PaperCity Magazine

PaperCity Dallas September 2022

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A Quintet to See as Fall Unfurls in the Texas Art World By Catherine D. Anspon Art TOPICS Gallery Love W eaving a Web of Light: We'll never f o r g e t o u r f i r s t glimpse of a Gabriel Dawe installation — m o re t h a n a decade ago at the Dallas Contemporary, where the Mexican- b o r n a r t i s t w o v e f l o o r - t o - c e i l i n g s k e i n s o f t h r e a d i n t o d i a p h a n o u s e n v i r o n m e n t s o f l i g h t a n d c o l o r. Experience one of D a w e 's s i g n a t u r e P l e x u s p r o j e c t s a t Ta l l e y D u n n Gallery this season, p a i re d w i t h g o l d - leafed works formed with jigsaw puzzles from his Missing series and sculpture referencing the Tower of Babel, which give this exhibit its title, "Ode to Futility" (through December 10). The New Nature as Color Field: At Galleri Urbane, Bristol, England- based painter Adam Hedley makes an evocative American debut in "Unfamiliar Windows." Hedley's liminal canvases exist between abstraction and a dreamlike state that dialogues with lush blooms and fronds of foliage, more remembered than directly observed. These works are more than mere naturescapes; they commune with the onlooker's psyche to transport one to the secret, exuberant life force of plants (through October 1). Above: Kaloki Nyamai's Untitled (Female Bather), 2022, at Keijsers Koning. Band of Outsiders: One of the gems of the season pairs a contemporary artist and two late greats; all three share an avowed stance as independents, manifesting a conviction to address the unseen, hermetic, and otherworldly in their art making. "The Outsiders: Forrest Bess, Bert Long Jr., and Chris Martin" at Kirk Hopper Fine Art presents works by Long and Martin from the gallerist's own finely honed collection, as well as a rediscovered cache of Bess' diminutive paintings, which pack a mystic punch in inverse proportion to their size (September 1 – October 1). Feminist Myth Maker: Dallas/New York artist Ann Glazer prophetically mirrors today's times, with the divine feminine under siege. In "The Red Garden" at Liliana Bloch Gallery, Glazer confronts a c e n t u r y - o l d family saga of love and loss, played out via a series of suspended ritualistic textiles. These lush velvets, in startling c r i m s o n c o l o r s , are formed from c o l l a g e d i m a g e s based upon 19th- c e n t u r y E u ro p e a n embroideries, meta- phorically layering i n m e m o r y a n d time (September 3 – October 8). Kenya, Venice, Dallas: How often do we encounter an artist on exhibit concurrent with a turn at the Ve n i c e B i e n n a l e ? Kudos to Keijsers Koning for unveiling n e w p a i n t i n g s b y K e n y a n a r t i s t K a l o k i N y a m a i , marking the artist's first American solo exhibition (September 10 – October 15). Simultaneously, he's among the most buzzed-about talents representing his country in the Kenyan Pavilion at this year's 59th international art exhibition La Biennale di Venezia (through November 27). Nyamai's expansive mixed-media works crafted from sewn, unstitched canvases reverberate with emotion while conjuring tensions between community and colonialism. COURTESY THE ARTIST AND KEIJSERS KONING 52

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