Archive for the ‘ Exhibitions ’ Category

PEDRAM BALDARI Sculpture To Be Exhibited at Basel Art Fair, Switzerland

Pedram square imagePedram Baldari, MFA student in sculpture with a secondary in photography who began his studies at Texas Tech in 2012, will have his art work represented at this summer’s SCOPE Basel Art Fair by Janet Rady Fine Art, his London gallery, when the show opens on June 17th.

Pedram was born and raised in a middle class family at the west of Iran, Kurdistan 1981. The first eight years of his life took place during the violent crossfire between Iran and Iraq’s war. Says, Pedram, “My life has always been affected by politics and the social manifestation of it in its radical fashion. I believe art can thoroughly expose the existing past and upcoming trauma within the body of the society. For me, they are traumatological exploration of my life experiences regarding restriction, body, identity, minority, post war experience, control, post humanism, post colonialism and power.”

"Sealed the Consealed III" (2013-2014) wood and aluminium, 96.5 x 22.9 x 22.9 cm (38 x 9 x 9 inches.)

“Sealed the Consealed III” (2013-2014) wood and aluminium, 96.5 x 22.9 x 22.9 cm (38 x 9 x 9 inches.)

Pedram, who has exhibited nationally and internationally since 2006, has been exploring different mediums and forms of art from X-Ray machine photography to video, sound art, performance, mix media, video-theatre, installation and sculpture. He researches different ways and mediums to join his historical/cultural heritage to the contemporary world. Meanwhile, he retains a critical approach toward “West vs. East” or “East under the gaze of West” paradigms. “I think these paradigms act as the status quo of the Art world,” says Pedram, “in particular their socio-psycho-political apparatus. I try to maintain an existence in the fold where these dimensions meet with each other in their greatest tension, where the trauma shows itself in its naked fashion.”

KEN LITTLE – 3rd of Five Exhibitions in West Texas Triangle Opens Friday

Ken Little

Photo by Cathy Cunningham

This Friday, June 13th, the Museum of the Southwest in Midland opens the third of five exhibitions in the West Texas Triangle featuring the artwork of Ken Little, who received the honor of being named the 2014 TEXAS STATE VISUAL ARTIST – 3D in a public ceremony sponsored by the Texas Commission on the Arts in Austin last year.

KEN LITTLE, was born in Canyon, Texas, received his B.F. A. from Texas Tech University and M.F.A. from the University of Utah. He has been a professor of sculpture at UTSA since 1998. As the 2014 featured artist of the West Texas Triangle, his work is being presented in Abilene, Albany, Midland, Odessa and San Angelo between May and November this year.

The West Texas Triangle is a collaboration between five art museums in West Texas. Besides the Museum of the Southwest, the group includes the Ellen Noël Art Museum in Odessa, the Grace Museum in Abilene, the Old Jail Art Center in Albany, and the San Angelo Museum of Fine Arts.   The exhibition schedule is as follows.

shoe-bearThe Grace Museum:  May 8 – August 9
The Old Jail Art Center:  June 7 – September 7
Museum of the Southwest:  June 13 – August 24
Ellen Noel Art Museum:  TBD
San Angelo Museum of Fine Arts:  July 10 – November 7

TTU Alumni present Useful Pictures in New York

Frameshift
6/12 – 7/20
Denny Gallery
261 Broome St.
New York, NY.

In 2011, National Geographic published a study that projected an estimated 105 billion photographs would be taken annually by Americans by the year 2015. The impact of digital technology on photographic processes and the current kamikaze of image sharing are two of the driving concepts behind useful pictures, a curatorial team and “artist-run investigation”* based in Brooklyn, NY and founded by TTU School of Art alumni Zach Nader (MFA Photography, 2011) and Grant Billingsley (MFA Painting and Sculpture, 2011), working along with artist Eric Shows (MFA University of Wisconsin-Madison – 2009).

erinokeefe_muchado_lr1-1066x1600

Erin O’Keefe, Much Ado, 2014

On Thursday, June 12th, the exhibition Frameshift, curated by useful pictures, opens at New York City’s Denny Gallery. Each of the six artists featured in Frameshift complicate the photographic process and “resist the finality of arrival and perfect replication advertised by the technically produced image.”** For example, photographer Barry Stone translated the binary data of a photograph into text that he then edited and retranslated to produce a distinct image. Erin O’Keefe combines objects and architectural elements to stage a photograph that compresses a multiplicity of angles and perspective points into the two-dimensional picture-plane of the photograph.

Among the billions of photographs taken this year, Frameshift hones in on a few that reveal something to us about the nature of photography as a medium and the creative processes to which it can be subject, as well as the layers of reality in which we exist in the post-digital age.

 Frameshift will be on view June 12th – July 20th at Denny Gallery. Join the curators and artists for the exhibition’s opening on Thursday, June 12th from 6-8pm, or for a gallery talk on Saturday, June 14th at 3pm.

Chisum Justus in Dallas – Last Weekend

CHISUM JUSTUS, "Pinkerton's Meat Raft" acrylic on canvas.

CHISUM JUSTUS, “Pinkerton’s Meat Raft” acrylic on canvas.

Click HERE to read about Chisum Justus’s exhibition at Cohn Drennan Contemporary in Dallas.

Mark Collop in “Moving Pictures” at brand 10/and X art spaces, Fort Worth

"Dog Fetch" video still

“Dog Fetch” video still

Mark Collop, 2004 studio art alumnus now living and making art in New York City, is one of twelve artists included in Moving Pictures, an exhibition of contemporary film and video which will be presented simultaneously at brand 10 Art Space and their second venue, and X Art Space, both venues in Fort Worth.

The opening at both locations is on September 7th  from 1:00 – 9:00 p.m. and the with the exhibit continuing through October 26th.

Collop’s Dog Fetch video will be presented.  Among the other artists presented are notables Frances Bagley, Hillerbrand + Magsamen, and Wura-Natasha Ogunji.

The Gift of Time

Old trooper, I see your child’s red crayon pass,
bleeding deletions on the galleys you hold
under your throbbing magnifying glass,
that worn arena, where the whirling sand
and broken-hearted lions lick your hand
refined by bile as yellow as a lump of gold.

                                    -Robert Lowell, from “For George Santayana”

 

Day 1

At the suggestion of a local farmer, and after some deliberation, we took a back road and then no road at all, climbing over a cratered field of scrub into RAiR’s backyard. One of the residents came out fuming. “Turn around! Turn around!” He gestured toward a driveway that had been all but invisible beforehand. Rattled, Joe and I swung back—inched back, I should say—to the proper entrance. “A grand first impression,” Joe sighed.

We met Ryder Richards in front of his apartment and studio, a dun-colored affair with a slant silver roof that glared. All the other apartments looked much the same, excepting the compound’s meetinghouse whose single spire, in small silver letters, declared RAiR’s motto: The Gift of Time. Ryder showed us into the guest apartment where we would be staying. “There are towels in the bathroom,” he said. “You guys freshen up, then come over to my place for a drink.”

Joe showered first. We had been shed-camping in Madrid the past three days and were sooty for all the fires we had huddled over; too, the coal that blotched the surrounding hills—which we one day hiked—and hung in the air as dust, residual from the town’s old mines. Everything in Madrid seemed dirty, black. At RAiR it was the opposite: the walls were starkly white, the furniture austere. Even the sky was spotless.

Guns and Gods: an Interview with Ryder Richards

Ryder Richards (left) with Nicholas Pierce at Roswell Museum of Art.

Ryder Richards (left) with Nicholas Pierce at Roswell Museum of Art.

Through April 17th, Roswell Museum and Art Center will be showing new works by Ryder Richards in an exhibition titled Conflicted. Ryder, who received his BFA in painting and drawing from Texas Tech in 2001, is currently a fellow at the RAiR program in Roswell, NM. Drawing equal inspiration from his upbringing and his travels through Europe, where he studied classical architecture and Renaissance sculpture, the work that Ryder has thus far produced at RAiR—the work on display in Conflicted—infuses Greek myths with Western ideologies. Guns and gods appear alongside one another.

I met Ryder for the first time over spring break. Inside the starkly white and spacious walls of his RAiR apartment, we talked till long after sundown. Our conversation ranged from McCarthy to collaboration. This week we revisited similar topics over email.

Collusion, 2012 wood, acrylic 72" x 60" x 60"

Collusion, 2012
wood, acrylic
72″ x 60″ x 60″

 

1. You draw with gunpowder; create with a tool that is typically used to destroy. In your mind where do violence and creation meet?

They meet in the act, the action of creation, just as they do in the act of destruction. The important thing is that creation and destruction are transformations, which is an action of violence against the nature of the status quo or the object. For instance, a piece of paper is pure until we decide to create and ruin it by drawing on it: we have just imposed our will onto the paper, defiling it. This is a form of violence no matter how beautiful or well-intentioned the result.

The True and the Beautiful: an Interview with Ted Kincaid

Ted Kincaid

Talley Dunn Galley recently held its first exhibition of new work by Dallas-based artist Ted Kincaid. Called The Terrible Truth/ The Beautiful Lie, the exhibition showcased five bodies of work in which Kincaid explores the veracity of the photographic image. I had the opportunity to interview the artist over email last week. My questions (in italics) and his answers follow.

 

Q: You received your MFA from the University of Kentucky and your BFA from Texas Tech University. Would you mind briefly discussing your experience at each school? With whom did you study, and how did they influence your subsequent pursuits?

A: I was fortunate to study with Rick Dingus, Lynwood Kreneck, Ken Dixon and James Hannah during my time at Tech. Since I was a photography major and printmaking minor, all four of these mentors influenced my direction, drive, work ethic and aesthetic development in different yet complementary ways.

 

Q: I’m interested in your creative process. Would you please divulge how you go about drawing a photograph? Are there source images? And if so, how do you choose them?

A: When I initially began this current body of work, I had just finished the CLOUD series, where I tried to take an actual photographic image as far from its original appearance without adding or taking anything away from it, essentially concocting an incredibly unreal image purely out of factual materials from a photographic image. My work has always concerned questioning the veracity of the photographic image, and that trajectory has eventually led me to pushing a photographic image to its most un-photographic edges.

LA Sky 8061

“LA Sky 8061″
digital photograph on canvas

Great Times for Zach Nader

Zach Nader (2008 BFA from Baylor University and 2011 MFA from Texas Tech) “comb[s] the current torrent of images… in search of new possibilities of perception.” On Monday, January 28th Microscope Gallery in Brooklyn, New York held the first solo-screening of his video works. Called great times are waiting, the videos, which were compiled over the last three years, feature footage from various television and online advertisements.

 

 

Nader’s videos were also recently featured in the group show She Bush at Yaffo 23 in Jerusalem, Israel– a show which “examine[d] human perception of reality in the post-internet era.”

For more on Zach Nader: a Q&A between the artist and Hey, Hot Shot!, and a critique of his ongoing work.

Donna Howell-Sickles Visits Texas Tech

 

Donna Howell-Sickles was in Lubbock in late January for the opening of a retrospective exhibition of her paintings at the National Ranching Heritage Center. She graduated from Texas Tech’s School of Art in 1972. In the years following, when she had to negotiate being both an artist and a mother, she would regularly begin painting as early as 4:30 in the morning, so that she could get three hours in the studio before the day began. “It sounds heroic,” she said to a group of students during her visit to campus on Friday, “but it wasn’t; it was necessary.”

The students were Studio Art majors enrolled in Tech’s senior seminar course, the focus of which is on professional practices and career development. Donna had these words of advice for them: “You want to go where the buyers go—travel destinations, not big cities. Big cities are where people buy artwork for other people. You want the man and wife on vacation, who say, “Yes!—that is exactly what we need.””

Indeed, it would seem Donna’s career has followed her own advice to a tee; she having had work frequently featured in the galleries of such popular vacation spots as Santa Fe, New Mexico and Jackson Hole, Wyoming.

“I try to honor the requests of galleries,” Donna said in response to a student’s question about galleries who ask that a body of work be extended or manipulated, “but I don’t—for instance—go so far as to change the colors of my artwork for a specific decorator or gallery owner. Thankfully, the cowgirl image is still one that speaks to me, as well as to others.”