Poet's Delight by Martin Delebano, 2011

Martin Delabano: 2011 Selected New Works
Kirk Hopper Fine Art
December 10, 2011 through January 7, 2012

Opening reception Saturday, December 10, 2011 from 6:30-8:30 p.m.

Noted Space at Kirk Hopper Fine Art is proud to introduce Martin Delabano’s selected new pieces.The exhibit, Martin Delabano: 2011 Selected New Works, opens this Saturday, December 10, 2011, with an artist reception from 6:30 – 8:30 p.m.

Martin Delabano is a Dallas based artist, art teacher and active community member. In 2010 he received the Distinguished Texas Artist award. Delabano grew up in a house full of pre-colonial African and New Guinea sculptures, which had a profound influence in his work. His father, Barney Charles Delabano, was the noted Curator of Installation at the Dallas Museum of Art for thirty-three years, as well as a gifted painter.

Besides his artistic efforts, the artist has been a middle school teacher at Saint John’s Episcopal School and has taught fifth through eighth grades art since 1990. Before teaching, he was the shop foreman at the Refinery Casting Company in Dallas for eight years after receiving his Masters of Art from the University of New Mexico. He has a Bachelor in Arts degree in Sculpture from East Texas State University.

Poet's Delight by Martin Delebano, 2011

She Has But a Square Halo by Martin Delebano, 2011

Model with Chrome Chair, Kiddie Car, Kimono and Bambino by Philip Pearlstein, 2008

Philip Pearlstein: Recent Paintings
Helen Frankenthaler: Woodcuts
Talley Dunn Gallery
October 29 through December 10, 2011

Talley Dunn Gallery is pleased to present two concurrent exhibitions by iconic artists who have re-defined twentieth century painting, Philip Pearlstein and Helen Frankenthaler. Both shows will be on view October 29th through December 10th and will open with an evening reception on Saturday, October 29th from 6 to 8 p.m.

Philip Pearlstein

Revered as a skilled painter of nudes since the early 1960s, Philip Pearlstein reclaimed the figure with his own personal style inspired by a realistic approach to his subject matter – quite different from the prevailing abstract expressionism of the time. Unlike the nudes of the Renaissance and later centuries, Pearlstein’s subjects present straightforward, unidealized nudes without reference to mythology or allegory. The artist’s nudes are painted directly from the live model and feature with astonishing detail the patterned rugs and shiny surfaces of the objects that he poses with his subjects to form angular, moving compositions.

Pearlstein poses the human body to create an interesting range of compositions, as though body were not merely flesh, but basic form to be studied and recorded. In Model with Chrome Chair and Dotted Rug, the artist arranges the model relaxed back into a metal chair draped with a native American blanket, its patterned folds spilling over and onto the floor. The decorative pattern of the rug reflects into the chrome surface of the chair, bending the likeness and repeating its dots around the form of the model’s body.

Unlike many of the compositions found in his earlier works, Pearlstein’s recent paintings feature the human form with little or no cropping of the models’ feet or heads, allowing the viewer to glimpse them in a quiet repose or dreamy state. Model with Dreadlocks and Whitehouse Birdhouse from 2000, presents the model relaxing her head and supporting hand upon a nearby stool as her right arm drapes over a meticulously rendered, small White House.

Philip Pearlstein was born in Pittsburgh in 1924 and studied with classmate Andy Warhol at the Carnegie Institute of Technology (now Carnegie Mellow University). After graduation, the two artists moved to New York City and shared an apartment for a brief time before Pearlstein attended New York University’s Institute of Fine Arts and received his Master of Arts degree in 1955. Since that time, Pearlstein has been featured in more than 130 one-person shows, including exhibitions at the Milwaukee Museum of Art, the Brooklyn Museum of Art, the Carnegie Museum of Art, the State University of New York at Stony Brook, and the Montclair Art Museum. Pearlstein’s art can be found in museum collections around the world, such as the Metropolitan Museum of Art, the Museum of Modern Art, New York, the Corcoran Gallery of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Fine Arts, Boston, the National Gallery of Art in Washington, DC, and the Whitney Museum of American Art. The artist currently lives and works in New York City.

Helen Frankenthaler

Like her contemporary Pearlstein, Helen Frankenthaler also re-defined the history of post-war American painting in her own way – with a radical treatment of the canvas. By pouring pigment directly onto large-scale, unprimed canvases and avoiding the gestural brushstrokes of the abstract expressionist painters, Frankenthaler achieved a transparency of color that has inspired subsequent generations of artists, including Kenneth Noland and Morris Louis.

Frankenthaler was included in an important exhibition curated by Clement Greenberg in 1964 called Post-Painterly Abstraction that defined a newer generation of abstract painting now known Color Field. Although abstract in form, the titles of Frankenthaler’s paintings suggests a representation of the natural world, and the artist’s use of color also evokes the spirit of these forms.

In printmaking, Frankenthaler also brought an innovative approach to the creation of her woodcuts and lithographs. Having made her first lithograph in 1961, the artist quickly moved onto other techniques and soon began working on large-scale woodcuts with a complex application of the many blocks required to make the multi-colored prints.

With her more recent woodcuts, Frankenthaler has utilized the Ukiyo-e style, a genre of Japanese woodblock prints first created in the 17th century that feature “pictures of the floating world,” a fleeting world of sensual and natural pleasures separate from the world of the everyday. With the Ukiyo-e style, scenes of beautiful landscapes and the world of the geisha and kabuki are commonly featured.

Geisha, Japanese Maple, and Snow Pines all employ a color palette and evanescent quality that evoke the graceful sense of their subjects. Using a twenty-three or sixteen color woodcut process with more than eight printing blocks, the prints achieve a depth and trueness of color that is rarely achieved with this process.

Helen Frankenthaler was born in New York City in 1928, and she earned her degree at Bennington College in Vermont in 1949 and later studied with Rufino Tamayo. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York. Her work has been exhibited worldwide since the 1950s with more than 150 solo exhibitions. Frankenthaler’s artwork can be found in the permanent collections of The Art Institute of Chicago, Brooklyn Museum, the Cooper-Hewitt, National Design Museum, Smithsonian Institution, New York, the Corcoran Gallery of Art, Washington DC, Dallas Museum of Art, the Solomon R. Guggenheim Museum, The Israel Museum, Jerusalem, the Ikawki City Art Museum, Japan, the Johannesburg Art Gallery, South Africa, the Kemper Museum of Contemporary Art, Kansas City, the Los Angeles County Museum of Art, The Metropolitan Museum of Art, the Modern Art Museum of Fort Worth, the Musée Nationale d’Art Moderne, Centre Pompidou, The Museum of Fine Arts, Houston, and The Tate Museum, London. The recipient of more than twenty prestigious awards, Frankenthaler was awarded the National Medal of Arts in 2001.

Talley Dunn Gallery

Talley Dunn Gallery is located at 5020 Tracy Street, Dallas, Texas, 75205, and the gallery is open Tuesday through Saturday from 11:00 a.m. to 5:00 p.m. Gallery hours are Tuesday through Saturday from 11:00 a.m. to 5:00 p.m. and by appointment.

Model with Chrome Chair, Kiddie Car, Kimono and Bambino by Philip Pearlstein, 2008

Sarah Green: Allure and Utility at Art Space 111

Allure and Utility
Art Space 111
October 28 through December 7, 2011

Allure and Utility, a new contemporary art exhibit by Fort Worth’s noted personality artist Sarah Green, features a kaleidoscope of feminist ideas expertly communicated through provocative humor and Green’s signature Hollywood style.

The exhibit is composed of a series of ten large portraits featuring Los Angeles model Taylor Vlahos who will be appearing at the exhibit.

“I chose Taylor Vlahos as my muse because she’s simply the ultimate example of today’s woman,” says Green. “She’s extraordinarily beautiful, yet completely down-to-earth. Taylor can build a car engine and beat anyone, man or woman, at mixed martial arts, she can be at once sultry and demure, strong and vulnerable, dizzy and divine.”

Sarah Green: Allure and Utility at Art Space 111

At first glance, the overtly sexual works of art appear as naughty, daunting, and risque, but upon a closer look, they portray a powerful social commentary about a sex driven society’s objectification of women and the abuse and sublimation the women themselves experience. Green’s brilliant use of bright colors and digital imaging creates a juxtaposition between two worlds, one of light and dark; humor and frustration, as she uses her painterly skills to lift the mask from Hollywood’s pre-madonna to reveal the humanity behind the stunningly beautiful, but artificial image that Hollywood creates of women.

Allure and Utility speaks all at once about beauty, lust, feminism, sex, abuse, sublimation, social perception, and cultural blame. It is a striking exhibit that commands attention and demands a response, asking the audience the subliminal question: “Which way will you turn the kaleidoscope?” Which lens will you see the exhibit through? The lens of lust, beauty, or pain?

The exhibit also features revisions of classic film icons set in darkly humorous scenes cartooned in black and white as sort of a cheeky twist on classic pin-up art. It also showcases new additions to Green’s ongoing Sacred Lives portrait project that features Fort Worth personalities Gary Leatherwood, a stylist who does the hair of Fort Worth’s finest residents and beloved and popular local artist Nancy Lamb.

Allure and Utility premieres Friday, October 28, 2011 from 5:30-8:30p.m. at Art Space 111 located at 111 Hampton St., Fort Worth, TX, 817.692.3228, www.artspace111.com. The show is scheduled to run through Wednesday, December 7, 2011.

Vlahos who currently appears as a model on the Oxygen Channel’s Hair Battle Spectacular, will be available for photo opportunities will be autographing printed postcards, photographs, and photo books of the artwork from the exhibit.

Sarah Green: Allure and Utility at Art Space 111

Sarah Green: Allure and Utility at Art Space 111

Sarah Green: Allure and Utility at Art Space 111

Snow Rider Around Corner by Brian J. Magnuson

Cowboys of the Grand Canyon, The Winter Series
Laura Moore Fine Art Studios
November 12 through December 7, 2011

Laura Moore Fine Art Studios in downtown McKinney, Texas, is pleased to present Brian J. Magnuson’s most recent work, Cowboys of the Grand Canyon, The Winter Series. This exhibition of black and white images beautifully captures the rugged Arizona cowboy working the mules down the steep canyon descent in the heart of winter during a snowstorm.

Magnuson again presents stunning classical hand printed darkroom images that take the viewer behind the scenes for a detailed look at the life of a Grand Canyon cowboy during the canyon’s wintery weather. The viewer will be given a front row seat of the dramatic views of the complexity of the canyon from the snow-covered rim to the warmer paths below.

Magnuson, of McKinney, Texas, has made many trips down the canyon over an eight-year span to document the cowboys. He has held many one-man shows across America as well as been included in several group showings. His work has been featured on the Good Morning Oklahoma television program, The Dallas Morning News and other publications.

In collaboration with the McKinney Art Studio Tour (MAST), Magnuson will amaze all with a larger than life camera that will turn your world upside down. Come see the magic. Experience what it would be like if you were to walk into the body of your camera as you photograph the world.

Demos of the giant camera obscura will occur throughout the MAST tour, Saturday, November 12, from 10 a.m. to 5 p.m. and Sunday, November 13, from 12 -4 p.m. Cowboys of the Grand Canyon, The Winter Series opening night is Saturday, November 12, from 7-10 p.m. On display through December 7 at Laura Moore Fine Art Studios, 107 S Tennessee. Gallery hours are Mon-Sat 1-5 p.m., 2nd Sat 1-10 p.m. or by appointment. Free admission. 214.914.3630. www.lauramooreart.com

Update

We got word back from Laura Moore Fine Art Studios that camera obscura demos will be on the hour and half hour. This is a great opportunity to teach your children how a camera works.

Snow Rider Around Corner by Brian J. Magnuson

How The West Was Won by Tate Foley

What Would Andy Do?
LuminArte Design Gallery
August 6 through September 30, 2011

Andy Warhol was a genius who changed art, by changing the definition of what could be considered art. In this spirit, LuminArte Design Gallery at 1727 E. Levee Street, Dallas, Texas is celebrating Andy Warhol’s 83rd Birthday by exhibiting a talented group artists of all media whose work reflect Warhol’s pop sensibilities but from a fresh 21st Century perspective.

The opening reception and 83rd birthday celebration is at 8 p.m. on Saturday, August 6, 2011.

Lips Go by Penelope Fox

What Would Andy Do? is a multi-media exhibition of original paintings and video installations from over a dozen accomplished and innovative national and international artists including

• Jason Reynaga from Dallas
• Penelope Fox from Philadelphia
• Kathy Seaboyer originally from Novia Scotia and currently residing in Mexico
• Marisa Candaten originally from Australia now based both in Austin and Dallas
• Jim Lively from Dallas
• Gini Walker from San Diego
• Liz London from Dallas
• Christoph Fuhrken from Germany

The exhibition will be the public debut of the art video The Vegetable Can Insurgency of 2011 by Jim Lively.

Coriolis Force by Virgil Lampton

Virgil Lampton: The Elements
Laura Moore Fine Art Studios
July 9 through August 10, 2011

Virgil Lampton’s animated brush strokes whip vibrant color across canvas as surely as the windblown rains of a summer storm quench the drought thirsty earth of the Texas hills and plains. With his marriage of abstract expressionism to more traditional styles, Lampton easily captures the elemental emotions of southwestern landscapes, beautifully conveying these feelings to the viewer with his colorful canvases. Whether one sees landscape or seascape in Lampton’s large scale pieces, one thing remains the same: the untamed movement of Lampton’s spirited brush strokes brilliantly echoes the wild rhythm of our natural, ever shifting, ever changing world.

Lampton, Professor Emeritus of the University of Tulsa, earned his Bachelors and Masters of Art degrees from Pittsburg State University and studied at the University of Denver and the Kansas City Art Institute. His work has been exhibited in galleries throughout the United States and is in numerous private collections including the Phillips Collection in the International Building in New York City’s Rockefeller Center and The Upjohn Company in Tokyo, Japan.

Meet Lampton during opening night for the exhibition The Elements on Saturday, July 9th 7-10 p.m. through August 10th at Laura Moore Fine Art Studios, 107 S Tennessee in McKinney, Texas. Gallery Hours are Mon-Sat 1-5 p.m., 2nd Saturday 1-10 p.m. or by appointment. Free admission. 214.914.3630. www.lauramooreart.com

Coriolis Force by Virgil Lampton

meltdown (mɛlt daʊn) (1)

- n

1. (in a nuclear reactor) the melting of the fuel rods as a result of a defect in the cooling system, with the possible escape of radiation into the environment

2. informal a sudden disastrous failure with potential for widespread harm, such as a stock exchange crash

3. informal the process or state of irreversible breakdown or decline: the community is slowly going into meltdown

meltdown (2)

1. Describes what happens when a person freaks out, cracks, loses control of themselves. Life – reality at large- becomes overwhelming. They just can’t deal with it all. The person may act out, withdraw, become emotional, run, etc..

meltdown (3)

1. emotional, cultural, social, historical (& technical). You get the idea.

Eligibility

All persons with memberships valid through September 2011 are eligible to submit a work. Entrants must be or become members of the McKinney Avenue Contemporary at the time of submission. Membership applications and information about Membership Benefits can be acquired at the MAC – 3120 McKinney Avenue, Dallas, TX 752040 or www.the-mac.org. A One (1) Year Artist / Student Membership is $30.

Member Artist Submissions & Requirements

Each artist can submit only one work either visual, performance art or literary reading, but could also participate in one collaborative work.

Visual Art

Visual Art (2-D, 3-D and Electronic Media) cannot exceed 2 feet in any dimension and must be ready to install on date of delivery.

Performance Art / Literary Readings

Performance Art and Literary Readings will be presented during the opening reception.

Collaborative Works

Please contact the MAC to obtain the criteria for participation and guidelines for Collaborative Works. (214.953.1212 or macmembership@the-mac.org)

Submission Criteria

Work that does not comply with these requirements will not be accepted. The MAC will not refund membership fees to those that have not complied with the submission guidelines.

1. All works must be labeled with the following information:
   1. Artists first and last name
   2. Title and date of work
   3. Indication of top of image if necessary for visual art
2. Work must have been produced within the 12 months prior to the show.
3. Work must not have been previously shown at the MAC.
4. Dimensions of work, completed size, not to exceed 2′ in any dimension.
5. Work must be ready to hang
6. Caption Sheet

Include a copy of a caption sheet with your name, address and contact information at the top left of the page.

The Caption Sheet List should include:

• Title
• Date of Work
• Dimensions of Finished Work
• Medium
• Brief Captions or explanatory notes of work
• Price if the work is for sale
• Phone number of the artist

Drop Off Dates & Deadline

Drop off dates are Saturday, July 30th, Monday, August 1st and Tuesday August, 2nd from 11:00 a.m. to 5:00 p.m. All entries must be received no later than Tuesday, August 2nd at 5:00 p.m.

Notification and Return of Work

The MAC will provide a time and date after the closing of the exhibition for all works to be collected. The MAC requests that artists who sell their work as a result of the show arrange separately for the delivery of the work to the buyer.

Liability

The MAC is not responsible for the loss or damage of works while in transit. MAC reserves the right to reproduce accepted works to Membership Exhibition on the MAC website and in any Membership Show advertising or collateral associated with the exhibition. Submission of work to the exhibit indicates acceptance of conditions stated above.

(1) Dictionary.com

(2) Urbandictionary.com

(3) Leslie Connally, The MAC Facility Liaison

About the MAC

Established in 1994, The McKinney Avenue Contemporary (The MAC) is a nonprofit organization that stands as a Dallas advocate for creative freedom offering the opportunity for experimentation and presentation of art in all disciplines. It supports the emerging and established artist roll in society providing a forum for critical dialogue with their audiences. This relationship is cultivated through education and innovative programming. The MAC is a member of Dallas Art Dealers Association and The Uptown Association.

Call 214-953-1212 for information or visit www.the-mac.org. The MAC is open Wednesday – Saturday 11 a.m. – 9:00 p.m.

#403 Blue-Violet by Susie Rosmarin, 2008

Starry, Starry Nights: Five Light-Filled Installations
McKinney Avenue Contemporary
April 23 through May 14, 2011

The McKinney Avenue Contemporary (The MAC) is proud to present Starry, Starry Nights: Five Light-Filled Installations. The exhibition features art with an emphasis on light brought alive literally and figuatively in five distinct mediums by five distinguished Texas artists curated by June Mattingly. The opening reception will be Saturday, April 23, 2011, from 5 to 7 p.m. at the MAC, located at 3120 McKinney Avenue, which is in the Uptown District of Dallas.

Exhibitions will be on view through May 14, 2011.

Garnitza by Adela Andea, 2011

In the Large Gallery: Andea Adela

Adela Andea’s fluorescent tube wall sculptures will radiate in light the largest gallery on the longest wall. Andea’s light sculptures powered exclusively by manmade electronics will submerge one wall in the biggest space into an ambiguous and mystifying landscape. Her “futuristic eco-systems” use intricately weaved circuits of LED and CFL lights, computer hardware and manufactured building materials, consumer electronics and mass produced objects to embody both a physical presence as well as ethereal sensibility. These free-form, exuberant sculptures with jutting bolts of lights and organic explosion of electrical parts and whirring fans make the visitor wish to celebrate.

These dazzling light displays take the legacy of Flavin’s eloquent minimalism and are “reminiscent of an Eastern European disco.” Romanian-born, Adela lives and works in Denton and teaches at the University of North Texas while completing an MFA in New Media. In 2011 she had a solo show at Anya Tish’s prestigious gallery in Houston who represents her and she is represented in Dallas by Cris Worley’s gallery.

Susie Rosmarin

The stunning paintings of Susie’s literally light up and move in sync from their private space on the canvas. The perception of light exudes or jumps out from tight linear overlapping patterns designed in brilliant, clearly defined color combinations and sharp, synchronized glowing white backgrounds. The inescapable attraction to her paintings is they defy the limitations of two-dimensionality in their charged up, conceivably moving environment of color and light.

While mathematics play a central role in her work, Susie’s exacting and skillful method of executing the overlapping grids is inspired by fractal geometry and the Op Art movement in the 1960s, hard-edge abstraction, the observation of constant pattern, repetition and geometry in observed objects around us every day in our living encounters. This complicated mathematical formula is based on each layer of the color pattern arrangement being taped, painted, waited on to dry and repeated.

Susie, a Houston-based artist received a BA from the University of St. Thomas in Houston and an MFA from Pratt Institute in New York. The permanent collections of the Dallas Museum of Art, the McNay in San Antonio, and the Houston Museum of Fine Arts own her pieces. She is represented by Dunn and Brown Contemporary in Dallas, the Texas Gallery in Houston and the Danese Gallery in New York.

Solitude by Jeremy McKane, 2011

In the Square Gallery: Jeremy McKane

Jeremy McKane’s underwater photography and a video will submerge us in color and action in the square gallery. I like the effect of light on darkness, the way the darkness attracts your eye to the colors and allows you to experience a colorful ballet right before your eyes. This effect works well in stills as well as video which is why his exhibition has both still photos as well as video. Jeremy will install eight 6 x 4 foot photographs in hand constructed aluminum mountings designed to have the photograph an exact 90 degrees from the viewer’s eye to the surface of the print. Jeremy believes the job of any photographer is to tell a story – a little cliché but true. He’s always been intrigued by photography and remembers when he was very little and his grandmother bought him a Polaroid camera. He had so much fun taking pictures of things that were funny or interesting and suddenly realized he was telling a story without words.

“We are all time travelers and my job as a photographer is to stop you from looking at your world that travels at the speed of light and come down to a stationary speed where everything stops, everything is in sync.”

- Jeremy McKane

Water Lilies (detail of plan for Lotus Room installation) by Chris Lattanzio, 2011

In the New Works Space: Chris Lattanzio

Chris Lattanzio will feature a light and sound Installation “Lotus Room” in the New Works Space. In Buddhism, lotus flowers mean purity of speech, mind and body rising above the waters of desire and attachment; Chris will create a room immersion in line and color and “space for contemplation and healing.”

Chris is creating his first installation to be viewed as an environment “to walk around inside my art” with 3-D lines and beaming light across the surfaces of the people and the backgrounds. He literally paints with light to take the realm of painting from pigment to spectral color. There will be a 10 minute cycle of lights, solid colors, patterns and sequences running 5 times an hour with intermissions of pure white light. In addition to sculpture lights each wall in the gallery will be colored with LED fixtures to create a rare but soothing type of pictorial wall space.

Chris met Donald Judd in Marfa while working on music and a video for a pop group. Another important influence on his art is Dan Flavin, a contemporary and friend of Judd’s during the 60s – both “blew the boundaries between the historically specific qualities of painting and sculpture.”

MACRODON by Billy Zinser, 2010

On the Roof: Billy Zinser

Billy Zinser’s inflatable 20-foot tall MACRODON sculpture will brighten up the roof of the MAC. MACRODON is modeled after the clichéd used car dealership inflatable purple gorilla to activate a mundane outdoor spaces, resulting in unexpected pop-up exhibitions with the potential for spontaneous guerilla appearances as a sort of art happening. Through the various incarnations of his work, “my objective is to broaden the scope and reach of art, connecting the dots between painting, plastic collectable toys, and projects of large-scale installation sculpture;  making artwork that can be accessed through a variety of conduits and increase public interaction with art.” By embracing the pop-aesthetic of the designer toy phenomenon made mainstream by KidRobot and others, he depicts these imaginary figures dubbed MACRODONS, with simple gestures and minimal visual information through various incarnations, including limited edition MACRODONS plastic art toys, oversize sculptural installations, and video animations. A new video will be presented in the indoor reception space.

Billy is a recipient of the Dallas Museum of Art’s juried Arch and Anne Giles Kimbrough Fund and represented by Public Trust, which gave him a one-person, a gallery that specializes in the newest talent. Billy has studied art abroad, one year at the Art Institute of Chicago and has a BA from the University of Texas in Austin. Additional exhibitions/awards include “Juror’s Choice Award” at 500X Gallery, “Choice Cuts” at the Dallas Art Fair and “Art+Object” at Marty Walker Gallery, Dallas.

About the curator: June Mattingly

June’s gallery during the 80s occupied the Post building in front of the MAC; Mattingly Baker discovered young Texas talent such as Jesus Moroles, Mary McCleary and Melissa Miller and showed established artists like Judd, Schnabel and Rauschenberg. Her curatorial experience encompasses 10 gallery shows annually and 20 shows at Frito-Lay’s headquarters. Her contacts in Texas continually expand in preparation for publishing a book on Texas art and as a weekly contributor since 2009 to a wide Internet audience on regularmain.com, moderndallas.net, modaustin.net and modernhouston.net.

About the MAC

Established in 1994, The McKinney Avenue Contemporary (The MAC) is a nonprofit organization that stands as a Dallas advocate for creative freedom offering the opportunity for experimentation and presentation of art in all disciplines. It supports the emerging and established artist roll in society providing a forum for critical dialogue with their audiences. This relationship is cultivated through education and innovative programming. The MAC is a member of Dallas Art Dealers Association and The Uptown Association.

Call 214-953-1212 for information or visit www.the-mac.org. The MAC is open
Wednesday – Saturday 11 a.m. – 9:00 p.m.

#403 Blue-Violet by Susie Rosmarin, 2008

Alison Jardine: Intermittent Light at Laure Moore Fine Art Studios

Alison Jardine: Intermittent Light
Laura Moore Fine Art Studios
April 9 through May 11, 2011

Alison Jardine: Intermittent Light opens at the Laura Moore Fine Art Studios in downtown McKinney, Texas, on Saturday, April 9, 2011. There will be an artist reception that evening from 7 to 10 p.m.

Where light and line become one at the intersection of science and art is where one finds Alison Jardine’s luminescent work. It leaps off the canvas, as does a solar flare, bursting forth into a kaleidoscope of light. “Light has so many symbolic and aesthetic associations that weave directly into my own life experiences and memories,” says Jardine.

Intermittent Light, Jardine’s latest oil on canvas series, explores the physics of photons, light’s most basic state, and its relationship to the movement of life and the recorded physicality of her own artistic process.

“It’s like a dance,” says Jardine, “One can see the procession through each canvas.”

A native of Yorkshire, England, Jardine hails from a family of artists. She graduated with honors from the University of London, and in 2003, moved to Texas with her family.

April 9, 2011 will be a big day and night of art in McKinney. Laura Moore Fine Art Studios will feature over 20 artists on site in an outdoor art gallery on South Tennessee for the Annual All-Day ArtWalk in McKinney from 10 a.m. – 6 p.m. Intermittent Light opens with an artist’s reception from 7 p.m. to 10 p.m. Through May 11, 2011 at Laura Moore Fine Art Studios, 107 S Tennessee in McKinney, Texas.

Gallery Hours are Mon-Sat 1-5 p.m., Saturday, April 9, 2011, 10 a.m. – 10 p.m. or by appointment. Free admission. 214.914.3630 www.lauramooreart.com

Alison Jardine: Intermittent Light at Laure Moore Fine Art Studios

Permanent Record by Peggy Epner

Peggy Epner: Marking Time
Laura Moore Fine Art Studio
March 12 through April 6, 2011

Opening reception on Saturday, March 12, 2011, from 7 to 10 p.m.

Employing a meditative and organic minimalism, Peggy Epner debuts a collection of wood and encaustic works that are focused on the nature of history, destiny, and the accumulation of time. Over 15 pieces are included in the exhibition that features slivers of wood embedded in layers of encaustic, sequentially arranged into tree rings which function as a written record of a life; others include imagery of coiling thread, suggesting the flow of time.

Epner’s work typically employs wood and tree imagery as a metaphor for human bodies, spirits, and intentions. This collection, says Epner “deals with the marks time leaves on our lives – as a tree’s rings not only reveal its age, but read as the story of its existence.”

Formerly a theatrical costumer, Epner studied Fine Art at the University of North Texas. Her work is included in the collections of the Jesuit Dallas Museum and the Forest Heritage Museum, Broken Bow, Oklahoma. She has had solo exhibits at the Union Gallery at the University of North Texas and the Encaustic Center in Richardson and has been included in numerous group shows throughout Texas.

Marking Time opens on Saturday, March 12th, with an artist’s reception from 7-10pm. Through April 6th at Laura Moore Fine Art Studios, 107 S Tennessee in McKinney, Texas. Gallery Hours are Mon-Sat 1-5 p.m., 2nd Saturday 1-10 p.m. or by appointment. Free admission. 214.914.3630. www.lauramooreart.com

Permanent Record by Peggy Epner