Skip to content

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 –
Print Friendly

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: