Five Shows: Dallas/Fort Worth

Five must-see exhibitions to kick off Dallas Art Month

“Blood Shot is Blood Loved,” 2017, Simeen Farhat, resin, monofilament, dimensions vary
Photo: courtesy Cris Worley Fine Arts

Simeen Farhat, “Blood Shot is Blood Loved”
at Cris Worley Fine Arts
On view through May 6, 2017
The inseparable nature of aesthetics and politics is perfectly demonstrated through site-specific installation art by Simeen Farhat. Born in Pakistan, she has lived and worked in the U.S. since 1992, exhibiting internationally, and collected as such. For this exhibition, her second solo show at the gallery, Farhat has seized upon the totalizing notion of blood, inspiring meditations on blood as life, spilt blood, loss, and the universal. In a singular tone of red the artist weaves tendrils of acrylic, resin, and monofilament, evoking the quantity of blood falling to the ground, splashing energetically in all directions. Her abstraction of the liquid flow into sculptural form creates an inhabitable environment within the gallery. This thought provoking exhibition is a promising continuation of Farhat’s previous aesthetic propositions, most effective in A Teardrop in Disperse, A Bubble Bursts, and A Red Drop of Blood (all 2015).


detail of “Surfaces” (95 modules), 2017, Elise Eeraerts, marbled porcelain
Photo: courtesy of the Artist and CYDONIA, Fort Worth

Elise Eeraerts, “Surfaces”
at Cydonia Gallery
On view through April 22, 2017
Cydonia Gallery continues to curate conceptual, aesthetically progressive programming by bringing Elise Eeraerts to the gallery for her first solo exhibition in the U.S. Born in Belgium, Eeraerts’ sculptural practice has been called epistemological in that she proposes the fabrication of works of art that exist somewhere between the Kantian knowledge dichotomy that pits a priori reason against a posteriori reason, the former derived through deduction and the latter through empirical evidence. In Surfaces, she tackles Neoclassical sculpture in a three-part installation comprised of porcelain sculptures designed to resemble marble, flat two-dimensional replicas of the sculptures, and scaled representations in print. In a period that often mimicked precious materials in a deceptive practice, Eeraerts asks the viewer to process the visual information in objects through a type of looking that pierces surface façades, perhaps revealing an unknown.


“livingroom #3 with ravens act 7 and the narrator 5.9.2016,” 2016, Nic Nicosia
Archival inkjet on Hahnemuhle Rag Paper, 24″ × 36″ Photo: courtesy Erin Cluley Gallery

Nic Nicosia, “At Home On Time”
at Erin Cluley Gallery
On view through May 6, 2017
Nic Nicosia’s photography is associated with staged photographic practices linked to postmodernism of the late ’70s. This exhibition will include photographs, drawings, and sculpture made since his return to Dallas after spending 11 years in Santa Fe, NM, as he gears up for the next chapter of his career in his hometown. His work has appeared in two Whitney Biennials and in Documenta IX, with several exhibition catalogues and monographs following his extensive output all around the art world. In this particular series, Nicosia revisits living rooms where his work already resides, to which he adds his own sculptures and drawings, thus reconfiguring the room for a new photograph. In so doing, he revisits his own work, via the commissions, and how the rooms become the subject of a portrait themselves, referencing classic postmodernist hallmarks: appropriation art and the copy vs. the original.


“Cool Aid 2,” 2017, John Pomara, Oil enamel and spray paint, 48″ x 36″
Photo: courtesy Barry Whistler Gallery

John Pomara, “Digital-Hypnosis”
at Barry Whistler Gallery
On view through May 13, 2017
Dallas-based John Pomara has consistently pictured the precarious and choppy passage of time as marked by the urban, postmodern landscape in paintings strong in color and line. His art conceptually works its way through both digital and analog processes, bordering on the methodical, that leads to a discovery about the interplay of surface elements, resulting in abstract paintings with a deceptively whimsical tone. His paintings are informed by the energetic and chaotic flow of information in multiple formats that range from computer code, sound tones, photocopies, the Instagram stream, and many others. This exhibition of his newest work includes stencil oil paintings on canvas and aluminum, photographs and wall vinyl. This culmination of a three-decade career clearly indicates Pomara’s determination to continue demonstrating the vitality of painting itself.


From the folio, “Then & Now,” 2005, Ed Ruscha. Photo: Kevin Todora.Courtesy galerie frank elbaz.

at galerie frank elbaz
On view through July 1, 2017
In the ambitious group exhibition Paris Texas at galerie frank elbaz, pieces by six important artists—Francis Alys, Davide Balula, Julie Cook, Robert Rauschenberg, Ed Ruscha, and Blair Thurman—have been gathered together around themes expressed through adventures on the road. The show picks up where Wim Wenders’ iconic film leaves off and also references the connection between Paris and Texas, each place now home to Elbaz’s art galleries. Paul Galvez, curator and Art Historian, has grouped together rarely seen works of art that identify road trips and what their artistic records reveal about social and cultural issues as in Ed Ruscha’s photography book Then & Now, documenting a 12 mile strip of Hollywood Boulevard in 1973 and 2004. Selections from the portfolio and the original book will be on view, as well as The Loop, by Francis Alys, where he recorded his journey around the globe in a critique of US-Mexico border relations. Pieces by the other artists along similar lines echo this a distinctly American journey.

On Homepage:
Installation view of: PARIS TEXAS, curated by Paul Galvez, galerie frank elbaz, Dallas, TX, April 1 – July 1, 2017. Courtesy galerie frank elbaz. Photo: Kevin Todora.