FAILE is a collaboration between Brooklyn-based artists Patrick McNeil and Patrick Miller. Since 1999, McNeil and Miller have constructed multimedia installations and large-scale paintings and sculptures. These works have catapulted them to the forefront of post-Warhol imagery.

Where Wild Won’t Break features FAILE’s hallmark prayer wheels. First introduced in 2008, the large, kinetic prayer wheels are hand carved from merbau, an exotic Indo-Pacific hardwood. Serving as an instrument for meditative contemplation, the wheels permit the participant to experience the images in a manner consistent with ancient Tibetan practices. As the participant turns the wheel, the wheel responds with a flow of reincarnating moving images.

The fourteen-foot tower residing at the center of the exhibition echoes FAILE’s recent collaboration with the New York City Ballet at Lincoln Center. The immense tower is enveloped in FAILE’s signature imagery. The individual images combine

extend into similar copper and wood works behind the tower. The pieces incorporate Texas themes drawn from FAILE’s recent visit to Dallas.

EXHIBITION SPONSORS:

Laree Hulshoff and Ben J. Fischer

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FAILE, una colaboración entre Patrick McNeil y Patrick Miller, crea Where Wild Won’t Break, una exhibición que presenta molinillos de oración tallados en exótica madera del Índico y una torre de más de cuatro metros de altura creada en colaboración con el New York City Ballet.

Georg Herold’s evolving exploration of material has questioned the underpinnings of international contemporary art for nearly four decades. Herold’s career began in the late 1970s when he enrolled in the Academy of Fine Art in Hamburg under the tutelage of Sigmar Polke and Franz Erhard Walther. During his study, he became associated with a group of radical young German artists, including Albert Oehlen, Martin Kippenberger, and Werner Buettner, whose work collectively challenged the meaning, status and value of the ubiquitously exhibited art object, as well as those who view and consume them.

In the 1980s, Herold broadened his oeuvre by embracing a material antithetical to the commonplace and unrefined batten: caviar. Despite the exorbitant price of this rare delicacy, Herold began using the small black eggs to create non-representational compositions on canvas. As this aspect of this practice has evolved, Herold has increasingly employed caviar in his paintings by exploring color, form, landscape and portraiture.

The eggs, which are preserved on canvas with lacquer, are often individually numbered in a tedious process, both methodical and poetic.

EXHIBITION SPONSORS:

Mark Giambrone, Meg and Daniel Gotvald, Perry Rubenstein Gallery

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Con su genio sardónico y un lúdico sentido de la ironía Georg Herold transforma con maestría los materiales comunes y despojados usados en la construcción comercial en formas escultóricas llenas de vitalidad, dinamismo y contradicción.

This two-person exhibition delves into the themes of impediment and apotropaic* gestures. In an attempt to liberate themselves from implied threats and obsessive ideas, the artists emphasize the very liminality of this threshold: the glass seeks the light to reflect its shadows, the marble leans towards the wall for support, weaponry placards long to be used by demonstrators or picketers, and the tranquilizing rhythmically folded curtain is hiding something on the other side. The process of stacking, folding and rearranging summons the overriding interests of Cochran's and Simek’s art—control, order, and insufficiency— thus bridging their practices with the traditions of feminist art-making. Cochran’s process speaks to the traditions of live art and performance in that it is process-oriented, abstract and conceptually driven, while Simek's works cull from minimalist and conceptual aesthetics, existing in the mode of indexical marks that focus viewer’s attention on the ephemeral and unseen. Both artists lean towards non-retinal pleasures. They emphasize the seductiveness of the written word involving the interplay of texts and objects. By building their own lexicon of meanings and sharpening it into a dialogue, Kristen Cochran

and Lucia Simek convey a kind of sculptural calligraphy, which they obtain from encoding the conceptual meanings of sculpture making.

*from Greek: apotropaios = designed to avert evil

EXHIBITION SPONSORS:

Karen and Howard Weiner

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Lucia Simek y Kristen Cochran crean una instalación que ahonda en los temas del impedimento y los gestos diseñados para el mal.

Avant-garde fashion designer Walter Van Beirendonck is one of the most renowned trendsetters of men's fashion. A graduate of the Royal Academy of Fine Arts in Antwerp, Van Beirendonck joined the revolutionary Antwerp Six in 1987, a collective of influential fashion designers. By 1999, he had coined the nickname Cultural Ambassador of Flanders. Van Beirendonck is known for his strong graphics, innovative cuts and unexpected color combinations. Each collection combines his fascination for pop music, comics, science fiction and cultural traditions; incorporating untraditional materials, including synthetic fibers, plastics and rubber.

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Walter Van Beirendonck, diseñador de moda de vanguardia, presenta su colección de moda masculina que explora la fascinación de Van Beirendonck’s por la música pop, el comic, la ciencia ficción y las tradiciones culturales.

Wipe Out is a collection of re-worked, appropriated imagery posted by females on the popular site, Tumblr. Pomara prints the low-resolution images repeatedly using custom digital glitches. Creatively disrupting the initial picture, the images are altered into a new digitized abstraction, producing a fresh new version of the mediated image. The final result is works printed on a transparency film that floats unframed on the gallery walls. Pomara is interested in the human element of technology. His spare, abstract paintings depict blurs, glitches, and printing imperfections, contradicting our vision of modern technology as seamless, cold, and rational. Inspired by entropy and mechanical failure, Pomara uses copy machines, printers, and the Internet to create visual representations of error. Dragging an image across a moving photocopier, he creates a blurred "glitch" that may be incorporated into a mature painting. When arranged serially, the works recall film stills and their attendant implications of moving and inert images, as well as the motion studies of Eadweard Muybridge.

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La exhibición de John Pomara, Wipeout, es una colección de imágenes incautadas digitalmente modificadas, tomadas de la página web Tumblr y presentadas en una película transparente que flota sin un marco preciso sobre las paredes del Dallas Contemporary.

Josephine Durkin's research and studio practice involves the creation of drawings, videos, sculptures and large-scale interactive and kinetic installations that personify recognizable or manipulated objects and materials. These are then used to suggest, mimic, invite or isolate human gestures, activities and relationships. She generates her drawings and paintings from object-making processes. The artist photographs leftover studio residue and prints them on heavyweight papers. The photographs are then used as a source material for her work in other media.

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La exhibición de Josephine Durkin, Gathering Flora, crea obras con una gran variedad de materiales que sugieren e imitan actividades, relaciones y gestos humanos.

For over a decade DZINE has captivated the international art scene with his psychedelic abstract paintings and ornate customized vehicles. Drawing from art history and pop culture, DZINE's work explores the world of Kustom Kulture, a genre of artistic practice that evolved from the hot rod craze of Southern California in the 1970s. Infusing his trademark visual and audio language, DZINE uses the sculptural and artistic form of lowriding to examine his emotional relationship with culture and beauty. His carefully crafted artworks are playfully situated between the contradictory worlds of conspicuous luxury and urban street life. In his exhibition, Victory, DZINE celebrates the universal desires for victory and recognition, while paying homage to his rich Puerto Rican heritage. The exhibition invites the viewer to savor the excitement of competition and revel in the enjoyment of success.

Special Thanks: 2G Art Services, Bad Boyz Kustom, Park Place Porsche, Sarah Buhler, Chester Chow, Noelia Cruz, Bruce Cueno, Emily Dahlquist, Bill Dougherty, Casey Gabel, Stephanie Gabel, Daniel Gonzalez, Hector Gonzalez, Jasmine Gonzalez, Erica Guajardo, Timothy Holtin, Chiara Keeling, Soo Kim, Anna Murphy, Kim Nieves, Nina Norris, Marco Ocampo, Mila Rolon, Paolo Rolon, Sara Ramirez, Ernesto Salgado, Elissa Stafford, Erin Stafford, Shinobu Suzuki, Darcy Terrell

EXHIBITION SPONSORS:

Jimenez-Colon Collection, Ponce, Puerto Rico, Park Place Porsche, Salon 94, Sue Gragg Precious Jewels, The Belmont Hotel

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En su exhibición, Victory, DZINE crea pinturas abstractas psicodélicas para celebrar los deseos universales de victoria y reconocimiento mientras rinde homenaje al rico legado puertorriqueño.

Los Americanos features newly commissioned works by Texas-based artists Morehshin Allahyari (Dallas), Joshua Bienko (College Station), Chivas Clem (Paris), Hillary Holsonback (Dallas), Bogdan Perzynski (Austin) and Jason Reed (New Braunfels).

Inspired by the larger than life cinema history of Texas, Los Americanos explores the ephemeral through various cinema metaphors for identity, history and culture. Each artist has created his or her own independent project examining everyday life in Texas - past, present or future. The vignettes address a range of topics, including visual rhetoric and psychogeography, astrological facts and fiction, the contrast between life and film, self-portraiture and cultural archetypes. Together, the chapters coalesce into a film without a linear narrative and become a meditation on the present moment. There is no beginning or end to Los Americanos, just movement forward.

EXHIBITION SPONSORS:

Nona and Richard Barrett, BlueLabel.net