“Untitled (America)” (2018) by Glenn Ligon

 
On View presents images from noteworthy exhibitions
 

THE STATE OF THE NATION is influx. The pandemic. Isolation. Police killings. Racial justice protests. Election 2020. “To Be Determined” is a response to the moment. The collection exhibition draws on the expansive holdings of the Dallas Museum of Art, featuring a diverse selection of art that “affirms the resilience of individuals and communities through evocative—and occasionally unexpected—groupings of works that resonate with current and historical struggles.” The museum’s 12-member curatorial team developed the show during quarantine. They were apart, but came together over a series of conversations to create a show that reflects the range of emotions they were feeling—hope, loss, resistance, tension, endurance, and determination—and also demonstrated the ways in which artists throughout history have addressed challenges, uncertainty, and change. “To Be Determined” includes works spanning a wide range of time periods (three centuries), cultures, and mediums–paintings, drawings, sculpture, and installations. A number of Black artists are represented in the show, including Adam Pendleton and Faith Ringgold. Works by Ini Archibong, Thornton Dial, Oshay Green, Jammie Holmes, Glenn Ligon, Lorna Simpson, and Charles White, are among 13 new acquisitions on view. New works by Dallas-based artists Jammie Holmes and Oshay Green are also showcased. CT

 

“To Be Determined” at the Dallas Museum of Art, in Dallas, Texas, from Sept. 27- Dec. 27, 2020

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Installation view of “To Be Determined,” Dallas Museum of Art, Dallas, Texas, Sept. 27-Dec. 27, 2020. Shown, JAMMIE HOLMES, “Four Brown Chairs,” 2020. | Photo by John Smith, Courtesy Dallas Museum of Art

 


Installation view of “To Be Determined,” Dallas Museum of Art, Dallas, Texas, Sept. 27-Dec. 27, 2020. | Shown, JAMMIE HOLMES, “Four Brown Chairs,” 2020. | Photo by John Smith, Courtesy Dallas Museum of Art

 


ADAM PENDLETON, “Untitled (WE ARE NOT),” 2019 (silkscreen ink on canvas). | Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020.17. Courtesy the artist

 


CHARLES WHITE, “Study for Mural – Baccus Medical Building,” 1961 (charcoal on paper). Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020.5. © The Charles White Archives

 


INI ARCHIBONG, “Theoracle,” 2019 (blown glass, brass, water, caution tape, synthesizer). | Photo by John Smith, Courtesy Dallas Museum of Art

 


MATTHEW WONG, “The West,” 2017 (oil on canvas). | Dallas Museum of Art, Dallas Art Fair Foundation Acquisition Fund, 2017.28. Courtesy the Matthew Wong Foundation and Karma, New York

 


Installation view of “To Be Determined,” Dallas Museum of Art, Dallas, Texas, Sept. 27- Dec. 27, 2020. | Photo by John Smith, Courtesy Dallas Museum of Art

 


Installation view of “To Be Determined,” Dallas Museum of Art, Dallas, Texas, Sept. 27- Dec. 27, 2020. Shown, From left, OSHAY GREEN, “Untitled,” 2020; NOBUO SEKINE, “Phase of Nothingness, Cloth and Stone,” 1970/1994. | Photo by John Smith, Courtesy Dallas Museum of Art

 


OSHAY GREEN, “Untitled,” 2020 (cement, black pigment, and resin on canvas). | Dallas Museum of Art, Lay Family Acquisition Fund, 2020.24. Courtesy AND NOW

 


Installation view of “To Be Determined,” Dallas Museum of Art, Dallas, Texas, Sept. 27- Dec. 27, 2020. Shown, From left, ADAM PENDLETON, “Untitled (WE ARE NOT),” 2019; GLENN LIGON, “Untitled (America),” 2018. | Photo by John Smith, Courtesy Dallas Museum of Art

 


RUFINO TAMAYO, “Dog Howling,” 1960 (color lithograph). | Dallas Museum of Art, Foundation for the Arts Collection, Gift of Marvin Small, 1963.120.FA. © 2020 Tamayo Heirs / Mexico / Artists Rights Society (ARS), New York

 


Installation view of “To Be Determined,” Dallas Museum of Art, Dallas, Texas, Sept. 27-Dec. 27, 2020. Shown, At center, JEFFREY GIBSON, “I Wanna Stay Here With You Forever,” 2019. | Photo by John Smith, Courtesy Dallas Museum of Art

 


Installation view of “To Be Determined,” Dallas Museum of Art, Dallas, Texas, Sept. 27-Dec. 27, 2020. Shown, From left, LORNA SIMPSON, “Blue Turned Temporal,” 2019; FREDERIC EDWIN CHURCH, “The Icebergs,” 1861. | Photo by John Smith, Courtesy Dallas Museum of Art

 


LORNA SIMPSON, “Blue Turned Temporal,” 2019 (ink, watercolor, and screenprint on gessoed fiberglass). | Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020.16, © Lorna Simpson. Courtesy the artist and Hauser & Wirth. Photo by James Wang

 

TOP IMAGE: GLENN LIGON, “Untitled (America),” 2018 (neon and paint). | Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2019.28.A-G. © Glenn Ligon, Courtesy the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Chantal Crousel, Paris

 

BOOKSHELF
Glenn Ligon contributed to “Grief and Grievance: Art and Mourning in America (from Civil Rights to Black Lives Matter),” which accompanies an exhibition conceived by Okwui Enwezor at the New Museum in New York (forthcoming in December). “Glenn Ligon: AMERICA” documents the artist’s 25-year survey. Also consider, “Charles White: A Retrospective,” “Lorna Simpson: Collages” and “Lorna Simpson,” which documents Simpson’s 30-year retrospective. From Phaidon, “Adam Pendleton” is forthcoming in November. Ini Archibong contributed to “speechless: different by design,” a recently published volume that “pioneers a new approach to the art museum exhibition.”

 

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