June Mattingly's - Special "EYE" to watch - 7 New Shows to Celebrate with Hoop-la

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moderndallas.net
Special “Eye” to Watch
June Mattingly // contributing art writer

7 New Shows to Celebrate with Hoop-la
September 11's Gallery Opening Night.

Seven new shows justify more than one return visit through October 9, besides it
keeps you upwards to being in the know on the very eventful Dallas art scene.

Four are reviewed here and you can read about the other 3 shows....
Michael Miller at Barry Whistler's , Cris Worley's New Gallery . Don't miss the show
of site-specific installations in an amazingly different setting - "Sustenance."
Seven in all - enjoy!

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“Untitled DB 10-7,” 2010, oil on canvas, 80 x 80 inches

“Untitled CZ 10-5,” 2010, oil on canvas, 60 x 60 inches

Falsetta’s seventh show at Conduit includes both large scale paintings on canvas and
much smaller paintings on panel. While each painting is at first glance a spontaneous
composition, there is an underlying grid pattern that determines the movement of paint
across the canvas. “I am also interested in the actual physical properties of the paint,
the plasticity of the medium and the painting as an object. I brush on, blend, and
drag thick oil paint into wet oil paint using various hand pressures, rhythms and speed
of movement producing pulsing multi-hued abstractions.”

Like all serious artists, Falsetta paints most of his waking hours except when he’s in the role
of professor of studio art since 1978 at University of North Texas and preparing his work for
a history of shows in a museum. His MFA degree is from the Tyler School of Art and he’s
represented in the permanent collections including the Tyler Museum of Art, Art Museum
of South Texas in Beaumont, the El Paso Museum of Art, Neiman Marcus, Dallas, and the
Longview Art Museum.

Trenton reworks Biblical stories he learned as a child at home that refer to the saga of
the “devious” Vegans and “harmless” Mounds. In this the fourth and final installment
he portrays these mythical creatures, tragic protagonists in an unfolding narrative,
portraying the life, death, afterlife and dream states of half-animal, half-plant creatures.
In Dunn and Brown’s stirring show titled “Work While It Is Day...For Which Night Cometh No
Man Can Work “ghostly, bony limbs, dismembered heads, and grim gravestone forms are
depicted as they encounter death... To reiterate this theme, a coffin in the center of the
(smaller) Project Room (on totally black walls), symbolizes the death of one story but
perhaps hinting at the birth of a new chapter.”

On close inspection the color, text and medium handling in his prints, drawings and
heavily collaged paintings show his influence by the history of art, especially by Abstract
Expressionism. Balancing moral dilemmas with wit, drama and music his works create a
painterly space of psychological impact and endurance.

Here are excerpts from a review of his new site-specific sensational installation “A Better
Promise” in the Seattle Art Museum. Seattleites are accustomed to recycle everything
except unnoticed items such as plastic bottle caps that clog conveyor belts and
grinders. Beneath this piece Trenton presents a solution to the dilemma—nine Plexiglas
bins to deposit caps with a sign reading “Help me turn trash to art.” Who else besides
Trenton has the talent to make real trash into true, knocked-out artful treasures?

Vincent Falsetta at Conduit

Ever since my gallery introduced Vincent’s patterned “virtuosic” abstract paintings in the
80s he’s continued to employ brushes, cardboard, spreaders, palette knives and dry wall
spatulas to produce a rich, carved and grooved texture, linear compositions that
cascade in and out of multi-colored striations of paint. These “dazzling but subtle
magnetic pools of textured zigzag lines swim” in different directions and pull the
viewer’s magnetized eye over the background of rich color – quite an action
packed art experience.

Trenton Doyle Hancock
at Dunn and Brown Contemporary

A typical site-specific gallery installation of Trenton’s is full of complex symbolism and
storytelling in mediums stretching from a 20 foot wide by 12 foot high painting, immobile
mobiles, music emanating from furniture, to installations directly on the floor or paintings
suspended from the wall or hanging from the ceiling.

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This 36-year old Houstonian who has already shown internationally and nationally is
also represented by James Cohan whose main base is in New York. Trenton’s impressive
achievements include a BFA from Texas A&M University, an MFA from the Tyler School of
Art in Philadelphia and being included in the 2002 and 2000 competitive Whitney Biennial.
Solo exhibitions of his work have been mounted at the Modern Art Museum of Fort Worth
and the Contemporary Arts Museum in Houston. Collections such the Whitney Museum of
America Art and Museum of Modern Art, Houston’s Museum of Fine Art, and the Dallas
Museum of Art own his work. In 2007, he was the winner of a $50,000 prize from the Studio
Museum Harlem, an example of his awards.

Other recent projects include a ballet produced by the Austin Ballet and a site-specific
mural at the Cowboys Stadium.

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Mark Sheinkman at Holly Johnson
Departing from my usual practice of writing exclusively about Texas artists are the following
two reviews on out-of-state residents, one at Marty Walker’s and one at Holly Johnson’s.

The exhibition title of the Mark’s show at Holly Johnson’s “Manhattanville Project” and the
titles of the paintings refer for streets in the Bronx in the area west of Harlem in upper New
York City called Manhattanvillle where his studio happens to reside.

Sheinkman ‘s 2008 series described in the review in the premier magazine Art in America as
“dense linear compositions” belie the fact he creates monotone paintings with an erased
graphite base, not simply humongous graphite drawings ranging from 3 to 15 feet on a side.
“The large expanses of heavily applied graphite give the surface a rich luster through which
ghostly ribbons of white twist and undulate as if floating in space or deep waters. Instead of
crisp lines on a flat plane, these appear multi-dimensional. Hard white edges in the
foreground recede to wispy translucency, as if deeper layers were revealed by x-ray…”

Sheinkman, 2010, Twelfth, 91x67 inches

Sheinkman, 2010, Marin, 21x29 inches

Sheinkman received his BA from Princeton (1985), had a one person at the Kemper Museum
of Contemporary Art in Kansas City, has exhibited internationally in European galleries and
museums and is in museum collections such as the Museum of Modern Art, the Metropolitan,
Fogg Art Museum at Harvard, Museum of Fine Arts in Houston as well as the Biblioteque
Nationale in Paris.

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Pard Morrison at Marty Walker

It would not be surprising to minimalist art aficionados that Pard served as an assistant
to the important figure Agnes Martin (who actually preferred to be considered an
abstract expressionist to a minimalist). Her painterly paintings emphasized line, grids
and fields of extremely subtle color but distinct from minimalists she retained small
flaws and traces of her handwork.

Minimalism, starting in the 60s, associated more with sculpture than painting was
pioneered exclusively by American artists; its main protagonists of basic three-
dimensional geometric forms and grid patterns include sculptors Dan Flavin,
Donald Judd and Sol LeWitt, all being a tremendous influence on Pard’s art.

Natural Ghost, 2010, patinated aluminum, 84 x 12 x 9 ¼ inches and on the right
“Shot To The Moon,” 2010, patinated aluminum, 18 x 27 x 6 inches

Unlike Judd etc. who used industrial metal fabricators, Pard personally produces his
sculptures to reveal the hand of the artist. He skillfully welds brightly colored variously
sized aluminum panels and cubes and bakes multiple layers of color pigment
combinations onto them in a process he terms “patination.” While the edge of each
section of color is sharply defined, the application of color has a soft painterly effect,
with some of the gray of the aluminum purposefully showing.

“Flora,” 2010, patinated aluminum, 25 x 70 x 3 inches and on the right
“Possible Heart,” 2010, patinated aluminum, 21 x 27 x 6 inches

Mutation Drawings, 2010
Enamel, Scotchcal, acrylic,
framed, 21 x 17 x 1 inches each

Galleries having shown Pard in solos
(including twice at Marty Walker)
include Arthur Roger in New Orleans,
Brian Gross in San Francisco, RULE
Modern and Contemporary in Denver
and LewAllen Contemporary in Santa
Fe. Another gifted artist under 40 (born
in 1975) in Colorado Springs, he
received a BFA from Colorado State
University.

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