The Art Foundation Dallas based arts collective

twain

gaspardwinkler1c

twain
October 27- December 15, 2012
Opening reception: Saturday, October 27, 6-9 PM.

Gray Matters Gallery
113 N Haskell, Dallas

CLOSING RECEPTION & ARTIST TALK: Thursday, Dec. 13th @ 6PM
Richard Patterson and Shaun “El C” Leonardo
(video of the discussion by Vance Wingate)

The Art Foundation presents twain, an examination of the alter ego as an artistic method of expansion and safe haven.
Concerned with the increasing burden of reputation as a stultifying constraint upon artists, the exhibit allows its artists to take-up an artificial duality, promoting unfulfilled desires by negating a recognizable identity through the person of the alter-ego.  This anonymity of the true individual leaves objects and embedded concept free from qualifying associated status.

Capitalizing on this highly democratic method of exhibiting, The Art Foundationhas invited a range of internationally recognized artists, art groups, and writers to participate in the exhibition, many of whom will remain anonymous. Specific works will: engage reflections on both local and international issues, address the phenomena of the alter-ego’s persona eclipsing the artist’s original identity, allow for the permissive recreation of works previously authored, promote dubious legitimacy, and highlight the written word as contextual subterfuge.

Recognizing the internet as a primary source of avatar dissemination, The Art Foundation will also provide a partner, online, catch-all exhibition to further explore these themes at  http://theartfoundation.tumblr.com/

 

 PRESS:

D Magazine FrontRow: This Week’s Openings, interview with Jans Van Toojerstraap

D Magazine: This Week’s Visual Arts,  by  _ December 13th, 2012

“Twain, the latest project by The Art Foundation, brings together a collection of artists operating under alter-egos, pseudonyms, or assumed names, which creates a show that is full of tension, primarily involving the relationship between authorship and meaning. Work here includes absurdist sculpture, found and “activated” objects, video, text, and photography, and all of it takes the ground out from under the viewer with roguish plays off title cards, exterior fictions that inform the objects, and a recurring challenge to the idea that a work of art stands on its own. It is a show not merely driven by ideas, but, by curatorial design, tries to subvert role of biography and product in the conception of the art object. By doing so, twain back-handedly provides these aspects of the art object with a kind of screaming presence.”

MAP to Gray Matters Gallery