Liliana Bloch Gallery is pleased to present its first public exhibition of Texas-based multi-disciplinary artist Ted Kincaid.

Not In Another Place, But This Place is a ten-year survey of an ongoing body of real and manufactured photographs that explores a dialogue between the elements of earth, sea, sky, and the human figure. Mystical, sensual, and sublime, this decade-plus oeuvre re-envisions the simultaneous emergence of the Aesthetic, Mystical and Homosocial Network Movements of the 19th Century and the concept of homosexuality as an innate identity rather than a behavior. Using Walt Whitman, Thomas Eakins, and Herman Melville as artistic pioneers and cultural touchstones, Kincaid has blurred the line not only between real and manufactured realities, but also between real and imagined histories.

Central to this body of work is the concept that the artist’s identity manifests itself in his aesthetic response to all subject matter, and that the concept of “queer art” must extend itself beyond what is traditionally accepted as such. In short, Kincaid’s photographic response to the male figure, the forested landscape, and the rolling waves are inseparable — and should be viewed as a single, cohesive statement and body of work.

This important survey covers a considerably prolific phase of the artist’s career and casts a well-deserved light on this complex and sublime oeuvre. While displayed at major museums and galleries across the United States, the vast majority of works presented here have never been exhibited in the Dallas / Fort Worth metroplex.

Ted Kincaid is one of the most recognized and respected artists from North Texas. He has been reviewed in ARTFORUM and is included in the permanent collections of Dallas Museum of Art; L’Associazione Fotografica Imago in Arezzo, Italy; The Museum of Fine Arts, Houston; San Antonio Museum of Art; Columbus Museum of Art; and the Georgia Museum of Art where Kincaid had his first solo museum exhibition in 2018.

Over the course of three decades, Kincaid has systematically subverted the notion of an objective photographic record and examined the play between painting and photography. He has created multiple series of works that explore the discourse between a totally manufactured image which appears to be a straightforward photograph and an actual photograph that has been altered so fantastically that the viewer would assume it is a painting. To put it simply, his paintings are informed by photography and his photographs are influenced by painting. 

The exhibition will be accompanied by an essay by Jonathan Frederick Walz, Director of Curatorial Affairs & Curator of American Art and Co-Curator of Alma W. Thomas: Everything Is Beautiful, which received considerable critical attention during its tour of the Chrysler Museum of Art, The Phillips Collection, Frist Art Museum, and The Columbus Museum. Walz's expertise is in American Modernism and supporting diversity, inclusion, and multiculturalism in art and history.