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Feature Artist


We all live under the same old flag
54.25 x 74 x 9 Inches  , cloth, found wood, bones, iron wire, found doll, paint on canvas on wood
2010. Thornton Dial

“We All Live Under the Same Old Flag, 2010, is a beaten-up, all but disintegrated flag—a piece of glorified junk. The “stripes” are dead branches painted red and white, and the “stars” are gestural splotches on a blue rag. The assemblage also contains bones—the flag is a graveyard. Indeed, while Dial’s work certainly has affinities with high modern art—it seems to condense Cubism, Expressionism, and Surrealism; and like Robert Rauschenberg’s early output, Dial’s sculptures are marked by clutter and abundance, saturated with materials and images—it resists assimilation by reason of the suffering symbolized by its ruined materials. The cast-off objects, many of them machine-made (coat hangers, for example,) weary with wear and tear and finally worked to death, may symbolize the feeling of being an outcast in American society, and perhaps signify an aspect of the African-American experience.” Review by Anne Doran, Time Out New York, April 11, 2011

Hard Truths

“You can see a development in his work as he’s trying to negotiate what his true potential is for reaching out to a wide public audience… He starts to make art not so much for easy comprehension by the world, but expressing some of the deepest, most troubling visions of what our history and culture have been…They’re parables on the nature of humanity itself.” Joanne Cubbs, curator of Hard Truths: The Art of Thornton Dial

“Everybody’s Welcome in Peckerwood City,” 2005, Doormat, cardboard, wood doors, steel, tin, bed frame, wire fencing, cloth, wood, towel, enamel, and spray paint Collection of the Souls Grown Deep Foundation. (front) click here to view the back of the work and read short review

Don’t Matter How Wraggly The Flag, It Still Got To Bind Us

slide show :8 slides from Hard Truths: The Art of Thornton Dial

John Zorn;Live 2010; J.A.M.

Kurt Vile

Joseph Phillips

“Phillips prepares precise gouache paintings of land units optimized for comfort and convenience, with miniature, compartmentalized lagoons cuddling up to split-level bungalows outfitted with Just the Right Number of Palm Trees and vertical landscapes that accommodate – that generate, even – multiple climate options. Need a retail storefront that doubles as a seaside hideaway? This draftsman has just what you’re looking for – now with beach umbrellas! Like when you’re a kid and you draw the Ultimate House according to your freestyle kid-o-vision, so Phillips has, in clever (and lovely to behold) piece after clever (and archly satirical) piece, arranged geology and architecture toward the fantasies of capitalist control”.
Joseph Phillips

Josh Keyes

Josh Keyes

I was pleasantly taken aback by Portland-based artist Josh Keyes’ (NAP #49 & #67) vividly photo-realistic renderings of fauna in cleaved terrain in Fragment, his debut solo exhibition at Jonathan LeVine Gallery last winter. In one fell swoop, Keyes juxtaposed Audobon-precise animals interacting with textbook-style bisected and angled landscapes overrun with premonitions of global warming, a mix of heady surrealism and acute future reality. To say I anticipated his return to the gallery, in
Migration

read full review from Brian FEE here
Brian Fee is an art punk currently based in Austin, TX. His culture blog Fee’s List covers his three loves (art, film and live music) occurring in his other three loves (the Lone Star State, the Big Apple, and Tokyo).

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