October 20, 2018 – indefinite
#wegohigh is Kathy Lovas’ newest artwork in an ongoing series addressing the international MeToo movement against sexual harassment and assault. The image of a huge ominous cumulonimbus thunderhead hovering above the seemingly peaceful status-quo roadway reminds us of the words of Michele Obama, “When they go low, we go high.” The vinyl banner bearing a greatly enlarged iPhone image is literally and figuratively a sign pointing to the rapidly evolving definition of photography. #wegohigh will be displayed on the façade of Liliana Bloch Gallery in Dallas during fall 2018 as part of the gallery’s URBANO public art program.
pictured above: Kathy Lovas, #wegohigh, 2018, UV cured ink on vinyl banner, 86″w x 149″h
Todd Camplin writes “The era of #metoo was launched in late 2017 and those that have perpetrated bad or despicable behavior have been put on notice that the world is watching. In response to this text based movement, Kathy Lovas has created a Lifeguard chair built with slats of wood with text relating to terms associated with the #metoo and the tag itself. Where else would you see an art piece that has such strong conceptual and political significance in Dallas, none other than Liliana Bloch Gallery of course.”
Read the full article here.
March 18 – April 2, 2017
Opening reception: Saturday, March 18 from 7:00 to 10:00 pm
Artist Talk: Saturday, March 25 at 2:00 pm at the 500X Gallery
ADDITIVE is a site-specific collaborative installation by Kathy Lovas and Lynné Bowman Cravens created in response to the Upstairs Project Space at 500X Gallery. ADDITIVE represents the natural evolution of the artists’ initial serendipitous photographic project #lovaslectures. Working collaboratively, the artists have appropriated motifs from their own individual practices, while freely allowing themselves to be influenced by the subjects, forms, and ideas embodied in one another’s art.
September 10 – October 8, 2016
I’m So Glitché is a new series of photographic and sculptural installations inspired by the glitché, literally a mistake or malfunction, something broken in the digital code. However, in Lovas’ work the glitché is intentionally transformed into something new, beautiful, and exciting. Her glitchéd photos and sculptures convey meaning by directly confounding expectations and muddling memory. The artist outsources her original photographs to the iPhone app Glitché, in which filters are used to apply the effects of manipulation of the digital image code. They are then posted to Instagram, hash-tagged, and printed out onto vinyl, a material commonly used for public signage. Kathy’s signs speak in multiple ways to the rapidly evolving definition of photography. Unstable images, scripted mistakes, repetition, automation, and versioning all point to a 21st century liberation from the historic perspective of monocular human vision.
Sculptural works in I’m So Glitché expand the glitché into three dimensions via dripped paint, piled furniture, unexpected associations, and photographs randomly projected right side up, upside down, frontwards, and backwards. Like Dada art, her glitchéd sculptures address concepts of chance, fluidity, and process.
pictured above: Kathy Lovas, #raymond19162016, (Original photograph by T. Walter Cleary, 1916), 2016, UV cured ink on vinyl banner, 30″w x 30″h, edition of 3