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Eli Walker @ RE Gallery

RE gallery is pleased to invite you to
[untitled] new paintings by Eli Walker.

Opening reception Friday November 15 | 7-9 pm

Dallas native, Eli Walker (1981), received his BFA in the Advanced Painting Studio at the School of the Art Institute of Chicago and his MFA in the Hoffberger School of Painting at the Maryland Institute College of Art. During his time at MICA Walker was sole recipient of the Hofferberger Painting Prize. His work has been exhibited nationally and internationally, and has attended a residency at the Burren College of Art in Ireland. In addition to painting, Walker writes, teaches and curates – activities that continually inform his painting practice. Presently he and his partner Kelly Kroener live and work in Dallas, and have together co-founded their domestic gallery Homeland Security and are founding members of S.C.A.B. [Socialized Contemporary Artists Bureau]. Walker is represented by RE gallery, Dallas. For sales, previews or if you would like to schedule studio visit you may contact director Wanda Dye at or at 972-974-3004.

RE gallery is located at 1717 Gould Street
Gallery hours are Wed-Sat 12-6 pm and by appointment

SCABhenge @ Dallas Contemporary

Photo: scabhenge happening NOW at Dallas Contemporary
#ALIVEfor35: LIGHTS ON + DOORS OPEN for 35 CONSECUTIVE HOURS in honor of dc’s 35th BIRTHDAY: FRIDAY 08 NOVEMBER (1.00 pm) NON-STOP through SATURDAY 09 NOVEMBER (midnight)


Marathon programming will center around the works of 35 artists in an exhilarating group show, Acceleration. The exhibition curated by Lilia Kudelia will feature 35 of Dallas Contemporary’s most memorable past, present and future exhibiting artists with various artist performances, installations, videos and guest panels interwoven throughout.

The 35 Acceleration artists are Morehshin Allahyari, Jesse Morgan Barnett, Dru Bias, Andrew Blanton, Bradly Brown, Will Card, Cassandra Emswiler, Vernon Fisher, James Gilbert, Sally Glass, Nathan Green, Timothy Harding, Judy Hearst, Nevada Hill, Quin Mathews, Margaret Meehan, Francisco Moreno, Michael A. Morris, Lisa Nersesova, Arthur Pena, Morton Rachofsky, Brittany Ransom, Michelle Rawlings, Trent Straughan, George Tobolowsky, Jason Willaford, Chesley Williams, Trey Wright, and S.C.A.B.:
Frank Darko, Alexander DiJulio, Lucy Kirkman, Kelly Kroener, Samantha McCurdy, Joshua von Ammon, and Eli Walker.

Kelly Kroener and Lucy Kirkman @ UTD


Friday, October 18, 6:30 PM
Venue: AS 1.1
Ticket: Free
Season: 2013-14October 11– November 16, 2013
Reception: Friday, October 18, 6:30-8:30 p.m.The exhibition construction_Site advances the strategy of artists engaged in conceptual practices that adapt the appearance of constructed forms in painting and digital imaging. Artists are continually trying to update perceptual strategies in response to the onslaught of new materials and ever changing digital innovations. The art works in this exhibition reveal visual shifts between painting and building, as well as photographing and constructing. A commitment to experimentation is a priority for these artists; tinkering like scientists and constructing like architects.

Gallery Hours:
Monday – Friday 2 p.m. – 5 p.m.

For more information contact:
Arts and Performance Office

Patrons with disabilities who need special assistance, such as an interpreter or captioning, to attend this presentation should contact us no later than 72 hours prior to the presentation.

S.C.A.B. in Collective Bargaining at UTD

Twin Coffins
Collective Bargaining
Friday, Sep 6 -Saturday, Oct 5
AS 1.1

September 6 – October 5, 2013
Reception, Friday, September 13, 6:30 – 8:30 p.m.

Co-curated by Diane Durant and Lorraine Tady

Collective Bargaining addresses the fundamental notions of artist collectives negotiation, camaraderie, and creative expression. Dallas-Fort Worth area artist collectives HOMECOMING! Committee, S.C.A.B. (Socialized Contemporary Artist Bureau), The Ghost Town Arts Collective, Sour Grapes, IN COOPERATION WITH MUSCLE NATION, Art Beef, The Junior Ward, and SOLVENT will be represented by a variety of media and performance, with each entity exploring the myriad manifestations of collective behavior—of collective bargaining.

Gallery Hours:
Monday – Friday 2 p.m. – 5 p.m.

Collective Bargaining postcard


Art discussion [/f/reedom]

Free Roaming Collaboration [EMPIRE]

Art Wiki [UsWiki]

New S.C.A.B. CV Site On UsWiki

The New Navy @ RE Gallery


The New Navy: RE-thinking Materials at RE Gallery

July 29th, 2013 –
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Separator 1

Samantha McCurdy and Alex DiJulio both studied Interdisciplinary Sculpture at Maryland Institute College of Art and use nontraditional methods and materials. For their show The New Navy, the pair collaborates on a series of wall-based objects that utilize concrete, found wood, crystals and paint to explore materials, process, and the color blue.

In addition to mixing media, they also mix the notions of picture and object in various ways. Of course, pictures are objects; they have a material base, but it’s difficult to focus on both of these aspects of a work at the same time. The boundary between them is a mental one. The works Separator 1 and Separator 2 take the most direct route to try and pierce that boundary. In each piece, a group of blocks is awkwardly attached to the surface of a painting in clumsy rows and columns, obscuring a generically painted female figure. It’s hard to look into the picture when it’s being used to do real world tasks like holding up blocks. That’s the point. There’s something exciting about so simple and violent a breach of the picture plane.

Etic 1-7

Most of the works, such as the grouping Blue Etic 1-7, employ some version of a flattened blob of cast concrete lifted up and hung on the wall to reveal the circumstances of its casting: bubbles, creases from some kind of lining, and a niche cradling a block coated with either colored sand or crystals. They could as easily be religious relics as construction site debris.

For all of their handmade imperfection, they show little trace of actual hands. Their construction is thoughtfully staged to appear as if they could’ve created themselves or been accidentally assembled. But by hanging on walls, they become pictures and allow us to consider the logistics of how materials come to mean. Mineral-crusted objects float in the frozen puckered surface of the concrete and create a figure/ground of sorts. But do you look into it or at it? I read them with my body more quickly than with my mind. I see them as the product of different physical forces: gravity, weight, liquid, solid, the slow growing of crystals, the quick setting of cement, the speed of ideas. Their rhythm reminds me that thinking has a material base as well.

Blanket Statement

Blanket Statement contains small pieces of pyrite pressed into a hunk of hazy purplish-blue concrete that calls to mind upholstered cushions. It looks velvety and luxurious, like something King Arthur might bring to sit on at a basketball game. But this cushiony effect is just a coincidental likeness, growing from the process rather than a representation of any particular thing. Considered individually, the elements of the work connote science kits and camp crafts more than opulence and luxury. Coincidental or not, associations inflect and color a work’s meaning—that’s the fun of this game.

Spore 2

The shades of blue referred to in the show’s title are painted onto canvases, pigmented in concrete and soaked into sand-covered rectangles, but the blue theme seems an afterthought, or a thin excuse to put a certain group of works in a room together. There is the requisite Yves Klein Blue in attendance, a pungent royal chroma heavy with references, and less iconic blues, which make you realize how relative and squishy color can be. This blue is grayer than that one but greener than that other one, and almost purple when compared to that one over there.


Color is also, in a way, made up out of language. I remember driving through the countryside around Austin a few years ago and noticing a bright patch of color out in a field. After a moment, I realized that it was a bunch of trash scattered along the ground but, for those few seconds, I was taken by the beauty of the colors; I remember a particular pale blue that turned out to be plastic grocery bags before the magic disappeared. There’s sometimes a fuzzy moment before we know what a thing is, what the thing’s name is, where it floats around like a stem cell of pure possibility. McCurdy and DiJulio work similarly underneath the radar of language, trying to keep their creations in this unfixed, churning state where the meaning of materials is open to renegotiation.

The New Navy is on view at Dallas’ RE Gallery until August 10th.  All Images are courtesy of Kevin Todora.

Launching /SCAB/ETA

Beta version of an anonymous message board for Dallas art discussion:


Dallas Observer: Your Guide to 14 of Dallas’ Lesser-Known, Outlier Galleries by Lee Escobedo

July 15, 2013

While we hear a lot about Dallas’ emerging artist movement, what’s less publicized, though equally compelling, is the emerging gallery force.


In the last couple years we’ve watched makeshift spaces spring up everywhere, many of which are artist-run or double as homes and studios. At these start-ups you’ll find folks doing critically engaging work in contemporary settings, tucked away from the bustle of Dragon Street or the more established Deep Ellum circuit of Barry Whistler, Kirk Hopper, Public Trust and CentralTrak.

Since most of these business’ curators and founders would consider themselves artists first, they’ve extended invitations to show each other’s work on their own walls, creating a reflexive, referential web that connects each smaller neighborhood hideout to a larger, more cooperative community.

Here’s a roster of newbies to the scene that are expanding the dialogue of “What is a gallery?” and taking that conversation into new directions, many without the aid of a formal gallery dealer alliance.

Studio Don’t Fuck This Up (DTFU)
The gallery’s name should be an open plea to all of us: fellow galleries, funders, patrons, landlords and the like. Artists, partners and S.C.A.B. members, Lucy Kirkman and Justin Hunter Allen founded the gallery last year as a manifesto on maintaining independence through low overhead and fostering a community of Dallas-based, artist-run exhibition spaces. Programmed from their living room in Fair Park, Studio DTFU thrives on risk-taking and a dedication to DIY aesthetics, while showcasing confidants, confederates and co-op minded artists working in experimental mediums.
Address: 842 1st Ave.

Homeland Security
I remember asking co-founder and S.C.A.B. member Kelly Kroener if she had ever received angry letters directed to the government’s Department of Homeland Security. She hadn’t, but agreed, “That would be pretty cool.” While those collected letters would make for a pretty interesting exhibition, Kroener and partner Eli Walker have been busy curating intimate and affecting shows at their gallery, which they also live in. Both Kroener and Walker have shown this year as well, with Walker exhibiting Regional Quarterly Vol.2 – CONCRETE JUNGLE at Circuit 12 and Kroener exhibiting next door for a solo show at RE Gallery.
Address: 1715 Gould St.

That That
S.C.A.B. members Alex DiJulio and Samantha McCurdy’s studio sits upstairs in a nondescript Expo Park building. Once inside, you’re prone to find a thoughtfully curated exhibit of Lucy Kirkman’s paintings, or perhaps the third issue release party forsemigloss. Magazine. But most of the time, you’ll find these two artists at work on their next project, like their recent Lite Brite sculpture that used food-colored water bottles as plugs. That That is a great example of the DIY spirit and its ability to blur the lines between work and home, creating an intimate and unique gallery setting.
Address: 3901 Main St.

Read full article

Glasstire: Lucy Kirkman: Library of Babel at That That by Lucia Simek

Because their surfaces seemed to sparkle, I thought at first that Lucy Kirkman’s paintings, installed at the lovely (but non-air conditioned and, therefore, very hot) That That gallery in Dallas, were covered in a layer of fine glitter. The paintings are actually coated in rabbit skin glue which is used in traditional gesso. Used on its own as a sealant, Kirkman informed me, rabbit skin glue has a metallic quality—a little-known fact.

Kirkman’s show, Library of Babel, is replete with little-known facts. Without clues, they are are puzzling and elusive, an organized yet confusing compendium, as the title suggests. Inspired by Jorge Luis Borges story The Library of Babel, which describes the universe as an infinite library of nonsensical books, Kirkman’s show is compiled of groups of triptychs that are paintings within paintings—expertly rendered book pages are painted atop shimmery linen or transparent silk or careless painterly marks on canvas. The book pages are (save in one triptych) seemingly identical throughout each set, with imagery culled from Kirkman’s own private library of references, both literary and art historical.

…

Glasstire: Travis Iurato: PRIVATE COLLECTION at DTFU by Richard Bailey on June 25

PRIVATE COLLECTION, now on display at Studio DTFU in Dallas was born out of a correspondence through the mail between Brooklyn-based artist Travis Iurato and DTFU Co-directors Justin Hunter Allen and Lucy Kirkman. There are only four works in PRIVATE COLLECTION and each one is a lively communicator.

The devil in Devil in the Details arrives first to celebrate the corruption of a pattern. The gallery’s acronym on the address line of the envelope has been obliterated by whiteout and rebuilt using a different letter order. The gallery’s full name is Don’t Fuck This Up. Its official acronym is DTFU. (Allen and Kirkman rearranged the letters for their own private reasons.) Iurato reinstates the acronym as DFTU. Who’s to say which is correct? The devil seems brightly pleased to be dominating even this minor bit of chaos. His arrival in the gallery through a mail slot prompts an irresistible temptation to consider the devil’s other visits in history.