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.
(1896-1978) Born in Rochester, New York, Emile Albert Gruppé lived his early years in the Netherlands where his father Charles Paul Gruppe painted with the Hague school and worked as a dealer. He studied in the U.S. at the National Academy and in Paris at the the Académie de la Grande Chaumière. In the U.S. he worked primarily from his studio in Gloucester, […]
You may know Mexico City-based Leslie Moody Castro from her recent series of articles in the Dallas Observer. Moody Castro came here for a residency at CentralTrak, but unable to get enough funding for her project, thought she could make a bigger splash and impact by leaving the gallery empty and engaging the community in […]
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.”
The first coordinated gallery-opening night of the year in Dallas brought many out for views of stunning artwork. We began at Conduit and made stops at Curcuit 12, Laura Rathe Fine Art, Mary Thomas Gallery, Craighead Green, the newest kid on the block- Erin Cluley Gallery and 500x (which we are oh so thankful stays open […]
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 […]
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.
Handcrafts have traditionally been associated with feminine activities, especially in a domestic setting. Brewer nevertheless embraces low art into her artistic pursuit. In her own modest words, she is not a master of any medium, but she is willing to let each medium guide her into a terrain unknown, searching for her own artistic voice.