Ok, not RETNA exactly. That is to say, the RETNA that has catapulted from graffiti to fine art with his signature text-based work is not in Dallas. Rather, the man behind the name, Marquis Duriel Lewis, is exhibiting a new style that strays from text and into vivid portraiture that you'll see at the Goss-Michael Foundation. This exhibition is the first of many art-focused experiences by Dallas-based art collective, Artinity, created by Max Trowbridge, Joyce Goss and Kenny Goss.

In the past the Los Angeles-based artist has found fame in his text-based graffiti works, fetching up to $180,000 for his works and working with Chanel, Nike, and Louis Vuitton. While RETNA's style resembles modern hieroglyphics, as you can see here covering the side of the Restoration Hardware store in New York, Lewis creates abstract expressionist pieces inspired by freedom and fluidity.

This dynamic exhibition, titled “Dovetail Mortises & La Peluca Grande”, is far removed from his linear text-based works, but Lewis is a story of juxtaposition. Not many would guess an artist operating 3 studios on Skid Row in LA would be working with luxury brands, or a creator of fine art enjoys tagging street signs. But the lines between high-end and street culture continue to blur as we move forward in the 21st century, and you can be sure to catch Lewis dancing around them for a long time to come.

If you don't get a chance to view Lewis's works at the Goss-Michael Foundation, fear not! In typical RETNA go big or go home fashion, the artist plans to leave a permanent mark on the city in the form of a massive mural on the back of Dallas Auction Gallery. When the work is completed, it will face Irving Boulevard on the Trinity Trail, so you'll be able to grab your sneakers and jog to get your daily dose of art.

#art #dallasart #retna #streetartdallas


This fall, the Meadows Museum, SMU, will present two new exhibitions that bring exemplary works by masters of Spanish painting to the US. Beginning on September 15, the Meadows will present 11 paintings produced by some of Spain’s most celebrated artists, drawn from the collection of England’s The Bowes Museum. Curated by Amanda Dotseth, El Greco, Goya, and a Taste for Spain: Highlights from The Bowes Museum will mark the first time that works from that museum will travel to the US. Then, on October 18, the Meadows will open Sorolla in the Studio: An Exceptional Loan from an Important Spanish Collection, which will examine the development of Joaquín Sorolla y Bastida’s distinctive modern approach. The exhibition is anchored by the artist’s 1902 painting Female Nude, which is privately-owned and being brought to the US for the first time in more than 100 years. Curated by Meadows Curatorial Fellow Daniel Ralston, Sorolla in the Studio will also include paintings and works on paper by the artist from the Meadows collection. Together, the exhibitions highlight the Meadows Museum’s commitment to securing critical loans that capture the depth and trajectory of Spanish art and to engaging American audiences with Spanish artists and movements. Both exhibitions will close on January 12, 2020.

“These two exhibitions help us to better understand the ongoing taste and interest for Spanish painting,” said Mark Roglán, the Linda P. and William A. Custard Director of the Meadows Museum. “The 19th-century collectors John and Joséphine Bowes stand out for the speed and acuity with which they built their incredible collection, one of the finest assembled during the Victorian era, which includes more than 70 examples of Spanish art. Just a half-century later, Joaquín Sorolla would be influenced by Velázquez’s famous ‘Rokeby Venus’ to paint his transformative work Female Nude, marking an important moment in the artist’s career. Together, these shows demonstrate the enduring impact of Spanish art—and our mission to bring these works to North American audiences.”

El Greco, Goya, and a Taste for Spain: Highlights from The Bowes Museum

The son of a British aristocrat, prominent Northeast England landowner, John Bowes (1811–1885) pursued an interest in politics, business, and the arts during his lifetime, becoming a part of English and French high society. Joséphine Coffin-Chevallier (1825–1874) was a French actress, painter, and the daughter of a clockmaker. After their marriage in 1852, John and Joséphine’s shared passion for the arts prompted them to create a public museum in the market town of Barnard Castle, near John’s estate. Using John’s wealth and influence, along with Joséphine’s intuitive eye, the couple began acquiring art in 1860, with a strong focus on underappreciated Spanish works of the time. Between the years 1862 and 1874, John and Joséphine would amass a collection of approximately 15,000 paintings and objects—from silver to tapestries. This also included 102 Spanish paintings, creating within The Bowes Museum one of the most comprehensive collections of Spanish art in the British Isles. Unfortunately, neither John nor Josephine would live to see the completion of their museum, which opened to the public in 1892.

John and Joséphine’s interest in Spanish painting came on the recommendation of one of their art dealers, who identified an important opportunity following the death of Conde Francisco Javier de Quinto y Cortés in 1860. A Spanish politician, de Quinto was also the director of the Museo de la Trinidad in Madrid and an established collector. After the Conde de Quinto’s death, his collection was auctioned in Paris in 1863; the 11 works presented in this exhibition are all works the Boweses acquired from that collection. The exhibition will also include selected archival materials that demonstrate John and Josephine’s process of collecting, such as the catalogue from the de Quinto sale with John Bowes’s annotations.

Religious themes and iconography are displayed in most of these works. Other works, such as Francisco de Goya’s (1746–1828) Interior of Prison (1793–94), track the evolution of Spanish art at the end of the 18th century—from depictions of the monarchy or Catholic saints, to a minimalistic focus on literary figures and social injustices. It is this range in thematic resonance and style—from the vivid and spiritual depictions of El Greco, to the restrained and naturalistic work of Goya—that identify these 11 Spanish works as some of the most important of the Boweses’ collection.

“This exhibition is, in a sense, telling two histories: one about artistic production in Spain in the 16th through 18th centuries, and the other about its modern legacy,” said Amanda W. Dotseth, Curator at the Meadows Museum. “In the 19th century, the Conde de Quinto built an important private collection of historic Spanish paintings. John and Joséphine later recognized the collection’s edifying potential by purchasing key works to include in their public museum. In so doing, they ensured Spanish art would have a prominent role among the museum’s diverse collections. The Boweses were ahead of their time for collecting Spanish art a century before the Meadows Museum opened its doors to the public in 1965.”

As part of the opening events for the exhibition, Adrian Jenkins, Director of The Bowes Museum, will give a lecture at the Meadows on Thursday, September 12, at 6pm. He will speak about the origins of the Bowes and history of its founders, as well as some of the lesser-known details about the 11 works included in the exhibition.

#meadowsmuseumdallas #smumuseumdallas #goyadallasart #artexhibitiondallas #elgrecoexhibitiondallas


IDEAL CONTAGION suggests a much-needed respite from technology as a force or mechanism for acceleration, disruption, and interruption, in favor of largely monochromatic primary structures in a quiet, contemplative key. The exhibition as a whole suggests a looming middle future where our current tsunami of data and information—largely blank, implacable and bewildering—is seamlessly internalized by each individual artist as a kind of liquid anima, which in turn becomes the material substrate of their work. In this manner, technology is subsequently transformed from a passing zeitgeist fetish—subject to cool and distant appraisal or critique—into something inscribed on, or within, the artist’s own body, buried bone-deep, etched like algorithmic scrimshaw into the far recesses of his or her own mind. It is this “human circuit” which IDEAL CONTAGION seeks to foreground and address. Additionally, each artist in the exhibition signals a modernist categorical imperative familiar to mainstream “Art History,” such as landscape, body art, or appropriation—academic divisions that have yet to percolate and trickle down into traditional digital and techno-art discourse. Barry X Ball (b. 1955, California) is a contemporary sculptor based in New York. His sculptures, although paying reverent homage to their historical antecedents, are completely new. Through the use of unconventional materials and innovative methods, the artist has reinvigorated the age-old tradition of figurative sculpture. Ball employs an elaborate array of equipment and procedures to realize his works, ranging from the cutting edge to the traditional, from 3D digital scanning, virtual modeling, rapid prototyping, and computer-controlled milling, to exquisitely-detailed hand carving and polishing. With their simultaneous fever-pitch intensity and surreal stillness, Barry X Ball’s bravura works make an expansive case for the reconsideration of contemporary sculptural practice. Richard Dupont’s (b. 1968, New York) artistic practice includes installations, sculptures, prints, paintings, and drawings. His work draws from a variety of themes and references including the body, process, and system art movements of the 1960s and 1970s. The experimental nature of these earlier movements is reexamined through the 21st-century lens of digital technology. An interest in the social implications of biometric technologies underpins much of his work. Peter Gronquist (b. 1979, Oregon) is a multi-disciplinary artist working in diverse mediums and materials ranging from video and painting to sculpture and site-specific installations in our natural and built environment. Whether harnessing the wind itself with a massive, silver monochrome flag rippling in the middle of the desert or activating the soft, penumbral glow around an industrial lighting fixture, Gronquist always leaves behind a record of frozen yet fleeting moments charged with his own personal subjectivity. Jon Kessler (b. 1957, New York) critiques our image-obsessed, surveillance-dominated world. His machines are at once complex and lumbering, combining mechanical know-how with kitschy materials and imagery. Structurally complex and narratively engaging, Kessler’s multimedia sculptures often deliver an emotional punch beyond their humble means. With his distinct vocabulary, the artist taps into our all-too-real modern-day anxieties. Ted Lawson (b. 1970, Massachusetts) is an American artist working across all media. His work is an ongoing interrogation of the male psyche, questioning notions of institutional privilege, asymmetrical power dynamics, and the discomfort of intimacy in a world where traditional discursive relations are constantly upended and continually under siege. Characterized by a sense of hyper-compressed energy and visceral intensity approaching a state of exhaustion, Lawson frequently deploys a God’s eye POV to lure and then entrap the observer, releasing them moments later after having subjected them to his enigmatic effects. Helen Pashgian (b. 1934, California) is a pioneer and preeminent member of the California Light and Space movement. Her signature forms include columns, discs, and spheres in delicate and rich coloration, often with an isolated element suspended, embedded or encased within. Pashgian’s innovative application of industrial epoxies, plastics, and resins affect semi-translucent surfaces that simultaneously filter and contain illumination. Activated by light, these sculptures resonate in form and spatiality.

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