Opening Reception Friday, June 22, 5-7pm
In conjunction with Smith and Scruby’s exhibition at Grace Museum in Texas, and Matthew Shlian’s Frederick Hammersley Residency and Wonder Cabinet at Tamarind Institute.
“After a certain high level of technical skill is achieved, science and art tend to coalesce in esthetics, plasticity, and form. The greatest scientists are artists as well.” Albert Einstein
The realms of science and art are often considered mutually exclusive; the right hemisphere of the brain is thought to control our artistic and creative abilities, while the left our mathematical and logical skills; science is viewed as linear and precise, whereas art is accepted as open to individual interpretation. However, in Turner Carroll Gallery’s exhibition, Science as Art, artists Shawn Smith, Rusty Scruby, and Matthew Shlian explore the intersectionality between science and art, using their works to deconstruct the categorizations generally used to dichotomize the two subjects. Here, science is used as a medium in the same way as paint or plaster, touching on subjects such as technology, mathematical relationships, and the natural world in a way that uses scientific principles and processes to evoke aesthetic beauty and provoke audience response within the various pieces.
Work in the exhibition may be viewed here.
For more information and high resolution images, please visit https://turnercarrollgallery.com/press-area/ or email@example.com
Located at the Fashion Industry Gallery, adjacent to the Dallas Museum of Art in the revitalized downtown arts district. Featuring new works by gallery artists Fausto Fernandez, Hung Liu, Squeak Carnwath, Drew Tal, Jamie Brunson, Rusty Scruby, Edward Lentsch, Wanxin Zhang, Suzanne Sbarge, Karen Yank, Scott Greene, Holly Roberts, and more! Fair hours are Friday and Saturday, April 15 and 16 respectively, from 11am to 7pm, and Sunday, April 17 from 12pm to 6pm, with an opening preview gala Thursday, April 14.
A link to the Dallas Art Fair is here.
Flatlanders & Surface Dwellers is a group exhibition featuring diverse visual art media that explore the intimate and exotic realm of surface texture which evokes visceral, multi-sensory responses. Throughout the history of art making, the artist’s relationship with surface has been a serious consideration. Renaissance artists, striving for illusion, expected the viewer to ignore the surface. Modernists embraced the surface and made it a primary consideration. Postmodernity does whatever it feels like with surface. Now, the digital revolution has allowed viewers to “interact with” the surfaces of gadgets; but still, an illusion is all that is ultimately permitted. This leaves the curious soul of the viewer with the desire to touch, connect, cut, penetrate, peel away and expose layers. As artists, we are aware that surface is ours to manipulate, whether it is a mask of superficiality, a final layer of honesty or a cloak of mystery. The book Flatland, written in 1884 by Edwin A. Abbott, is loosely referenced in the exhibition, as it provides a philosophical look at a two-dimensional world, exploring abstract concepts of shape, line and point, and highlighting “a world within the surface.” This exhibition is curated by Lea Anderson, and artists were selected by both invitation and a call for submissions.
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Wow. We had an absolutely stellar fair this year at Scope Miami. Many works by Hung Liu, Eric Zener, Rusty Scruby, Kate Petley and Jenny Abell found collections, including two institutional collections. The atmosphere was electric at Scope this year with thousands of attendees and loads of press. The link to a blog mentioning us is here. Thanks, Miami!