On Wednesday, February 9th, Scott Gleeson gave a gallery talk on his exhibition Travels in Ithaca. He spoke broadly about the therapy of Eye Movement Desensitization and Reprocessing (EMDR) and how it informs the works in the exhibition, and artists and groups that shaped his concepts and aesthetics. Following, Gleeson provides his gallery notes from this talk.
In a memorable scene set in a hotel room in the film, Apocalypse Now, Captain Benjamin Willard, experiencing a fit of delirium, smashes a mirror with his fist and then smears the blood from his wounded hand on his face. The interrelated themes of transformation and recognition introduced in this scene, through the symbol of the mirror and the blood-obscured visage, appear in ancient art as they do throughout western popular culture, underscoring the significance of the transformative effects of war on the body and the psyche of the individual.
This posting on the exhibition, Travels in Ithaca: New Paintings by Scott Gleeson, which opened in the Hawn Gallery of the Hamon Arts Library on January 25th, is the first of several postings by the artist. This posting presents a summary of the exhibition. This and future postings are intended as a series of dialogs between the artist and the community viewing and reading about the exhibition, and the artist invites comments from readers.
Travels in Ithaca: New Paintings by Scott Gleeson is on view through May 16th, and the Gallery is accessible during the Library’s open hours (Hamon calendar).
Even the most incurious visitor to the Hamon Arts Library cannot have helped but notice the six works posted near the entryway. These pieces are part of a series entitled “Paper Dolls,” by Colleen Shull (SMU MFA ’11) and Justin Shull (former SMU Division of Art Adjunct Lecturer). This show, curated by guest curator Shannon Maylath, features pictures from fashion magazines that have been altered, scratched, cut, torn and crumpled…exploded as it were.
The images are recognizable but transformed, altered from their original appearance and context in such a way that the viewer is confronted both with the symbols of fashion and the formal aspects of the images…the colors, the sense of depth, the juxtaposition of the conventions of fashion photography made mysterious by the alterations. These images are reborn, visible and present in a way the original photographs were not. Continue reading “Reflections on Paper Dolls”
Please stop by the second-floor gallery outside of Bywaters Special Collections and view how the portfolio XTOL by Octavio Medellin was researched by the artist in 1938 and later published in 1947 by the Dallas Museum of Fine Arts, which preceded the Dallas Museum of Art. Work began in 1938 when Octavio Medellin spent six months studying the Mayan ruins at Chichén Itzá and Uxmal, located on the Yucatán in Mexico, and documented his travels with 181 black and white photographs that he compiled into a scrapbook entitled Maya – Toltec, Temples and Carvings, 1938 [all photographs in the exhibition are reproductions]. Continue reading “Octavio Medellin: Maya-Toltec Temples and Carvings, 1938 on display”
Photographs in the Paper Dolls series confront the viewer with fundamental questions of viewer agency and power central to the critical investigation of visual culture. A feminist critique of visual culture, especially the culture of fashion magazine consumption by young women, is suggested by the selection and treatment of the six images comprising the exhibition. Identifying the precise methodology, intent, and commentary of the artists, and ultimately being able to identify whether or not the work falls within the realm of feminist praxis, is complicated by the works’ collective authorship, generally destructive treatment of the original source magazines, the translation of the collages into digital and analog photographs, and their eventual transmission via social media. Continue reading “The fantasy / comparison model of fashion image processing: A prospective model of viewer engagement”
On Wednesday, November 11, art historian and critic, Michael Fried, and Dallas Museum of Art Hoffman Family Senior Curator of Contemporary Art, Gavin Delahunty, discussed Jackson Pollock’s black paintings, the focus of the exhibition opening at the DMA this coming Friday, November 20. Continue reading “Pollock’s Black Paintings: A Conversation”
I just returned from Taos, New Mexico where I attended the symposium that was in conjunction with the exhibition Pressing Through Time – 150 Years of Printmaking in Taos co-curated by Dr. David Farmer, former director of DeGolyer Library, SMU. Two lithographs from Bywaters Special Collections are included in the exhibition – House in Taos by Jerry Bywaters and Five Crosses by Alexandre Hogue– and are on view at the Harwood Museum of Art. Two additional prints from the Meadows Museum/University Art Collection are also included in the exhibition and are on view at the Taos Art Museum at Fechin House – Sacred Place by Alexandre Hogue and Taos Sketch by Elizabeth Walmsley. Continue reading “Pressing Through Time: 150 Years of Printmaking in Taos”