TRINE ELLITSGAARD (OAXACA, MX)
GARY GOLDBERG (WICHITA FALLS, TX)
DESIGN BY MERKKI (GUADALAJARA, MX)
FRANCISCO MORENO (DALLAS, TX)
CRUZ ORTIZ (SAN ANTONIO, TX)
FRANCISCO TOLEDO (OAXACA, MX)
RENÉ TREVIÑO (BALTIMORE, MD)
ANTONIO TUROK (OAXACA, MEXICO)
AUGUST 25 – OCTOBER 6, 2018
SATURDAY AUGUST 25, 6:00-8:00PM
PREVIEW THE EXHIBITION ONLINE >>>
MEXICO presents photographic works, paintings, designs and textiles where Mexico – by way of influence, location and artisans – is the common thread.
The exhibit uses the current interest in discourse on the future relationship between Mexico and America to explore how the two cultures have historically been inextricably related concerning art. Artists of different descents and practices showcase how the rich cultural heritage of Mexico and its long-standing relationship with America has influenced their lives and artistic expression.
ABOUT DESIGN BY MERKKI
Design by Merkki is a presentation of the mergence of traditional craft and design, and is an auxiliary of Ceramica Suro, the tile and contemporary art production firm seen in Dallas in inspiring spaces such as Forty Five Ten and Jose.
SPECIAL EVENT >>> SATURDAY SEPTEMBER 29, 6:00PM
Celebrating the interdisciplinary overlap of Mexican and American fine arts cultures, Erin Cluley Gallery will host a classical guitar concert by Jacaranda Guitar Ensemble in the exhibition space on Saturday, September 29, at 6:00 p.m. Jacaranda Guitar Ensemble features globally known local classical guitarists Leslie Enlow, Pedro Haley and Carlo Pezzimenti.
IMAGE: RENÉ TREVIÑO, Death and Zero, 2018, acrylic, embroidered lace and rhinestones on metallic leather, 37 x 28 inches.
ROBERT BECK/ROBERT BUCK
PRESENTATION IN THE GALLERY’S BACK ROOM
AUGUST 25 – SEPTEMBER 22, 2018
SATURDAY AUGUST 25, 6:00-8:00PM
Robert Beck/Robert Buck will exhibit selections from three bodies of work from his trans-disciplinary practice: Kodak Instant photographs (1979-80); a “diagnostic drawing” (2007); and Cell (Winter Mimicry 0.1) (2008). The three series exemplify his abiding investigation into identity and interpretation, and the ways they are ciphered by artistic materials, ranging from traditional art supplies to non-art materials. Taken after Beck moved to New York City in 1978, the Kodak images capture a moment staged by the artist, vignettes from a larger narrative of youth, burgeoning creativity, and self-invention. From 1997 to 2007, Beck executed a vast series of works on paper, examples of psychological tests, referred to clinically as “diagnostic drawings,” which are used to calibrate, and often prescribe, a subject’s personality, usually a young person.
Also featured are several Cell (Winter Mimicry 1.0) works, relief-like clusters of interlocking hexagons, printed hydrographically with a trompe-l’oiel pattern of tree bark and twigs, moths and pupa. The honeycomb formations infer a web of interconnected but increasingly isolated individuals, able to camouflage and morph their identities. In 2008, Beck altered his surname by one letter, e to u, Beck to Buck. Precipitated by his artistic development, this small but dynamic change allowed the artist to reconceive his artistic self, and challenge our notions of art making, authorship, identity, and patriarchy. He effectively bypassed the system structured by the Name-of-the-Father (the paternal figure of the law, so termed by the psychoanalyst Jacques Lacan, that upholds patriarchal institutions, such as family, church, nation, and markets).
The show is presented in partnership with Takako Tanabe’s Ulterior Gallery, New York and will be on exhibit when Buck visits the Fort Worth Modern on Tuesday, September 11, for a guest lecture presented by Tuesdays at the Modern.
IMAGE: ROBERT BECK, Untitled (Jeb in trees), 1979, Kodak instant print (integral dye diffusion print), 3.25 x 4 inches.