Global encounters with the abstract in the “Slip Zone” of the DMA – NBC 5 Dallas-Fort Worth


With 91 works by 72 artists, Slip Zone: A New Look at Postwar Abstraction in America and East Asia proves that it is a small world after all. The exhibition at the Dallas Museum of Art runs through July 10th.

With works from the museum’s collection and significant loans from local private collections, the exhibition sheds new light on the experimentation of artists with materials, techniques and forms in the decades after the Second World War. The exhibition focuses on post-war movements in East Asia, Latin America, and the United States.

“The special thing about this exhibition is that it brings together two regions of the world that are usually not talked about together,” said Dr. Vivian Li, The Lupe Murchison Curator of Contemporary Art and co-curator of this exhibition. “This is a great new narrative that we are building and developing.”

A central theme of Slip zone Artists worldwide influence each other, regardless of whether they know each other personally, formally or are informed about new developments through publications. “There was this great global network and exchange of ideas,” said Dr. Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary and co-curator of this exhibition.

© 2021 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Jackson Pollock, Figure kneeling in front of the arch with skulls, ca.1934-1938, oil on canvas, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2017.7, © 2021 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Jackson Pollocks Figure kneeling in front of the arch with skulls is paired with David Alfaro Siqueiros’ Crepusculo. Siqueiros introduced Pollock to the use of industrial paints in 1936. This use of material should influence Pollock’s use of non-traditional materials in his drop paintings.

The exhibition features several artists from the Osaka-based Gutal Art Association. The gallery “Destroying the Paintbrush” shows the playfulness of these artists when they experiment with the creative process and turns the act of painting into a performance piece. “A lot of this work is not about meticulous painting techniques,” said Li. “But leave materials as they are to activate the materials.”

Shiro Shimamoto created Bottle crash by throwing glass bottles filled with paint and stones on a canvas. A piece of glass and rock can be seen embedded in the painting. The work is the aftermath of Shimamoto’s bottle throwing performance.

In another gallery, Shimamotos Untitled – whirlpool is paired with Lynda Benglis’ Odalisque (Hey, Hey Frankenthaler). Benglis created the living work by pigmenting rubber latex with bright colors and pouring the materials directly onto the floor. Similarly, Shimamoto poured several coats of paint on the canvas and then removed brushes as intermediary tools so that the viscous materials could determine the outcome of the work.

Dallas Museum of Art Slip Zone 2

Dallas Museum of Art

The gallery “Destroying the Paintbrush” shows works by artists whose creative process was a performance.

Pollock’s Drip Paintings in Tokyo 3approx The Yomiuri independent exhibition in 1951 impressed Gutai’s leader Jiro Yoshihara. Yoshihara valued Pollock’s distinctive technique. Pollock danced around the edge, hurling paint on the canvas until it was covered in drops and splatters.

Yoshihara named Pollock the best living artist in the United States. “It wasn’t about copying Pollock or his technique. He found kinship in what Pollock did, ”said Li.

Dom, one of Pollock’s first drip paintings, is paired with Kan’uncho, a work by Kazuo Shiraga. Shiraga dipped his feet in puddles of oil paint and slid across the canvas. He developed a rope system that could be used to hang it above the canvas to create more graceful movements.

Slip Zone Dallas Museum of Art water feature

Dallas Museum of Art

The cylindrical and rectangular works are not as solid as they appear.

Outside the “Destroying the Paintbrush” gallery are two sculptural works that appear to be made of polished black material. At second glance, tiny waves reveal the liquid nature of Phase of nothing by Nobuo Sekine. “When you look at it, it looks like a solid steel rectangle at first,” said Li. “But this has been meticulously done by our assembly team over the past two days. Everything is full of water. “

The United States is represented by artists who have advanced the visual and spatial effects of painting and sculpture and have experimented with new tools. Fred Eversleys Untitled (parabolic lens) is inspired by his career as an engineer and refers to the interplay between material, color and light while the viewer moves around the work.

Slip Zone Dallas Museum of Art US artist

Dallas Museum of Art

American artist in Slip zone accelerated the visual and spatial effect of painting and sculpture.

Ed Clarks Marquetry reflects the creative process with pusher and its use of an elliptical shape is intended to mimic the shape of the eye. “He was one of the first US artists to use this mode to create an irregularly shaped canvas and pin it directly to the wall instead of a framed, linear room,” said Brodbeck.

Slip Zone: A New Look at Postwar Abstraction in America and East Asia is supplemented with Bosco Sodi: La fuerzo del destino, a series of 30 sculptures in the sculpture garden of the Dallas Museum of Art.

Sodi makes clay works by hand and then lets the pieces sit in the area for eight months before they’re fired. “You should never fire terracotta on this scale because it cracks and most people, if it’s too precious, don’t want that crack. But he’s very attracted to this role, ”said Brodbeck.

Dallas Museum of Art Bosco Sodi

Sergio López, courtesy Studio Bosco Sodi and the Dallas Museum of Art

Bosco Sodi: La fuerza del destino at the Dallas Museum of Art.

Shaped by the artist and nature, the sculptures are scattered like breadcrumbs in the sculpture garden and lead the visitor to the interface between art and nature.

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