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    Your Show of Shows

    These are the 4 most interesting art gallery exhibits for October

    Kendall Morgan
    kendall Morgan
    Oct 12, 2016 | 3:33 pm

    October brings illustrations both satiric and sublime, an out-of-body experience, and a film installation that is perfectly timed for this uneasy season. For more artistic chills and thrills, here are the month’s unmissable art happenings:

    “Out of Body,” various artists at Level Gallery
    Opening reception:
    October 13, 7-10 pm
    Meet the artists reception: October 15, noon-5 pm
    Exhibition dates: October 13-December 21

    Fashion and art get a bit of a mash-up this month in Level Gallery’s “living project,” curated by owner Brandy Michele Adams. A mix of up-and-coming fashion illustrator Ruben Burgess Jr.’s couture-influenced sketches; the wearable rope art of Seth Damm, aka Neon Zinn; and stylist’s K.J. Moody’s conceptual eye, the exhibit includes sculpture, installation, and photographs — even a performance from The Voice finalist Dana Harper — that aim to take viewers out of their own heads and beyond their inhibitions.

    “We thought, ‘Why aren’t we bringing fashion, art, and form together?’ ” says Adams of her concept for the show. “They resonate and blend on many different levels, but they speak in a different way. We wanted to show how these elements are tied not just in their singular form, but also in this dynamic collaboration. We’re asking people to come into the body of the gallery, then allowing them to have a transcendence that lets them go out of their body.”

    For Burgess, who has only shown his true flowing forms under his nom de plume Instagram handle Satorialnolift, this debut gallery show is an opportunity to examine his combination of style and sketch outside of the virtual world.

    “Abundant Plains,” Casey Gray and Clark Goolsby at Circuit 12
    Opening reception:
    October 15, 6-9 pm
    ​Exhibition dates: October 15-November 15

    San Francisco-based Casey Gray upends the concept of a still life by crafting his vivid paintings of flowers and fruit with aerosol spray paint and adhesive tracing paper. Think of his canvases as a street-art influenced, millennial version of “pronkstilleven,” the particularly baroque take on the genre beloved by the 17th-century Dutch.

    Seemingly touchable and super-flat at the same time, the relative realism of these pieces makes them just right for a short-attention-span generation. But Gray’s technique is more intensive than it may first appear.

    “Since my last show at Circuit 12 in 2014, my work has evolved to a point of even greater realism, not only in style but in subject matter,” says the artist. “I’ve begun to expand my visual vocabulary by introducing multiple specialty products into the paintings such as aerosol molding paste, crackle, marble, and glitter spray paints. The addition of new textures, extreme attention to detail, and overall conceptual foundation of this new show puts these works on a whole other level than before.”

    Also featured in “Abundant Plains” are the geometric shapes and splashes that adorn Carl Goolsby’s collaged canvases, which are complementary (and just a little contradictory) when viewed next to Gray’s energetic paintings.

    “Kult Klassic,” Heyd Fontenot at Conduit Gallery
    Opening reception:
    October 21, 5:30-8 pm
    ​Exhibition dates: October 21-November 26

    Best known for his slightly surreal nudes of friends and acquaintances, Heyd Fontenot is taking his practice into the third dimension for his third solo show at Conduit Gallery. Folding in a film project he’s been working on for the last four years, he’s built an interior for the gallery that serves as a kind of fraternal clubhouse for the fictitious motorcycle gang that stars in his twist on Jack Smith’s experimental film Flaming Creatures.

    “He did Flaming Creatures, so I did Flaming Critters,” says Fontenot with a laugh. “I have to put a hillbilly spin on anything I do. It’s an inhabited installation — I’ve got these painted panels, and furniture I’ve redone, and wallpaper that’s like a string of Rorschach ink-blot tests. It’s like being part of the Oddfellows or the Masons, but it’s this motorcycle gang where they only have two motorcycles.”

    Delving further into his themes of America’s complicated relationship with its sexuality, Fontenot’s exploitation cinema “subverts the maschismo routine” in a way that may be liberating for some, frightening for others.

    “We always need a Communist or a Muslim or a homosexual to scare us, and that’s what I’m doing with this film,” Fontenot explains “I’m trying to scare you, but also showing how absurd it is to be afraid. I take on my work as a fictional author, because I’ve got a lot to say and a lot of big fantasy here.”

    Blake Wright at V.O.D. Boutique
    Opening reception:
    October 27, 6-9 pm
    Exhibition dates: Ongoing

    There are no sacred cows in the work of Blake Wright, and that’s a good thing. The web designer-turned-artist takes on Looney Tunes, high fashion, and corporate iconography with equal verve, and his ability to infuse classic symbols and design with quirky humor has garnered attention from the likes of now-friend and collaborator Jeremy Scott.

    Launching his blog eight years ago allowed Wright to turn his hobby into a full-time gig, with the added help of an influential Instagram profile. His drawings have since appeared in the pages of Ginza magazine, in prints for Moschino, and online at Opening Ceremony and Refinery29.com.

    “For me, social media has been the greatest tool because it has provided me direct access to other creative people. While Scott may be the most prominent, he’s by no means the first — I’ve met so many photographers and illustrators. It gives you instant access to them.”

    For his October pop-up exhibit, Wright is diving into “a giant stack of everything I’ve ever drawn that hasn’t sold,” plus some oversized pieces he’s particularly excited about, all of which should look perfectly at home hanging among the racks of designer clothes.

    Showing his pieces in a fashion environment makes sense for Wright, who says, “the V.O.D. woman gets my work, these are the brands they love. I’m a funny person, so I find the humor in a lot of industries — this just happens to be my favorite one.”

    Amor Tenance 3-D print from Heyd Fontenot at Conduit Gallery.

    Heyd Fontenot
      
    Photo courtesy of Conduit Gallery
    Amor Tenance 3-D print from Heyd Fontenot at Conduit Gallery.
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    Elon News

    Dallas bookstore and publisher gets federal arts funding axed

    Luciana Gomez
    May 7, 2025 | 12:17 pm
    Deep Vellum stack of books
    Deep Vellum
    Stack of books at Deep Vellum

    A Dallas arts organization got its budget chopped by the federal government: Deep Vellum, the bookstore and publisher at 3000 Commerce St., lost a National Endowment for the Arts (NEA) grant due to federal government budget cuts.

    According to owner Will Evans, the award, which is granted annually, has been terminated as of May 31. The bookstore had received $20,000 for the past six years.

    Deep Ellum started as a publisher in 2013 and opened their bookstore in Deep Ellum in 2015. Since then, they have become a center for literature lovers. Evans is a translator whose mission has been to translate the world’s best novels into English for American audiences.

    Evans was notified on May 2 via an email that was reportedly sent to grant recipients nationwide. The note read:

    "The NEA is updating its grantmaking policy priorities to focus funding on projects that reflect the nation's rich artistic heritage and creativity as prioritized by the President. Consequently, we are terminating awards that fall outside these new priorities."

    The new priorities included projects that elevate the Nation's HBCUs and Hispanic Serving Institutions, celebrate the 250th anniversary of American independence, foster AI competency, empower houses of worship to serve communities, assist with disaster recovery, foster skilled trade jobs, make America healthy again, support military and veterans, support Tribal communities, make the District of Columbia safe and beautiful, and support the economic development of Asian American communities.

    The Grants and Public Affairs departments at NEA did not respond to a request for comment. On Monday May 5, the Literary Staff was laid off, and the agency is facing possible elimination entirely, as part of the 2026 Discretionary Budget Request presented to Congress on May 2.

    This year's grant to Deep Vellum was earmarked to fund the translation, publishing, and marketing costs of four books:

    • Carapace Dancer by Natalia Toledo, translated from Zapotec, published trilingually with Spanish and English translations alongside the original, translated by Clare Sullivan
    • Juvenilia by Hera Lindsay Bird of New Zealand, making her US debut, illustrated by Dallas artist Gino Dal Cin
    • Schattenfroh by Michael Lentz, translated from the German by Max Lawton, a 1001-page masterpiece and English-language debut
    • The Ruins by Ye Hui, translated from Chinese by Dong Li, the English-language debut from one of China's most distinguished and independent poets

    The National Endowment for the Arts is an independent federal agency established by Congress in 1965 as a funder of the arts and arts education in communities nationwide anxd a catalyst of public and private support for the arts with the goal of advancing opportunities for arts participation and practice, according to their website.

    In their last stats document updated in November 2024, their FY’24 budget was outlined as $207M (representing 0.03 percent of the total federal budget), with 80 percent of their budget supporting grants and awards to organizations and individuals across the country. They typically offer over 2,000 grants each year.

    "It’s been a strange few days for us, and for countless other nonprofit publishers, magazines, and arts organizations," Evans said.

    Despite the cut, Deep Vellum plans to continue to promote literacy through unique books translated to the English language.

    “This is not going to imperil our future but it’s something we need to consider as we move forward. These books are extraordinary, and they add so much for readers and culture. We just need to find additional revenue to fund them," Evans said.

    Evans was first to reveal the funding cut but a number of organizations across Dallas and Texas have seen similar cuts including Ballet North Texas, Flamenco Fever, Dallas Theater Center, and Bishop Arts Theatre Center, as well as a number of groups in Austin.

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