A new year means new art for The Warehouse Dallas, the contemporary art space announced.
Beginning Jan. 21, The Warehouse Dallas, the contemporary art space founded by noted collectors and philanthropists Cindy and Howard Rachofsky with late collaborative partner Vernon Faulconer, will debut three new exhibitions comprising its Spring 2022 program.
The trio of shows also inaugurates a new annual series of solo exhibitions by emerging and underrecognized artists.
The exhibitions include:
Sculptural practice in the 20th century witnessed explosive innovation in its experiments with new mediums, bodily engagement, and theatricality, as artists sought to expand our understanding of the dynamics between objects and space. One of the most radical developments was the use of sound to further explore those dynamics and test the boundaries of convention. The exhibition Sound as Sculpture brings together foundational works from the 1960s and 1970s, alongside important recent and contemporary works, to examine the different ways in which artists have deployed sound to create an experience of space as time; play with the body’s ability to emit, transmit, perceive, and absorb sound; and draw on the psychological and poetic effects of sound in space.
Sound as Sculpture includes 52 works by 17 artists, and features audio works, three-dimensional sculptures, performance works, video, and installation, as well as rare archival material that provides context and insight into the works on view. Artists in the exhibition include Laurie Anderson, Tonico Lemos Auad, Mark Bradford, John Cage, Janet Cardiff and George Bures Miller, Nancy Holt, Pierre Huyghe, Bruce Nauman, Max Neuhaus, Adrian Piper, Emilio Prini, Tomás Saraceno, Nora Schultz, Richard Serra, Haegue Yang, and Minoru Yoshida.
Curated by Thomas Feulmer, Assistant Curator, The Warehouse Dallas, the exhibition will be accompanied by a publication on Nancy Holt’s sound works, created in collaboration with the Holt/Smithson Foundation.
Institutional lenders to the exhibition include The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Ludwig Forum fur Internationale Kunst, Aachen; Ishikawa Foundation, Okayama; Holt/Smithson Foundation, Santa Fe; Kunstmuseum Liechtenstein, Vaduz; The Menil Collection, Houston; and Dallas Museum of Art. Private lenders include Deedie Rose, the Collection of Marguerite and Robert Hoffman, and the Collection of J. Patrick Collins.
Tender Objects: Emotion and Sensation after Minimalism explores how artworks that adopt minimalist formal strategies can activate fleeting, ineffable emotional responses from viewers. While the artworks on view are geographically and chronologically diverse, spanning three continents and five decades, they share a vocabulary of simplified forms and serial operations rooted in the postwar aesthetics that moved beyond the confines of traditional painting and sculpture. For these artists a minimalist visual vocabulary did not erase a desire to establish sensitive engagement with viewers.
The artists represented in the exhibition — including Janine Antoni, Mona Hatoum, Seung-Taek Lee, and Giulio Paolini, among others – appeal to human experience by provoking psychological and physical engagement. The emotions and sensations manifested in their work are explored in the exhibition through three organizing themes: temporality, process, and materiality.
Tender Objects: Emotion and Sensation after Minimalism is a collaboration between The Warehouse and the Department of Art History in the Meadows School of the Arts at Southern Methodist University. Drawing on research and discussions conducted throughout Dr. Anna Lovatt’s Graduate seminar, the students — Olivia Arratia, Gabriela Paiva de Toledo, Jennifer Laffick, R. Arvid Nelsen, Laura Varela, and Madison Whitaker — developed the exhibition concept, the selection and placement of works, the interpretation and publicity materials, and the education and public programs. Artists in the exhibition include Janine Antoni, Mona Hatoum, Seung-Taek Lee, and Giulio Paolini, among others.
The Warehouse will inaugurate Warehouse:01, a new series of annual solo exhibitions with The Fool, comprising seven large-scale paintings by Tokyo-born, New York- and Oakland-based Justin Caguiat. Caguiat is a published poet, and the influence of the veiled, symbolic potential of language can be felt in imagery that is grounded in history but feels uniquely informed by contemporary culture.
Painting on large, unstretched canvas or linen, Caguiat’s fresco-like surfaces bear an amalgam of abstract, organic, and representational imagery that demands slow looking. As the viewer’s eye moves across the canvas and explores Caguiat’s layers of paint, figures are revealed and a strange, mystical space forms in what critic Sophie Ruigrok has described as “a primordial soup.”
In conjunction with its Spring exhibitions, The Warehouse, which is located at 14105 Inwood Road, will launch expanded weekly public hours every Friday and Saturday from 11 a.m. to 5 p.m. Admission to The Warehouse is free.