161 Glass Street Dallas Texas 75207 USA +214 821 2522

past exhibitions
contact: exhibitions@dallascontemporary.org

Photos by Kevin Todora.

MTV Re:Define

04 APRIL 2014

Dallas Contemporary is hosting this year’s MTV Re:Define exhibition, auction and gala benefitting the museum and MTV Staying Alive Foundation. The main Re:Define event will take place on Friday April 4th at 7pm, and this year’s work will be on show for the public from March 22nd to April 2nd. The auction will be hosted by Alexander Gilkes of Paddle8, and the show is curated by The Future Tense and Dallas Contemporary Director Peter Doroshenko. The evening will begin and end with live performances from renowned musicians, including New York-based rock band Starred.

More info can be found at the MTV Re:Define website.


Photo by Kevin Todora.


11 JANUARY - 09 MARCH 2014

Born in 1959 in Marblehead, Massachusetts.
Currently lives and works in Chicago and Aspen.

Merging artistic techniques with medical science, Paula Crown offers a new, technologically-advanced method of presenting the self-portrait. The viewer—standing between two convex screens—observes the passage of seemingly abstract patterns. Upon closer observation, however, these images, with their pulsating accumulation of shapes and forms, reveal the workings of the artist's own brain, documented via a magnetic resonance image (MRI). Her physical anatomy has been translated into image sonifications, which were also generated from the MRI scans. In addition, Ben Rubin and violinist Todd Reynolds provide an original score based on the animations.

The images have been manipulated by Crown in a way that references painterly techniques from the Renaissance to the present, including the use of multiple points of perspective, sfumato, three-dimensional imaging, and cross-disciplinary collaboration. Through this process, Crown identifies and describes the intersection of the internal and external, allowing the record of the data to physically build the environment. Crown's use of these available technologies to amplify and monumentalize personal physiology provides insights into our lived experience and shifts our perceptions from what we would expect of a self-portrait.

Installation design and video production by The Office for Creative Research. Additional video and technical support provided by Factum Arte.

exhibition sponsors: Dallas Art Fair Foundation and Beth + Jim Gold

Photo by Kevin Todora.


11 JANUARY - 09 MARCH 2014

Born 1983 in Paris, France.
Currently lives and works in New York.

Since 2000, JR has pasted his large-scale photographs in streets throughout the world as a method of exploring personal identity. By merging photography with street art, JR covers entire buildings, walls, streets and other unconventional surfaces with his wheat pasted portraits, creating what he calls “pervasive” art. His work addresses important social issues and gives a voice to the underrepresented.

In 2011, JR received the Ted Prize and launched the world’s largest participatory art project INSIDE OUT. With a mission to turn the world into a public canvas, JR invites participants to publicly stand up for what they believe in by pasting their portraits within their communities. The project has inspired groups across the globe to raise awareness about such topics as diversity, gender-based violence, climate change and gay rights. To date, INSIDE OUT has reached 108 countries, and the likenesses of over 150,000 participants can be seen in such places as the highways of Hong Kong, the walls of the Middle East, the bustling streets of Time Square, the favelas of Brazil and the icy landscape of the North Pole.

In addition to the installation at Dallas Contemporary, JR and the INSIDE OUT Photobooth traveled to various locations throughout Dallas creating public art works representing the diverse people of our city. You can view these works at Gulden and Singleton Avenue in Trinity Groves and 417 South Second Avenue in Deep Ellum. To learn how to start your own INSIDE OUT group action, please visit www.insideoutproject.net.

exhibition sponsors: Anonymous


Photo by Kevin Todora.


11 JANUARY - 09 MARCH 2014

Les Miserables: Post-Conceptual Art features artwork by Troy Brauntuch, Michael Corris, Certh Wynn Evans, Sylvie Fleury, Liam Gillick, Peter Halley, Sherrie Levine, Michael Craig-Martin, Sarah Morris, John Pomara and Ugo Rondinone.

Since the late 1970s, new waves of critical and theoretical thinking have permeated the visual art world resulting in work that demonstrates a profound understanding of the shift in current meaning and intellectual categories. Rather than focusing on the singleness of the art object, artists are increasingly interested in art’s multiple contexts and meanings and its relationship to social and cultural influences. In defiance of the formalist tendencies of Modernism, these artists infuse ideas and images from past movements and traditions into their work and allow the viewer to renegotiate the meaning of these concepts in new contexts. The work, sometimes playful or ironic, rejects notions of structure and hierarchy.

Les Misérables: Post-Conceptual Art features works on loan from local private collections that explore this critical platform of re-contextualization. Like the 19th-century Victor Hugo novel that has been remade into six different films since 1935, Post-Conceptual art repurposes already existing ideas, concepts and images. By borrowing and manipulating familiar material, artists explore issues such as the non-transparency of language and the cultural consumption of imagery. Most, if not all, of the artists in this exhibition also demonstrate a strong influence of French Post-Structuralist theory from the 1960s and early 1970s.


Photo by Kevin Todora.


11 JANUARY - 09 MARCH 2014

Born 1977 in Beaumont, Texas.
Currently lives and works in Dallas, Texas.

Lavish features works by Dallas-based artists and designers: Megan Adams Brooks, Josephine Durkin, Sue Gragg, Nicole Musselman, Angela Scott and Joy O. Ude.

Both idealized and alluring, the lavish is designed to be marveled. Conditioned by cinema, advertising and other aspects of visual culture, we associate the lavish with a certain aura of luxury, perfection and unobtainability. Our culture’s infatuation with this type of glamour has produced a school of design that creates desirable objects featuring richly intricate patterns, sumptuous materials and stimulating sculptural forms.

Lavish Design in Dallas brings together a diverse selection of clothing, jewelry, textiles and sculptural interventions by six Dallas artists and designers. Addressing glamour’s current role in Dallas while crossing disciplinary boundaries, this exhibition creates a context for Dallas designers while redefining the relationship formed between high-fashion design and the gallery space. The site-specific installation transforms the gallery into a large-scale theater set, dream-like and moving, which tempts and encourages the viewer to engage with the luxuriant designs.


Photo by Kevin Todora.

slight shift, steady hand

11 JANUARY - 09 MARCH 2014

Born in 1982 in Dallas, Texas.
Currently lives in Dallas, Texas.

Working for the past decade with painting and installation, Arthur Peña creates works that have no indication of a place. Many of these works address personal and complex issues. Peña always presents an element of intrigue or suspense, but he does not resolve the atmosphere of physical tension. That lack of resolution entices the viewer to long for another scene from these strange narratives, but unlike a series of movies stills, the next image never appears.

Yet, Peña’s newest works map conceptual territory for the construction and documentation of interior spaces that involve people. With this work, the spaces are unthinkable within existing theoretical frameworks. It creates a relational approach to issues of architecture and the interior to counter object approaches that characterize documentary thought.

Peña’s art explores meanings that exist in between material and theoretical interpretations of ground. These meanings are developed through a focus on the second term of pervasive binary oppositions that masquerade as truth, such as: masculine/feminine, architecture/space, work/site, object/space and represented/real. In each case, this second term tends to be taken for granted as background or environment for the more obviously constructed first term.

exhibition sponsors: Sally Warren + Jeff Jackson


FAILE, 2013. Photos by Kevin Todora.

Where Wild Won’t Break


Patrick McNeil born 1975 in Edmonton, Alberta.
Patrick Miller born 1976 in Minneapolis, Minnesota.
Both artists currently live and work in Brooklyn, New York.

FAILE is a collaboration between Brooklyn-based artists Patrick McNeil and Patrick Miller. Since 1999, McNeil and Miller have constructed multimedia installations and large-scale paintings and sculptures. These works have catapulted them to the forefront of post-Warhol imagery.

While FAILE initially operated outside of mainstream contemporary art, they quickly gained widespread awareness due to their groundbreaking use of materials, images and technology. FAILE’s culture-driven iconography and visual imagery blends high and low culture into works that can thrive either in the gallery or on the street.

Where Wild Won’t Break features FAILE’s hallmark prayer wheels. First introduced in 2008, the large, kinetic prayer wheels are hand carved from merbau, an exotic Indo-Pacific hardwood. Serving as an instrument for meditative contemplation, the wheels permit the participant to experience the images in a manner consistent with ancient Tibetan practices. As the participant turns the wheel, the wheel responds with a flow of reincarnating moving images.

The fourteen-foot tower residing at the center of the exhibition echoes FAILE’s recent collaboration with the New York City Ballet at Lincoln Center. The immense tower is enveloped in FAILE’s signature imagery. The individual images combine endlessly to create an array of narrative possibilities, which extend into similar copper and wood works behind the tower. The pieces incorporate Texas themes drawn from FAILE’s recent visit to Dallas.

exhibition sponsors: Laree Hulshoff and Ben J. Fischer




Born 1947 in Jena, Germany.
Currently lives and works in Cologne, Germany.

Georg Herold’s evolving exploration of material has questioned the underpinnings of international contemporary art for nearly four decades. Herold’s career began in the late 1970s when he enrolled in the Academy of Fine Art in Hamburg under the tutelage of Sigmar Polke and Franz Erhard Walther. During his study, he became associated with a group of radical young German artists, including Albert Oehlen, Martin Kippenberger, and Werner Buettner, whose work collectively challenged the meaning, status and value of the ubiquitously exhibited art object, as well as those who view and consume them.

With sardonic wit and a playful sense of irony, Herold masterfully transforms common, raw materials used in basic commercial construction into works full of vitality, dynamism, and contradiction. Herold employs rough, neutral objects such as wooden battens and bricks to create his works. For him the batten, which in Germany is as common and powerful as the 2 x 4 in America, serves as the very foundation of his signature anthropomorphic figures. The material itself creates a spectrum of meaning, from power to vulnerability, from harshness to playfulness. Further, its neutrality allows Herold to best express his unique perspective while simultaneously leaving opportunity for open interpretation.

The finished pieces straddle extremes -- both vivacious and suffering, flawless and imperfect. The seductive sculptures, seemingly unaware of their appearances and seemingly crude but precise interior construction, pose with confidence for an admiring audience. With exaggerated flexibility, the figures aspire to move with broad sweeping gestures, but their immobility holds them firmly in place, reminding us of our own limitations. Simultaneously, the figures suggest an ambiguous struggle with an unknown foe.

In the 1980s, Herold broadened his oeuvre by embracing a material antithetical to the commonplace and unrefined batten: caviar. Despite the exorbitant price of this rare delicacy, Herold began using the small black eggs to create non-representational compositions on canvas. As this aspect of this practice has evolved, Herold has increasingly employed caviar in his paintings by exploring color, form, landscape and portraiture. The eggs, which are preserved on canvas with lacquer, are often individually numbered in a tedious process, both methodical and poetic.

exhibition sponsors: Mark Giambrone, Meg and Daniel Gotvald, Perry Rubenstein Gallery
images courtesy of artist. Georg Herold © 2013.




Born 1977 in Beaumont, Texas.
Currently lives and works in Dallas, Texas.

Kevin Todora utilizes the photograph as the foundation for his sculptural work. His process consists of cutting, drilling and painting onto appropriated material in an attempt to free the image from its original obligation. By physically manipulating photographs, he distorts the original intent, making it his own. Behind the camera, Todora experiments with everyday objects, taking them out of their usual contexts and placing them into unexpected photographic tableaux. Both of these processes emanate from Todora’s desire to renegotiate the purpose of an image. Ultimately, the deconstructed works rebel against what Todora considers intrusive imagery in print media.

exhibition sponsors: Karen and Howard Weiner, Christen and Derek Wilson
images courtesy of artist. Kevin Todora © 2013.




Lucia Simek born 1981 in Dallas, Texas.
Kristen Cochran born 1975 in Seattle, Washington.
Both artists currently live and work in Dallas, Texas.

This two-person exhibition delves into the themes of impediment and apotropaic* gestures. In an attempt to liberate themselves from implied threats and obsessive ideas, the artists emphasize the very liminality of this threshold: the glass seeks the light to reflect its shadows, the marble leans towards the wall for support, weaponry placards long to be used by demonstrators or picketers, and the tranquilizing rhythmically folded curtain is hiding something on the other side. The process of stacking, folding and rearranging summons the overriding interests of Cochran's and Simek’s art -- control, order, and insufficiency -- thus bridging their practices with the traditions of feminist art-making. Cochran’s process speaks to the traditions of live art and performance in that it is process-oriented, abstract and conceptually driven, while Simek's works cull from minimalist and conceptual aesthetics, existing in the mode of indexical marks that focus viewer’s attention on the ephemeral and unseen. Both artists lean towards non-retinal pleasures. They emphasize the seductiveness of the written word involving the interplay of texts and objects. By building their own lexicon of meanings and sharpening it into a dialogue, Kristen Cochran and Lucia Simek convey a kind of sculptural calligraphy, which they obtain from encoding the conceptual meanings of sculpture making.

*from Greek: apotropaios = designed to avert evil

exhibition sponsors: Karen and Howard Weiner
images courtesy of the artists. Lucia Simek and Kristen Cochran © 2013.


Photos by Ronald Stoops. All courtesy of the artist. Walter Van Beirendonck © 2013.

Lust Never Sleeps - Silent Secrets

12 APRIL - 18 AUGUST 2013

Born 1957 in Brecht, Belgium.
Currently lives and works in Antwerp, Belgium.

Avant-garde fashion designer Walter Van Beirendonck is one of the most renowned trendsetters of men's fashion. A graduate of the Royal Academy of Fine Arts in Antwerp, Van Beirendonck joined the revolutionary Antwerp Six in 1987, a collective of influential fashion designers. By 1999, he had coined the nickname Cultural Ambassador of Flanders. Van Beirendonck is known for his strong graphics, innovative cuts and unexpected color combinations. Each collection combines his fascination for pop music, comics, science fiction and cultural traditions; incorporating untraditional materials, including synthetic fibers, plastics and rubber.


All images courtesy of the artist. John Pomara © 2013.


12 APRIL - 18 AUGUST 2013

Born 1952 in Dallas, Texas.
Currently lives and works in Dallas, Texas.

WIPEOUT is a collection of re-worked, appropriated imagery posted by females on the popular site, Tumblr. Pomara prints the low-resolution images repeatedly using custom digital glitches. Creatively disrupting the initial picture, the images are altered into a new digitized abstraction, producing a fresh new version of the mediated image. The final result is works printed on a transparency film that floats unframed on the gallery walls. Pomara is interested in the human element of technology. His spare, abstract paintings depict blurs, glitches, and printing imperfections, contradicting our vision of modern technology as seamless, cold, and rational. Inspired by entropy and mechanical failure, Pomara uses copy machines, printers, and the Internet to create visual representations of error. Dragging an image across a moving photocopier, he creates a blurred "glitch" that may be incorporated into a mature painting. When arranged serially, the works recall film stills and their attendant implications of moving and inert images, as well as the motion studies of Eadweard Muybridge.


SONER, installtion views, 2013. Photos by Kevin Todora.

Electric Circus

12 APRIL - 18 AUGUST 2013

Born 1974 in San Diego, California.
Currently lives and works in Dallas, Texas.

Local graffiti artist SONER is a San Diego native but has called Dallas home since 1995. He began painting in 1989, inspired by the graffiti of California gang culture. SONER practiced graffiti after local writers Sken, Crim and Escape had appropriated the medium. _SONER keeps a low profile but uses graffiti as a mark-making technique in his day-to-day life and travels. The city itself does not affect the outcome of each work; instead, SONER credits his inspiration to the work of his crewmates. Challenging himself to learn the techniques of others, SONER contributes to the dialogue with his own style, performed on the street and within the institution. SONER's exhibition here at the Dallas Contemporary includes two major wall paintings and one interactive community artwork where visitors are able to create their own graffiti writing inside the museum.


All images courtesy of the artist. Josephine Durkin © 2013.

Gathering Flora

12 APRIL - 18 AUGUST 2013

Born 1980 in Leesburg, Virginia.
Currently lives and works in Greenville, Texas.

Josephine Durkin's research and studio practice involves the creation of drawings, videos, sculptures and large-scale interactive and kinetic installations that personify recognizable or manipulated objects and materials. These are then used to suggest, mimic, invite or isolate human gestures, activities and relationships. She generates her drawings and paintings from object-making processes. The artist photographs leftover studio residue and prints them on heavyweight papers. The photographs are then used as a source material for her work in other media.


Photos by B. Hilson and Kevin Todora. Art courtesy of DZINE and Salon 94, New York.


DZINE Victory

19 JANUARY - 31 MARCH 2013

Born 1970 in Chicago, Illinois.
Currently lives and works in Chicago.

For over a decade DZINE has captivated the international art scene with his psychedelic abstract paintings and ornate customized vehicles. Drawing from art history and pop culture, DZINE's work explores the world of Kustom Kulture, a genre of artistic practice that evolved from the hot rod craze of Southern California in the 1970s. Infusing his trademark visual and audio language, DZINE uses the sculptural and artistic form of lowriding to examine his emotional relationship with culture and beauty. His carefully crafted artworks are playfully situated between the contradictory worlds of conspicuous luxury and urban street life. In his exhibition, Victory, DZINE celebrates the universal desires for victory and recognition, while paying homage to his rich Puerto Rican heritage. The exhibition invites the viewer to savor the excitement of competition and revel in the enjoyment of success.

special thanks: 2G Art Services, Bad Boyz Kustom, Park Place Porsche, Sarah Buhler, Chester Chow, Noelia Cruz, Bruce Cueno, Emily Dahlquist, Bill Dougherty, Casey Gabel, Stephanie Gabel, Daniel Gonzalez, Hector Gonzalez, Jasmine Gonzalez, Erica Guajardo, Timothy Holtin, Chiara Keeling, Soo Kim, Anna Murphy, Kim Nieves, Nina Norris, Marco Ocampo, Mila Rolon, Paolo Rolon, Sara Ramirez, Ernesto Salgado, Elissa Stafford, Erin Stafford, Shinobu Suzuki, Darcy Terrell

exhibition sponsors: Jimenez-Colon Collection, Ponce, Puerto Rico., Park Place Porsche, Salon 94, New York., Sue Gragg Precious Jewels, The Belmont Hotel


Background image by Jason Reed, Los Americanos artist, 2012.


group video exhibition featuring six Texas-based artists

19 JANUARY - 31 MARCH 2013

Los Americanos features newly commissioned works by Texas-based artists MOREHSHIN ALLAHYARI (Dallas), JOSHUA BIENKO (College Station), CHIVAS CLEM (Paris), HILLARY HOLSONBACK (Dallas), BOGDAN PERZYNSKI (Austin) and JASON REED (New Braunfels).

CLICK HERE to view the Los Americanos e-catalogue.

Inspired by the larger than life cinema history of Texas, Los Americanos explores the ephemeral through various cinema metaphors for identity, history and culture. Each artist has created his or her own independent project examining everyday life in Texas - past, present or future. The vignettes address a range of topics, including visual rhetoric and psychogeography, astrological facts and fiction, the contrast between life and film, self-portraiture and cultural archetypes. Together, the chapters coalesce into a film without a linear narrative and become a meditation on the present moment. There is no beginning or end to Los Americanos, just movement forward.

Los Americanos is on view at Dallas Contemporary and the American Airlines Center.
CLICK HERE for a schedule of screening times.

Joshua Bienko, video stills, American Airlines Center, 2013. Photos by Kevin Todora.

exhibition sponsors: Nona and Richard Barrett, BlueLabel.net, London, England.


Inez & Vinoodh, Anja Rubik Descending a Staircase - Vogue Paris, 2005
Courtesy the artists and Gagosian Gallery, New York.



22 September 2012 - 23 December 2012

Opening celebration - Saturday 22 September 21.00 - 24.00 (9.00 - midnight).

For over two decades, the meticulous and audacious imagery created by Inez van Lamsweerde and Vinoodh Matadin has challenged and inspired the field of fashion photography. In celebrating more than 25 years in the industry, the Dutch couple has created an exhibition comprised of more than 300 works, including collaborations with graphic designers M/M (paris) and sculptor Eugene van Lamsweerde. Pretty Much Everything will take over two of Dallas Contemporary's largest galleries and will open on Saturday 22 September 2012.

They are regular contributors to Vogue Paris, Purple Magazine, W Magazine and V Magazine among many others and have created iconic advertising campaigns for leading fashion and fragrance brands including: Yves Saint Laurent, Christian Dior, Gucci, Chloe, Givenchy, Balenciaga, Chanel, Robeto Cavalli and Viktor & Rolf Parfum.

Van Lamsweerde and Matadin's career in art is equally prolific; their work is exhibited internationally and held in public and private collections across the world. Motifs from imagery produced for commercial commissions are often carried through into their artwork and the pair regard this dialogue between commerce and art a central theme of their practice.

Commissioning Sponsor
Nancy C. and Richard R. Rogers

Exhibition Sponsors:

Lael and Peter Brodsky
Joyce Goss and Kenny Goss
Julie and Ed Hawes
Stanley Light
Rhonda and Fraser Marcus
Karla and Mark McKinley
Ana Pettus
Leisa Street


K8 Hardy
courtesy the artist and Reena Spaulings Fine Art, New York.


K8 Hardy September Issues

22 September 2012 - 23 December 2012

Opening celebration - Saturday 22 September 21.00 - 24.00 (9.00 - midnight).

K8 Hardy's artistic practice defies categorization, spanning a variety of genres and media, she uses video, film, photography and performance to highlight and critique the current portrayal of women in popular culture. Influenced by post-Gloria Steinem feminism, Hardy's art work addresses the issues surrounding identity, gender power and personal choices. There is something profoundly anti-authoritarian about her way of working that recalls the avant-garde idea that art has to be destroyed if it is to include everyday life. Performance for Hardy is more of a sporadic public happening or protest, than a formal performance. Her art is Post-Conceptual in every sense of the word, constantly striving to set up the conditions for something unexpected to emerge, something that will then be able to exist without her. Hardy constantly pushes the limits of what conventionally constitutes an artist’s role - often steering institutional forces in an attempt to subvert their logic.


Neiman Marcus (March - April 2012)
Dallas Art Fair (12-15 April 2012)
Goss-Michael Foundation (13 April - August 2012)
Dallas Contemporary (13 April - 19 August 2012)
Design District area (April 2012)
Oliver Francis Gallery (April 2012)

The Dallas Biennale is a new forum for contemporary art that proposes a conceptual exploration of the biennale as a platform for exhibiting art. It is organized by Dallas Contemporary, a non-collecting art museum. Taking place in various locations in Dallas' city center, design district and beyond, it is shaped by the concepts of curator Florence Ostende, a Paris-based adjunct curator for Dallas Contemporary. Locations for the Dallas Biennale include: Dallas Contemporary, Neiman Marcus (Main Street), Dallas Art Fair, Goss-Michael Foundation, the Oliver Francis Gallery, Nasher Sculpture Center and the Le Meridien Hotel.

This is the first large-scale survey exhibition of international artists to be presented by Dallas Contemporary to audiences in Dallas and Texas.

With its popular motto, Live Large. Think Big, Dallas is usually perceived as a city of excess and homeland of bling fashion. Without a doubt, Big D - as it is nicknamed - would be the ideal and expected venue for any mega exhibition driven by spectacular mise-en-scene and operatic exuberance. The Dallas Biennale is intended to be a survey of international scope; however, instead of reviving the encyclopedic format of other grand international group shows, this event has been conceived as a series of monographic exhibitions offering each participating artist a stage for a solo presentation. Focus will be on highlighting each artist with a large space to exhibit their work - a return to early Biennale principals of celebrating artistic ideas rather than the authority of an over arching theme. Along with the current exhaustion of the large-scale perennial exhibition format, the Dallas Biennale is intended to ignite larger intellectual discussions surrounding international biennales in the age of curatorial excess.

Looking for a pause in the flow of art production, the Dallas Biennale also branded as the first and only of its kind is seeking to challenge the biannual ritual doomed to exhaustion. The degree of intensity that goes into the making of solo exhibitions is intended as a way of slowing down the accumulation crisis. While modernity was placed under the slogan make it new and the appropriation era under make it again, Dallas seems to be quite unexpectedly the perfect stage for the make it slow era. Built as a theater embracing antagonistic aesthetical beliefs and hybrid theories, this event is promoting the experience of the artwork as a pure content provider rather than a mere discursive backdrop. Holding no hierarchical structure, it questions the authority of the exhibition as an organized knowledge and established pattern of visitors' movement.

This biennale is to be experienced as an open montage whose protagonists' concerns range from car cultures ruins, romantic challenge, ghosts from history, pseudo magic opera, daggering dancing style, fountains of youth, conceptual animism, infrabooming, feminist fashion, naughty typography and mechanical ballet. Relying on a one-to-one correspondence, this exhibition has been conceived as a mutant collective subject in dialogue with each individual artist whose grand ecart between the anti-spectacular and the celebration, the exhaustion and the enthusiasm will result in a cocktail of minimal bling mirroring the current mood of economic turmoil.

Most of the works included in the Biennale are unique and have been made specifically for the exhibition. The Dallas Biennale highlights international contemporary art with the inclusion of artists from Asia, Europe, and the Americas. Capturing the cultural, social, and political aspects of a large city, works in the exhibition include installation, painting, sculpture, photography, performance and video.

Participating artists: Morehshin Allahyari (Iran); Nick Barbee (USA); Anthea Behm (Australia); Kim Beom (Korea); Michael Corris (USA); Zoe Crosher (USA); Sylvie Fleury (Switzerland); Louise Hervé & Chloé Maillet (France); Pierre Joseph (France); Claude Lévêque (France); Gabriel Martinez (USA); Nicole Miller (USA); Charlotte Moth (United Kingdom); Okay Mountain (USA); Hugues Reip (France); Delphine Reist (Switzerland); Michael Smith (USA); Mario Garcia Torres (Mexico); Clarissa Tossin (Brazil).

For information: exhibitions@dallascontemporary.org


Erwin Wurm, Untitled, 2011
Photo: Ottomura


ERWIN WURM Beauty Business

13 April - August 2012

Opening celebration – Friday 13 April 21.00 – 24.00 (9.00 - midnight).

Erwin Wurm, an artist living and working in Vienna, combines various art forms: sculpture, photography and performance into a unique personal view of the everyday world. Drawing on history, humour and philosophy, Wurm creates light-hearted art works with at times serious messages. His new large sculptural works created specifically for this exhibition, which have a grand theatrical scale, attract us to interact and participate.

Beauty Business is Wurm's first cohesive focus on the home or dwelling. As the architect Le Corbusier once remarked, the purpose of architecture is to move us, then with his work Erwin Wurm consistently realizes architecture's highest aim: he creates works whose extraordinary power lies not only in how deeply they make us feel, but also in how they let us see the complexity of our feelings, in meaningful environments which help us to dwell. This exhibition is produced in collaboration with the Bass Museum of Art, Miami Beach.

Additional support for this exhibition was made possible by Galerie Thaddaeus Ropac, Paris; Xavier Hufkens, Brussels; and Lehmann Maupin Gallery, New York.


Zoe Crosher, Mae Wested no.3 (Crumpled) from the series 21 Ways to Mae Wested, 2012
Courtesy Perry Rubenstein Gallery, Los Angeles.



13 April - August 2012

Opening celebration – Friday 13 April 21.00 – 24.00 (9.00 - midnight).

The new Mae Wested series, presented at the Dallas Contemporary for the first time, fits into Crosher's larger body of work, The Michelle duBois Project (2005--present). Inspired by the impossibility of knowing oneself through photographs, even after an endless accumulation of images, the artist reimagines and intervenes in the extensive personal photographic archive of Michelle duBois, a call girl who traveled extensively in the Pacific Rim during the 1970s and '80s. With a material awareness and strong interest in the arc of the photographic context in relation to the end of the analog, Crosher has re-photographed, scanned and re-ordered duBois' slippery self-portraits into a careful amalgam of documentary and the imagined.

duBois often liked to dress in elaborate costume for the camera, and one of her favorite personas was famed 1930s actress Mae West. For Dallas, Crosher's Mae Wested series will introduce three elements investigating this obsession. Large-scale black and white images of duBois attending an event dressed as West will accompany a series of glamorous staged images which activate the gallery as duBois' various characterizations of West gaze at one another across the room. Imaginative screenplay haikus written by Jason Underhill, which collapse the Japanese and Western fantasies of Mae West, the Marlboro Man and Michelle duBois, will also punctuate the gallery. Throughout the duBois project, Crosher has manipulated the original images as a way to emphasize the archive's physicality. Here, each image has been crumpled, re-photographed, and printed on metallic paper, resulting in shimmering, faceted surfaces which evoke the silver screen.

Zoe Crosher was born in 1975 and currently lives and works in Los Angeles. She has exhibited in solo and group exhibitions throughout the United States, and was recently awarded the prestigious Art Here and Now Award by the Los Angeles County Museum of Art.


Courtesy the artist.



17 December 2011 - August 2012

Opening celebration – Saturday 17 December 21.00 – 24.00 (9.00 - midnight).

Austin-based artist FAILURE will present his first major institutional exhibition at Dallas Contemporary. FAILURE has been painting grafitti outdoors since 1993 and began with the FAILURE poster imagery in the early 2000’s in Houston. He will present an exhibition of wheat paste posters with spray paint and collage. FAILURE is the founder and Editor of PUREFILTH Magazine, a quarterly fine art photography journal and the Art Director for MadGods clothing.


David Jablonowski, Powerslave, Revolution Main (Signature Series), 2011
Courtesy Gallery Luettgenmijer, Berlin; Gallery Fons Welters, Amsterdam and the artist.


DAVID JABLONOWSKI: Many to Many (Stone Carving High Performance)

17 December 2011 - 18 March 2012

Opening celebration – Saturday 17 December 21.00 – 24.00 (9.00 - midnight).

David Jablonowski’s first North American solo exhibition entitled, Many to Many (Stone Carving High Performance), challenges the traditional “one to many” relationship between the artist and the public advocating instead the “many to many” dialogs of multi-layered voices. In his work, Jablonowski increases the range of materials used within the field of sculpture yet subverts museum display strategies to expand the schizophrenic potential of the artist’s signature. He manipulates the tradition of sculpture, much like a sociologist digs in social network structures, transforming complex readings of information and media into what we all experience everyday – a digital madness.


Rob Pruitt, 2010
Courtesy Gavin Brown's Enterprise, New York.



17 December 2011 - 18 March 2012

Opening celebration – Saturday 17 December 21.00 – 24.00 (9.00 - midnight).

Dallas Contemporary announces an exhibition featuring New York artist ROB PRUITT. The exhibition made specifically for Dallas Contemporary will be Pruitt’s first major institutional exhibition in the United States and his largest exhibition to date.

Pruitt’s interests lie in creating environments where participants feel free to improvise and experiment outside of their comfort zones. In his signature style, Pruitt’s installation of glitter panda paintings has never before been shown and is the largest number of panda paintings to be shown together.


Exhibition sponsored by: J. Patrick and Lindsey Collins; Anonymous Foundation; Gavin Brown's Enterprise, New York; Sally Warren and Jeff Jackson

The Digital Photo Booth

Special thanks: Parinaz Mogadassi and Larry Sayah


photo: Dallas Contemporary

SOUR GRAPES: Rest in Power

12 February - 4 December 2011

Collective members: Eddie Castro, Alejandro Diaz, Arturo Donjuan, Carlos Donjuan, Emily Donjuan, Miguel Donjuan, Jose Granados, Ricardo Oviedo, Adam Peña, Elias Torres, Isaias Torres, Mike Vasquez and Adam Werner.

Rest In Power is presented by the graffiti writer collective Sourgrapes and is two major wall paintings at Dallas Contemporary; one on the interior and one on the exterior of the building. The production on the interior walls of Dallas Contemporary is a dedication to graffiti writers that have passed away and were a major influence on the artists. The homage to these fallen artists will show the impact they have had on the culture of street and urban-focused art. On the exterior of the building is a continuation of a project of the last several years by Sourgrapes. Four giant paletas (Mexican popsicles) painted as an on-going memorial to those involved in a series of killings and robberies of ice cream vendors in the community.


photo: Andrew Ryan Shepherd



25 September - 4 December 2011

Dallas Contemporary will present tatto artist Jason Brooks’s first exhibition with a contemporary art institution. A short documentary film created by Quin Mathews Films will be shown alongside selections from Brooks’s own collection of historical tattoo photography.

"Embracing and exhibiting contemporary culture is what Dallas Contemporary does best. Jason Brooks is the most important tattoo artist between both coasts and we are proud to be working with him on this seminal exhibition", said Peter Doroshenko, director at the Dallas Contemporary. "Tattoos have become very mainstream, yet this exhibition will examine Jason's connection to mid-century tattoo artists from Hawaii and later Austin. There is a real progression of tattoo styles and it will be important to present this to large audiences."

Brooks is the owner of Great Wave Tattoo in Austin, Texas. His work is influenced by Japanese style tattooing particularly the work of artist Horiyoshi the Second as well as Western masters Mike Malone and Ed Hardy.


Jennifer Rubell, Nutcrackers, installation view Dallas Contemporary
photo: Andrew Ryan Shepherd


25 September - 4 December 2011

The LEGENDARY event will take place just days before the opening of a large-scale exhibition of the artist’s work, JENNIFER RUBELL: Nutcrackers, on view at Dallas Contemporary from September 25 through December 4, 2011. An opening celebration will be held Saturday, September 24, 2011 from 9pm to midnight.

In Gallery 3, Dallas Contemporary’s largest gallery space, Rubell’s Nutcrackers will consist of 18 life-size interactive sculptures of women alongside a pedestal holding one ton of Texas pecans. Each prefabricated female mannequin is mounted on her side in an odalisque position and has been retooled to function as a nutcracker.  Visitors interact with each sculpture, by placing a pecan in the mannequin’s inner thigh.  The leg is brought down to crack the pecan leaving the nut for the visitor to eat.

Inspired by nutcrackers depicting female figures - and in particular one found on the internet of Hilary Clinton - these interactive sculptures embody the two polar stereotypes of female power; the idealized, sexualized nude female form and the too-powerful, nut-busting uberwoman.  The work also serves as a prompt to action, encouraging the viewer to transgress the traditional viewer-to-artwork boundary and complete the work by interacting with it.


Aaron Parazette, Color Key 23, 2011
photo courtesy of the artist



25 September - 4 December 2011

For Aaron Parazette's exhibition at Dallas Contemporary, he will exhibit a combination of new and recent paintings along with a large-scale, site-specific wall painting. Parazette employs the formula of formalist painting through text imagery. For Parazette, his work is painting meeting both the past and future abstraction.

Houston based, Parazette's one-person exhibition history includes: Cloud Break: New Color Key Paintings, McClain Gallery, Houston, 2011; Site Objects, Dunn and Brown Contemporary, Dallas, 2010; Drive Thru, The Suburban, Chicago, 2005; and Perspectives 141: Aaron Parazette, Contemporary Arts Museum, Houston, 2004.


Juergen Teller, Vivienne Westwood
Courtesy Lehmann Maupin Gallery, New York.

JUERGEN TELLER: Man with Banana

8 April - 21 August 2011

opening reception – Friday 8 April 20.00 – 24.00 (8.00 - Midnight)

Juergen Teller’s work in books, magazines and exhibitions is marked by his refusal to separate the commercial fashion pictures and his most autobiographical un-commissioned work. Teller will present an exhibition of photographs specifically created for Dallas Contemporary. His work has been published in influential international publications such as W Magazine, i-D and Purple and has been the subject of solo exhibitions including The Photographers Gallery in London, the Kunsthalle Wein and the Fondation Cartier Pour l’art Contemporain in Paris, his most recent solo show being "Calves and Thighs" at Alcala 31 in Madrid, as part of Photo España.


Ezra Petronio

EZRA PETRONIO: Bold & Beautiful

8 April - 21 August 2011

opening reception – Friday 8 April 20.00 – 24.00 (8.00 - Midnight)

For more than a decade, Ezra Petronio has been independently publishing Self Service, a bi-annual fashion and lifestyle magazine. In an Andy Warhol 1970s style, Petronio’s exhibition at Dallas Contemporary is the Polaroid documentation of the creative people that have been involved in the magazine --- curators, designers, editors, photographers, thinkers, musicians, artists, socialites, troublemakers. Never before seen in an institutional setting, Petronio’s exhibition explores the diversity of fashion, photography and art. Ezra Petronio was born in New York City in 1968. Petronio lives and works in Paris, France.


Alexandra Ferreira & Bettina Wind, The Cactus as Instigator of Social Change, 2011;
Gintaras Didziapetris, Compass and Bird Space, 2011
Photo: Christian Merlhiot

LE PAVILLON NEUFLIZE OBC: The Lost Art of Travelers

Jérome Allavena, Einat Amir, Elisabeth S.Clark, Gintaras Didziarapetris, Alexandra Ferreira, Florence Lazar, Morten Norbye Halvorsen, Christian Merlhiot, Fabrice Pichat, Charlotte Seidel, and Bettina Wind. Curated by Estelle Nabeyrat.

8 April - 26 June 2011

opening reception - Friday 8 April 20.00 - 24.00 (8.00 - Midnight)

A dynamic group exhibition by the current participants from Le Pavillon - a post-graduate arts residency program at the Palais de Tokyo in Paris, France, which includes 11 artists and 1 curator from all over the world. This exhibition at the Dallas Contemporary begins an annual series of collaborations with international residency programs to create the opportunity for their first real world exhibition experience, along with creating focused art works or a curatorial theme about Dallas or Texas.


An exhibition produced by Le Pavillon Neuflize OBC, laboratoire de crèation du Palais de Tokyo.


Surasi Kusolwong
photo courtesy of the artist


12 May 2011

Thai artist Surasi Kusolwong encourages audience participation, blurring lines drawn conventionally between art and life. He makes large-scale, interactive installations combining sound, sculpture and everyday objects. For his project in Dallas, the artist takes up residence in the old factory space, which will build-up to a one evening performance extravaganza during the PEEK celebration.

Combined with neon work and fluorescent lighting, Kusolwong creates an atmosphere of collective play and experimentation. The project recalls spirits, memories of history relating to music and visual art, and expands the freedom of performance and artistic practice. Kusolwong has exhibited internationally at institutions such as the Tate Modern, London and Ullens Center for Contemporary Art, Bejing.


MICHEL VERJUX: Breathe, Walk, Look

12 February - 21 March 2011

Primarily composed of directed, framed and focused light projections, Verjux’s sculptural exploration of light serve not simply as simple forms and geometric shapes, but as indexes and symbols of an event. On view both at Dallas Contemporary and an off-site location in downtown Dallas at 601 Elm Street, Verjux will use high-lumen architectural lights in conjunction with the gallery walls to create his first institutional exhibition in the United States since 1997.


DAVID WILLBURN:The Overuse of Everything

12 February - 27 March 2011

Willburn’s interest in collections of objects and their potential to create narrative results in an installation of hand built wooden constructions upon which austere embroidered drawings of spaces in his home are displayed with clips.  Conceived as a group of conversations, each display structure will have a companion structure upon which an industrial clamp light will be fixed.  Viewers will find themselves navigating through and negotiating with these “characters” engaged in both private and public dialogue.


CHRISTIAN WULFFEN: Bridges and Constructions

11 November 2010 - 30 January 2011

Bridges and Constructions, is a site-specific installation comprised of 24 carts throughout the 8,000 square feet space. Each cart acts as a vehicle for the distribution of information and represents a specific location on the map of Downtown Dallas. Accompanying the carts are 76 pre-fabricated boards, which act as kiosks of information holding photographs, illustrations of maps and blank canvases. Referencing concrete art, a European movement coined by Theo van Doesburg in 1930, Wulffen bases his artistic examinations on real objects, structures, and spaces. His handmade and pre-manufactured works combine familiar materials like graphite, wood, and newsprint with an artistic vocabulary often based on the grid.



11 November 2010 - 30 January 2011

Dallas artist Jason Reynaga presents an exhibition based on his fascination with the seductive qualities of gaming and toy design and its affect on Western culture. Using dynamic, color-rich, multidimensional surfaces, Reynaga’s work captivates the viewers on a sensory level. Glittery surfaces will be seen in graphic images of war and weaponry.


GABRIEL DAWE: Plexus no. 4

18 September 2010 27 March 2011

Plexus No. 4, an installation by artist Gabriel Dawe, will be remain on display in the Contemporary Gallery 4 through 27 March 2011.

In his most recent piece, Plexus 4 (2010), giant veils of yellow, orange, and blue thread evidence Dawe’s long-time interest in Op-Art and Minimalism. Concurrently, Plexus 4 makes reference to the artist’s concern for the function of architectural space and its relation to clothing – both shelter humanity, but on quite different scales. This piece appropriates the chief tool of garment making for the creation of architectural components; the careful placement of two walls of vibrantly hued thread directs the viewer’s movement through space. Thus an experience of this piece, and gallery that holds it, is guided by the calculated structure and visual sway of the thread. By combining overt formal concerns with his interest in systems of group control, Dawe offers something novel to our understanding of both.