Letitia Huckaby: Suffer/Rage

Letitia Huckaby: Suffer/Rage

August 1st – September 30th

“Suffer/Rage,” focuses on the political ethos and gender issues in our world today. Suffrage is defined as the right to vote and a series of intercessory prayers or petitions. At this point, I have partnered with over 20 women of color artists from across the United States and Canada to create their own protest sign that expresses their suffrage and or prayers for the future.

All of the images will be printed onto vintage fabrics, sugar sacks, flour sacks, and cotton-picking sacks. My piece, “Sugar and Spice,” includes an image of my ten-year-old daughter holding a protest sign that says “Enough” in spray paint. Her pose is reminiscent of Norman Rockwell’s painting “The Problem We All Live With,” an iconic image of the Civil Rights Movement. The image is printed onto a six-foot vintage cotton picking sack that references slavery, and the phrase “Enough” was taken from a recent speech by Dr. Martin Luther King’s nine-year-old granddaughter, Yolanda King, at the March for Our Lives rally in Washington, D.C. where she spoke in front of a crowd of hundreds of thousands and said: “I have a dream that enough is enough, and that this should be a gun-free world. Period.” Suffer/Rage will be finished in 2020, a significant political year, and the centennial for the women’s right to vote. This project gives voice to a vast group of female creatives of color during this historic time.

2020-09-17T18:49:45-06:00July 30th, 2020|Letitia Huckaby, News, Press|

“A Posteriori” at Liliana Bloch Gallery, Dallas

Liliana Bloch Gallery • Press

“A Posteriori” at Liliana Bloch Gallery, Dallas

Liliana Bloch’s gallery in Dallas has taken a major detour in programming this year.

Construction delays on the new gallery space on Memphis Street, which sits in one of the pockets of former light-industrial buildings at the edge of the Medical District, meant that the opening would have to wait. The COVID-19 pandemic in March turned delays from temporary to ongoing. Kathy Lovas was scheduled to open a solo exhibition, the first at the space. Lovas is an artist in one of the ‘high risk’ categories during this pandemic. To keep that threat hypothetical, a spring opening reception was cancelled.

Nathalie Alfonso in collaboration with Edison Peñafiel, 
Nathalie Alfonso in collaboration with Edison Peñafiel, Stay Away, 2020. Video loop, tv, paper

In the place of a celebratory christening for the gallery, Bloch took some time off to get settled in her West Dallas digs and take the shutdown seriously. After the gallery’s artists’ exhibition opportunities narrowed due to closures (Letitia Huckaby’s work lost audiences while on view at Crystal Bridges The Momentary in Arkansas, and Alicia Henry’s exhibition at the Dallas Museum of Art was cancelled), Bloch decided to show submissions from her roster, including a couple of invitees (Sean Cairns, and Nathalie Alfonso in collaboration with Edison Peñafiel). The resulting group exhibition speaks to the staggering changes that herald a new decade. The works are mostly from 2020, and some of them take on what dire circumstances have revealed about life under such extreme uncertainty.

Letitia Huckaby, 
Letitia Huckaby, Blues Aubade First Stanza, 2020. Pigment print on cotton fabric

Shawn Mayer’s Handle With Care (2014, pictured at top) features a mirrored version of a standard choking hazard illustration, such that two figures are locked in mutual asphyxiation. Mayer’s previous exhibition with Liliana Bloch, Prone Anxiety in the fall of 2019, played something like an installation inside an obsessive-compulsive episode. For that exhibition, an actor activated different stations of the exhibition, darting between works with stressful purpose. Handle With Care came long before the pandemic reached American shores, but now it relays a feeling of public desperation as the prospect of a trusted authority to help us out of this withers away. The artist, who has relocated to Portland, has experienced a suite of expected complications under shutdown: work, family, and home life hit some roadblocks. Mayer notified Bloch that he would pack up the work and drive it to Dallas.

Alicia Eggert’s Now Vs. Never (2020) is a scale model of a proposal for a public artwork. Two billboard-shaped structures face each other, with a slim catwalk between them. There’s no vantage point from the outside that allows the viewer to see what the billboards have to say. Giant Holzer-style block letters announce NOW and NEVER, words that unblinkingly face off above the scaffolding. I can imagine these words on the sides of competing skyscrapers at the heart of Downtown Dallas, or as a possible companion to one of the many BLM-initiated street paintings in cities across the United States, such as “END RACISM NOW,” recently conceived and organized by Sedrick and Letitia Huckaby on Fort Worth’s Main Street. 

Simón Vega, 

Simón Vega, Cosmonaut Blues, 2017. Acrylic on canvas

Salvadoran artist Simón Vega has two paintings on view. Executed as blueprints, they feature an astronaut sitting in a cockpit packed with various amenities which are labeled in English. Both paintings, from 2017, articulate the incredible level of engineering required to keep life not only sustainable, but tolerable, in a living space that is cramped by some intangible necessity. This work has new relevance under the current situation in El Salvador. President Nayib Bukele (another twitter-happy political leader who indulges in right-leaning rhetorical tirades) has used military force to impose indoor confinement during the pandemic.

Lynne Harlow, 

Lynne Harlow, The Way, 2020. White lights and white cord

Gallerists know that their spaces hold the potential for quiet contemplation (usually implicitly contactless, which is now made compulsory), and this summer group show presents a timely visual conversation. Artists are not strangers to economic or political restrictions, and their work can carry a message — sometimes a warning — across time and the shifting events rippling across the planet. Bloch has installed an exhibition that gives artists the space to say what they want to say, or repeat what they have said in the past. It makes for heady viewing while the current crisis delivers to us problems old and new.

On view at Liliana Bloch Gallery in Dallas, by appointment only, through August 1, 2020. 

A Posteriori

A Posteriori

JUNE 20TH – AUGUST 1ST, 2020

Liliana Bloch Gallery is excited to announce the opening of its new location at 4741 Memphis Street, in the Design District, with a group exhibition entitled A Posteriori. This exhibition aims to open an honest conversation about how the current world health crisis has affected, threatened, and challenge every aspect of our present and future life as we know it. The full roster of participating artists is: Nathalie Alfonso in collaboration with Edison Peñafiel, Tim Best, Sean Cairns, Alicia Eggert, Ann Glazer, Ryan Goolsby, Alicia Henry, Letitia Huckaby, Vince Jones, Kathy Lovas, Shawn Mayer, Leigh Merrill, Bogdan Perzyński, Bret Slater, Pedro Vélez, and Sally Warren.

This exhibition will be open to the public by appointment, following a strict protocol of safety measures. Masks will be required to enter the gallery. 

A virtual opening party will be held on Saturday, June 20th. We will announce more regarding our virtual opening soon. During the run of this exhibition, the gallery will also have a corresponding interview program that will feature national and international guests that will serve as a platform to discuss the pandemic as well as other congruent themes that are relevant to our current state. The gallery would like to stress that we are aware and sympathize with the financial instability many of us are dealing with, so participant artists have been given the option to submit work that reflects the difficulty of artmaking during current conditions. Despite this, the work presented aims to be received as a pure sentiment, in solidarity with all those who have been affected by the pandemic.

We are excited to be back, albeit under the most unusual circumstances, and we look forward to adapting to uncertainty while maintaining the same level of quality and service we have always aspired to. We trust that our patrons, collectors, local art organizations join us as we explore different ways of supporting artists and the arts community.

Hear My Words That I Might Teach You

Hear My Words That I Might Teach You

MAY 13TH – MAY 31ST, 2020

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.

Featured Artists: Nathalie Alfonso, Myra Barraza, Tim Best, Alicia Eggert, Ann Glazer, Ryan Goolsby, Lynne Harlow, Alicia Henry, Letitia Huckaby, Vince Jones, Kathy Lovas, Shawn Mayer, Leigh Merrill, Bogdan Perzynski, Bret Slater, Simón Vega, Pedro Vélez, Sally Warren.

Tyler Morning Telegraph

Letitia Huckaby’s show, Lagniappe a the Tyler Museum of Art is curated by Caleb Bell and opens on December 16th running through to March 17th. Letitia Huckaby explains her body of work which is created in her signature style of mixing photography and fibers.

Read the full article here.

Read more about Letitia Huckaby here.
MaDear
Letitia Huckaby, MaDear, 2010, pigment prints on silk, 41″w x 29″h
2019-04-27T18:44:07-06:00December 4th, 2018|Letitia Huckaby, Press|

Letitia Huckaby at the Tyler Museum of Art

DecEMBER 16, 2018 – March 17, 2019

Lagniappe, Letitia Huckaby’s solo show will open on  December 16th, 2018. The Tyler Museum of Art’s Holiday Party and Letitia’s “Lagniappe” Opening Reception are on December 15th. The Tyler Museum of Art Museum The exhibit, curated by Caleb Bell is in the museum’s North Gallery and admission is free. In Louisiana French Creole culture,  Lagniappe, means “a small gift given to a customer by a merchant at the time of a purchase,” or “something given or obtained gratuitously or by way of good measure.” This represents the sense of community and kinship that comes up as a frequent theme in Letitia Huckaby’s work.

Read more about Letitia Huckaby here.
2019-09-06T22:00:37-06:00December 1st, 2018|Letitia Huckaby, News|

40 Acres…Gumbo Ya Ya

September 9 – October 7, 2017

Liliana Bloch Gallery is proud to announce 40 Acres…Gumbo Ya – Ya, a solo exhibition by Letitia Huckaby. 40 Acres…Gumbo Ya -Ya is a poetic examination of a promise made by Union General William Sherman for agrarian reform to enslaved African American farmers. Gumbo ya – ya is a colloquial term that means, “everybody talks at once.” In that regard, the artist is referencing broken agreements (just words) and the continual discussion (everybody talking at once) about the Blues originating past.

Huckaby’s images were taken in Louisiana, Mississippi, and Texas, and __ they depict a rural southern landscape, the reality and longings of a neglected culture steeped in disappointment. Framed in vintage embroidery hoops, the landscape embodies the hopes and dreams of one generation to the next.

pictured above: Letitia Huckaby, Wilson Burning Brush, 2017, pigment print on fabric with vintage embroidery hoop, 22”w x 17.5”h

Read more about Letitia Huckaby here.
2019-04-04T19:18:13-06:00September 9th, 2017|Exhibitions, Letitia Huckaby, Past Exhibition|

Letitia Huckaby at the Kimbell

March 4, 2017 at 3:45 pm 

Letitia Huckaby’s East Feliciana Alter Piece will be on view in the Piano Pavilion at the Kimbell Art Museum Saturday, March 4th for her Artist’s Eye gallery talk. The Artist’s Eye is an “ongoing program, moderated by Kimbell staff, artists and architects discuss works in the Museum’s collection, share the special insights of the practicing professional, and relate older art to contemporary artistic concerns, including their own.” Letitia’s discussion will be moderated by Claire Barry, director of conservation at The Kimbell.

This event is free. No reservations required.  Seating is limited.

For more information, visit The Kimbell Art Museum’s website here

Read more about Letitia Huckaby here.
2019-04-05T20:47:18-06:00February 18th, 2017|Events, Letitia Huckaby, News|