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|

Culture Place

Culture Place

Dallas Art Fair Launches Digital Marketplace

(Dallas, TX – July 9, 2020) – Today, the Dallas Art Fair has launched Culture Place, Inc., a digital marketplace for contemporary art collectors to discover, connect, and buy from galleries across the region, which will be augmented with weekly artist studio visits, conversations, and another online programming.

As an extension of the Dallas Art Fair brand, collectors will be able to easily search for art by gallery, artist, and title, and then make their purchase through the Culture Place platform. Culture Place will focus on highlighting Texan galleries, but will also welcome galleries and programming from neighboring states. Invited galleries will refresh their artworks every 60 days and are able to use Culture Place even if they have not participated in the Dallas Art Fair before.

The launch comes on the heels of the first-ever online Dallas Art Fair, which ran in April after the physical fair was postponed due to the pandemic. The quick pivot to a fully digital fair proved highly successful, resulting in nearly $3 million in sales for participating galleries during the course of the 10-day venture.

“Culture Place will enable dealers to connect with our audience of collectors on an ongoing basis, to engage more deeply in conversations about art in today’s world, and to facilitate the sale of art when the opportunity for physical engagement has evaporated. We have cultivated meaningful relationships and friendships with our gallerists over the past dozen years and we aim to continue to help them showcase their artists’ work to the world,” says John Sughrue, Culture Place, Inc. Founder and Dallas Art Fair, LLC Chairman.

“Culture Place is an ongoing digital exchange to promote a cultural lifestyle. We will continue our mission to connect our audience to a curated offering while highlighting the best of our region,” says Kelly Cornell, Culture Place Director and Dallas Art Fair Director.

In addition to her role as Dallas Art Fair Director, Kelly Cornell will take on the role of Culture Place Director. Dallas Art Fair Director of Exhibitor Relations Brandon Kennedy will assume the position of Content Director, and Dallas Art Fair VIP Relations Sarah Blagden will assume the position of Head of Programming.

PARTICIPATING GALLERIES

  • 12.26 (Dallas)
  • A Dirty, Dark Place (San Antonio)
  • Bill Arning (Houston)
  • Conduit Gallery (Dallas)
  • Cris Worley Fine Arts (Dallas)
  • David Shelton Gallery (Houston)
  • Erin Cluley Gallery (Dallas)
  • Galleri Urbane (Dallas)
  • Holly Johnson Gallery (Dallas)
  • Inman Gallery (Houston)
  • Laura Rathe Fine Art (Dallas/Houston)
  • Liliana Bloch Gallery (Dallas)
  • McClain Gallery (Houston)
  • Moody Gallery (Houston)
  • Nancy Littlejohn Fine Art (Houston)
  • Ruiz-Healy Art (San Antonio)
  • Sean Horton Gallery (Dallas)
  • Valley House Gallery & Sculpture Garden (Dallas)
  • William Campbell Contemporary Art (Fort Worth)

CONNECT

Website: cultureplace.com
Instagram: https://www.instagram.com/thecultureplace/

ABOUT DALLAS ART FAIR LLC

Dallas Art Fair LLC’s mission is to promote the contemporary arts locally, nationally and internationally. Over the past twelve years, Dallas Art Fair LLC has hosted the annual Dallas Art Fair in the heart of the downtown Dallas Arts District, where nearly 100 international art dealers engage with approximately 20,000 attendees each year. In 2012, Dallas Art Fair LLC formed the Dallas Art Fair Foundation to further promote contemporary arts in Texas; to date, it has raised and donated over $1.5 million to the Dallas arts community. In 2016, the Dallas Art Fair Foundation Acquisition Program was created to enable the Dallas Museum of Art to acquire works from the Dallas Art Fair for the museum’s permanent collection. The Dallas Art Fair Gallery (formerly 214 Projects) was established in 2019 to facilitate year-round programming. In 2020, Dallas Art Fair LLC launched Dallas Art Fair Online and a year-round digital marketplace for contemporary art via Culture Place. For more details, visit dallasartfair.com.

PRESS CONTACTS

Adam Abdalla, Cultural Counsel
adam@culturalcounsel.com

Jill Robinson, Cultural Counsel
jill@culturalcounsel.com

2020-09-11T10:06:50-06:00July 9th, 2020|Events, 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. 

Save the Date: A Posteriori at Liliana Bloch’s New Art Space

Liliana Bloch Gallery • Press

Save the Date: A Posteriori at Liliana Bloch’s New Art Space

After a brief delay due to the public health crisis, Liliana Bloch Gallery has announced the opening of its new location at 4741 Memphis Street, in the Dallas Design District, with A Posteriori, a group show.

This exhibition aims to open an honest conversation about how the current world COVID-19 crisis has affected, threatened, and challenge every aspect of our present and future life as we know it. The show will include works by Nathalie Alfonso, Alicia Eggert, Alicia Henry, Tim Best, Ann Glazer, Ryan Goolsby, Vince Jones, Kathy Lovas, Leigh Merrill, Pedro Vélez, Sally Warren, and other artists to be announced at a later date.

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 19th. 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,” says Liliana Bloch.

Bloch continues, “The decision to open with a group show was made after much stress and careful consideration. Kathy Lovas was set to open the new location with a solo exhibition, and we have been having long phone conversations every week, assessing where things are regarding the pandemic. We made the decision to postpone her solo show because it just doesn’t feel like the right way to come back to the art scene given the circumstances,” Bloch explains. “In addition, I have not seen an honest and raw visual art conversation in Texas about the health crisis. I hope to change that with A Posteriori, and I can’t wait to see what the participating artists will produce.”

We asked Bloch if she felt as though the stakes are higher for artists and galleries to produce work during the shutdown:

“That is a good question, and difficult to answer because every gallery has its own commercial and artistic objectives. I think my gallery and roster has always operated with the premise that our reputation is at stake in every single show that we produce. I want to believe that with the lockdown, we will understand the importance of living in a visually enriching public, personal, and working environment, and this may lead to an increase in collector numbers. Art has always been therapeutic, and the lockdown may have taught us that the objects that surround us do matter, and they do make a difference in our physical and psychological well-being.

I must say that the stakes are high for us all to find new ways to communicate and be patient with the imperfections and limitations we are experiencing. As painful as this time has been, it is also a one in a lifetime opportunity to come out if better, and wiser.”

A Posteriori will be on view June 20–August 1

2020-09-12T13:38:24-06:00June 16th, 2020|Press|

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.

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|

D Magazine

D Magazine

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

UNTITLED 2017 MIXED MEDIA, ACRYLIC ON FELT, THREAD AND FABRIC(ALICIA HENRY / LILIANA BLOCH GALLERY)

Read the full article here and read more about Alicia Eggert here.

2020-09-10T16:04:07-06:00March 21st, 2020|Alicia Eggert, Press|

The Demented Goddess

Liliana Bloch Gallery • Press

The Demented Goddess

I call this my mask: Tim Best’s Poser Project

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.”

Read the full interview here.

Read more about Tim Best here.

 

2020-07-06T13:11:38-06:00September 18th, 2019|Press, Tim Best|

Visual Art Source

“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.”

-John Zotos

Read the full article here.

Read more about Leigh Merrill here.

2019-04-27T19:28:21-06:00April 27th, 2019|Leigh Merrill, Press|
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