Conceived in 1994 by Craighead Green Gallery, New Texas Talent is designed to introduce and promote emerging visual artists in the commercial market. Each year over 1,000 images are submitted for review by a gallery selected juror. The juror then independently selects artists to participate in the New Texas Talent exhibition.
For NTT XXIV, Craighead Green Gallery enlisted Katherine Wagner, CEO of Business Council for the Arts, as this year’s juror. Wagner’s longstanding interest and work in leading development for business communities, nonprofit arts, and cultural sectors highlights her diverse abilities and critical eye.
From the political to domestic, from paintings to assemblage; this year’s survey of Texas artists is wide in scope. Artists like Ty Bishop and MP Callender demonstrate exciting yet differing means to challenge the status quo of abstract painting while Laura Moore’s “May Day in a Good Way” grins at the notion of “abstract vs. figurative”. Wagner’s selection of figurative work engages an audience politically and socially. Riley Holloway and Alejandro Macias’ portraits tackle these themes with sophisticated fortitude and glaring approach. Many of the works highlight an interest in mixed media approaches. Meagan Robson, Robertus van der Wege, and Sabine Senft’s practices incorporate a serious sense of adventure regarding their disparate materials. The pieces mentioned above are merely a smattering of what Texas has to offer this year and Craighead Green is excited to display such a captivating group of emerging artists.
Katherine Wagner, Juror Statement:
Many thanks to Craighead Green for the privilege of jurying New Texas Talent.
Kenneth Craighead and Steve Green had the vision to create this wide-net exhibition more than 23 years ago. Since that time, it has been a portal to discovery for patrons and arts advocates, and an important means of recognition for artists. Submissions this year came from artists in far-flung corners and throughout Texas; their subject matter, media, surnames, ages, education and experience were – and are - kaleidoscopic.
Ordering and organizing the exhibit so that each artist had an electronic “portfolio” for review, and then hanging the works to create a whole of many parts was the work of John Oakley and Caroline Irvin. With its exemplary vision and execution, Craighead Green is a dream team to work with.
In regard to jurying, there were many noteworthy works submitted. As a whole, they communicated authenticity and commitment. Seldom did I see a work that I would characterize as thoughtless, or missing due care.
Three of the works that I especially liked were Jonas Criscoe’s the Ups and Downs, for its lyricism overlaid with censor-like blocks. This poetic interplay is furthered by the work’s coloration, which seems to carry a code.
Code, language and notation are also the foundation for Erik Skjolsvik’s work. Learning that he crafts his own calligraphic nibs underscores the craftsmanship of the work. Throughout the selection process, there were numerous considerations, mastery of materials being a critical facet of getting one’s message across. To that end, I point to Riley Holloway’s mall painterly self-portrait, which engages me both with its form and with its gaze.
I look forward with much anticipation to seeing the works hung in relation to each other, and to meeting the artists who make this exhibit. I am grateful to Craighead Green for devoting the space, time and expertise that allows new Texas talent to flourish.
Craighead Green Gallery
1011 Dragon Street
Dallas, Texas 75207