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.
The first regional juried exhibition at Artspace 111 opened on June 20. It limits its geographical scope to artists residing in Texas, Oklahoma, New Mexico and Louisiana. Although including neighboring states opens the door to more talent, majority of the participants are local. Dr. Ron Tyler, former director at the Amon Carter Museum of American […]
Yet the unflinching screen of Lawrence and his men on camels again pyramids are unequivocally epic and exotic. Apart from the gender inference, I see no difference, between an iconic silhouette from a classic movie and the imagined Re god light above the family cat, in their pursuit of a life larger than our own.