This captivating installation by Hubbard & Birchler, which supports an impossible dialogue between an elderly son and his young mother, is an impressive example of how “rephrasing” and “rewriting” histories can carry an emotional impact. Claire Walsh, “Notes from Venice,” MAP, August 4, 2017
Paddy Johnson is the Founding Editor of the blog Art F City.
Generally I think my work is the research I do. Minerva Cuevas, “Bridging Borders: Minerva Cuevas,” Extended Play, Art21, March 24, 2017
A founding Principal of Kennedy & Violich Architecture Ltd. (KVA), Kennedy has been designated as one of Fast Company’s Masters of Design, described as an “insightful and original thinker who is designing new ways of working, learning, leading and innovating.” MITei news release
Booksigning at 6 pm.
Is any art that depicts a vivid sense of doom and gloom immediately relevant in 2017? Yes, if Robyn O’Neil’s current solo exhibition The Good Herd is any indication. Previously, the Los Angeles-based artist’s dark surrealism felt like an anachronism. Her drawings in exhibitions like 2011’s Hell were, at once, a throwback to Odilon Redon’s trippy drawings and Edward Gorey’s Goth wit. Emily Colucci, “You Want It Darker: Robyn O’Neil’s ‘The Good Herd’ at Susan Inglett Gallery,” Art F City, February 23, 2017
My interest in horror is in its evolution and how it served as a salve or catalyst for society to deal with the fear of others. I’m not really interested in slasher films. A lot of my focus is on individuals who in the end are human. Margaret Meehan, “Q+A with Margaret Meehan,” by Rebecca Marino, Conflict of Interest, February 14, 2017
"Exuberance is beauty," William Blake said, and Luca Dellaverson's show is nothing if not exuberant. This 28-year-old artist has energy, ideas, ambition, and desire, along with an admirable sense of respect of art world elders and history. His paintings abound with references to literary, artistic, and pop culture figures ranging from Robert Graves, Cady Noland and David Hammons to Jurassic Park references. . . .
Margee Kerr is a fear junkie. Roller coasters, haunted houses, heights, abandoned prisons, ghosts (well, maybe), even death—she confronts them with the relentlessness of a zombie Terminator. . . . Kerr goes deep into the biological and scientific definitions of fear, rather than dismissing the experience solely as an emotion. . . . “Every organism, from the fruit fly to the human, has a defense or threat response,” she reminds.
Booksigning at 6:15 pm.
A driving force behind this series, which depicts interior rooms and exterior scenes, is that the subject matter takes photography to the edge of where it fails as a medium. “Photographs,” Keasler explains, “are often used to document an experience, yet the experience of walking through a haunted house is completely lost in each of the still images. . . . The immersive experience just does not translate.” Andrea Karnes, “Fear Fantasy,” Misty Keasler: Haunt
Linda and Ed Blackburn have made art and managed their careers in Fort Worth for many years, becoming important fixtures in the North Texas art community. Dr. Mark Thistlethwaite is the Kay and Velma Kimbell Art History Chair at TCU and a significant fixture in the community in his own right. All three have a long and enduring relationship with the Modern.