Gallery Nucleus welcomes part of the creative force behind the CROODS, offering a rare glimpse behind the process of production design, storyboards, and visual development.
Bring your questions for the Q&A session and meet the artists one-on-one as they sign copies of the new The Art of The Croods book. Stay tuned for the announcement of an exclusive art print.
$5 Admission at the door. Seats are limited, standing room available.
Paul Duncan (Art Director) Christophe Lautrette (Production Design) Robert Briggs (Story Artist) Steven MacLeod (Story Artist) Arthur Fong (Visual Development) Simon Rogers (Visual Development) Margaret Wuller (Visual Development)
John Water’s exhibit opens tomorrow at Arthur Roger Gallery. AR Gallery says this about his work.
Using an insider’s bag of tricks and trade lingo, Waters celebrates the excess of the movie industry. Word and image play permeate Waters’ work, and the movie industry and its various sleights of hand are a common target. His approach originated with a desire to retrieve stills from his own movies and developed into an appreciation for the overlooked and misrecalled.
Dave Greber, Richard Baker and and James Drake will also have work up in the gallery. Show opens at 6pm.
W. Steve Rucker’s "Focus Group" at the Arthur Roger Gallery
August 6 - September 10, 2011
Steve Rucker’s “Focus Group,” a ceramic and mixed media installation, references the billions of dollars spent on advertising various products, including medications and even wars, which are initially shown to focus groups in order to refine marketing strategies.
The artist’s installation is composed of 160 six-inch human forms, which have been created by hand with great variation. The ‘human race” figures are randomly hung in a line circumnavigating the two exhibition spaces. In forming his “human race” figures, Rucker works quickly, continuing his life-long approach to expressionist art. Each figure is fired and then painted with acrylic wash and sprayed with a polyurethane satin coat.
Artist George Dureau at home and work in America’s oldest Bohemia, the French Quarter, surrounded by his paintings, tableaux of juxtaposed objects and furniture, and his photographs.
George Dureau often takes photographs of naked men. He also draws and paints them. Naked dwarfs, naked amputees, naked African-American men. There is no middle ground with Dureau: His subjects are either physically deformed or perfectly constructed. Because the compositions are spare—if not stark—the viewer is forced to confront raw flesh, genitals, stumps. But Dureau’s views are empathetic, not voyeuristic. These nudes evoke the graceful contours of Greek sculpture, which lent immortality to the human form. Sexuality—whether gay or straight—is beside the point. Dureau’s work is explicit, like that of Mapplethorpe (who visited Dureau in the 1970s to study his technique), but he emphasizes the humanity of his models.
Dureau was born in 1930 and has lived in New Orleans his whole life. His oeuvre is not entirely relegated to provocative nudes: He also makes epic oil paintings with heroically rendered figures, which hang in the Ogden Museum of Art and elsewhere, and his bronze sculptures grace the gates of the New Orleans Museum of Art. He is represented by the Arthur Roger Gallery.
(Image taken in New Orleans during a visit in January 2011. This is from the opening reception for an exhibit by New Orleans based artist, Gene Koss, at the Arthur Roger Gallery. Shot with a Canon 50D.)
I’m pleased to bring you a second day of New Orleans-centric highlights from Art Basel weekend! Art Miami, a big fair in the city’s Wynwood section, featured the Arthur Roger Gallery. The gallery’s Miami exhibition included Cuban-born NOLA painter Luis Cruz Azaceta. The work in the first photo, #10-Passage and #11-Quake, is from the artist’s Falling Sky Series. Stephen Paul-Day, a New Orleans and Berlin-based artist, had work at Arthur Roger as well. The giant matchbooks in the second photo are from his Souvenir Series. Sibylle Peretti, also a NOLA-Berlin artist, had a solo exhibition with The Heller Gallery (third photo), a New York space. After Art Miami, I was hoping to visit the visit the Milagros collective’s installation in Little Haiti, but Miami’s hideous traffic changed those plans. I’m looking forward to seeing their work today!