Ellen Berman included in the exhibition Mona Lisa Project, Austin Museum of Art, Austin, TX

Aug 2, 2011  

http://www.amoa.org/site/PageServer?pagename=ex_CurrentDowntownExhibition

exhibition dates: June 4 - September 11, 2011

Art This Week Interview with Wunderkammer curator, Phillip March Jones

Art This Week   |   Jul 28, 2011  

http://artthisweek.com/?p=1088

Roberto Munguia included in summer exhibition at the Witte Museum, San Antonio, Texas

Jul 13, 2011  

http://www.wittemuseum.org/index.php/component/content/article/1/163-miradas

exhibition dates: March 12- August 21, 2011

Wunderkammer exhibition article

Modern Luxury Dallas Magazine   |   Jul 13, 2011   |   by Steve Carter

http://digital.modernluxury.com/article/The+Radar+Art/761901/0/article.html

The Radar Art
Steve Carter

Weird and Wonderful [exerpt]

In a unique cultural exchange, Conduit Gallery hosts a “chamber of wonders.”

Jaded arts cognoscenti, step right up, especially if you think you’ve seen and done it all. Kindly adjust your expectations to make room for Wunderkammer, a likenothing- you’ve-ever-seen exhibition of artistic curiosities that’s transforming Conduit Gallery into a “chamber of wonders” from July 9 through Aug. 31. A collaborative show curated by Phillip March Jones, director of Institute 193 in Lexington, Ky., in conjunction with Conduit ownerr Nancy Whitenack and assistant director Danette Dufilho, the exhibition features art from seven Dallas-area artists, along with works from 10 or more Lexington-area artists. “It made sense for us to do a collaborative exchange,” Jones explains. “I’m bringing a whole slew of artists from my region and interests, and choosing artists who Conduit currently works with and putting them all into this wunderkammer, this curio chamber. … I’m interested in artists who aren’t motivated by the market, but by something else, whether it be cultural expression or personal expression.”

The wunderkammer (German for “chamber of wonders”) is a centuries-old concept, dating back to the European Renaissance. A precursor to the museum, a wunderkammer was a collection of curiosities culled from the disparate worlds of natural history, geology, archaeology, antiquity and art. As a metaphor, it’s a perfect fit for Jones’ mission. “Back then, noblemen were trying to find, collect and gather things that hadn’t really been defined,” the 30-year-old notes. “In a way, that’s what I’m doing in Lexington with Institute 193, working with emerging artists who are doing things that are new and interesting, and who have this aesthetic sense that deals with the convergence of nature, science and the fine arts. This show is about the quality of the idea; it’s about an experience.”

Dallas Museum of Art Aquires Two Stephen Lapthisophon Drawings

Jun 23, 2011  

The Dallas Museum of Art recently acquired MB (2010) and Rabbit (2010) for their permanent collection.

WE HAVE A NEW WEBSITE

Jun 10, 2011  

Check out our new site made by Don :)

Joan Winter at J.Cacciola Gallery, New York, NY

Jun 8, 2011  

Four person Exhibition "Light Cubed"
617 West 27th Street, New York, NY 10001
Exhibition dates: June 9 - July 30, 2011

Art Review: Marcelyn McNeil’s Delicious Abstracts at Conduit

Front Row   |   Jun 8, 2011   |   by Peter Simek

http://frontrow.dmagazine.com/2011/06/art-review-marcelyn-mcneils-delicious-abstracts-at-conduit

In the context of the trio of artists currently on display at Conduit Gallery, Marcelyn McNeil’s rich, bulbous-geometric paintings stand out against the pencil-etched psychology of Annabel Daou’s textual landscapes and M’s draftsman disco youths.

McNeil’s work is quietly bold, assured, and pleasing. These paintings all incorporate the repetition of easy curving shapes; rich, inky blocks of black and white; and sparse, yet effective use of muted color tones (McNeil rarely uses more than three or four colors in a single painting). These are collage paintings, the artist cutting out shapes from paper and incorporating them into the process of brushing, pouring, dripping and plastering with oil paint. The brush work orchestrates the masses into coherent objects that sit confidently on the surface of the canvas. Bulbous curves and linear edges are interrupted by intentional accidents, lovely little Motherwell splatters, smudges, and drips.

Although much of the feeling in McNeil’s work is derived from the play of texture and tone, these paintings are sculptural, as concerned with visceral forms as they are with surface and accident. In A Pound of Flesh and A Bit of Fooling Around, soft trailing curves and sharp, linear angles combine with the irregularity of the painted surface to create a biomorphic twisting cluster of white, punctuated by a visage of fleshy beige, and permeated by background black and indigo-blue peeking in between the brush strokes.

Most dramatically effective when capitalizing on this near-austere interplay of surface and form, paintings like Deep South get lost in the complexity of the process, too cloudy, blustery and psychedelic. McNeil is strongest when she allows her sharply intuitive use of color to infuse the vintage-leaning canvases with a quiet sense of cool.

Joan Winter at the Center for Contemporary Printmaking

Apr 6, 2011  

"Printed by Master Printers" at the Center for Contemporary Printmaking, Norwalk Connecticut
Dates of the exhibition: April 7 - May 31, 2011