But Jimenez spare no mercy on how the public should see him and his legacy, with the ultimatum of death. He had been no strangers to controversies – Determined to move his art out to the public, he worked on fiberglass monuments for many commissioned public installation by mixing high art with popular, and sometimes low, art. But here , unlike his provocative, rapturous public work, he presented him as an aging man, frail and vulnerable, staring outward. The double imagery that blends the living with the dead is striking, because it is visually uneasy. It is uneasy, because it is true, like his other public work that has been criticized as vulgar, violent or politically incorrect.
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 […]
Not everyone knows what to expect when they are invited to the Dallas Art Fair. One guest was expecting something more like the Fort Worth Arts Festival. Another went to the Deep Ellum Arts Festival by mistake but realized their error only when they couldn’t find the correct booth number (the heavy metal music should have also […]
There is a sense of fluidity, deeply rooted in canon of western art. That virtuosity is met with directions and means. Glier have applied incongruent techniques of painting and drawing which span over centuries in art history. But oddly, they not only are sensible aesthetically, but also speak authoritatively.
If you visit the Dallas Art Fair (April 7-9, FIG Gallery) this week and look down Ross Avenue, you may get a glimpse of a large yellow sculpture by John Henry. If you are intrigued, you may also look forward to a show opening later this month at the Museum of Geometric and MADI Art […]
Two upcoming exhibits will feature the work of Charles T. Williams. Working in a variety of forms and materials, Williams work is well-known but perhaps less documented. That may be changing. Most recently his work was included in Macrocosm/Microcosm: Abstract Expressionism in the American Southwest at the Fred Jones Jr. Museum of Art at the University […]
“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.