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CULTURE PLACE | AMERICAN CENTURY

JULY 9 - SEPTEMBER 12, 2020

VISIT CULTURE PLACE

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CULTURE PLACE | AMERICAN CENTURY

THE BRUCE HIGH QUALITY FOUNDATION, Hoovervilles, 2011, silkscreen, acrylic paint on canvas, 35 3/4 x 90 1/2 inches (diptych)

McClain Gallery's inaugural presentation for Culture Place, American Century, includes artwork that mines North America's past and symbols of national identity. Together they speak of uncertainty, political upheaval, and social injustices while inviting dialogue and looking toward change.  

 

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LUIS JIMÉNEZ, Tank - Spirit of Chicago, 1968, polychrome fiberglass, 19 x 34 x 30 inches

The Bruce High Quality Foundation's history painting, Hoovervilles, references the shanty/tent towns that appeared across the states during the Great Depression in the 1930s. In the picture, two giant homeless figures burn the Twin Towers to keep warm at the end of Wall Street. 

Luis Jiménez's 1968 Tank-Spirit of Chicago depicts an army tank with "sprawled black and brown bodies fused to its surface, its cannon thrust between the legs of a female victim and its treads suggesting the teeth of a skull." This visceral sculpture is a commentary on "the confrontation between Vietnam war protesters (including the Youth International Party and Black Panthers) during the 1968 Democratic Convention in Chicago, which was suppressed with great violence by the police." –Jiménez, Luis, Lippard, Lucy R., Anaya, Rudolfo A., "Man on Fire: Luis Jiménez", The Albuquerque Museum, 1994, p.11 (text appears in Luis Jiménez, Recycling the Ordinary into the Extraordinary, essay by Shifra M. Goldman, image reproduced p. 79).   

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ELAINE REICHEK, When They First Came for Us, 2019, hand embroidery with metal studs on linen, 28 x 42 inches

In Elaine Reichek's hand-embroidered work, When They First Came for Us, 2019, she appropriates a powerful passage from Cheyenne and Arapaho author Tommy Orange's 2018 novel There There: "When they first came for us with their bullets, we didn’t stop moving even though the bullets moved twice as fast as the sound of our screams, and even when their heat and speed broke our skin, shattered our bones, skulls, pierced our hearts, we kept on, even when we saw the bullets send our bodies flailing through the air like flags, like the  many flags and buildings that went up in place of everything we knew  this land to be before. The bullets were premonitions, ghosts from dreams of a hard, fast future. The bullets moved on after moving through us, became the promise of what was to come, the speed and the killing, the hard, fast lines of borders and buildings. They took  everything and ground it down to dust as fine as gunpowder, they fired their guns into the air in victory and the strays flew out into  the nothingness of histories written wrong and meant to be forgotten.  Stray bullets and consequences are landing on our unsuspecting bodies even now." - Tommy Orange, “There There” (New York: Knopf, 2018), 10.

Along the border of the work, she has hand-sewn metal likenesses of bullet shells, like an illuminated manuscript made for the 21st century–where a symbol of violence easily displaces images of nature and vitality.  

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JONATHAN SELIGER, Caprice, 2011, automotive enamel on bronze, chrome-plated bronze, glass, 48 x 54 x 12 inches

Jonathan Seliger's Caprice, 2011, is a model of an NYPD car door, both 15% smaller than the original and missing the shield part of the logo. He has said, "In a way shrinking the scale even slightly made it anti-heroic; the piece was intended to touch on strife in society, the necessity for order and the impending threat of chaos, civil unrest and the dissolution and mistrust of authority, shifting polarities, the constancy of Law."

His Disappearing Fabric, 2006, was made around the wake of Hurricane Katrina. At more than seven feet wide, the oversized dry-cleaning hanger is draped in an American flag imprinted with a note about donations made to the American Red Cross Disaster Relief Fund. The inspiration behind the piece was multi-fold: the actual damage and disintegration of garments over time and dialogue with Jasper John's works from the late 50-60s. Seliger said he "was reflecting on the fraying of any sense of common ground on what it meant and means to be an American, the differences between a post-war (i.e. WW2) or pre-Vietnam war generation and into the 2000s. At the time that I made the piece, it seemed like we were at a critical juncture, but as we can all see the situation has only continued to slide in a far more dangerous direction..." Disappearing Fabric also hints at the complexities of fraught nationalism, and the divide between activism, charitable donations, and positive change. 

 

 

 

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JONATHAN SELIGER, Disappearing Fabric, 2006, copper, steel, oil, acrylic and modeling paste on canvas, 45 x 89 x 10 inches

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DONALD BAECHLER, SOME PROPHECY, 2013, gesso, Flashe, and paper collage, 52 x 40 inches

Donald Baechler's SOME PROPHECY, 2013 displays a larger than life hand signing, or ready for a pinky swear; we're not sure which. This gesture's boldness suggests something that might be universally understood, but now disembodied and with ambiguous intent, it is at once humorous and alienating. His bronze sculpture HEAD 2: a frowning bust wearing a sideways baseball cap feels part nostalgic (think a sun-filled American summer), but also sorrowful.

 

 

 

 

 

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JOHN ALEXANDER, Black Crows, 2017, monotype and pastel on paper, 32 x 25 inches

John Alexander is known for his social critique of corrupt politicians and hypocritical authority figures, often masked or anthropomorphized into a hybrid animal form. Here, Alexander beautifully renders portentous crows in monotype and pastel. Kent Dorn's Fugitive is a post-apocalyptic everyman: encrusted, world-weary, and without mooring. Signs by Ed Ruscha and Gary Simmons show a rusty "Dead End" and a burning "Hollywood." Those symbols of progress, a seemingly endless road west, or the mythical path to stardom, are no longer infinite, shiny, or new.  

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ED RUSCHA, Rusty Signs - Dead End 2, 2014, Mixografía®  print on handmade paper, 24 x 24 inches, Ed 33/50, 10 AP

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YINKA SHONIBARE, Cowboy Angel I (From Cowboy Angels Portfolio), 2017, woodcut with fabric collage on Sumerset Tub Sized Satin 410gsm paper, 37.2 x 27.56 inches, Edition 14 of 20

Yinka Shonibare's woodcut print of a Cowboy Angel I  (2018) combines representations of the iconic American West cowboy with African masks, angels, and a fragment of Dutch-wax print fabric. Through layered imagery and materiality, he addresses issues of imperialism with themes of immigration and xenophobia in Europe and North America. Standing alongside, Roy Lichtenstein's woodcut American Indian Theme IV, 1980, combines loose references to indigenous artifacts and Native American motifs with the graphics of his contemporary prints–bridging two otherwise different facets of American culture. 

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Elaine Reichek When They First Came for Us, 2019 hand embroidery with metal studs on linen 28 x 42 inches

Elaine Reichek

When They First Came for Us, 2019

hand embroidery with metal studs on linen

28 x 42 inches

Solicitar información
Jonathan Seliger Disappearing Fabric, 2006 copper, steel, oil, acrylic and modeling paste on canvas 45 x 89 x 10 inches

Jonathan Seliger

Disappearing Fabric, 2006

copper, steel, oil, acrylic and modeling paste on canvas

45 x 89 x 10 inches

Solicitar información
THE BRUCE HIGH QUALITY FOUNDATION Hoovervilles, 2011 silkscreen, acrylic paint on canvas 35 3/4 x 90 1/2 inches

THE BRUCE HIGH QUALITY FOUNDATION

Hoovervilles, 2011

silkscreen, acrylic paint on canvas

35 3/4 x 90 1/2 inches

Solicitar información
Donald Baechler SOME PROPHECY, 2013 gesso, Flashe and paper collage on paper paper: 52 x 40 inches frame: 57 1/2 x 45 1/2 inches

Donald Baechler

SOME PROPHECY, 2013

gesso, Flashe and paper collage on paper

paper: 52 x 40 inches

frame: 57 1/2 x 45 1/2 inches

Solicitar información
Yinka Shonibare Cowboy Angel I (From Cowboy Angels Portfolio), 2017 woodcut with fabric collage on Sumerset Tub Sized Satin 410gsm paper 37.2 x 27.56 inches (94.5 x 70 centimeters) Edition 14 of 20

Yinka Shonibare

Cowboy Angel I (From Cowboy Angels Portfolio), 2017

woodcut with fabric collage on Sumerset Tub Sized Satin 410gsm paper

37.2 x 27.56 inches (94.5 x 70 centimeters)

Edition 14 of 20

Solicitar información
Roy Lichtenstein American Indian Theme IV from American Indian Theme Series (C. 163), 1980 woodcut and lithograph on paper B. 28½ x 28 inches S. 37¼ x 36 1/8 inches Edition 18 of 50, with 18 signed and dated in pencil, numbered 18/50

Roy Lichtenstein

American Indian Theme IV from American Indian Theme Series (C. 163), 1980

woodcut and lithograph on paper

Block 28½ x 28 inches

Sheet 37¼ x 36 1/8 inches

Edition 18 of 50, with 18

signed and dated in pencil, numbered 18/50

Solicitar información
John Alexander Black Crows, 2017 monotype and pastel on paper 32 x 25 inches

John Alexander

Black Crows, 2017

monotype and pastel on paper

32 x 25 inches

Solicitar información
Luis Jiménez Tank - Spirit of Chicago, 1968 polychrome fiberglass 19 x 34 x 30 inches

Luis Jiménez

Tank - Spirit of Chicago, 1968

polychrome fiberglass

19 x 34 x 30 inches

Solicitar información
Donald Baechler HEAD 2, 2014 bronze 15 x 20 x 2 inches Edition 1 of 8,

Donald Baechler

HEAD 2, 2014

bronze

15 x 20 x 2 inches

Edition 1 of 8, 2 AP

Solicitar información
Jonathan Seliger Caprice, 2011 automotive enamel on bronze, chrome plated bronze, glass 48 x 54 x 12 inches Edition 1 of 8

Jonathan Seliger

Caprice, 2011

automotive enamel on bronze, chrome-plated bronze, glass

48 x 54 x 12 inches

Edition 1 of 8

Solicitar información
Kent Dorn Fugitive , 2008 mixed media on canvas 19 x 16 inches

Kent Dorn

Fugitive, 2008

mixed media on canvas

19 x 16 inches

Solicitar información
Ed Ruscha Rusty Signs - Dead End 2 , 2014 Mixografía®  print on handmade paper 24 x 24 inches 10, Edition 33 of 50

Ed Ruscha

Rusty Signs - Dead End 2, 2014

Mixografía®  print on handmade paper

24 x 24 inches

Edition 33 of 50, 10 AP

Solicitar información
Elaine Reichek Our Feelings (Akhmatova), 2018 hand embroidery on linen 12 3/4 x 19 inches

Elaine Reichek

Our Feelings (Akhmatova), 2018

hand embroidery on linen

12 3/4 x 19 inches

Solicitar información
GARY SIMMONS Hollywood, 2013 UV pigment print on aluminum core 48 x 36 inches 2 of 15

GARY SIMMONS
Hollywood, 2013

UV pigment print on aluminum core
48 x 36 inches
Ed. 2 of 15

Solicitar información
John Alexander  Albino Crows and Crows in a Fog, 2012  pair of monotypes from steel and aluminum plates with hand-coloring  paper: 36 x 25 1/2 inches  frame: 43 x 32 inches  both signed bottom right front  Print Studio: Pace Prints  $30,000

John Alexander

Albino Crows and Crows in a Fog, 2012

pair of monotypes from steel and aluminum plates with hand-coloring

paper: 36 x 25 1/2 inches

frame: 43 x 32 inches

both signed bottom right front

Print Studio: Pace Prints

Solicitar información
Elaine Reichek When They First Came for Us, 2019 hand embroidery with metal studs on linen 28 x 42 inches

Elaine Reichek

When They First Came for Us, 2019

hand embroidery with metal studs on linen

28 x 42 inches

Jonathan Seliger Disappearing Fabric, 2006 copper, steel, oil, acrylic and modeling paste on canvas 45 x 89 x 10 inches

Jonathan Seliger

Disappearing Fabric, 2006

copper, steel, oil, acrylic and modeling paste on canvas

45 x 89 x 10 inches

THE BRUCE HIGH QUALITY FOUNDATION Hoovervilles, 2011 silkscreen, acrylic paint on canvas 35 3/4 x 90 1/2 inches

THE BRUCE HIGH QUALITY FOUNDATION

Hoovervilles, 2011

silkscreen, acrylic paint on canvas

35 3/4 x 90 1/2 inches

Donald Baechler SOME PROPHECY, 2013 gesso, Flashe and paper collage on paper paper: 52 x 40 inches frame: 57 1/2 x 45 1/2 inches

Donald Baechler

SOME PROPHECY, 2013

gesso, Flashe and paper collage on paper

paper: 52 x 40 inches

frame: 57 1/2 x 45 1/2 inches

Yinka Shonibare Cowboy Angel I (From Cowboy Angels Portfolio), 2017 woodcut with fabric collage on Sumerset Tub Sized Satin 410gsm paper 37.2 x 27.56 inches (94.5 x 70 centimeters) Edition 14 of 20

Yinka Shonibare

Cowboy Angel I (From Cowboy Angels Portfolio), 2017

woodcut with fabric collage on Sumerset Tub Sized Satin 410gsm paper

37.2 x 27.56 inches (94.5 x 70 centimeters)

Edition 14 of 20

Roy Lichtenstein American Indian Theme IV from American Indian Theme Series (C. 163), 1980 woodcut and lithograph on paper B. 28½ x 28 inches S. 37¼ x 36 1/8 inches Edition 18 of 50, with 18 signed and dated in pencil, numbered 18/50

Roy Lichtenstein

American Indian Theme IV from American Indian Theme Series (C. 163), 1980

woodcut and lithograph on paper

Block 28½ x 28 inches

Sheet 37¼ x 36 1/8 inches

Edition 18 of 50, with 18

signed and dated in pencil, numbered 18/50

John Alexander Black Crows, 2017 monotype and pastel on paper 32 x 25 inches

John Alexander

Black Crows, 2017

monotype and pastel on paper

32 x 25 inches

Luis Jiménez Tank - Spirit of Chicago, 1968 polychrome fiberglass 19 x 34 x 30 inches

Luis Jiménez

Tank - Spirit of Chicago, 1968

polychrome fiberglass

19 x 34 x 30 inches

Donald Baechler HEAD 2, 2014 bronze 15 x 20 x 2 inches Edition 1 of 8,

Donald Baechler

HEAD 2, 2014

bronze

15 x 20 x 2 inches

Edition 1 of 8, 2 AP

Jonathan Seliger Caprice, 2011 automotive enamel on bronze, chrome plated bronze, glass 48 x 54 x 12 inches Edition 1 of 8

Jonathan Seliger

Caprice, 2011

automotive enamel on bronze, chrome-plated bronze, glass

48 x 54 x 12 inches

Edition 1 of 8

Kent Dorn Fugitive , 2008 mixed media on canvas 19 x 16 inches

Kent Dorn

Fugitive, 2008

mixed media on canvas

19 x 16 inches

Ed Ruscha Rusty Signs - Dead End 2 , 2014 Mixografía®  print on handmade paper 24 x 24 inches 10, Edition 33 of 50

Ed Ruscha

Rusty Signs - Dead End 2, 2014

Mixografía®  print on handmade paper

24 x 24 inches

Edition 33 of 50, 10 AP

Elaine Reichek Our Feelings (Akhmatova), 2018 hand embroidery on linen 12 3/4 x 19 inches

Elaine Reichek

Our Feelings (Akhmatova), 2018

hand embroidery on linen

12 3/4 x 19 inches

GARY SIMMONS Hollywood, 2013 UV pigment print on aluminum core 48 x 36 inches 2 of 15

GARY SIMMONS
Hollywood, 2013

UV pigment print on aluminum core
48 x 36 inches
Ed. 2 of 15

John Alexander  Albino Crows and Crows in a Fog, 2012  pair of monotypes from steel and aluminum plates with hand-coloring  paper: 36 x 25 1/2 inches  frame: 43 x 32 inches  both signed bottom right front  Print Studio: Pace Prints  $30,000

John Alexander

Albino Crows and Crows in a Fog, 2012

pair of monotypes from steel and aluminum plates with hand-coloring

paper: 36 x 25 1/2 inches

frame: 43 x 32 inches

both signed bottom right front

Print Studio: Pace Prints

CP LOGO

The Dallas Art Fair has launched Culture Place, Inc., a digital marketplace for contemporary art collectors to discover, connect, and buy from galleries across the region, which will be augmented with weekly artist studio visits, conversations, and other online programming.

Website: www.cultureplace.com

Instagram: @thecultureplace