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SUMMARY:Frank Rodick: Selections from Labyrinth of Desire
DESCRIPTION:McKinney Avenue Contemporary\, Dallas\, Texas\n\n\nMarch 23\, 2013 to May 11\, 2013
URL:https://artinamericaguide.com/event/frank-rodick-selections-from-labyrinth-of-desire/
LOCATION:The MAC\, 1503 S Ervay Street\, Dallas\, TX\, 75215\, United States
CATEGORIES:Exhibition
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SUMMARY:Christian Tomaszewski: Highlights of Two Projects
DESCRIPTION:Deborah Colton Gallery Exhibitions \nNovember 20th\, 2010 – January 29th\, 2011 \nPublic Opening Reception: Saturday\, November 20\, 2010\, 6:00 to 9:00 PM \n  \nTerence La Noue\, Tributaries \nTerence La Noue was a Fulbright Meister Student at Hochscule fur Bildenden Kunste and received his Master of Fine Arts degree from Cornell University. La Noue has received grants from the National Endowment for the Arts and the Guggenheim Foundation. He has had an extensive teaching experience at Trinity College\, City University of New York and New York University.  Terence La Noue’s unique approach to painting and printmaking has achieved worldwide recognition. Beginning in Berlin in 1965\, he has had over a hundred and thirty acclaimed solo exhibitions. His work is represented in the permanent collections of major museums including The Museum of Modern Art in New York\, The Metropolitan Museum of Art\, the Whitney Museum of Art\, the Guggenheim Museum\, the Tate Modern in London and others in Japan\, Singapore\, France and Australia. His work is also included in numerous university and city art museums throughout the U.S. as well as major corporate collections. Terence La Noue’s exhibitions have been reviewed by some of the most significant critics of our time. An extensive monograph entitled Terence La Noue by the renowned critic and art historian Dore Ashton relates his travels\, influences and life’s work. \n  \n  \nExcerpts from the MAC – Dallas:  Mary Beth Edelson and Molly Gochman \nExcerpts from the McKinney Avenue Contemporary’s more comphrensive exhibitions\, There is Never Only One Game in Town\, work by Mary Beth Edelson and Other Stories\, work by Molly Gochman\, on view at the MAC through December 11th.  Mary Beth Edelson\, emerged in the 1960s on New York’s SoHO scene as a groundbreaking feminist artist. Noted is most art history books\, her conceptually-based work activates a variety of women’s and human rights issues. She has worked in collaborative and/or political environments\, participating in the early exhibitions at A.I.R. Gallery (founded in 1972)\, taking part in the Heresies Collective\, and helping to lead the Women’s Action Coalition\,1992–1994. Her work has been exhibited around the world and she is represented in major collections such as MoMA and the Guggenheim Museum of Art in New York\, the Museum of Contemporary Art in Chicago\, the Corcoran Gallery of Art in Washington DC and the Walker Art Center in Minneapolis. Molly Gochman\, a Houston- and New York-based younger artist\, formulates ideas of community and subjective interconnectedness in her growing oeuvre\, characterized by fluid visuality and the use of multiple media. From her dual bases in Houston and New York\, Molly Gochman has created a diverse portfolio of work that is both personal and philosophical – a contemplation on concepts of interest\, like time and change\, value\, love relationships\, and balance. Since 2002\, Gochman has exhibited widely in galleries and public spaces such as the Lincoln Center and the Emily Harvey Foundation in New York\, the Hobby Center for the Performing Arts\, Deborah Colton Gallery\, and DiverseWorks in Houston\, and the Sara Roney Gallery in Sydney\, Australia.  Molly Gochman was well received at the Colton & Farb Gallery Dallas Art Fair Exhibition and is in many important collections. \n  \n  \nChristian Tomaszewski\, Highlights of Two Projects \nChristian Tomaszewski was born in Gdansk\, Poland\, graduated from the Academy of Fine Arts in Poznan\, Poland and currently lives and teaches from his home base in New York City now. His multi-media installations explore various modes of narrative and critique\, often based on themes from cinema or architecture. He has exhibited widely in the US and Europe\, in venues such as the Sculpture Center and The Bronx Museum in New York\, Centre for Contemporary Art Ujazdowski Castle in Warsaw\, Fondazione Querini Stampalia in Venice\, the National Gallery in Prague\, Tufts University Art Gallery and the Bureau for Open Culture at Columbus College of Art & Design. His work was included in the First Biennale of Polish Art in Lodz and the Second Athens Biennial in Greece. Tomaszewski has participated in several prestigious residency programs\, including the American Academy in Rome\, the Irish Museum of Modern Art in Dublin\, the International Studio and Curatorial Program in New York City and recently Artpace in San Antonio\, Texas. He has received numerous grants and awards\, including support from the Pollock-Krasner Foundation\, a 2008 fellowship from the John Simon Guggenheim Memorial Foundation and a 2009 Travel Grant from the Jerome Foundation. \n  \n  \nJay Rusovich\, Beautiful  \nJay Rusovich was born in New Orleans. He received his degrees from Tulane University in English and Theater\, and also attended Oxford University in England\, The University of Arizona and Loyola University in New Orleans in various humanitarian disciplines. After graduating\, he moved to New York City where he studied Method Acting at The Lee Strasberg Institute. Rusovich also attended The Actor’s Institute for Shakespearean Studies and TVI Actors Studio in NYC. . For the next 20 years\, Rusovich traveled the world\, photographing people for institutions\, principally in New York and Los Angeles. He debuted his provocative fine arts photography\, titled “INSIDE OUT” at Deborah Colton Gallery the spring of 2005. An artist with great potential and one of the stars of the Colton & Farb Gallery 2010 Dallas Art Fair exhibition\, Jay is known for his controversial style\, which can be described as “intuitive\, engaging\, intense\, direct\, quick-witted…and sometimes tinged with irony.” \n  \n  \n  \nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas\, national and international artist s to make positive change.
URL:https://artinamericaguide.com/event/christian-tomaszewski-highlights-of-two-projects/
LOCATION:The MAC\, 1503 S Ervay Street\, Dallas\, TX\, 75215\, United States
CATEGORIES:Exhibition
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SUMMARY:Molly Gochman: Lullabies
DESCRIPTION:McKinney Avenue Contemporary\, Dallas\, Texas\n\n\nNovember 9\, 2010 to December 11\, 2010
URL:https://artinamericaguide.com/event/molly-gochman-lullabies/
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SUMMARY:Mary Beth Edelson: Humor is the Best Game in Town
DESCRIPTION:Mary Beth Edelson: Humor is the Best Game in Town \n-Kathleen Wentrack\, Ph.D. \n  \nNew York-based artist\, Mary Beth Edelson\, is recognized internationally for her break-through artworks in far ranging mediums and her contributions to the feminist revolution. Since the 1960s Edelsonhas been impacting art making and activism while challenging the entrenched cultural dogmas of the day. \n  \nOn view at the MAC in Dallas from November 6th until December 11this a select group of 42painted drawings from 1981–97. Curated by Liutauras Psibilskis\, Deborah Colton\, and Liliana Bloch\, this series is titled There is Never Only One Game in Town. Equally strong\, the historically significant large-scale wall collages will be on view as well as the premiere of the video “ Making Eye Contact” conceptualized by Edelson with video production by Gregory Wendt. \nThematically\, the exhibited body of work celebrates a variety of characters such as the femme fatale\, the trickster\, movie stars\, and the mythological folk figures of Baubo and Sheela-na-gig. Diverse as these female types appear\, they are connected through the trope of humor as Edelson states: \nHumor is a mode of speech that is indirect and ambiguous and\, therefore\, can have multiple interpretations. It can potentially disrupt dominant meanings and the social order while protecting the joker from consequences that might occur if the same message were delivered in a serious mode. Humor sabotages critics\, for unlike spoken language\, laughter does not belong to a linguistic code and\, therefore\, has the possibility of creatively breaking that mold while taking advantage of humor’s natural attraction. \n  \nHumor is a political devise in the series There is Never Only One Game in Town. Many of the drawings use a variety of materials including silkscreen\, ink\, acrylic\, and fabric on jute tag to form pictures based on Edelson’s desire to “re-script Hollywood” as it relates to the construction of women in their films. Edelson’s research of movies from the 1920s until the present day inspired her to be especially curious about films that place a gun in a woman’s hand—the ultimate symbol of male power—and how that representation changed over time according to women’s status and the circumstances of that time span. \nShe appropriated images of women played by movie stars including Marilyn Monroe\, Gena Rowlands\, Marlene Dietrich\, Lynda Carter\, Angelica Houston\, Judy Garland\, and Mae West whose sultry quote “there is never only one game in town” was borrowed for the title of this series. The artist then gave the characters a new identity as she describes: \nMy intention was to isolate these images from their original context in the film to project my own story on these subjects as self-defining agents that defy the production of Hollywood stereotyping. \n  \nBursting with irony and humor\, these drawings engage the viewer by way of the unexpected text and \ntitles that accompany their forthright images. Several works are based on a silk-screened photograph \nof a sassy\, young Judy Garland who asks questions that speak directly to the viewer. Other images \ndraw on cross-cultural traditions for alternative spiritual histories as in the multi-armed Marilyn Monroe as the Hindu Goddess Kali. \nAccompanying the painted drawing series are a selection of Edelson’s wall collages installed on a large scale for the first time in the United States. The wall collages developed concurrent with the artist’s well-known collage posters of the 1970s in which reproductions of historical paintings by male artists are parodied by pasting photographs of female artists’ faces over the male actors’ images. For example\, Some Living American Women Artists/Last Supper (1971-72) is the first of the five collage posters in which the artist insisted on an alternative vision of society that included women in positions of power. For this first poster Edelson collected photographs of women artists and collaged their faces over those of Jesus and his disciples on a reproduction of Leonardo da Vinci’s Last Supper (1498). All five posters in the series—recently acquired by the Museum of Modern Art in New York for their permanent collection —make use of appropriation in an effort to critique existing institutional structures and the history of western art. While these posters continue the social commentary of collage initiated by Dada artists almost a century ago\, it is Edelson’s wall collages that make her contribution unique to the history of collage art and feminist art history. \nThe genesis of the wall collages\, unlike the posters\, was one of happenstance and playfulness\, evolving from scraps leftover from the laborious pre-computer process of making the posters. These works celebrate women’s art collectives such as A.I.R. and Heresies\, while others are cameos devoted to a specific artist and the women in her milieu. Each of the wall collages presents different subjects\, stories\, and themes while they all share a rambling unique vine or web-like structure. For example\, Web Works/Heresies (1976) is built through a repetition of individual faces that creates the appearance of animation as in Good Meeting\, (1976) sourced from the Death of the Patriarchy/A.I.R. Anatomy Lessons poster. At first glance Good Meeting appears to be a dragonfly but on closer inspection it is composed of a set of wings and the faces of several women. The dragonfly’s head begins with the image of Rachel bas-Cohain\, then Ana Mendieta and Edelson\, and concludes with ten prints of Nancy Spero’s face\, diminishing in scale to form the tail. This collage provides an excellent example of how her repetitious progression creates a sense of movement influenced by the structural duplication of \, in this case\, Spero’s face. \nAlongside\, and often in conjunction with\, the portrait-based wall collages\, several themes reoccur in Edelson’s wall collages including Medusa\, the Bird and the Snake Goddess of Egypt\, Venus\, Sheela-na-Gig\, and Baubo. Laughing Medusa (1976) was made in a similar manner from remnants of poster pictures and other photographs of fellow A.I.R. members that the artist often took. The central face in this work is of Anne Healy with her head tilted back slightly holding a wide-mouthed laugh and framed by the smaller heads of A.I.R. members. Eight strands of wildly protruding hair—each strand repeating a separate individual’s head—moves with twists and turns like a snake\, as if it were Medusa’s own hair. \nThe artist has frequently employed the figures of the Sheela-na-gig and Baubo in diverse mediums since the early 1970s\, a moment when feminists sought out sources of power and spirituality that reflected not only an alternative to western religious structures but also spiritual histories in which women held significant positions and power. Found on the British Isles\, especially in Ireland\, the Sheela-na-gig is a female figure\, crouching with legs splayed open exposing her genitalia. Dating back at least to the Middles Ages\, these crudely shaped Sheela’s have been found near churches\, bridges\, and castles\, and are generally regarded as folk deities imbued with powers of renewal\, birth\, and death according to the scholar Barbara Freitag in Sheela-Na-Gigs: Unraveling an Enigma (2004). Edelson combines the Sheela imagery with faces of women she wishes to acknowledge ultimately imbuing the figures with life-giving power as in Buffy Sheela (1976) thatis composed of the heads of fellow artists Buffy Johnson\, Michele Stewart\, Betye Saer and Yoko Ono. \n  \nThe web-like structure was expanded for the cameo series that focuses on and celebrates individual women. The format for each cameo is to collage the artists image on a reproduction of a bold self-assured nude\, and it is from this central bod that the web expands and unfolds to include the images of artists who may have mutually influenced each other\, engaged in dialogue and thus created a circuit of people and ideas all active and supportive within this web. In the center of Cameo: Nancy (1979)\, a web presents the many faces of women associated with Nancy Spero with a special emphasis on her long alliance with the women of A.I.R. Gallery. \nMany of the wall collages record women active in feminist art groups\, but they also function as historical documents that describe the organizational and the working processes of a community in the process of implementing a revolution. The web-like shapes in the wall collages break from the confines of framing to visualize the collective and collaborative structures of these groups who are not represented in rows but are connected to each woman through the next. In Edelson’s hands\, the portrait then becomes a living document in stark contrast to the western tradition of portraiture or historical painting. \nMAC’s exhibition of Mary Beth Edelson’s art\, presents a rich selection rarely seen together in the U.S. that delves into the artist’s deep oeuvre. Edelson remains one of the key feminist artists active and influential today\, and the work in this exhibition gives testimony to its expansive relevancy.
URL:https://artinamericaguide.com/event/mary-beth-edelson-humor-is-the-best-game-in-town/
LOCATION:The MAC\, 1503 S Ervay Street\, Dallas\, TX\, 75215\, United States
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