Tim Best: Flash

AUGUST 8 – SEPTEMBER 5, 2020

Liliana Bloch Gallery announces the opening of FLASH, a new solo exhibition by Tim Best. Continuing his exploration of gender fluidity, Best takes us on an epic photographic journey. Feelings of 70’s reminiscence are imbued in Best’s choice of medium: The Polaroid camera, which heydays concurred with the artist’s first recollections of sexual awakening.

Departing from the classic photographer/model relationship, Best explores the power of the male gaze, defined by Laura Mulvey as deriving sexual pleasure from looking at the passive female object. The story in FLASH begins with the photographer projecting his gaze on the model, and then suddenly turning it onto the photographer, turning him from subject to object.

FLASH represents the sexual pleasure men enjoy from looking at a passive female yet disturbs it as the artist reverses power roles. This action transforms, transfixes, and critiques the complexities of the masculine in photography. The resulting images are a mix of video, instant film, and medium format photography revealing an intimate, visual dialogue between model and photographer.

Tim Best is a lens-based artist exploring ideas of gender and power using the language of portraiture and performance art. Best graduated from the Meadows School of the Arts full fellowship graduate program at Southern Methodist University in 2014. Over the years Tim’s work has been selected for events such as Slideluck Dallas. Later he was nominated by the Contemporary Art Dealers of Dallas for their inaugural FUNd Grant in 2015, and the Artpace International Artist in Residence in San Antonio, Texas. Tim has completed 2 artist residencies in Berlin. He was first selected to attend a session at the Institut für Alles Mögliche and Picture Berlin where he spoke about his work. Tim has exhibited and published work in the US, Berlin, and the UK. His video work entitled “Poser” was selected to screen at the Dallas VideoFest Medianale 2 and the Berlin Porn Film festival in 2019. In the summer of 2020, “Poser” will screen at the Artlake Film Festival outside Berlin. Later in 2020, his videos “Change” and “Look Like Me” will screen at the Vienna Porn Film Festival and “Poser” will screen at the San Francisco Porn Film Festival.

This exhibition is not suitable for children and will be open to the public by appointment, continuing our protocol of safety measures. Masks will be required to enter the gallery. Face shields can be provided by request.

Tim Best is a lens-based artist exploring ideas of gender and power using the language of portraiture and performance art. Best graduated from the Meadows School of the Arts full fellowship graduate program at Southern Methodist University in 2014. Over the years Tim’s work has been selected for events such as Slideluck Dallas. Later he was nominated by the Contemporary Art Dealers of Dallas for their inaugural FUNd Grant in 2015, and the Artpace International Artist in Residence in San Antonio, Texas. Tim has completed 2 artist residencies in Berlin. He was first selected to attend a session at the Institut für Alles Mögliche and Picture Berlin where he spoke about his work. Tim has exhibited and published work in the US, Berlin, and the UK. His video work entitled “Poser” was selected to screen at the Dallas VideoFest Medianale 2 and the Berlin Porn Film festival in 2019. In the summer of 2020, “Poser” will screen at the Artlake Film Festival outside Berlin. Later in 2020, his videos “Change” and “Look Like Me” will screen at the Vienna Porn Film Festival and “Poser” will screen at the San Francisco Porn Film Festival.

2020-09-18T13:26:58-06:00July 30th, 2020|Past Exhibition, Tim Best|

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.

Emotional Hurricanes, Political Earthquakes…

Emotional Hurricanes, Political Earthquakes…

March 6th – April 30th, 2020 

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.  

More information about 214 Projects.

SPONSORS

Pedro Vélez’s exhibition is possible with the patronage of Liliana Bloch Gallery, Jerome O’Neill, and Fernando Pont. 

Read more about Pedro Vélez.

 

2020-09-10T17:05:20-06:00April 7th, 2020|Exhibitions, News, Past Exhibition, Pedro Velez, Press|

Prone Anxiety

Prone Anxiety

SEPTEMBER 14th – NOVEMBER 16th, 2019

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.

Read more about Shawn Mayer here.

2020-09-10T15:44:33-06:00September 12th, 2019|Exhibitions, Past Exhibition, Shawn Mayer|

American Martini

American Martini

MARCH 30th – MAY 4th, 2019

Additional works on view at the 2019 Dallas Art Fair/Booth C3 April 11 – April 14

American Martiniby Leigh Merrill reveals a world that once verdant now appears in a state of dormancy or suspension. Through subjects including urban landscapes, still lives, and dense fields of foliage, Leigh Merrill echoes contemporary anxiety and desire embedded in objects and places.

Working primarily with photography, Leigh Merrill creates digitally collaged photographic and video works that explore the impact of desire, simulation, and perception on our contemporary landscapes. Familiar elements such as the lawn, manicured and manipulated plants, new buildings that mimic other eras and locations, reveal a culture of perpetual longing. The urban landscape is often a post-modern offering of architecture, simulating or referencing other eras or locations. This simulation reveals the desire for what is being referenced; and the mass of our landscapes – built for the car and continuous growth – embody an aspiration for forward momentum within it’s very infrastructure. Merrill’s photographs and videos seek out this longing and desire while echoing the cultural, historical and perceptual forces that impact our experience of place.

Most of Merrill’s digital collages are seamless enough so that on first glance the photographs and videos appear real and slowly through observation reveal their constructed, composited nature. There is a delicate balance for Merrill when creating her work – the images can only be so fake, so real, opening up a space between to consider ideas about beauty or an emotional response of longing, melancholy, humor. Her images are not documents of reality, but they could be thought of as documents of our contemporary, post-truth, post-modern reality.

READ MORE ABOUT LEIGH MERRILL HERE.

2020-09-10T15:30:21-06:00March 7th, 2019|Exhibitions, Leigh Merrill, Past Exhibition|

Nathalie Alfonso

March 30 – May 4, 2019

Concurrent with the exhibition Simply Bold Abstractions at Site 131 from April 10 – June 27.

Nathalie Alfonso (b. 1987, Bogota, Colombia) holds a Bachelor in Fine Arts from Florida International University and is currently pursuing a Master of Fine Arts at Southern Methodist University. Alfonso has exhibited and performed her work in galleries, universities, and in public spaces, such as Marymount University in Washington D.C., Spinello Projects, Art and Culture Center of Hollywood, Miami Beach Urban Studios, The Projects – Fat Village, The Annex – Fordistas, Miami Beach Botanical Gardens, and La Factoria – Ecuador. She has curated and exhibited in Miami and Fort Lauderdale for the past four years and is currently developing research in Dallas Texas. Her work investigates the value of manual labor, the degeneration of the body, and notions of impermanence through drawing, installation, and video. Her necessity to merge the practice of cleaning and art-making is utilized to observe her constant obsession with cleanliness and is manifested in the impermanent installations done with the repetitive movements use to apply and remove charcoal in different surfaces: walls, rags, and paper.

pictured above: Nathalie Alfonso, Nathalie Alfonso, Stains, 2016, cotton rags and charcoal, 20″w x 653″l

Read more about Nathalie Alfonso here.

Nathalie Alfonso

MARCH 30th – MAY 4th, 2019

Concurrent with the exhibition Simply Bold Abstractions at Site 131 from April 10 – June 27.

Nathalie Alfonso (b. 1987, Bogota, Colombia) holds a Bachelor in Fine Arts from Florida International University and is currently pursuing a Master of Fine Arts at Southern Methodist University. Alfonso has exhibited and performed her work in galleries, universities, and in public spaces, such as Marymount University in Washington D.C., Spinello Projects, Art and Culture Center of Hollywood, Miami Beach Urban Studios, The Projects – Fat Village, The Annex – Fordistas, Miami Beach Botanical Gardens, and La Factoria – Ecuador. She has curated and exhibited in Miami and Fort Lauderdale for the past four years and is currently developing research in Dallas Texas. Her work investigates the value of manual labor, the degeneration of the body, and notions of impermanence through drawing, installation, and video. Her necessity to merge the practice of cleaning and art-making is utilized to observe her constant obsession with cleanliness and is manifested in the impermanent installations done with the repetitive movements use to apply and remove charcoal in different surfaces: walls, rags, and paper.

READ MORE ABOUT NATHALIE ALFONSO HERE.

2020-09-10T15:30:25-06:00March 6th, 2019|Exhibitions, Nathalie Alfonso, Past Exhibition|

David Newman

February 16 – March 23, 2019

The artist’s enterprise engages the artist’s situation of being-in-the-world exhaustively: it is a dream, never completed, of the whole. The enterprise has its origin in the astonishment of perception: that there are things and not nothing, that one’s consciousness is always of some thing and never empty, that one is always intentionally comported with things as things full of meaning. The enterprise presupposes that it is in itself a mode of inquiry into the means of meaning, into the signification of images, into the making visible of the invisible. The artwork is this making visible of the invisible, of the artwork as the visible form of the invisible core of oneself within a world. The artwork is its theory, enacted in visible form, which is as much the theory of life as the theory of art, as much the practice of life as the practice of art. The situation of the artist is at once a vita contemplativaand a vita activa, in which the artwork enacts the unity of perception and interpretation, the unity of cognition and emotion and volition.

The enterprise, then, drawn from the observed world and the sedimented memories acquired in lived experience, becomes the basis of constructing a critique of the conditions of one’s being in the world. Redrawing the figures of Rembrandt’s Syndics as contemporary academics, and redrawing my father’s mechanical drawing of machine parts, I am constructing a critique of the corporate intrusion into academia and the concomitant instrumentalization of education.

pictured above: David Newman, Instrumental Oversight, 2018, lithograph, 20″w x 16″h

Read more about David Newman here.
2019-04-11T21:07:08-06:00February 14th, 2019|David Newman, Exhibitions, Past Exhibition|

Golden

February 16 – March 23, 2019

Lynne Harlow’s solo exhibition Golden is an exploration of the shared sensations of two seemingly dissimilar cities: Los Angeles and Istanbul. The pieces combine color, material, light and space to explore the affinities she perceives between these two cities, examining their concrete commonalities, like ceramic tile and proximity to water, as well as the atmospheric sensations of both locations. Their historical and cultural differences serve as a compelling counter to the shared essence of these locations. Goldenbuilds on previous projects like Limitless and Lonesome and Baker Bridge Road, projects that scrutinized physical locations and translated their sensory attributes into a group of reductive works executed in a range of materials, including paint, Plexiglas, fabric and light. Lynne Harlow’s working process aims to identify sensations and associations from personally significant and carefully chosen places, and allow them to evolve into their own autonomous experiences that expand beyond their initial sources.

Conceptually, the series is built upon her time spent in both cities as a visitor, an outsider, synthesizing visual and cultural information with the heightened sense of observation – visual perception and aesthetic interpretation – that so often comes with being outside our familiar surroundings. There is an overpowering sense of collision of the built environment with the natural environment in both Los Angeles and Istanbul, a trait that isn’t unique to these two places but is particularly prominent in both. The series aims to examine and interpret this collision of the natural and the constructed. In addition, both cities’ identities hinge on their unique east/west relationships: Istanbul as the literal geographic meeting of Europe and Asia, and Los Angeles as an organic intermingling of varied Asian and western populations as a result of geographic proximity. The project comprises large-scale installation pieces and a constellation of smaller individual works. The group includes small and large-scale drawings (colored pencil, gouache and acrylic on paper), sculptural wall works made with ceramic tile, Plexiglas, fabric and paint, and large-scale installation pieces that include ceramic tile, Astroturf, glass, fabric and vinyl curtain. This list is a combination of materials and techniques that Harlow previously used in the studio and others that are new to her practice.

pictured above: Lynne Harlow, Horizon 10, 2017, glazed ceramic and chiffon, 20″w x 4″h x 1″d

Read more about Lynne Harlow here.
2019-04-11T21:06:55-06:00February 14th, 2019|Exhibitions, Lynne Harlow, Past Exhibition|

Predicament of the Subject

January 5 – February 10, 2019

Predicament of the Subject is the title of Myra Barraza’s new solo exhibition at Liliana Bloch Gallery. The title “Predicament of the Subject” stems from Aristotle’s recognition of ten predicaments, or attributes that sum the range of human thought, in which one, or other, could find a category for any, and all concepts. Myra Barraza has created a series of small -scale social media paintings of men’s portraits of portraits referencing identity fluctuation. The exhibition also includes pieces from her Feral Female series, in which the artist paints what she calls “female sexuality portraits”. Barraza’s depictions constitute a sensual exploration of the frontier of female and male representation.

Predicament of the Subject will be accompanied by a catalog with an essay by Dr. Tania Pleitez Vela, author, researcher, and lecturer of Latin American literature. Dr. Pleitez Vela is an associate professor at the Universitat Autònoma de Barcelona and a correspondent member of the Academia Norteamericana de la Lengua Española (ANLE).

pictured above: Myra Barraza, Predicament of the Subject 2, 2017, oil paint on canvas board, 5″w x 7″h

Read more about Myra Barraza here.
2019-04-04T20:38:30-06:00January 5th, 2019|Exhibitions, Myra Barraza, Past Exhibition|
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