Tag Archive: Julie Libersat

January 14th Openings at 500X

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January at 500X Gallery
500X Gallery, 500 Expositon Ave., Dallas, TX 75226 500x.org

January 14th – February 5th, 2017

Opening Receptions January 14th, 2017 | 7-10 pm
Livedalen500xTo Lisa, With Love
Rachel Livedalen
 
This solo exhibition by Rachel Livedalen features new drawings that combine images of idealized femininity through canonical works of western art history with her love of 1990s Lisa Frank stickers and ephemera.

 

Cravens500x
House
Lynne Bowman Cravens
 
Cravens is exploring the idea of memory and nostalgia by photographing her childhood home. She used appropriated family photographs to serve as the anchor for the series. After examining the precise locations in the house in which the original photographs were taken, she then re-photographed the same areas. The building has undergone cosmetic changes over the past several years, and has transitioned from being her family’s home to becoming a rental property. From images full of artifacts and mementos, to starkly empty spaces, the house becomes barely recognizable. This project not only focuses on Cravens’ memories of the house, but also on how the recent physical changes done to the building affect perception of the space.
Lorenz500x
rabbit holes, the descent
Seth Lorenz
 
Lorenz’ new exhibition is the second chapter in the body of his work “rabbit holes,”. He continues to use elements of the home and objects of memory to investigate the intricacies of the human psyche and its’ emotional aptitude to cope, confront and heal from trauma and suffering.
Escapes
Julie Libersat
 
Escapes, a solo exhibition by Julie Libersat, explores the aesthetics of public space with works that blur the lines between virtual and real landscapes. Using 3D prints and images from the video game SIMS, Escapes presents a landscape that reflects the ubiquity and homogeneity of a placeless cityscape. The built environment directs our orientations and cultural values through the meaning we construct around the buildings and places occupied within memory, dreams and imagination. Our cities, neighborhoods and buildings reflect our personal, cultural and political histories and imaginaries. How does the design of the built environment colonize space and nature to manufacture desire in the landscape of capitalism?
January Project Spaces 
Replicate
Ross Faircloth and Ashley Whitt
Ross Faircloth: As our lives are becoming more and more influenced and connected to technology I have become interested in how and where this is taking place and more specifically at the possible outcomes of the lines between reality and simulated reality blurring to the point of non-existence. Video game consoles are increasingly becoming more than just for games and are hubs of entertainment in many homes. Contemplating the amount of control given to machines over our daily lives the images serve as a haunting reminder that a simulated world can be just as fragile and manipulated as our ‘real’ one, if not more so. We should be careful to place too much blind trust in these imperfect systems. The images in this series are created through a Playstation 4 and the game Call Of Duty: Black Ops III ®. The images are either multi-layered or cut-up to create another level of separation from reality.
Ashley Whitt: Inspired by the readings of scientists including Lawrence Krauss and Steven Hawking, the focus of Ashley Whitt’s work is a questioning of existence and reality. Responding to the theories that a multiverse could exist, Whitt creates visual parallel realities within her work. The dichotomy of the vast versus the miniscule is explored through a variety of imagery including landscapes and self-portraits. How would another universe look? Is it possible for two or more realities to exist at once? These questions are explored through analog and digital photographic imagery that is manipulated and layered in Photoshop.
Assembly #1
Alex Heffesse
Curated by Lindsey Larsen
 
Heffesse is a one-man enterprise. An inspector of the manufactured landscape. With a questionable production cycle that terminates at the prototype, the sculptural objects mimic a proof-of-principle, meaning, a demonstration in principle with the aim of verifying practical modes of production. The prototypes, in some degree, serve to verify key aspects of society. Creating enigmatic narratives of man-made environments. Past, present, and future. The prototype is the only truth in a world full of disguise.

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