Alejandro Diaz: It Takes A Village
April 18 – September 12, 2015
Organized by Kathryn Kanjo
The Linda Pace Foundation presents It Takes a Village, a solo exhibition of work by New York-based artist Alejandro Diaz. The exhibition focuses on Diaz’s eclectic and satirical aesthetic, featuring a series of new works comprising sculptures, paintings, and a site-specific installation, as well as a hand-woven tapestry from 2014. It Takes a Village will be on view at SPACE from April 18 to September 12, 2015.
As an artist with a national voice, Diaz grew up in San Antonio, Texas and much of his work is influenced by the contemporary Mexican/Texan cultures of his youth. It Takes a Village uses pop, modern, and folkloric works of art as its starting point, and evokes previous artists or art movements that combined high and low art, often using language and humor as a form of cultural and socio-economic critique.
Works in the exhibition include This is not a Calder (2014), made of hand-dyed, hand-woven wool and produced in Mexico in collaboration with the renowned Taller de Gobelinos in Guadalajara, Mexico. The work references both Calder and Magritte, presenting a tongue-in-cheek reinterpretation of the paradoxical painting. Facebook Likes (2015) references a series of cardboard signs Diaz made in 2003 and sold on the streets of Manhattan to passersby. Continuing in the tradition of sign making, Diaz later translated many of his pithy slogans into neon and most recently into the medium of painting. Facebook Likes functions as both a conceptual, text-based work of art and an everyday, non-art commercial sign. Other new works include The Color Field (2015) a solid yellow painting that references minimalist color field painting from the 1940s – 1960s. The work also includes Mexican marketplace souvenirs on a pedestal below the painting, drawing a link between the artist's use of high and low materials. A new painting on canvas, I’m Exhausted (2015), mimics 1950s Abstract Expressionist painting, and is both a humorous critique on high art and painting, and a commentary on the exhausting life of an artist struggling to make it in New York. It Takes a Village (2015) is a new, site-specific work that will be installed in a large glass vitrine and includes various found objects, including Mexican clay figurines, artificial aloes, a plastic radio, a marble statue, Spanish moss, and Mexican colonial painting, among others. Referencing a world's fair pavilion, It Takes a Village is part department-store window, part architectural model, part Mexican nativity scene. The work is characteristic of Diaz’s interest in art as a form of public engagement and political and cultural commentary. Also on view will be a series of new sculpture works called Muebles (2015), a series of cast-resin, life-size pieces of furniture that are in the shape of migrant workers, representing stereotypes of the Mexican identity. Diaz explains, “The Spanish word Muebles (furniture) comes from the Latin Mobilis which means something that is movable or easy to move. These sculptures co-opt Allen Jones' high art furniture of the 1960s to draw attention the plight of Mexican immigrants and to Mexican-American culture as a whole — as a commodity that when no longer needed can be easily moved or removed like a piece of furniture.”
Linda Pace Foundation Trustee and Curator Kathryn Kanjo adds, “Diaz reflects the creative, cultural energy of San Antonio--the same energy that so inspired Linda Pace. He filters challenging, social subject matter through visual art tropes that seem to simultaneously critique and celebrate their subjects. With works that are declarative, bold, and playful, he is one of the core artists that helped define the San Antonio contemporary art community in the 1990s.”
October 3, 2015 – February 27, 2016
An exhibition of works from the
Linda Pace Foundation Collection
Organized by Annette DiMeo Carlozzi
The Linda Pace Foundation announces its fall 2015 exhibition titled Immersed, featuring a dynamic selection of works from the Foundation’s extensive collection of contemporary art. Organized by Annette DiMeo Carlozzi, an independent curator and arts writer based in Austin, Texas, Immersed will give audiences a fresh look at the collection, bringing together approximately 20 compelling paintings, photographs, sculptures, and works on paper. The exhibition features works by 17 different artists. They are:
Terry Adkins, Chiho Aoshima, Lynda Benglis, Anne Chu, Francesco Clemente, Tracey Emin, Teresita Fernández, Antony Gormley, Arturo Herrera, Jim Hodges, Byron Kim, Surasi Kusolwong, Iñigo Manglano-Ovalle, Catherine Opie, Gabriel Orozco, Jorge Pardo, and Miwa Yanagi.
Immersed will be on view at SPACE, the Linda Pace Foundation gallery, from October 3, 2015 to February 27, 2016. Designed to explore new resonances among works by these internationally renowned artists, the exhibition features pieces that have rarely been on public view, such as Antony Gormley’s Being (1995) and Terry Adkins’ San Antonio-made Bouquet (2000), as well as a few of the collection’s signature objects, including Jim Hodges’ unfold (more) . When considered together, the selection “evokes the cool heat of intense engagement, riffing in unexpected ways on the immersive experiences of art-making and artviewing,” Carlozzi explains.
Carlozzi continues, “The Foundation’s founder, Linda Pace, constantly questioned the creative process and the display and reception of works of art. Seeking knowledge and inspiration, she in turn offered discovery opportunities to her community. I conceived Immersed as a tribute to this generosity and to Linda’s pioneering spirit. Having served as a curatorial panelist, writer, and board advisor for ArtPace in its early years, I was delighted to accept the Foundation’s invitation to organize an exhibition from its impressive collection.”
The exhibition’s powerful ensemble showcases a range of gestures, musings, and observations about the body in space and time. Whether in the heady swim of sensory overload represented in Miwa Yanagi’s and Surasi Kusolwong’s vivid photographs, or in the forceful and direct attempts to locate oneself in the world which can be understood in drawings by Gabriel Orozco and Tracey Emin, these works all engage with life’s vitality.
Throughout the gallery, the experience of immersion is referenced in multiple ways. Catherine Opie’s Untitled 10 (Surfers)  is the most literal representation; its tidal swells allude to constancy, a theme also evoked poignantly in Chiho Aoshima’s Untitled (2007), an intimate memorial for Linda. Byron Kim’s Permanent Paintings (2004) suggest timelessness, or continuous coming-into-being. And the natural world is a starting point for diverse works by Anne Chu, Teresita Fernández, and Iñigo Manglano-Ovalle, which offer relational perspectives that challenge location’s meaning, echoing the unrestrained condition that being immersed Connotes.
This exhibition of selections from the Linda Pace Foundation collection rewards fluid ways of seeing and prompts reconsideration of these important works of art.
Opening Weekend Events
Opening Day: Friday October 2, 2015; 6-8PM Artists/Curator Conversation: Saturday, October 3, 2015; 2-3:30PM Participating artists include Byron Kim, and Anne Chu.
Lynda Benglis | Artist/Curator Discussion: Saturday November 7, 2015; 4-6pm
About Annette DiMeo Carlozzi
Recently retired from the Blanton Museum of Art at the University of Texas at Austin, Carlozzi is now working on independent curatorial projects and writing a book on the modern and contemporary art scene in Texas for UT Press. As a senior curator, deputy director, and curator at large at the Blanton for 18 years, Carlozzi played a critical role in building, interpreting, and publishing its modern and contemporary collection.
ADAM by Arturo Herrera from LindaPaceFoundation on Vimeo.
Arturo Herrera: ADAM
December 2013 – 2016
On view at the corner of N. Main and E. Commerce St., San Antonio, TX
A dynamic new artistic addition to the heart of the city, easily visible from Main Plaza, installed in the winter of 2013. Adam, is a 2,500 square-foot red-and-white abstract wall painting by internationally acclaimed Venezuelan-born artist Arturo Herrera, is sure to draw the attention of residents and visitors alike adding color, vibrancy and great artistic value to the city’s cultural and spiritual center. The dramatic wall painting, more than 25-feet high and 98-feet wide, is the first large scale public installation of the Linda Pace Foundation. Adam embraces and fulfills the Linda Pace Foundation’s mission for the community to experience contemporary art in nontraditional settings.
“The inspiration for the wall painting Adam was about movement, the dynamism of abstraction, and a soaring energetic field, like Spring, when everything awakens,” Herrera said. “The title Adam brings several images to mind: An earthbound beginning; the first individual Pace Foundation’s First Public Art Installation 1 | Page human; humankind. It is a powerful and yet open-ended title that can convey multiple readings to the audience. The color red that I chose for Adam was intentional as red is the color associated with heat, power, physical energy and celebration. Coincidently, red was Linda Pace‘s favorite color, both for its physical and spiritual qualities.”