July 14, 2018


Because galleries have great A/C

Summer’s high temps give everyone a reason to seek out chill spaces, and gallerists loosen up on their programming with group exhibitions and envelope-pushing solo shows. Here the top five to see, plus a big day out at Dallas’ best contemporary spaces. —Kendall Morgan

Dallas Gallery Day, various galleries, July 14 from noon to 6 pm.
Now in its 7th year, Dallas Gallery Day is a good excuse for newbies and collectors alike to hit the hottest spots in one afternoon. A labor of love for organizer Brian Gibb of The Public Trust, Gallery Day includes a gift bag (including a limited- edition tee designed by graphic artist Rob Wilson) for the first 15 patrons who pop into each gallery. An after-party hosted by Brooklyn Brewery from 6–8 at Kanju Interiors wraps up the festivities with a performance by local ambient musician Black Taffy.

Metempsychosis” by Bruce Lee Webb at {neighborhood} through July 30.
An untraditional venue for art, the {neighborhood} interiors boutique in Bishop Arts has quietly developed a reputation as an enclave for edgy, affordable work. Created by some of the best local talent, it is curated to complement the shop’s modern furniture and handmade tableware.

“We show artists that strike us as unique and definable,” says owner John Hossley. “It’s art that speaks to the collector of the age and era—typically figurative art that stretches a wide spectrum of styles. I love working with artists that have that median quality of pop, modernism, and accessibility.”

Firmly in that category sits Webb Gallery owner Bruce Lee Webb, who is an artist in his own right. In his 5th show for {neighborhood}, Webb exhibits works on tin, vintage canvas, and paper inspired by metempsychosis—a Greek term referring to the transmigration of the soul, especially in reincarnation. Webb’s imagery references bootleggers, palmistry, and voodoo queens with a folksy charm that belies its occasionally esoteric subject matter.

“24” by Taylor Barnes and “Waiting” by Anna Membrino at Erin Cluley Gallery

“Summer 2018,” by various artists at Erin Cluley Gallery, through August 28. Artists’ reception July 14 from 4–8 pm.
For gallerists, a group exhibit is an ideal way to acquaint collectors with their perennial favorites while adding new talent to the mix. The aptly titled “Summer 2018” at Erin Cluley does just that, featuring work from Kalee Appleton, Mike Carney, Josephine Durkin, Gary Goldberg, Rachel Livedalen, Nic Mathis, Anna Membrino, Nic Nicosia, and Kevin Todora.

“We always present a group exhibition in the summer as a way to bring people out during the dog days, but also introduce new artists that have joined the gallery’s program,” explains Cluley, who has added mixed-media artist Taylor Barnes and sculptor Natasha Conover to this year’s outing.

The exhibit’s opening day closes out with artist Zeke Williams’ “Zeke’s Summer Fun Party” from 4 to 8 pm. A hot-weather hoedown, the outdoor event will feature a curated mix of artist-made zines, custom-painted corn hole boards, cookout, and keg. Man-about-town Fred Holston will be in attendance to read your Tarot, and Cluley assures a sweaty, fun time will be had by all.

katz shinn
“Summer Flowers” by Alex Katz and “Atomic” by Jay Shinn at Barry Whistler Gallery

“New Edition,” by various artists at Barry Whistler Gallery, through August 4.
Also exploring the more-is-more concept is Barry Whistler, who has built his summer exhibition around editioned works from artists in and out of his stable. Along with Steve Dennie, Tom Orr, Adam Raymont, Allison V. Smith, Ann Stautberg, Jay Shinn, and Danny Williams is legendary figurative painter Alex Katz.

Whistler said a series of screen prints Shinn created on a sojourn in Berlin inspired the show. “I have a notebook where I keep ideas (for exhibitions), so it builds on what will work together,” Whistler says.

A familial connection to Katz through Smith (who also happens to be Whistler’s wife) led to the superstar joining the show’s ranks with an airy image of blooms reminiscent of ’70s wallpaper. “Allison’s mom had worked with him, so we had the opportunity to meet him and go to his studio a while back,” he says. “It’s nice to have someone who’s considered blue chip, and (the show) is all kinds of age ranges and prices. It’s a smart thing to do because with editions you can offer multiples of the same image.”


“Spirit Totem” by Patrick Turk at Cris Worley Fine Arts

“Trip Hardererrr” by Patrick Turk at Cris Worley Fine Arts, through August 18.
Drawing on everything from the Garden of Eden to psychotropic substances, Houston-based artist Patrick Turk’s collages involve so many layers of detail; they’re almost dizzying to behold.

Building on Turk’s last hometown show entitled “Trip Hard-er… Go Further,” the artist’s 20 new mixed media works are bananas in the very best way. Inspired by a black light book he found from the late ’60s, Turk gathered multiples of the source material to make pieces that are equally impactful in regular and black light.

Turk says, “the title of the show came about when I started thinking of this idea of some kind of being in an alternate dimension who is on some drugs and had an out-of-body experience and traded souls with me.”

However, being in an altered state isn’t necessary to view the work. While standing in the shadow of Turk’s Uncle Roscoe installation (which calls for viewers to “observe the relics of its environment”), you instantly feel as though you were time-warped into the “Tune In, Turn On, Drop Out” era—no psychedelics required.


“Fuzzing Out” by Isabel Legate at AND NOW

Isabel Legate at AND NOW, through August 25.
Exploring materiality through sculpture, works on paper, and fabric, Austin-based artist Isabel Legate unveils her first Dallas show. In past works such as “The Dare” Legate mashes up shampoo commercials until the fantastical hair resembles nothing so much as an amorphous blob ready to eat the bearer alive.

Originally introduced to the artist through a group show held near the Belmont Hotel last fall, AND NOW gallerist James Cope was intrigued by Legate’s aesthetic and her social circle. Once he realized the artist had recently relocated to Austin from New York to take a job working with the brand Outdoor Voices, he immediately scheduled a show to highlight Legate’s take on the dichotomy of being female.

“She was telling me she wanted to touch on the polarity of this idea of beauty in the mainstream, which is actually pretty dark,” explains Cope. “Her work shows things of beauty, but in a grotesque way.”

Delicate yet menacing, Legate’s free-standing sculptures and resin-adorned photographs play with what it feels like to be a girl in the modern age.