Contemporary Continues Art Wall
If you are driving down Fort Worth Ave. or Sylvan Ave. near West Dallas this Sunday, you may notice someone scribbling on the wall by the Belmont Hotel that is already marked with the work of Shepard Fairey. That’s JMR, a Dallas-based street artist who is the next in line to contribute to the Contemporary-curated painting of the wall. After JMR, Sour Grapes will get a shot at painting the concrete strip. Let’s hope that the legal and sanctioned street art that the Contemporary has commissioned turns into a trend. It would be a mighty shock to the world if suddenly Dallas was as rife with the stuff as Buenos Aires. We certainly have the wall space.
Reves Suit Dismissed
As mentioned on FrontBurner earlier this week, the law suit that was filed against the Dallas Museum of Art by the son of Wendy Reves, the philanthropist whose collection is now an impressionist-centric wing of the DMA, was thrown out by a federal court of appeals. Arnold Leon Schroeder Jr. claimed that his mother was bullied into making the donation to the museum but failed to produce sufficient evidence to make the case.
This video circulated a bit this week for some reason, a worthwhile excuse to stumble back a few years in the art historical annuls and pull some inspiration from Burden, particularly as the city begins to turn its mind to public art once again.
“Oligotokous” and “Interation” at Deep Ellum Windows – March 2: 5-10 p.m. 2646 Main St. and 2650B Main St., Dallas, TX 75226.
Already a second round of exhibitions are set to open as part of the Deep Ellum Windows project, which basically consists of the real estate group Deep Ellum 42 handing the keys to their newly-purchased, unleased spaces to artists and curators. Opening Saturday, Oligotokous is a group show including Francis Giampietro, Kevin Ruben Jacobs, Hiroko Kubo, and members of artist collaborative Performance Southwest. Across the street Jesse England will exhibit in a solo show entitled Interation.
Cadd Buss Tour: Holly Johnson Gallery, Cris Worley Fine Arts, The Rachofsky + Faulconer Warehouse, and the Faulconer Collection – meets at 1411 Dragon St. Dallas, TX 75207.
If you haven’t jumped on the CADD Art Bus Tour before, this is a good one to start. The tour will bring you to Holly Johnson and Cris Worley Galleries in the Design District before heading way out to a warehouse out past the Galleria that is now home to the Rachofsky and Faulconer collections. The Warehouse, as it is being called, is currently exhibiting selections of Mono ha and Italian Povera from the Rachofsky collection. For more, check out my piece on Mono ha in the March edition of D Magazine (not yet online, but soon).
“Big Pictures” at the Amon Carter Museum of American Art – Feb 28-Apr 21 3501 Camp Bowie Blvd, Fort Worth, TX 76107.
The latest exhibition at the Amon Carter offers a survey of photography organized around scale. Part of the historic conceit of the show is to dispel the notion that large photographic prints are a relatively recent phenomenon, and the museum reaches back into its holdings to show work dating to as early as 1867. Among the artists on view in the 50-work exhibition are William Henry Jackson, Ansel Adams, Margaret Bourke White, Richard Misrach, and others.
Kim Cadmus Owens and Allison V. Smith at The Gallery at UTA — March 1: 5:30-8 p.m. Fine Art Builting Room 169 502 S. Cooper St. Arlington TX 76010.
One common denominator between these two familiar local talents is architecture, specifically, mid-century or simple architectural forms set against distinctively American landscapes. Smith’s photography finds Hopper-like roadside attractions, with light and a sense of vacancy becoming theatrical protagonists that dramatize overlooked or forgotten places. Owen’s paintings, as she says in this recent interview in New American Paintings, are concerned, in part, with the mediated experience of contemporary life. Roadside structures are both blurred and meticulously rendered, an effect achieved by mixing architectural imagery a la Ed Ruscha with an organized mess of brightly colored bars and strips that trace vanishing lines, blur imagery, and force an interplay between the surface and illusory qualities of the painting. The paintings mimic the blurred composition of a photo shot from a fast moving car, though not in a photo-realistic manner, but rather in a way that forces the compositions to teeter between the representative and abstract, cool and crisp with a tinge of digital squelch.
“WORKS ON PAPER” by Lee Baker, William Binnie, Blakely Thomas Dadson, Taro-Kun and Mylan Nguyen, at The Public Trust – March 2: 6–9 p.m. 2919-C Commerce Street, Dallas, Tx 75226.
A familiar and appealing crop of Public Trust artists working on paper; and for many of these artists, paper is a natural habitat.
As you might expect with an exhibition that unites the work of father and son, there’s a backstory:
This exhibit represents the fruition of a lifelong dream for both father and son. The interplay and overlap of their careers is a source of conciliation, healing and redemption, resulting in a deeper understanding of the role and purpose of art in their lives.
The show is entitled Raven’s Riddle—a reference to the family name which was originally spelled Havran in the original Czech, meaning “the Raven,” but anglicized to Haveron upon immigration to Texas. The title is also a nod to the common threads of interest pursuant to problem solving and mischief making, a theme prevalent in both of their works.
If you wanted to get a taste of East Texas-dwelling Bill Haveron peculiar, mischievous imagination, just check out this series dedicated to Jon Benet Ramsey.
“L.E.D.” by Lorraine Tady, and “Elemental” by Jonathan Cross, at Barry Whistler Gallery – March 2: 6:30-8 p.m. 2909-B Canton Street, Dallas, Tx 75226.
I’ve never seen Tady’s work in person, but I’m intrigued by this particular pairing of artists, even though they are booked as separate shows. Cross works in ceramics and Tady will exhibit paintings, but despite their divergent mediums, both employ sharp lines and muted-tones with seemingly similar interests in the intersection between architectural and geological geometrics.
“I Am” by members of the Art Centre Of Plano – March 1: 6—8 p.m. 901 18th Street, Plano, Tx 75074.
“Ron Radwanski” at the ilume Gallerie – March 1: 6-10 p.m. 4123 Cedar Springs, # 107, Dallas, Tx 75219.
“Jefferson Blvd, Back Alley Doors” by Guy Reynolds, at the Oak Cliff Cultural Center – March 1: 7-9 p.m. 223 W. Jefferson Boulevard, Dallas, Tx 75208.
Closing of “The Art of Arthur Pena” by Arthur Pena, at RE Gallery – March 1: 6-9 p.m. 1717 Gould Street, Dallas, Tx 75215.
Fissure of Rolando at Mighty Fine Arts — March 2: 6-9 p.m. 409A N.Tyler, Dallas, Texas 75208.
“THE TERRIBLE TRUTH / THE BEAUTIFUL LIE” by Ted Kincaid, and “Circles and Squares” by Jasper Johns, at the Talley Dunn Gallery – March 2: 6–8 p.m. 5020 Tracy Street, Dallas, Tx 75205.
“Family Unit” by Elizabeth Hurtado, at the Davis Foundry Gallery – March 2: 6-10 p.m. 509 W. Davis Street, Ste.100, Dallas, Tx 75208.
“The Eccentric Center : New Works” by Brent Kollock, and “Earth Rhythms : Paintings” by Michael Rogue Collins, at Norwood Flynn Gallery – March 2: 6-8 p.m. 3318 Shorecrest Drive, Dallas, Tx 75235.
“STUCK IN THE MIDDLE WITH YOU” by Madeline Terry, at Gallery 422 at the Workroom – March 3: 2-4 p.m. 422 Singleton Boulevard, Dallas, Tx 75212.
Image: Barbara Morgan (1900–1992) Printed by Modernage Martha Graham–Lamentation, 1935 (detail) Gelatin silver print, 1972
© Barbara Brooks Morgan. Amon Carter Museum of American Art, Fort Worth, Texas, Gift of the artist P1974.21.28