Sue Severson’s posthumous exhibition at Gallery 321 isn’t something you would expect in Hollidaysburg, a quintessential Pennsylvania place famous for its Victorian architecture and small town charm. Through her work, Severson brings the big city bustle to the mix. Severson was not a native. A Brooklynite who went to the Art Student League and Brooklyn […]
“Temple of Small Wishes” touch the commonality of ordinary life. We often forget the pleasure derived from meeting our basic needs. We take them for granted. But as trivial as shaving, indoor plumbing or comfortable napping, it is the universal desires all humans share. For some, they are the luxury of obliviousness. For others, they are out of reach. Roberts neither comments nor criticizes. Here, she simply paints the joy and enshrines such happiness so we all can embrace.
The show coincides with an election stirred by a rhetoric promoting nationalism, in the phrase of “America First”. Apolitical as it may seem, Talavera pottery states that cultural identities are sediments of innovation and development, through generations of both indigenous and foreign minds, all becoming possible when the world revolves into one global community. Sure, Chinese, Muslim, and Europeans all have left their marks on this pottery, so what? In the end, it is uniquely and truly Mexican.
All art is autobiographical, Fellini declared. For Miles Cleveland Goodwin, those snippets of life in rural Mississippi make up his artwork in the current solo exhibition at Value House Gallery and Sculpture Garden. As a city of concrete and glass, Dallas hasn’t been at the forefront of persevering vanishing America. But the imageries of Goodwin, if nostalgic by nature, are less about the old South than a reflection of his reality. The relentless process of ruin and abandonment, in an eerie way, is sort of romantic and comforting.
Two exhibitions have brought Japanese art to the city of Dallas. It is a welcome change from shows like the staid flower paintings of Bouquets at the Dallas Museum of Art (DMA). These two exhibitions, one at DMA (Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga) joined The Mary Baskett Collection of Japanese […]
It has been too long-American art institutes need to look into mid-century modernism outside of the New York school. Suddenly, there is a flourishing interest in the state of Texas, particular of Houston. Macrocosm/Microcosm: Abstract Expressionism in the American Southwest just concluded at the Fred Jones Jr. Museum of Art. Bayou City Chic: Progressive Streams […]
Williams recalls when once someone told her that there was nothing in Missouri. “I felt hurt,” she says. “I love my home state. And I feel whenever someone takes a painting of mine home, they take a piece of Missouri with them. I am so happy for that.”
It has been six years since the Amon Carter Museum of American Art mounted the exhibition Intimate Modernism. The show, for the first time, put the Fort Worth Circle under a national spotlight. The group were together just for a few years, near the end of 1940’s. But their influence is long and their reach is […]
The first time I read about Mark Landis, from New Yorker magazine around 2013, I thought the story would make a great film. And now the film is out. As a documentary, Art and Craft has its fundamental flaws. By the time Sam Cullman and Jennifer Grausman started the film, Landis had become too prominent […]
My favorite of all is “School Bus Line”. It is, as the title suggests, pure yellow. The structure is airy and dynamic. It tells just as much about the space it does not occupy as about the space it does. Hanging on the wall, its kinetic rhythm captures more negative space than the sculpture itself physically occupies.