Boom Town at the Dallas Museum of Art

| margaret

The Art Foundation in Dallas SITES: Available Space


July 19-August 18. 2013
Dallas Museum of Art, Dallas, Texas

+ Opening Reception: Friday, July 19, 6-9 PM
+ Panel Discussion: Friday, July 19, 9 PM in the Horchow Auditorium

There is an absurdity in creating cultural products when there is no culture to justify them.
– Luis Camnitzer, “Contemporary Colonial Art,” 1969

Boom Town, an exhibition organized by The Art Foundation for Available Spaces, describes the tangle of networks – political, economical, geographical, social and historical – that shape Dallas’ current cultural climate. The exhibited work is by a handful of exemplary artists with connections to Dallas whose various modes of expression evince equal parts conflict, anxiety, or refusal. Without posing a justification for their choice to be here, Boom Town reveals the vibrancy and viability of this city’s artists, in hopes of aiding in their liberation from the burden of the local.

Artists: Jesse Morgan Barnett, Dallas Biennial 2012, Cassandra Emswiler, Brandon Kennedy, M, Kirsten Macy, Margaret Meehan, Keri Oldham, Tom Orr, Arthur Peña, Linda Ridgway, Gregory Ruppe, Paul Slocum, and Terri Thornton. For more information [link].

semigloss. Issue 3 Succeeds in its Goal of Exploring Failure

| margaret

“Glass says the magazine, intended to be a gallery in print, has evolved over the course of its first three issues. “For the first, I posted a call for submissions. I selected the second issue’s contributors based on a combination of submissions and several people that I addressed specifically to propose something. The most recent issue was more of a curatorial process, during which I made a list of artists or writers that I felt would either have interest in, or whose work already dealt with concepts or practices related to the focus of the issue in question.”

Bradly Brown of HOMECOMING! Committee serves as the magazine’s designer. His piece, “Diamond Crash,” is laid out beneath Glass’ editorial, and he said the usage of frosted vellum, a transparent paper for Margaret Meehan’s “Julia Pastrana, 1834-1860 (2013)” was “a little tricky but I think it worked out well. I think frosted vellum is a perfect representation of failure.”- Dallas Observer July 5, 2013. Read More here.