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Making Dallas Even Better

Born in the UK in 1963, Patterson graduated from Goldsmiths College in 1986. He has exhibited internationally with group exhibition including Damien Hirst’s renowned Freeze, Surrey Docks, London (1988); as well as Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, London, UK; Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany; Brooklyn Museum of Art, New York, USA (1997-00); The Rowan Collection: Contemporary British & Irish Art, Irish Museum of Modern Art, Dublin, Ireland (2002); Painting Pictures, Kunstmuseum Wolfsburg, Germany (2003); Nexus Texas, Contemporary Arts Museum Houston, Texas, USA (2007) and Attention to Detail, curated by Chuck Close, the FLAG Art Foundation, New York, USA. Solo exhibitions have included Anthony d’Offay Gallery, London (1997); James Cohan Gallery, New York, USA (1999 and 2002); Dallas Museum of Art, Dallas, Texas, USA (2000), Timothy Taylor Gallery, London (2005 and 2008) and the Goss-Michael Foundation, Dallas, USA (2009). Patterson currently lives and works in Dallas, Texas, USA.

When It Comes to Culture, Texas Has Its Head in the Ground

Texas suffers from a broadly philistine and even economically unfounded attitude toward the true value of culture. Broadly speaking, it sees culture as existing in the sole domain of private enterprise. At state and city political level it seems to regard culture as superfluous, a luxury, an indulgence, probably silly and probably pretentious. In short: […]

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Reaction to the Report: Artist Richard Patterson

[Ed note: Richard Patterson’s response to the Creative Time report was originally submitted as a comment to Lucia Simek’s response the report, which you can find here. It also addresses comments by Laray Polk that were made in the comments to Simek’s piece. Patterson’s response below has been reposted with some corrections and additions by […]

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‘The Best Piece of Art By A Local Artist I Have Ever Seen:’ Richard Patterson on M

M’s video is the single best piece of art I’ve seen by anyone in DFW that could make the claim of being a “local artist.” This is a flawless, complete piece of art that is highly sophisticated and would stand up in any context. Every detail is well taken care of, and from a technical point of view, it is well produced and apparently effortlessly conceived. I’m not talking Guernica, Mona Lisa levels of bulletproof-glassed-masterpiece here. I am saying, however, that this is real art. It’s not my place to say whether it’s big or small, important or not – just that it’s totally authentic and it’s the real deal. It isn’t derivative, and it is not tired, predictable, or conventional.

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Artists’ Choices: A Former Pupil Re-Encounters British Artist Michael Craig-Martin’s Work

Michael – or MCM, as he is affectionately known – was my personal tutor at Goldsmiths College, University of London, twenty-seven years ago. Michael was the then youngest ever artist collected by the Tate and his long career has seen many phases – integrating sculpture, painting, and, more recently, language through line and vibrant color. He was the first artist, for me, of many great artists teaching at Goldsmiths, to clarify or challenge casual assumptions in art. He was often prescient – rarely demonstrative. He taught by allowing meaning to reveal itself by surrounding the elusive central idea with other ideas. This was a simultaneously pragmatic and poetic approach based on his deeply held philosophical belief that, for him, an art work represents the embodiment of an idea as opposed to the symbol for one.

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