There was a little bit of everything going on at the five-acre outdoor park that connects Uptown with the Dallas Arts District. Klyde Warren Park provided a pleasant respite while I waited for the true life story event Oral Fixation to begin nearby. The difference is that insects accept their interdependence while people fight that notion to the point of absurdity. Inside, tenants appeared comforted in their isolation, but in the context of the whole they were not unlike bees in a hive. Three nighttime portraits captured sidelong images of a non-descript 13-story apartment complex. Tlatelolco #28 by photographer Adam Wiseman seemed oddly out of place at first. This wasn’t the Mother Nature Ralph Waldo Emerson mused upon. The wilderness scene exploded in a psychedelic mushroom-induced joyride of vibrant, almost neon colors. Everything in the image was peaceful, except the colors. The first photograph near the entrance was a phantasmagorical rendition of a quiet babbling brook. Intentional or not, the works comfortably followed a left-to-right schema. The single-room gallery had a Zen-like feel of peace. Liliana Bloch is presenting an exhibit of works by Shawn Mayer through March 26.Ī few months ago, the space hosted works by Rachel Rogerson. I imagine the space feels like God’s Waiting Room when devoid of art. Minimalist doesn’t begin to describe the interior of the Liliana Bloch Gallery. My next stop was Liliana Bloch Gallery, an alternative art space that co-habits a building with the contemporary art gallery The Public Trust in an unassuming storefront northwest of downtown. On my way out, I stopped by the museum’s gift shop where a sales associate told me locals frequent the store for its unique jewelry and custom prints by local artists. The installations weren’t trying to be imposing. Indeed, the works were large but in a Lennie Small sense.
#Eastward earth born guide full
For a moment, I thought about how disappointed I’d be if Barlow’s London home wasn’t chock full of awesome stuff like this. By the time I reached the room’s interior, I could barely see where I had entered. I did my best to look casual as I stooped and ducked my way into the artwork. “You know, you can go in,” she said, prodding. A Nasher guide must have noticed my perplexed look and gazed in my direction.
It was a jittery and thought-provoking experience.ĭownstairs, a maze of canvas stretched over poles occupying a 30 x 50-foot space appeared impassable, until I noticed a group of giddy children coming out of the thicket toward me. In the main entrance of the Nasher Sculpture Center, dumpster-sized wooden crates stood perched on 20-foot wood beams –– every inch of the artwork’s surface spattered with plaster and paint. The towering pieces induced an exhilarating feeling of vertigo.
On my visit, I was treated to large scale works by British sculpture Phyllida Barlow. The center is home to works by Swiss-born sculpture Mai-Thu Perret through July 17.
In the Nasher’s case, splashes of sunlight cascade through the vaulted glass ceilings atop the sculpture center’s main floor. Famed architect Renzo Piano, who designed the Kimbell Art Museum’s new Piano Pavilion, has a gift for effortlessly wafting natural light into his creation’s space. Part of that convenience comes from the relative proximity of each gallery room. Nasher Sculpture Center is easy to navigate.
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