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CURRENT EXHIBITIONS

Mary Katrantzou. Azalea dress from Spring-Summer 2018. Courtesy of the artist

MARY KATRANTZOU

Mary, Queen of Prints

14 JANUARY - 18 MARCH 2018

Mary, Queen of Prints explores the catalogue of fashion designer Mary Katrantzou. Katrantzou has made her mark on the fashion industry beginning with her graduation show in 2008, which featured trompe l’oeil prints of oversized jewelry on jersey-bonded dresses. Her work has since become defined by wit and whimsy paired with sophistication. Diverse inspirations for her collections range from the pages of Architectural Digest and Fantasia to the amphora of Ancient Greece. The designer is known for her use of technology to push the spectrum of possibility—creating intricate and unexpected textiles made desirable through her feminine silhouettes. Katrantzou plays with clashing aesthetics, yet creates harmonious assemblages of images by mixing technology and craftsmanship, while exploring opulent, innovative embellishments.

 

This exhibition celebrates the 10th anniversary of Katrantzou’s brand, from garments to accessories and textiles. The works offer an exploration of the designer’s architectural tailoring and inventive techniques. Grouped according to color instead of chronology, the exhibition aims to highlight Katrantzou’s skill as a colorist and her use of the full spectrum of the rainbow, which has been central to her aesthetic since the brand's conception.

 

Born in Athens, Mary Katrantzou studied Architecture at the Rhode Island School of Design and graduated with a BA in Textile Design and an MA in Fashion from Central Saint Martins. Katrantzou has received many accolades including the Swiss Textiles Award in recognition of her pioneering textile treatments, the British Fashion Award for Emerging Talent, Young Designer of the Year at the Elle Style Awards, Harper’s Bazaar Breakthrough Designer award, and the British Fashion Award for New Establishment. She has collaborated with Adidas, Longchamp, Swarovski, and Moncler on capsule collections in addition to designing the costumes for the New York City Ballet and the Paris Opera. She has been included in major fashion exhibitions including Beauty—Cooper Hewitt Design Triennial at the Cooper Hewitt, Smithsonian Design Museum, The Vulgar: Fashion Redefined at the Barbican Art Gallery, Britain Creates 2012 at the Victoria & Albert Museum, and Manus × Machina at the Metropolitan Museum of Art. Mary, Queen of Prints is Katrantzou’s first solo museum exhibition.

 

Curated by Peter Doroshenko, Executive Director,

and Justine Ludwig, Deputy Director / Chief Curator

 

Major Sponsors:

 

NANCY C. + RICHARD R. ROGERS

 

Education Sponsor:

 

 

Supported by:

 

 

anonymous   DALLAS ART FAIR   BARBARA DASEKE

TAMMY COTTON HARTNETT   LAREE HULSHOFF + BEN FISCHER

CARLA MARTINENGO   GOWRI + ALEX SHARMA   MAXINE TROWBRIDGE

 

Media Sponsor:

 

Valerie Keane. Detail of Afterburner, 2016. Photo courtesy of High Art, Paris

VALERIE KEANE

The desire to be everything

14 JANUARY - 18 MARCH 2018

Valerie Keane’s biomorphic sculptures evoke Frankenstein’s monster through the merger of myriad sources of inspiration. Each series of references establishes contradictions. The works are hybrids, both human and architectural in form. Their surfaces are skins—stretched, pierced, and captured mid-metamorphosis. Keane intentionally courts the unfamiliar in these works. They are meant to feel Other, both Gothic and alien.

 

Keane mines how architecture inspires and controls the way that people act. Looking at alternative spaces that enable fringe behavior, such as nightclubs or punk venues, the artist highlights the relationship between appetite, action, and space. Simultaneously she echoes the futuristic high-rises of new urban landscapes such as Dubai and Seoul, which speak to societal aspirations, contrasted with imagined space only possible within fictional worlds.

 

These hybrids precariously hang from the ceiling, allowing gravity to function as collaborator—implying organic stalactite-like growth. Concurrently, exposed industrial hanging points evoke bondage, control, and desire.  Each sculpture’s glossy surface reflects distorted visions of their surroundings. Culminating in works that are responsive even as they are stationary.

 

Keane’s acrylic and metal works are sculpted through an elaborate process of laser cutting and drilling—composing forms that are defined through tension. This signature technique is influenced by Keane’s past experience working in a neon and sign studio where scraps and cutoffs served as raw material for her early work. This source of material establishes a visual conversation with advertising, Americana, and kitsch.

 

Transforming in meaning through the eyes of each viewer, the exhibition takes on a performative function. Keane’s work sets a stage for the viewer’s subconscious and serves as a proposition for how built space forms the way we live.

 

Keane studied at The Cooper Union in New York City. She has shown extensively at galleries throughout the United States and Europe. The desire to be everything is her first museum exhibition.

 

Curated by Justine Ludwig, Deputy Director / Chief Curator

 

Major Sponsor:

NANCY C. + RICHARD R. ROGERS

 

Education Sponsor:

 

 

Supported by:

 

 

DALLAS ART FAIR   TAMMY COTTON HARTNETT

 

Media Sponsor:

 

Enoc Perez Comerica Tower Dallas, 2017. Courtesy of the artist and Peter Blum Gallery, New York

ENOC PEREZ

Liberty & Restraint

14 JANUARY - 3 JUNE 2018

In an examination of modernist architecture and contemporary art, Enoc Perez has created a new body of work that engages Philip Johnson’s legacy in Texas.

 

Johnson, whose life and work are not without criticism, is one of the foremost American architects of the 20th century. With an illustrious career that includes the inaugural curatorship at the Museum of Modern Art’s Department of Architecture and Design, Johnson is known for his oversized personality as much as his structures that survive him.

 

Perez has in recent years focused his architectural work on the late Johnson, most notably with his series of paintings depicting Johnson’s Lipstick Building, which were exhibited inside the architect’s Glass House in 2015. Here, Perez expands upon this project by highlighting Johnson’s extensive work in Texas, which includes the depiction of and installation at 8 locations in Dallas and Fort Worth: the Amon Carter Museum of American Art (Fort Worth; 1961), The Beck House (Dallas; 1964), John F. Kennedy Memorial (Dallas; 1970), Fort Worth Water Gardens (1974), Thanks-Giving Square (Dallas; 1976), The Crescent (Dallas; 1985), Comerica Bank Tower (Dallas; 1987) and Cathedral of Hope (Dallas; 2010).

 

Adopting an incremental paint layering technique that mimics Warholian printmaking, Perez strips these landmarks of their functionality, presenting them as art objects through repetition as if to suggest the accumulated passings of a daily commute.

 

Accompanied by public installations at the Johnson locations, Liberty & Restraint invites the viewer to examine their relationship to the urban landscape by challenging the boundary between interior and exterior, and between architecture and art.

 

Born in San Juan in 1967, Perez relocated to New York City in 1986 to study painting at the Pratt Institute. In addition to his primary focus on architecture, he has explored such diverse subject matters as portraits, nudes, and still lifes. Perez's work can be found in museum collections such as: The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; The British Museum, London; Yale University Art Gallery, New Haven; and San Francisco Museum of Modern Art.

 

Curated by Peter Doroshenko, Executive Director, and Abby Lockett, Curatorial Assistant

 

LOCATIONS + EVENTS

 

Major Sponsor:

NANCY C. + RICHARD R. ROGERS

 

Education Sponsor:

 

 

Supported by:

 

NEW YORK

 

MIL BODRON   DALLAS ART FAIR   CLAIRE DEWAR

SUSAN GOODMAN + RODNEY LUBEZNIK   TAMMY COTTON HARTNETT

RODGER KOBES   STAVROS NIARCHOS   HARRIS POLAKOFF   TONY SHAFRAZI

 

Media Sponsor:

 

 

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