and everything in between. Every year for the last two decades, the Jonathan Ferrara Gallery's No Dead Artists exhibition has featured the work of artists not yet part of the entrenched interests of the global art world to exhibit their own fresh perspectives on the ever-changing world around us. The results have often been striking for their originality and sometimes for their prescience. Now it its 20th iteration, this 2016 edition continues to intrigue with its insightful exploration of a world transformed by technology-induced changes in which everything can seem closer yet elusively distant, more enlightened in some ways yet more violent in other ways, and where the micro and macro perspectives often can seem to overlap as the disruptive forces of globalism and digital communications forever alter the way personal identity and sense of place are defined.
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