1. The Big Show 2022
Lawndale Art Center (Houston)
June 17 – August 13, 2022
From Lawndale Art Center:
“The Big Show is an ambitious annual exhibition of new work by artists practicing within a 100-mile radius of Lawndale. The Big Show 2022 is juried by Daisy Nam, Curator at Ballroom Marfa.
Featuring works by: Patrycja Adamowicz, Charis Ammon, Jen Bootwala, Rontaye Butler, Angel Castelan, Lindy Chambers, Chelsea Clarke, Paula Córdoba, daniel coreas, Cynthia Jamileth Giron, Vanessa Gonzalez, Sibylle Hagmann, Jihye Han, DR3K a.k.a. JP Hartman, Guadalupe Hernandez, Saúl Hernández-Vargas, Chenlu Hou, Sumin Hwang, Disha Khakheria, Erica Reed Lee, Ha Na Lee & James Hughes, C.M. Lewis, Sophia Longoria, Max Manning, Gabriel Martinez, Clinton Millsap, Demi Mixon, Brian Murcia, Quentin Pace, Julia Rossel, J.R. Roykovich, Jessica Simorte, Kamila Szczesna, Jesus Trevino, Irene Valentin, Charles VanMeter, and Lucio Vasquez.”
Kiyoji Otsuji, “Gutai Photograph,” 1956–1957, printed 2012, black and white photograph, The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund, 2012.36.20, ©︎ Tetsuo Otsuji
2. Slip Zone: A New Look at Postwar Abstraction in the Americas and East Asia
Dallas Museum of Art
September 14, 2021 – July 10, 2022
From the Dallas Museum of Art:
“Bringing together 91 works from the Dallas Museum of Art’s (DMA) acclaimed collection of contemporary art and important loans from local private collections, Slip Zone: A New Look at Postwar Abstraction in the Americas and East Asia explores how artists revolutionized their forms, materials, and techniques in the decades following World War II. The exhibition reevaluates the art historical legacy of the postwar era to encompass simultaneous and intersecting international movements and trends, highlighting the crucial contributions of artists working in Buenos Aires, Mexico City, New York City, Osaka, Rio de Janeiro, Seoul, Tokyo, and beyond.
In these artistic centers, abstraction afforded possibilities for new methods of art making, sometimes incorporating performance, spectator interaction, and nontraditional materials; many artists pursued new modes for painting and challenged distinctions between painting and sculpture. Including landmark contemporary acquisitions in the DMA’s history along with new acquisitions, promised gifts, important local loans, and works in the collection being exhibited at the Museum for the very first time, Slip Zone reflects on the role institutions play in shaping and reconfiguring historical narratives.”
Steef Cromback, “One Bad Monkey.”
3. Steef Crombach: One Bad Monkey
Women & Their Work (Austin)
June 25 – August 4, 2022
From Women & Their Work:
“Steef Crombach uses iconography as clues to understand our physical environment. She finds inspiration in the commonplace and the local and surfaces overlooked but shared points of reference buried deep within the collective consciousness. In One Bad Monkey, Crombach focuses this process on Austin’s advertising sculptures for commercial businesses.
Through soft sculptures and draping foam relief tapestries, Crombach examines the secret life of local icons like the Wheatsville Raptor and the Big Star Bingo Gorilla. She explores each character’s evolution as its identity morphs over time and place. Her focus on these sculptures highlights the often intangible nature of change and attempts to create a deeper understanding of our shared physical reality.”
Fred Troller, “Untitled,” 1995, acrylic on canvas 64 x 46 inches.
4. Fred Troller: Evolution of Form
Baker Schorr Fine Art (Midland)
June 9 – July 20, 2022
From Baker Schorr Gallery:
“Swiss/American, Fred Troller (1930 – 2002) made significant contributions as an artist and graphic designer throughout his rich career. He popularized a minimalist typographic style known as Swiss New Typography in the United States in the 1960s. This style was in contrast to the decorative and ornamental graphic design trends at the time. The Swiss aesthetic was influenced by the Bauhaus school of the 1920s and focused on stark, bold typefaces and primary colors. It was a logical, practical style, which was popular among multinational corporations who wanted uniform graphic identities that were clearly understood by their clients. Troller’s personal interpretation of the style was characterized by manipulated geometric forms, juxtapositions of large and small lettering, and visual puns formed by the fonts themselves.
In addition to his design career, Troller was a talented and prolific painter and sculptor. His works were represented at Grace Borgenicht Gallery in New York. This exhibition features a range of the artist’s works, from his early gouaches and oil paintings of the 1950s to one of his most important works, completed in 2002, a series of mask drawings inspired by the gift of an antique African mask.”
Doug Land, “Gray Rainbow,” 2022, cotton, gold and silver mylar, thread, aluminum, metal post, 96 x 96 inches
5. Liminal Space: Doug Land: Gray Rainbow
Blind Alley Projects (Fort Worth)
June 18 – 30, 2022
From Blind Alley Projects:
“Artist Doug Land incorporates interior and exterior for his seriously playful installation, Gray Rainbow by thoughtfully enlisting the given nature of Blind Alley. As Land states, ‘An array of clouds glimmer on a navy-blue bedsheet. The cloth floats suspended behind a pane of glass. That with no substance enters where there’s no space. A momentary reflection from a street sign creates a meeting of two spaces. The inner space of a gallery is connected to the chaos of the outside by light. Then the sun shifts, and the clouded bedsheet returns to its confinement.’
Liminal Space is a series of four independent exhibitions by TCU MFA students, graduating spring 2022: Doug Land, June 18 – 30; Fernando Alvarez, July 2 -14; Adrianna Touch, July 16 – 28; Corrie Thompson, June 4 – 16.”
