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Bruce Davenport Jr., Ain’t Nothing But A Pen In My Hand, 2011 Fabercastell markets and pen on acid free paper/ 40 × 60 inches Courtesy of the Artist
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Bruce Davenport Jr., Ain’t Nothing But A Pen In My Hand, 2011 Fabercastell markets and pen on acid free paper/ 40 × 60 inches Courtesy of the Artist
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Bruce Davenport Jr., I do what I do but I don’t like doing it alone, 2011 Fabercastell markets and pen on acid free paper/ 40 × 60 inches Courtesy of the Artist
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Bruce Davenport Jr., I do what I do but I don’t like doing it alone, 2011 Fabercastell markets and pen on acid free paper/ 40 × 60 inches Courtesy of the Artist
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Bruce Davenport Jr., Making My Grandparents Proud of Their Grandbaby, 2011 Fabercastell markets and pen on acid free paper/ 40 × 60 inches Courtesy of the Artist
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Bruce Davenport Jr., Making My Grandparents Proud of Their Grandbaby, 2011 Fabercastell markets and pen on acid free paper/ 40 × 60 inches Courtesy of the Artist
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Bruce Davenport Jr., Making My Grandparents Proud of Their Grandbaby, 2011 Fabercastell markets and pen on acid free paper/ 40 × 60 inches Courtesy of the Artist
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Bruce Davenport Jr. Image courtesy of the Artist.
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Bruce Davenport Jr. Image courtesy of the Artist.
Prospect.2: Bruce Davenport Jr.
The New Orleans Biennial, Prospect.2, appropriately holds a mirror to the city’s character and history with the variety of art on show – pulling in big international names (Sophie Calle), big local artists (William Eggleston) and lesser-known New Orleans creatives. Falling into the latter – but with no less critical esteem – is Bruce Davenport Jr. His perspective-less, intense iterations of marching bands are a vast miniaturisation about the idea of “assembly” (historically, politically and musically). A kind of folk art through its social intentions and depiction, it is still also seen as fine art as he exhibits time and again to an excellent reception.
