Alive and Well

 After a three-month hiatus, galleries in the Arts District are reopening and the traditional First Saturday Art Walk has become a day-long event to accommodate the rules of distancing with a predictable outcome: more time to contemplate, less time to socialize.
My first visit was at Octavia Art Gallery where four artists are featured for the exhibition Conceptual Creations: Collage and Assemblage. The bold red color from the objects on display in the window was an irresistible invitation to walk-in. Why Red from Robert Tannen, a gathering of his latest works, is by itself a show within the exhibition. Microwave, laptop, typewriter, rotary telephone, ..., all candidates for the dumpster, are instead preserved for eternity, embalmed in a bright red monochrome spray paint. Red for love here is for danger, emergency, an alarm about pollution, global warming and the threats they represent to the planet. Recycling is part of the solution, cloth hangers become wall sculptures or get a second life as supports for calligraphic meditative drawings. Also reflecting a Far Eastern influence, Regina Scully's compositions acquire a third dimension with  unknown pieces of objects embedded in her poetical landscapes. The Three Fates, 2020, a sculptural narrative scene, reconnects with a variety of media the artist explored in the past.
Assemblage and collage for Scott Andresen result in dreamy abstract pieces, so perfect they make us forget the industrious processes they underwent, including delicate mending with gold and silver leaf, a technique borrowed from Kintsugi the Japanese art of repairing ceramics applied to sandpaper, Andresen's medium of choice. James Henderson's works are a reflection about passing time with his selection of old photographs and pictures from vintage magazines. The mixed media layering builds a thick texture alluding at the accumulation of memories over the years.
Further on Julia Street, the visit at Callan Contemporary felt like stepping in an enchanted world. The monochrome installations from the ceramic artist Bradley Sabin recreate the magic of nature with swirls of flowers invading the gallery. The lively display keeps changing as the visitor walks back and forth, each unique flower anonymous among the flock.
Art in Doom which opened in March at Jonathan Ferrara Gallery was reviewed in "Premonitory", a post published earlier.
At Arthur Roger Gallery, the animals photographed by David Yarrow appear to awake from a long sleep. Walking by close-up shots of bear, gorilla, lion, confirms that gallery visits are indispensable to connect with the photographer's subjects. With more than a dozen mesmerizing new works, Troy Dugas's show offers another kind of adventure. More than a purely visual experience, his mandalas provide a meditative place to pause and reflect. When I look at Kris Wenschuh's compositions, I always wonder why the value of a painting is related to its size. The classically trained artist keeps producing small surrealist landscapes featuring icebergs, clouds, floating in blue skies, catching a certain light that evokes luminism. Twice Upon a Time, the title of the exhibition is perfectly fitting for a show which includes works from Leslie Staub known for her children's books illustrations.
July is supposed to be a slow month for the galleries... not this year!

photographs by the author:

Robert Tannen "Wood Burning Furnace with Logs", 2020
Kris Wenschuh "Trail of Light", 2020
Bradley Sabin "Coral Flower Wall Installation", 2020

Hell and Paradise

Buildings and their contents, an endless source of inspiration for artists, provide the theme for the works of three painters displayed in the Arts District New Orleans this month. Jim Richard, James Kennedy and Pierre Bergian respectively at Arthur Roger Gallery, Callan Contemporary and Octavia Art Gallery are expressing their creativity through their different style, from abstract to figurative.

All the Way Home assembles twenty six recent paintings for Jim Richard's tenth exhibition at Arthur Roger Gallery. Among them, three of his iconic claustrophobic interiors of plush houses filled with furniture and objects reflecting the social status of their owners. Eight works feature empty gardens seen through colored filters, generating a moody atmosphere: fresh and peaceful greens, sepia memories, violet sadness like in Letting Go, 2019, ... and more hues. In contrast, bushes and flowers explode in the vibrant motley compositions from 2018. Three depictions of the artist's studio made in 2013 underline the difference between oil on paper the medium he favored then, and matte flashé paint, his most recent choice.

James Kennedy returns at Callan Contemporary with Notations, a collection of recent works veering further into geometric abstract compared to his previous shows. His architectural compositions have matured into tighter arrangements incorporating repetitive shapes of darker colors suspended on busy neutral backgrounds, like notes on a staff, adding multiple focal points and rhythm. Inspired by Goethe's writings, the multi-talented Irish artist creates meditative compositions evoking music, the most abstract of the Arts.

At Octavia Art Gallery, Pierre Bergian fills the space with his paintings of neoclassical buildings. Facades, architectural decorations, objects (ladders, chairs, tables) are drawn like preparatory sketches enhanced by delicately applied oil paint of soft grays,blues, yellows, ..., thin like watercolors. The empty spaces are an invitation to dream of walking through the doors, sometimes open, half-open or even closed, to take a stroll along the succession of rooms and discover mysterious places filled with the ghosts of history.


According to Plato's theory of art, the representation of a chair cannot be sat on, therefore art is not useful. This is a cartoonish interpretation of his argument but why paint a chair? or everyday objects? For Richard, they represent a presence (or absence) and a story, which can be hellish like in Modern Inferno, 2019, featuring a decor fit for Huis Clos, (No Exit), the famous play from Jean-Paul Sartre.
In contrast, Bergian's palatial suites bathing in ethereal colors evoke a paradisaical world. Matisse painted subjects in their interiors with windows opening on familiar landscapes, Van Gogh, his bedroom or his preferred bar. Here, empty buildings, houses, gardens, stay anonymous even when the title provides a clue, and represent a collective dream or nightmare, while Kennedy opted for complete abstraction to generate a state of meditation.
At the end of his visit, the patient viewer will realize he/she is not looking at but is looking in the paintings.



photographs by the author:

Jim Richard "Look in Here", 2019
James Kennedy "Notation IV", 2019
Pierre Bergian "Ruins", 2019

The Many Faces of Abstraction

This month, two exhibitions on Julia Street reflect the wide scope of Abstract art. The short walk from Octavia Art Gallery to Callan Contemporary represents decades of art history, bringing the visitors from expressionist to geometric abstract through the paintings of two artists: thirteen of Kikuo Saito's late works are on view at Octavia and Syn•tac•tic assembles fourteen of James Kennedy's most recent compositions.

At Octavia, it feels like a rush of colors when going through the entrance. An exuberant mixture of warm oranges, yellows, reds, moody greens or blues, covers the canvasses displayed along the walls. The late paintings of Kikuo Saito have the gestural quality of expressionism, with a twist. Ghostly stenciled letters can be found in the background while the oil paint is applied on top with vigorous brushstrokes, sometimes spread unevenly giving some texture to the canvas.  Saito was born in Japan and arrived in New York in the early 60's at a time when Joan Mitchell, a second generation abstract artist living in New York City moved to Paris. Her influence can be felt in paintings like Tilla, 2015 or Arabi, 2014, so is Helen Frankenthaler's, a Color Field abstract painter. Saito was her assistant for some time. What transpires through Saito's works is a love for life, conveyed through an explosion of colors.

At Callan Contemporary, the overall ambiance is more meditative with predominant blue and brown colors. Simple shapes and lines interact to create complex architectural landscapes patiently built through "dozen of layers of glaze-work and incised lines", providing perspective and depth. A connection to George Braque's works comes to mind due to the colors and also the woody or marbled effects of some areas. This is not a surprise as geometric abstract is born from Cubism according to the art historian Alfred Barr. It also reaches spiritual levels as described by Jorge Daniel Veneciano in his essay written for The Geometric Unconscious. James Kennedy's works meticulously composed bring serenity.


Octavia Art Gallery and Callan Contemporary allow the visitors to experience two different abstract languages, both making a lasting impression on the viewer.


photographs courtesy Octavia Art Gallery and Callan Contemporary
Kikuo Saito "Marimo", 2014.
James Kennedy "Salon Composition III", 2016.