In Anna Bogatin’s second solo show, on view through July 30 at Holly Johnson Gallery in Dallas, twelve acrylic paintings executed in the last two years occupy the entry space.
As museums today compete for social media attention, Dallas Contemporary currently finds itself pulling ahead of the pack thanks in no small part to Paola Pivi’s Ma’am (on view through August 21).
In the spring of 1921, the recently established Dallas chapter of the Ku Klux Klan kidnapped Alex Johnson, a black Adolphus Hotel elevator operator. He was driven to an isolated location, whipped, had the initials KKK burned into his forehead with acid, and then forced to walk naked and bleeding into the Adolphus lobby.
Barry Whistler Gallery was a fixture in Deep Ellum for nearly 30 years so it may have come as a surprise when Whistler decided to move his gallery to the Design District during the first week of May.
In celebration of the American sculptor Joel Shapiro, the Nasher Sculpture Center, which holds six examples of his work in their permanent collection, has unveiled a new piece specifically designed for the central gallery on the ground floor.
In Dallas, a generation of young playwrights is beginning to flex dramatic muscle in pursuit of social change, pushing their work past the impulse to create art for art’s sake.
Thompson’s upcoming exhibit with Fort Worth’s William Campbell Contemporary Art, Perfect: Part 1, May 19-June 18, is his 12th solo exhibit with the gallery.
“We look around the world we live in, at topics that are relevant in the news, our civic life, in the culture as a whole,” Kevin Moriarty, Artistic Director of the Dallas Theater Center tells me when I ask him how he and his team begin to conceive a season.