Exhibits to make you nostalgic, annoyed, hungry, or excited—maybe all at the same time
Surrealistic images of the natural world, American highways and byways, a Space Race-inspired installation, plus hand-carved fast-food classics. Add in a “Battle Cry” from some groundbreaking Guerrillas and there’s literally something for everyone in September. —Kendall Morgan
“Cross Country on Highway 50,” Lloyd Brown, Valley House Gallery through September 29. Artist talk September 22 at 11am.
One of the hidden treasures of the city, the Richardson gallery and sculpture garden Valley House is the oldest and most beloved modern art space in town. Bringing former Texan Lloyd Brown for their September show, the gallery is showcasing the artist’s cleverly framed triptychs and diptychs portraying parking lots, chain restaurants, and landscapes of the American West and Midwest.
By taking pictures of the vistas he sees on his travels, Brown then lets the views he captures dictate the shape of the final paintings. His “architectural panels” tell a narrative of our country in a way that makes even the most common parking lot feel engaging, like a really great road trip.
“I want to capture the idea of life in the place where I feel most alive, which has always been outside,” says Brown. “The Grand Canyon and a beat-up trashcan can be equally wonderful… There is something to seeing the depiction of the commonplace. It can’t help but remind us of other times and places.”
“Battle Cry,” Guerrilla Girls at Cydonia Gallery through October 28.
Protesting the lack of women in major galleries, collections, and museums, the Guerrilla Girls have been fighting against misogyny and racism in the art world since the mid-1980s. In our current age their message—and their mission—has never been more on time.
Cydonia Gallery founder Hanh Ho celebrates three decades of the feminist collective’s work in her new space inside Oak Cliff’s Texas Theatre. Including some of their classic images in “Battle Cry” along with a brand-new poster addressing the #MeToo movement, the show will be complemented by a screening of some of the collective’s videos inside the theatre.
It goes without saying that as dire the current political climate may seem to the fairer sex, the Guerrillas find it “also a period of unprecedented resistance.”
“More and more people are recognizing the need to mobilize and participate… our philosophy has always been, ‘Just do one thing. If it works do another. If it doesn’t, do another anyway and try to change people’s minds.’ Facts, humor and outrageous visuals help us do that.”
Why not join the conversation by discovering what they have to say?
“Slightly Altered,” Synchrodogs, Galleri Urbane, September 8 through October 6. Opening reception September 8 from 6:30–8:30 pm.
Under the moniker Synchrodogs, Tania Shcheglova and Roman Noven have built their reputation on images that mash together wide-open spaces with surrealistic bodies. Three years after their successful exhibit at the Dallas Contemporary, the Ukrainian duo return, this time to the Design District’s Galleri Urbane with a show that explores mankind’s interdependency with the natural world.
Shot in locations throughout the Carpathian Mountains, their images occasionally feature the nude Shcheglova in contrast to bucolic terrain, but this time there are more images featuring a referencing a deserted wilderness being transformed by the invasion of humans.
“If previous projects were mainly about humans in context of (the) natural world…in ‘Slightly Altered’ (we explore) how far people managed to intrude into the territories that were meant to be wild,” say the artists in a statement. “The accent shifts to nature as something that not only has a visual component, but somehow acts as a main character.”
Creating installations meant to live for a single day and photographing them before they decay, Synchrodogs’ images preserves vistas that are—sadly—likely to be irrevocably altered by the next generation.
“Hot Capsules from a Cold War,” by Simón Vega at Liliana Bloch Gallery, September 8 through October 13. Opening reception September 8 from 6–9 pm.
As the USA defines our new “Space Force,” Salvadorian artist Simón Vega debuts his quirky, Cold War-influenced work in Dallas. With acrylics on canvas and sculptures made of wood, cardboard, and found objects, Vega references the desire to escape his country’s harsh post-colonial circumstances as he mashes up technology with pop culture influences.
“(My work) has to do with history and politics and its effect on Central America today,” says the artist. “I wanted to talk about all these issues but show it’s connected to a bigger conflict. I came up with the Space Race, which I thought was a positive way to confront these issues without being too direct.”
Vega embraces his countrymen’s keen sense of humor and tendency to turn trash into treasure with the site-specific installation “Gemini,” a rough-on-the-outside, baroque-on-the-inside rocket ship he initially constructed for a show in Belgium.
“It’s a space capsule done with junk and found materials. It’s funny because obviously, it wouldn’t work, but by having an intention to be something you’re not, you create something new in the process.”
“Thank You, Please Drive-Thru,” Camp Bosworth at Webb Gallery, September 16 through November 25. Artists’ reception September 16 from 4–7 pm.
Marfa-based artist Camp Bosworth has been long inspired by life in a border state. Formerly using Narco culture as the spark for his tongue-in-cheek sculptures, he’s exploring a tastier subject for his new series at the Webb Gallery in Waxahachie. Namely, everyone’s favorite local eatery: The Dairy Queen.
“It’s one of the only restaurants here, and it’s a Texas icon,” Bosworth explains. “In Marfa, the old man liar’s club goes there, and the high school kids go there. It’s nostalgic for me as well, as I read that some were closing. Braum’s can close, but not the Dairy Queen!”
Carving everything from a series of striped wooden “straws” to a five-and-a-half-foot-tall sundae entitled “Banana Splitsville,” Bosworth’s latest sculptures comment on the waste of mass production as they romanticize the mouthwatering imagery and candy colors of a fast food favorite.
Also on view will be Esther Pearl Watson’s charming narrative drawings and Carl Block’s Southern-inspired face jugs, making it one very sweet show to see.