Issue link: http://papercitymagazine.uberflip.com/i/1076820
58 T he concept of the renegade artist is a long-held tenet, from Picasso and his abstracted figures to today's Marina Abramovic, who forms content simply with her body and the space surrounding it. However, the institutionalized art world, which supports, critiques, and exposes artists to the greater world, has largely remained mired in stuffy, conventional models. It wasn't until the last 20 years that museums opened for evening hours, with edgier programs scheduled to attract younger and more diverse audiences. It was also during the last two decades that old-guard magazines, including ArtNews and Art In America, found new competition from provocative publications such as Giant Robot and Juxtapoz. This is where we meet gallery owner and artist Brian Gibb, who in 2003 co- founded the biannual avant-garde art publication Art Prostitute with friend Mark Searcy. Art Prostitute's heyday was the early 2000s, when it was sold at Tower Records and alternative bookstores. It never followed conventional rules regarding style and format. Rather, the content of each issue informed the look and feel. It was known for offset printing, its random typeface, and limited-edition posters sewn within. With their art publication thriving, Gibb and Searcy opened a gallery in Denton in 2004 before moving to edgier Deep Ellum two years later, where it would become The Public Trust. The gallery remained an anchor of Deep Ellum's cultural resurgence IN GIBB WE TRUST B Y B I L L Y F O N G . P O R T R A I T A N A H O P. until moving to the burgeoning Dallas Design District in 2015, and recently to another new space, also in the Design District. The Public Trust exhibits work in all media, publishing significant artist monographs through Archon Projects, which Gibb co-founded, along with producing affordable prints and other artist-driven products and multiples. Since its inception, the variety of artists shown has been vast, including Dave Kinsey, Misty Keasler, and Ryan McGinness. The Kinsey exhibition opening — the first in the Deep Ellum location — drew more than 600 attendees. Rarely does Dallas' gallery scene (then and now) see that type of response. C ut to today: Brian Gibb and I sip coffee in the center of a large white room at the new iteration of The Public Trust. Its wall space is occupied by the work of contemporary artist Shelter Serra (sculptor Richard Serra's nephew). Gibb is still a mainstay on the gallery scene, credited with steering one of the city's most innovative art spaces. During our conversation, Gibb ponders the future: How can he expose the community to new artists and new ideas, and how can his gallery's new location allow him to further push artistic boundaries. The Shelter Serra opening last fall — the first event in The Public Trust's new space — was a testament to Gibb's new approach. Gibb reached out to YouTube phenom Billie Eilish. Interested in the prospect of performing in a nontraditional space, Eilish accepted the invitation to perform. Much like the David Kinsey opening, this night was a buzzing success, with innovative art and engaging, unconventional entertainment. Gibb hopes to expand on the format of Serra's opening by pairing live performances with artists' work. Upcoming exhibitions include iconic portrait photographer Dan Winters; the debut of Misty Keasler's "Low Lands" series; and the intriguing group exhibition "Good Sports," which goes on view during the Dallas Art Fair in April. In addition, Gibb plans to host a salon-style dinner series, mixing guests to spark conversations on contemporary art and culture. Brian Gibb Brian Gibb