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Dallas Art Fair 2021

JDJ's debut participation at the Dallas Art Fair brings together the work of five gallery artists who use abstraction to reveal new ways of seeing the world.

Noel W. Anderson explores the relationship between the formation of Black identity as socially constructed through images from American media.

Each work starts with a found image which Anderson digitally manipulates—mirroring, inverting, cropping or otherwise distorting it before it is reproduced as a tapestry using a digital jacquard loom. The fabric is then physically altered—bleached, dyed, stained, picked apart thread by thread.
Anderson’s solo exhibition Heavy is the Crown opened at the Telfair Museum in Savannah, GA recently opened and is on view through January 2022. His recent exhibition Blak Origin Moment was on view at the Center for Contemporary Arts, Cincinnati in 2017 and traveled to the Hunter Museum in Chattanooga, TN, in 2019.

Noel W. Anderson
nS, 2021
Bleach, dye, laser-cut basketball leather, photographic object, flower, resin on distressed, stretched cotton tapestry
54 x 47.25 inches

Barrow Parke's practice focuses on the logic of weaving and its relationship to visual and digital systems.

Their work often is comprised of paintings on hand-loomed fabric, drawings, wallpaper, sometimes bringing all three together in immersive installations. This exhibition will focus on their series that use common color scales — the RGB series uses only the colors red, green and blue, which is the color system used in digital screens, and the CMYK series uses cyan, magenta, yellow and black, and is used in printing processes. The artists apply their limited palette in different ratios which create an optical sense of line, volume, and composition.
Barrow Parke have recently participated in a number of institutional exhibitions in the United States, including the Fabric Workshop Museum, Allegheny College, PA, and will soon open an installation at the Kent State University gallery, OH in Winter 2022.

Barrow Parke RBG4, 2015
Acrylic on Hand-Loomed Linen 44 x 35 1/2 inches

Barrow Parke, YMCK13, 2014
Acrylic on Hand-Loomed Linen 52 x 40 inches

Barrow Parke, YMCK13, 2014 (detail)
Acrylic on Hand-Loomed Linen 52 x 40 inches

Athena LaTocha explores the relationship between natural and manmade landscapes, and is inspired by her Native American heritage, her upbringing in Alaska, and Earthworks artists of the 1960s and 1970s.

Her practice is influenced by human intervention upon the earth—a reworking of the natural world.
LaTocha unfurls large rolls of paper on the floor and immerses herself in the painting, working from the inside out and using earth-toned inks, soil, and industrial solvents that she applies to the surface using tools such as tire shreds, scrap metal, and bricks.
LaTocha’s work is currently on view in four institutional exhibitions in the United States, including Greater New York at MoMA PS1, BRIC, Brooklyn, and the Visual Art Center of New Jersey. She is a 2021 recipient of the Eiteljorg Prize, where her work is currently on view at the Eiteljorg Museum in Indiana.

Athena LaTocha
Untitled, 2015-2016
Sumi and walnut ink and shellac on paper
48 x 60 inches

Susan Weil draws inspiration from nature, literature, art history, and her own lived experience.

Weil came of age as an artist in the postwar period studying under Josef Albers at Black Mountain College with Willem & Elaine de Kooning, Jasper Johns, Robert Rauschenberg & Cy Twombly.
Three bodies of work art on view in this presentation: the spray paint drawings and screenprints from the early 1970s, the soft fold paintings from the 1980s & 1990S, and the configurations from the 2000s. Despite the fact that the works have been made in a time span of nearly four decades, they all articulate a sense of corporeality though her inventive use of abstraction.

Susan Weil
Ampersand, 1985
Acrylic on canvas
42 1/2 x 22 1/2 inches

Susan Weil
Color Configurations 2 (Red), 1998 Acrylic on paper
60 x 66 inches

Susan Weil
Moon (Half Moon), 1990
Acrylic on canvas
40 x 21 inches

Susan Weil
Black Configuration, 2000
Charcoal, watercolor, and acrylic on paper
60 x 66 inches

Avery Z. Nelson’s paintings capture a sense of movement and fluidity, embedding formal language that visually traverses identity, desire and the body.

Colors slide from one hue to another, and shapes shift from abstraction toward a sense of dynamic figuration. Nelson was recently an artist in residence at the Sharpe Walentas Foundation.

Avery Z. Nelson
alpha and theta (stage one), 2021
Oil on canvas
60 x 48 inches

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