A group survey featuring works evoking concepts of time, solitude, & reflection.
“Hear My Words That I Might Teach You,” a reference to Simon and Garfunkel’s “The Sound of Silence,” is an online exhibition proudly presented by Liliana Bloch Gallery. The exhibition is a survey of the gallery’s diverse roster through a selection of works that evoke concepts of time, solitude, and reflection.
As we collectively navigate through new struggles, “Hear My Words That I Might Teach You” advocates for introspection. During a time where altruism is more important than ever, the works featured in this exhibition aim to exist as imperative reminders of the importance of caring.
The Liliana Bloch Gallery & 214 Projects are pleased to announce a new solo exhibition by Pedro Vélez: Emotional Hurricanes, Political Earthquakes, Quiet Protests, Neurotic Tweets.
Do public confessionals of daily affirmations on Instagram heal a broken heart faster than affirming one’s self-worthiness in private therapy? Is journalism to blame for the neurotic emotional state of Americans? Which came first: the tweet or the policy?
Pedro Vélez’s new body of work originates in simple, meaningful acts, like caressing the tangled hair of a loved one. These tangled lines can also be seen in a series of paintings depicting the twisted cords of non-responsive window blinds, the internet “tubes”, or the fallen cables from the electric infrastructure left after the destruction of Hurricane María. His disjointed lines lead us to vistas of coral reefs visible through the blinds. For Vélez, coral reefs serve as affirmative metaphors against climate change deniers as well as natural regenerative processes of emotional healing. In the series Emotional Backpatches, Vélez portrays anonymous protesters wearing nostalgic jean jackets scrawled with their innermost feelings embodied in back patches. Vélez body of work encapsulates how intimacy is disrupted, occupied, and influenced by our digital selves, and the wild, uncontained landscape of political bots, social media alerts, relentless news cycles, disinformation campaigns, and emojis.
(Note: At the beginning of 2017 Lilliana Bloch and Pedro Vélez started planning this exhibition. But in September of that year, Hurricane María struck the island. The rest is history.)
ABOUT 214 PROJECTS
In March 2019, as part of an expanding outreach initiative, the Dallas Art Fair launched 214 Projects, an exhibition and project space adjacent to their new offices at River Bend in the Design District. This additional venue will allow Dallas Art Fair exhibitors to present more ambitious gallery installations and special projects on a year-round basis outside of their typical presence during the second week of April.
[•] The main image is by Pedro Vélez, Escuchando danza luego del huracán (Listening to The Dance After The Hurricane), 2017-2019, acrylic and bleach on weather canvas, 47″w x 47″h
Liliana Bloch introduces Dallas to an artist whose work can be ‘daunting & scary’. It is, she says, a show “about race and family relationships and beauty standards”
Liliana Bloch became an American resident in 2001, after leaving her native El Salvador. An economist by training, she entered the art world in Dallas, where, less than five years ago, she opened the Liliana Bloch Gallery in the Design District.
Her shows are often daring and provocative, as is her current offering. “Alicia Henry: Witness” runs through Jan. 2.
“She’s different,” Bloch says, “and she’s unforgettable. It was a huge risk for me to present an artist like her. Her subject matter, even if it’s timely, never ceases to be tough. It’s about race and family relationships and beauty standards. I’m always looking for somebody who will bring something different to the table, and she does. She’s very authentic. Her beauty can be daunting and scary and sad. You cannot turn your head away from it.”
Plan your life
“Alicia Henry: Witness” runs through Jan. 2 at the Liliana Bloch Gallery, 2271 Monitor St. in Dallas. 214-991-5617; lilianablochgallery.com.
UNTITLED 2017 MIXED MEDIA, ACRYLIC ON FELT, THREAD AND FABRIC(ALICIA HENRY / LILIANA BLOCH GALLERY)
Kathy Lovas’ exhibition CLOTHING CRIMES . . . and Misdemeanors was inspired by the true-crime story of her stolen car in the fall of 2016. Her vehicle was found two weeks later, undamaged, but containing a large mysterious pile of clothing. The artist began photographing each item of clothing in her studio at life-size. She then hand-printed each of the 88 photos via the DASS inkjet transfer process to create an alternative artist’s book titled UUMV / OOTD. Continued research led to the creation of several additional works dealing with clothing crimes.
pictured above: Kathy Lovas, UUMV / OOTD (detail), 2020, alternative artist’s book( handmade DASS transfer prints on optimized yupo paper, ink, wood frames), individual prints: 13″w x 19″h, installation: size variable
Liliana Bloch became an American resident in 2001, after leaving her native El Salvador. An economist by training, she entered the art world in Dallas, where, less than five years ago, she opened the Liliana Bloch Gallery in the Design District. Her shows are often daring
The Demented Goddess, self-described as, “a polysexual, multi-cultural online magazine, dedicated to the untamed feminine in contemporary and forgotten cultures” has conducted an interview with our very own, Tim Best as part of their 19th issue. His photography also accompanies other studies in the issue.
“Tim Best is an artist currently based in Dallas. His work, in film and photography, shown across the U.S. and in Berlin, subverts the male gaze, looking at what happens when a male photographer is turned into a sexual object. Here, Tim shares photographs and film stills from his Poser Project and discusses hitting a nerve with men trying to play themselves.”
RECEPTION: FRIDAY, September 13, 2019, 5:30 PM – 8:00 PM Artist Talks During Reception begins at 6:30 PM
Gallery Talk with Alicia Eggert: WednesDAY, October 2, 2019, 12:30 PM
The Gallery at UTA presents concurrent exhibitions showcasing interdisciplinary artists Alicia Eggert (Denton) and Robert Hodge (Houston). The two artists have in common their use of words and materials that reference modern urban culture: Eggert through lighted text works that resemble advertising signage and Hodge through altered materials collected from city streets with words, phrases and lyrics cut out or inscribed on them.
The Liliana Bloch Gallery is proud to announce a new solo exhibition by Shawn Mayer in its first participation at Sweet Pass Sculpture Park’s new media space, SP2.
Prone Anxiety is a collection of works derived from Shawn Mayer’s anxiety, which has afflicted the artist in the last few years. The work itself is an attempt to overcome fears born from that anxiety, or, at the very least, come to a clearer understanding of them. In this new body of work, Mayer becomes a maniac insider of the psychological transformation of American middle class in the era of social media.
ABOUT SWEET PASS SCULPTURE PARK
Sweet Pass Sculpture Park is a 501(c)(3) organization located on an acre lot in west Dallas, TX. Sweet Pass started in October 2018 and has featured exhibitions with various local, regional, and international artists as well as local organizations in Dallas. Programming highlights emerging and mid-career artists in an outdoor setting on a rotating basis, with a focus on project-based exhibitions and contemporary art education and outreach. Tamara Johnson and Trey Burns are both artists who live and work in Dallas, TX.
More information about the Sweet Pass Sculpture Park project can be found here.
“Leigh Merrill’s photographs are steeped in postmodernist ambiguity, revealing the anxiety and desire that grips our time. The artist manufactures a sense of uncertainty from a photo-collage technique that results in completely fabricated realities drawn from multiple sources.”
Whitewall made a magazine guide for people visiting Dallas for the 2019 Dallas Art Fair. Including other art to see, hotels to stay, places to shop and eat, and more while visitors are in town enjoying the Dallas Art Fair.
They featured American Martini, Leigh Merrill’s solo exhibition at Liliana Bloch Gallery on view until May 4th, as one of the exhibitions to see while in town for the Dallas Art Fair.
Also featured in Whitewaller’s 2019 Dallas edition of the magazine is our very own, Liliana Bloch! Liliana gives her take on what she enjoys about Dallas as an Art Insider.
The gallery announces the closing of our chapter at our location on Monitor Street in the Dallas Design District. Leigh Merrill’s “American “Martini “ and Nathalie Alfonso’s presentation of “Stains” will be our last show in this locale. The gallery is moving to a new home which address will be disclosed this coming fall.
We can’t thank enough all and each one of you who have played a crucial role since our inception: Laurent Bloch, our incredible ROSTER of artists, Vince Jones, Doug McCloud, Sean Cairns, Zeke Williams, Kevin Todora, staff, interns, The Dallas Museum of Art, Tyler Museum of Art, Amarillo Museum of Art, Southern Methodist University, University of Texas at Denton, Dallas, Commerce, Austin, and Arlington, Brookhaven College, Mountain View College, University of Dallas, The Dallas Morning News, The Public Trust, CADD, The MAC Dallas, Galveston Arts Center, Site 131, Dallas Contemporary, Art News, Catherine Anspon, Paper City, Terri Provençal, Patron Magazine, Glasstire, Art Forum, The Power Plant, Brandeis University, Fries Museum, YES Contemporary, 1530 Main, Odabashian Rugs, Voyager DALLAS, Art This Week, Modern Dallas, Jeff Levine, PBS, Fort Worth Weekly, Visual Art Source, Culture Map, Prometeo Gallery, Minus Space, Galerie Ernst Hilger, Catharine Clark Gallery, Dallas Observer, Dallas Art Fair, Arts and Culture Texas, D Magazine, The Power Plant, Southern Alberta Art Gallery, Dr. Tania Pleitez, Sweetpass Sculpture Park, Centre Pompidou, MOCA Miami, Torrance Museum, Northwind Arts Center, NOLA, Fotofest, Shamrock Hotel Studios, Whitewaller, the Randy Guthmiller Center for the Advancement of the Arts, Phillips Auction, Arnold Lehman, Vasari21, Ann Landi, UT Southwestern Medical, Aurora Festival, and Lucia Arbery Simek.
Nathalie Alfonso installation view at Liliana Bloch Gallery, 2019, image courtesy Kevin Todora of Kevin Todora Photography
Our biggest recognition goes to OUR COLLECTORS. You believe in us, and continue to support our vision as a commercial art venue dedicated to show the most compelling national and international artists. To you, our gratitude, our love, and our promise of an unbreakable commitment to excellence, public art, education, and fostering much needed conversations about freedom of expression, and the creative genius that propels positive changes in our society.
LBG embarks on a new and more ambitious journey, we ask you to join us, and celebrate our time as contributors to Texas growth as an art world capital.
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