TENOVERSIX’S GUIDE TO DALLAS ART FAIR FESTIVITIES

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We’re so excited for the Dallas Art Fair to come to town this weekend, Friday, April 11 – Sunday, April 13! In only it’s third year, 2014 will feature over 100 galleries from around the world, ranging from lesser-known art spaces to major names. As far as the fair itself goes, we’re particularly looking forward to seeing what The Journal Gallery (Brooklyn), OHWOW (Los Angeles), Brand New Gallery (Milan), Luis de Jesus (Los Angeles) & Klemens Gasser and Tanja Grunert (New York) present. But! With every big art event, there are 10,000 other awesome things to do. Here’s a quick list of what we’ll be checking out:

THURSDAY, APRIL 10

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We’ll be hosting a Jasmin Shokrian FW14 trunk show this Thursday from 4-7 PM! Clients who purchase $200+ will receive free art-inspired nail art by VANITY PROJECTS NYC on-site. Complimentary valet parking will be available & light refreshments will be served. You’ll also be out just in time to attend…

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The Dallas Art Fair Preview Gala
1807 Ross Ave

From 7-10 PM, preview the wonderful work at the art fair before it opens to the public! Major bonus: Tickets benefit the Dallas Museum of Art, Nasher Sculpture Center and Dallas Contemporary. Get your tickets here.

FRIDAY, APRIL 11

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Nasher Sculpture Center
2001 Flora Street

Bettina Pousttchi’s Sightings, a collection of photo, video and sculpture works that explore the construction and fluidity of memory, will be opening at Nasher Sculpture Center from 6 – 8 PM. (Also definitely come back during the day; there’s no better hangover cure/lovely day with the fam than a stroll through a sculpture garden!)

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Dallas Contemporary
161 Glass Street

Richard Phillips’ Negation of the Universe & Julian Schnabel’s An Artist Has A Past (Puffy Clouds and Strong Cocktails): 15 Paintings Over The Last Decade will BOTH be opening from 9 PM – 12 AM.

SATURDAY, APRIL 12

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The Warehouse
14105 Inwood Road

From 9 – 11 AM, The Warehouse, a project conceived by Dallas collectors Howard Rachofsky and Vernon Faulconer to make their collections more available to the public, will host an open house. Their collections include a wide array of media, and this newly constructed space is built specifically for research and education. On view will be a show of Rachofsky & Faulconer’s collections in conversation with works on loan from other major Dallas institutions.

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Fashion Industry Gallery (F.I.G.)
1807 Ross Avenue

Go on a performative walking tour of Dallas’s Arts District with f.i.g.’s Louise Hervé and Chloé Maillet during A Fête in Dallas (Fêtes révolutionnaires and utopia, science fiction and architecture, ant trails and gila monsters), which obviously must be attended if only to experience something named that. The hour-long tour starts at 1 PM.

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Party @ The Eyeball!
Across from The Joule Hotel

Um yeah. 8 – 10 PM. So many potential hashtags, and this is the perfect event to wear your favorite TOS accessoreye to! (We’re totally gonna make “accessoreye” a thing. You just wait.)

*Note: A lot of these events require RSVPs or special passes! Please consult Dallas Art Fair’s Events Page.

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LIGHT REACHING THE FUTURE:RIKA NOGUCHI

RAM_Title RAM_1 RAM_4 RAM_5 RAM_9 RAM_6 RAM_7 RAM_8Rika Noguchi is a Berlin-based, Japanese contemporary photographer whose work has been increasingly recognized.  She has chosen light as her subject.  This exhibition catalog from the Izu Photo Museum highlights two decades of Noguchi’s work, including several unpublished and un-exhibited works. Light Reaching The Future is available in-store and will be available online soon.

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TAKE IT OR LEAVE IT?

fgtselfieWe’re, like, 90% sure that Félix González-Torres would approve of a shoe selfie with his Untitled (USA Today), 1990.

When we entered the third room of Take It or Leave It: Institution, Image, Ideology, currently up at The Hammer Museum and co-curated by Anne Ellegood and Johanna Burton, we ran to Félix González-Torres’ Untitled (USA Today) (1990), a pile of red, white & blue wrapped candies on the floor, and picked one up. A friend whispered “Did you guys just take the candy?!” and as we continued to circle around it, wide-eyed (major fangirl moment), a nearby security guard made sure to tell us we could take one. We told her we were actually pretty hungry, and she smiled and said we could take more if we wanted.

piperAdrian Piper, This Is Not the Documentation Of A Performance, 1976.

Next to that was a corner full of Jenny Holzer’s Inflammatory Essays (1979–81), a collection of 100-word texts influenced by major political leaders that, when divorced from those names and faces, give the audience a chance to reflect on their own connections to the words*. Right by that were two of Adrian Piper’s Vanilla Nightmares (1986), a series of charcoal drawings of black figures that both cover up and are covered up by articles from the New York Times about race relations. In the room prior, portions of Mary Kelly’s Post-Partum Document, a six-year exploration of Kelly’s relationship to her child, were hung next to ANOTHER Adrian Piper, This Is Not the Documentation Of A Performance (1976), a photograph of a newspaper article about protestors on which “THIS IS NOT A PERFORMANCE” has been drawn over one of their signs, which also responded to critics of her early performance works. Next to that was Martha Rosler’s Global Taste: A Meal in Three Courses (1985), a three-channel video installation that collages TV commercials and popular programming as a critique of late capitalism, & The Bowery in two inadequate descriptive systems (1974–75), 45 text and image prints describing small fragments of the Bowery. Needless to say, Take It or Leave It covers a large span of time (1970s – 1990s), styles, and political ideologies.

marykellyMary Kelly, Post-Partum Document, 1973-9.

Each room is arranged by idea – Representation, Politics, Media, America, Language, Interaction, Public Record, and Archive – as opposed to a more traditional method of organization (date, artist, etc.). This emphasizes the strange, difficult, and oftentimes confusing conversations these works have with each other and their audience. Many have been canonized over time, so it can be easy to forget the controversy they initially caused within – and outside of – the art world. By refusing to situate them in an overarching, easily accessible timeline, Ellegood and Burton bring these works into a slightly more messy present, creating a conversation about why they are still so important. While many with art historical knowledge are used to viewing these works, the issues behind them are far from dealt with.

leonardZoe Leonard, Survey, 2009-12.

Another product of the curation we noticed was that the audience had to actually interact with the museum guards, those who are constantly present but widely ignored. By starting with two Félix González-Torres pieces (Untitled [Death by Gun] [1990], a stack of posters on which are printed the photos, names, ages, and locations of deaths of 460 individuals killed by gunshot during the week of May 1–7, 1989, was piled against the wall next to a few rubber bands), which one is supposed to take, how the audience was supposed to interact with the rest of the work became ambiguous. Two well-dressed women in their 70s picked up pieces of Zoe Leonard’s Survey (2009 – 12), a collection of over six thousand vintage postcards from Niagara Falls laid out on a table to create a cityscape, and were mildly outraged when a guard told them that they weren’t supposed to touch the piece. I’m pretty sure that Mike Kelley’s Craft Morphology Flow Chart (1991), stuffed animals from the artist’s collection laid out on fold-out tables beneath sketches of them, ran into similar problems.

kellyMike Kelley, Craft Morphology Flowchart, 1991.

Museums and art are, at their core, pretty wonderful things, but alas they’re still massive institutions within which all of the negatives of other massive institutions continue to exist. The work in Take It or Leave It points out and questions these social structures, asks the audience what they think about them, if they’re implicit in them. Starting a show with interactive pieces forces the audience to, throughout the rest of the show, consider their very present, very physical relationship to the space of the institution in which they are. With a poster you were supposed to take in hand, do you ask before you step into an installation? Do you ask before you pick up a postcard? And how do you react to the answer? Fucked up social structures are dependent upon their propagation via everyday interactions, so that one had to consider that continually throughout Take It or Leave It moved the issues in the work into the bodies of the visitors.

williamsSue Williams’ The Artworld Can Suck My Proverbial Dick (1992) was a wonderful almost-end to the show.

Take It or Leave It: Institution, Image, Ideology is up until May 18 at The Hammer Museum, which is now free!

*Note: All of the short descriptions of these pieces are the most basic we could come up with for brevity’s sake. We’re sorry.

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NEXT SATURDAY: LOLA ROSE THOMPSON AT TENOVERSIX LA

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Please join us next Saturday, March 29, from 5 – 8 PM for the opening of Classic Stoned Face, a selected body of work by Lola Rose Thompson, curated by interior designer Yaoska Davila. Thompson’s paintings move playfully between subjects, from ancient relics to sex, politics to psychics. Her whimsical titles project voices into her figures, describing the fantasies of half-forgotten relics and the sexual preferences of marble sculptures. From subtle watercolors rendered with an ultra-light touch to psychedelic oil paintings bursting with thick layers of color, all of Thompson’s paintings are brimming with wit, naked bodies, mythological types and female prowess. Classic Stoned Face will be on view at TenOverSix from March 29 – April 26.\

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MARCH MADNESS

The month of March was a poppin’ one for TENOVERSIX!  TWO pop-ups in ONE month, oh my!  BIG, BIG thanks to: Hotel Saint Cecilia for hosting our pop-up in Austin,  ceramics guru, Adam Silverman for a great book signing & of course the great folks of Austin!  We would also like to say “Tack” (thank you in Swedish) to Carin Rodebjer & blogger extraordinaire, Jayne Min of StopItRightNow for a great night!  And if you missed out, great news, the Rodebjer collection will be staying until the end of the month!

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Thank you Austin! Pop-up at Hotel Saint Cecilia
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Austin’s got soul
Amanda, TOS Dallas Manager sportin' the Opening Ceremony Izzy Backpack available online at www.tenover6.com
Amanda, TOS Dallas Manager sportin’ the Opening Ceremony Izzy Backpack available online at www.tenover6.com

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Adam Silverman Ceramics
Adam Silverman's book is available at TENOVERSIX DALLAS
Adam Silverman’s book is available at TENOVERSIX DALLAS
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Be sure to check out Adam Silverman’s installation “Boolean Valley” at the Nasher Sculpture Center in DallasRODEBJER_TENOVERSIX_popupshop+launchpartyinvite
Kristen Lee, Carin Rodebjer, Jayne Min
Kristen Lee, Carin Rodebjer, Jayne Min
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Rodebjer Spring/Summer ’14
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Jayne is wearing the Baluster Sparkle Skirt available at Tenoversix LA
Click for the link to Jayne’s Mix

 

 

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OUR FAVORITE ACCESSOREYES

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Ever walk into TenOverSix & feel like you’re being watched? Well you are. …Not by the helpful and friendly sales staff, of course; by the accessories! One of the latest trends for SS14 we simply can’t take our eyes off of (#sorrynotsorry) is eyes! Whether used in an all-over print, a large graphic, or a tiny charm, this is one trend we hope to be seeing more of. Get your hands on our favorites at TenOverSix LA & Dallas and online: (clockwise, starting top left) Loeffler Randall Blue & White Minaudiere Bag; Pamela Love Oculus Earrings; Sarah’s Bag Eye Baguette; Lizzie Fortunato Jewels Lavender & Magenta Red Eye Charm Bracelets and Late Night Charm Bracelet; Sarah’s Bag Eggzy Eye Clutch; Pamela Love Aeternum Earrings (also available in Silver).

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HOME SWEET HOME

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Kinfolk_Issue-11_Housewarming-Cooling-3-664x500The Spring 2014 “Home Issue” of Kinfolk delves into every aspect of the home. From aesthetics,  new leases, feng shui, and how to be a good house guest-Kinfolk covers it all with beautiful inspiring photographs.  This 176-page issue features a 46-page Home Tours section with inspiring and beautiful photographs.

KINFOLK VOL. 11 AVAILABLE AT TENOVERSIX

 

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