ArtSlant - Recently added en-us 40 Group Show - William Reaves Fine Art - December 5th - December 20th <div> <p style="text-align: justify;"><span style="font-family: 'Times New Roman';"><strong>William Reaves Fine Art its&nbsp;<em>Holiday Show&nbsp;</em>featuring the Contemporary Texas Regionalists<em>&nbsp;</em>at its New Upper Kirby Location!</strong></span></p> </div> <div style="text-align: justify;"> <div><span style="font-family: 'Times New Roman';">From&nbsp;December 5&mdash;December 20, 2014, William Reaves Fine Art celebrates the holidays with an exhibition featuring the gallery&rsquo;s</span><strong style="font-family: 'Times New Roman';">&nbsp;</strong><span style="font-family: 'Times New Roman';">Contemporary Texas Regionalists</span><em style="font-family: 'Times New Roman';">.&nbsp;&nbsp;</em><span style="font-family: 'Times New Roman';">This holiday show, which will likely become an annual tradition for the group, will highlight new works by fifteen Contemporary Texas Regionalist artists:</span><em style="font-family: 'Times New Roman';">&nbsp;</em><span style="font-family: 'Times New Roman';">Randy Bacon, Mary Baxter, David Caton, Margie Crisp, Keith Davis, Charles Ford, Pat Gabriel, Billy Hassell, Lee Jamison, Robb Kendrick, Laura Lewis, William Montgomery, Noe Perez, Jeri Salter, and Debbie Stevens.&nbsp; Consistent with the gallery&rsquo;s historical focus, William Reaves Fine Art represents this select group of Contemporary Texas Regionalist artists who paint either a style or subject matter directly inspired by earlier Texas masters who were at work in the early decades of the twentieth century. &nbsp;Evoking the seminal qualities of this classic period in the state&rsquo;s art history in their art, the CTR artists are fifteen of the state&rsquo;s most prominent artists. &nbsp;Hailing from parts all across Texas, their works reflect the state&rsquo;s geographic diversity. &nbsp;While each captures some of the particular combination of beauty, richness, and determined independence that is uniquely Texan, their subject matters range from historical Texas events to panoramic landscapes; from photorealistic urban scenes to native Texas wildlife.</span></div> <div><span style="font-family: 'Times New Roman';">&nbsp;</span></div> <p><span style="font-family: 'Times New Roman';">Other works included in the&nbsp;<em>Holiday Show</em>&nbsp;will be recent works by Texas watercolorists Eric Sprohge and Hunter George.</span></p> <p><em><span style="font-family: 'Times New Roman';">&nbsp;</span></em></p> </div> <div> <p style="text-align: justify;"><span style="font-family: 'Times New Roman';">This exhibition will coincide with the final weeks of&nbsp;<em>Texas Visions of an Earlier Time,&nbsp;</em>their<em>&nbsp;</em>current<em>&nbsp;</em>exhibition which has been on view and features<em>&nbsp;</em>a<em>&nbsp;</em>premier<em>&nbsp;</em>collection of historic paintings produced by foremost artists of the first half of the twentieth century, offering patrons a &ldquo;deep dive&rdquo; into earlier eras of art within our state, presenting an interesting and diverse selection of 55 works by important Texas artists working prior to World War II.<em>&nbsp;&nbsp;</em>The juxtaposition of these two exhibitions on the gallery&rsquo;s walls illustrates a worthwhile overview of the styles and progressions of Texas painting during the first half of the twentieth century, examining a period of roughly 1909 to 1950, and how those foundational artists and styles are continuing to impact contemporary artists active in the Lone Star State.&nbsp;</span></p> </div> Thu, 20 Nov 2014 14:44:40 +0000 Adriana Varejâo - ICA (The Institute of Contemporary Art - Boston) - November 19th - April 5th, 2015 <p style="text-align: justify;">The ICA presents Adriana Varej&atilde;o, one of Brazil&rsquo;s leading&nbsp;artists, in her first solo museum show in the United States.&nbsp;The exhibition spans the period from 1993 to the present&nbsp;and includes several series of work.&nbsp;<br /><br />Prevalent throughout the exhibition is Varej&atilde;o&rsquo;s interpretation&nbsp;of the concept of cultural cannibalism, or anthropophagy. The theme dates back to the 1920s, when Brazilian modernist Oswald De Andrade appropriated the term to create an &ldquo;Anthropophagist Manifesto.&rdquo; This declaration urged artists&nbsp;and intellectuals to &ldquo;cannibalize&rdquo; the symbolic and cultural&nbsp;contribution of its colonizers, absorbing and transforming it&nbsp;to create a new Brazilian culture for the 20th century.&nbsp;<br /><br />In her most recent body of work,&nbsp;<em>Polvo</em>, Varej&atilde;o addresses&nbsp;race and miscegenation&mdash;fraught topics in highly diverse&nbsp;Brazil, where a 1976 government census asking respondents&nbsp;to describe their own skin color elicited 136 distinct answers. Inspired by 17th- and 18th-century Spanish&nbsp;<em>casta</em>paintings which sought to document the country&rsquo;s range of ethnic backgrounds, Varej&atilde;o selected 33 of the most poetic answers, such as&nbsp;<em>Sapecada&nbsp;</em>(flirting with freckles),&nbsp;<em>Caf&eacute; com Leite</em>&nbsp;(coffee with milk) and&nbsp;<em>Queimada de Sol</em>&nbsp;(sun-kissed), and&nbsp;had them made into tubes of oil paint that appear in the exhibition. Varej&atilde;o then used the shades in series of self-portraits and color wheels that explore the complexities of skin color and mixed-race identity. The title&nbsp;<em>Polvo&nbsp;</em>translates to &ldquo;octopus&rdquo;&nbsp;in Portuguese, a reference to the animal&rsquo;s ink, made primarily of melanin, the substance that gives human skin and hair its color.&nbsp;<br /><br />Mining Brazilian culture and colonial history, Varej&atilde;o&rsquo;s work is rife with references to historical maps, Baroque church interiors, and Portuguese tiles. Her sauna paintings on the other hand,&nbsp;a series of mostly monochromatic renderings of sleek, grid-like spaces, reveal more modern cubist influences.&nbsp;<br /><br />Like her modernist forebearers, Varej&atilde;o devours the rich and diverse culture of post- colonial, multicultural Brazil, churning&nbsp;it together with a strong art-historical sensibility to create&nbsp;work that is provocative, perceptive, and disarmingly visceral.</p> <p style="text-align: justify;">Adriana Varej&atilde;o&nbsp;<em>is generously sponsored by Lehmann Maupin Gallery and Sinesia and William Karol. Additional support is provided by Jean-Fran&ccedil;ois and Nathalie Ducrest, Ted Pappendick and Erica Gervais Pappendick, David and Leslie Puth, and Charlotte and Herb S. Wagner III.</em></p> Thu, 20 Nov 2014 10:04:16 +0000 Jules de Balincourt - Modern Art Museum of Fort Worth - November 15th - January 25th, 2015 <p style="text-align: justify;">The Modern's first Director's Council FOCUS exhibition for the 2014&ndash;2015 season features the work of New York-based artist Jules de Balincourt. The exhibition presents a selection of key works spanning the past few years of the artist&rsquo;s career alongside new works on view for the first time.</p> <p style="text-align: justify;">Born in Paris and raised in southern California, Jules de Balincourt is known for his expressive, radiantly colored paintings that vary in style, size, and theme. His subject matter includes cityscapes, present-day genre scenes, and motifs he continually recycles throughout his work, such as globes, maps, and explosions. De Balincourt&rsquo;s imaginative, dreamlike style straddles abstraction and representation, and often evokes notions of American utopia and dystopia. His genre scenes, such as&nbsp;<em>Idol Hands</em>, 2012, which is included in the exhibition, investigate public and private spaces and are frequently rendered in a skewed aerial perspective featuring generalized figures that signal the everyman. These works are reminiscent of Pieter Bruegel&rsquo;s 16th-century genre scenes, yet de Balincourt&rsquo;s paintings depict contemporary, mostly Western people engaged in acts of war, protest, or leisure to comment on and critique particularly American societal norms and to explore the space where leisure and global concerns collide. According to the artist, the cool detachment of these aerial views mirrors the perspective of modern methods of warfare, such as planes and drones, which essentially generalize and dehumanize those below.</p> <p style="text-align: justify;">De Balincourt often works on up to ten paintings at a time without sketches or source materials, and he considers them chapters&mdash;symbiotic, yet independent. Countering the conceptual and theory-driven movements in contemporary art, de Balincourt&rsquo;s works are immediate, intuitive, and open-ended as they explore the perimeters of the conscious and unconscious mind. As the artist states, &ldquo;I think a lot of my work hinges on a duality or polarity of sorts, this utopian/dystopian potential in all of the images, as well as in us, in our ability to be swayed in either direction. Sometimes I think of my images as visions of what our current reality is, what it could be, and what it might become.&rdquo; He continues, &ldquo;I think of the abstraction as coming from a primordial subconscious state, and the image and narrative paintings as coming from the more rational, conscious mind.&rdquo;<a title="" href=""><sup><sup>[1]</sup></sup></a></p> <p style="text-align: justify;">Jules de Balincourt was born in 1972 in Paris and currently lives in Brooklyn. He received his BFA from the California College of Arts and Crafts in San Francisco in 1998 and his MFA from Hunter College in New York in 2005. De Balincourt has exhibited both nationally and internationally, including solo exhibitions at the Rochechouart Museum of Contemporary Art, France; Montreal Museum of Fine Arts; Mori Art Museum, Tokyo; and Vanderbilt University Fine Arts Gallery, Nashville. The artist has been featured in group exhibitions at the Brooklyn Museum; Palais des Beaux-Arts, Paris; Museo d&rsquo;Arte Contemporanea Roma, Rome; and Massachusetts Museum of Contemporary Art, North Adams. His work is also in many public collections, including the Montreal Museum of Fine Arts; Collezione Maramotti, Reggio Emilia, Italy; The Museum of Contemporary Art, Los Angeles; Brooklyn Museum; Los Angeles County Museum of Art; and Museo di arte moderna e contemporanea di Trento e Rovereto, Rovereto, Italy.<em>FOCUS: Jules de Balincourt</em>&nbsp;is the artist&rsquo;s first solo exhibition in Texas.</p> <div><br clear="all" /><br /><hr size="1" width="33%" /> <div> <p style="text-align: justify;"><a href="" target="_blank">[1]</a>&nbsp;Jules de Balincourt in conversation with Bob Nickas,&nbsp;<em>Jules de Balincourt</em>(New York: Skira Rizzoli Publications, Inc., 2013), 14.</p> </div> </div> Sat, 15 Nov 2014 15:12:22 +0000