Dallas Contemporary will be closed Friday and Saturday (27 and 28 January) for a private event.
We will resume normal hours on Sunday 29 January.
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Dallas Contemporary |
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Chit Chat Thursday 2 February
MEMBERS-ONLY booksigning |
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Shepard Fairey. |
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PHENOMENON featuring Saturday 4 February 21.00 - 22.00 (9.00 pm - midnight) Dallas Contemporary has invited Los Angeles based street artist SHEPARD FAIREY to create more than 12 murals throughout the city with a focus on West Dallas. Known for his iconic designed President Obama HOPE poster, Fairey has worked as an artist creating works on the streets and globally in public spaces using posters, stickers, wheat paste and painted murals. In celebration of the mural project, Dallas Contemporary will host the first annual PHENOMENON, an over-the-top, neon-inspired dance party. Fairey, a world-toured DJ, will provide the music for guests in the Dallas Contemporary galleries, just days after completing his murals. Dallas Contemporary invites you to be part of this year's PHENOMENON: a vibrant commencement to Shepard Fairey's remarkable February 2012 exhibition. Event co-chairs Meghan Looney, Bradley Agather and Hannah Hoffman promise an unforgettable celebration that will leave guests in awe. The neon-themed dance extravaganza with live DJ'd music by Shephard Fairey will take place just hours after the completion of the artist's citywide mural project. A selection of Dallas's best and favorite food trucks will be pulled-up to serve guests, and the Shepard Fairey-OBEY pop-up shop will be on site featuring signed posters, books and OBEY clothing items. Join Dallas Contemporary in welcoming the phenomenal Shepard Fairey to Dallas. Event Co-Chairs: Bradley Agather, Meghan Looney, and Hannah Hoffman PHENOMENON supports Dallas Contemporary exhibition and learning programs. |
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SHEPARD FAIREY Citywide Street Project 4 February 2012 |
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Shepard Fairey. |
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Shepard Fairey. |
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Shepard Fairey. |
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ROB PRUITT 17 December 2011 - 18 March 2012 Español/HideROB PRUITT 16 de Diciembre 2011 – 18 de Marzo 2012 |
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Rob Pruitt, Fountain (Perrier), installation view at Dallas Contemporary |
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Rob Pruitt, Untitled, 2010 |
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Rob Pruitt, Untitled, 2010 |
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Rob Pruitt, Untitled, 2010 |
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Pop Touched Me, The Art of Rob Pruitt, Abrams, New York, 2010 pp 104-105 |
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FAILURE Saturday 17 December 2011 - 18 March 2012 |
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Failure |
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Failure |
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Failure |
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Failure, installation view at Dallas Contemporary |
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JASON BROOKS tattoo catwalk Saturday 24 September 22.00 (10.00 pm) - evening event |
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Jason Brooks catwalk performance at Dallas Contemporary |
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Jason Brooks catwalk performance at Dallas Contemporary |
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Jason Brooks catwalk performance at Dallas Contemporary |
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JENNIFER RUBELL Nutcrackers 25 September - 4 December 2011 |
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Jennifer Rubell, Nutcrackers, installation view Dallas Contemporary |
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Jennifer Rubell, Nutcrackers, installation view Dallas Contemporary |
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Jennifer Rubell, Nutcrackers, installation view Dallas Contemporary |
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AARON PARAZETTE North Swell 25 September - 4 December 2011 |
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Aaron Parazette, North Swell, installation view Dallas Contemporary |
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Aaron Parazette, North Swell, installation view Dallas Contemporary |
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Aaron Parazette, North Swell, installation view Dallas Contemporary |
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Aaron Parazette, North Swell, installation view Dallas Contemporary |
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SURASI KUSOLWONG Peek! performance 12 May 2011 |
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Surasi Kusolwong Performance |
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Surasi Kusolwong Performance |
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Surasi Kusolwong Performance |
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Surasi Kusolwong |
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Surasi Kusolwong Performance |
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Surasi Kusolwong Performance |
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JUERGEN TELLER Man with Banana 8 April - 21 August 2011 |
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Juergen Teller, Lara in Kiev, 2008, Courtesy Lehmann Maupin Gallery, New York. |
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Juergen Teller, Man With Banana, installation view Dallas Contemporary |
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Juergen Teller, Man with Banana |
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Juergen Teller (installation view) |
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EZRA PETRONIO: Bold & Beautiful 8 April - 21 August 2011 |
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photographs by Ezra Petronio. |
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Ezra Petronio, Jerry Hall |
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Ezra Petronio, Tom Ford |
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Ezra Petronio, Rose McGowan |
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ENTREVISTA Peter Doroshenko: Me gustó mucho su obra de video nueva, Turning Circles, en la Galería de Anton Kern; cambió mucho el espacio. Marcel Odenbach: Fue una proyección grande en la galería. El video es parecido al estilo de un documentario. Trata solamente de un edificio, así que menciona la arquitectura y los monumentos. El edificio como monumento hace un resumen de las víctimas de la Segunda Guerra Mundial. Lo que me interesa es que las diferentes sociedades usan los mismos hechos para su pensamiento ideológico. Se enfoca en la arquitectura y lo que ella podría significar. PD: Entonces, ¿es una continuación natural de otra obra reciente? MO: La obra reciente es una evolución que viene de ideas que tenía yo durante los años 80... Hay un diálogo que escribí para la obra, lo que no he hecho desde hace mucho tiempo. Es analítico, y usa la forma documental, pero, por su puesto, es completamente falso. También siempre estoy creando un collage distinto, incorporando metraje en mis propios rodajes. PD: ¿Figura el espacio de la exposición entre la creación del video? MO: Hay una cierta manera de mostrar el video. Por ejemplo, nunca presentaría esta obra en una televisión de pantalla plana pequeña porque tiene que ser monumental. El tamaño y el sonido son muy importantes. El sonido fue compuesto específicamente para la obra, y el espacio de la exposición tenía que ser muy grande para crear eco. Pero, muchas veces mientras creo obras nuevas para una exposición o un lugar, el espacio o el sitio del espacio tiene mucha influencia en la obra. PD: ¿Es el asunto principal la arquitectura? MO: Siempre me intereso en temas personales... aunque mi obra tuviera matices políticos o sociales, siempre volvería a lo personal, como la memoria de la arquitectura, ya que tengo cierto pasado Alemán. También tengo una impresión distintiva que viene de los miembros de mi familia, quienes eran judíos - muy personal, y encima, estudié arquitectura. Nunca asistí a una escuela especializada en arte. Hice planes de ser arquitecto. Así que, la arquitectura siempre contribuye a mi pensamiento. English/HideINTERVIEW Peter Doroshenko: I really enjoyed your new video work, Turning Circles, at the Anton Kern Gallery, it really changed the space. Marcel Odenbach: It was one large video projection in the gallery. The video is similar to a documentary. It's about one building, and so it touches upon architecture and monuments. The building as monument, summarizes the victims of the Second World War. What is interesting for me is that different societies are using the same facts for their ideological thinking. It's focused on architecture and what architecture can mean. PD: So, a natural continuation of other recent work? MO: The recent work is a progression from certain ideas I had from the 1980s….there is a dialogue that I wrote for the work. Which I have not done for a long time. It's analytic and uses the form of the document, but of course it's completely fake. I am also always creating collages, combining film footage into my own shootings. PD: Does the exhibition space play into the making of the video? MO: There is a certain way of showing the work. For example, I would never present this piece on a flat screen, because it has to be very monumental. The size and sound are very important. The sound was composed specifically for the work, and the exhibition space had to be large to create an echo. Yet, many times I am making new works for an exhibition or a space, the space or the location of the space have a large influence on the work. PD: Architecture is the core issue? MO: I am always interested in personal issues…even if my work has slight overtones of political or social meaning, it always comes back to the personal. Such as the memory of architecture - since I have a certain history as a German. Also, I have a reflection about my family, who were Jews - very personal, and on top of all of that, I studied architecture. I never went to an art program. I was planning to be an architect. So, architecture always plays a big part of my thinking. |
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Cassandra Porter, Dallas Contemporary, development manager |
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Patricia Stewart-Gordon, Dallas Contemporary, financial administrator |
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Florence Ostende, Dallas Contemporary, adjunct curator |
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Clare Chadwick, Dallas Contemporary, development assistant |