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Dropout: Sadie Benning, A.K. Burns, Bracha L. Ettinger, Lee Lozano, Ulrike Müller, Lee Relvas

Curated by Photi Giovanis, Site 131, Dallas

Opening: Wednesday, April 13, 6–9pm

April 13 – June 4, 2016

A painting which shows black strokes overlapping, but only in texture. At the edges we see brown, as if it's a background.

Ulrike Müller, Chris, 2015. Oil on canvas, 36 x 27 inches (91.4 x 68.6 cm)

A painting which has brushstrokes in mauve, and theres a red border on the entirety of the left edge.

Ulrike Müller, Mimi. 2015. Oil on canvas, 36 x 27 inches (91.4 x 68.6 cm)

A painting of an idiosyncratic shape in off-white, with 2 small lines at the upper-left and lower-right corners: at left the lines are orange, at right is pink.

Ulrike Müller, Béla, 2015. Oil on canvas, 36 x 27 inches (91.4 x 68.6 cm)

A mixed-media work on canvas. There is a red cross shape surrounded by several red circles. There are photographs from magazines and dots of blue, yellow, black, orange, and red.

Sadie Benning, Bess, 2016. Aqua resin, wood, casein, photograph and digital photograph, 59 x 40 inches (149.9 x 101.6 cm)

A mixed media work that is on a black background, with white obscure shapes. There is a ziggurat-form, a can, and what appears to be a front porch from the side view. There is an image of a dollar bill and a man in red.

Sadie Benning, Johnson, 2016. Aqua resin, wood, casein, photograph and dollar bill, 67 x 38 inches (170.2 x 96.5 cm)

A flat, white artwork that has a scene incised into it. There are three figures walking along a horizon line at the top third of the work; in the center register is another figure seemingly with their back to us, looking out onto a vista. The bottom register has nothing carved.

Sadie Benning, AM 3, 2016. Aqua resin, wood and casein, 55 x 40 inches (139.7 x 101.6 cm)

A detail of the central register of Sadie Benning's white painting, with the figure sitting on a rock or standing, looking outward.

Sadie Benning, AM 3 (detail), 2016. Aqua resin, wood and casein, 55 x 40 inches (139.7 x 101.6 cm)

A photograph of a white flat artwork, with details incised into the surface. It appears that three figures are walking up a path found in the bottom third of the canvas. The middle and top thirds are empty.

Sadie Benning, AM 2, 2016. Aqua resin, wood and casein, 55 x 40 inches (139.7 x 101.6 cm)

A photograph of a detail of the bottom-third of Sadie Benning's artwork, where 3 figures seem to be walking up a path toward a horizon line.

Sadie Benning, AM 2 (detail), 2016. Aqua resin, wood and casein, 55 x 40 inches (139.7 x 101.6 cm)

A photograph of a white, flat artwork with shapes incised into it. It appears there are 3 figures enclosed in a rectangle in the top half of the artwork.

Sadie Benning, AM 1, 2016. Aqua resin, wood and casein, 55 x 40 inches (139.7 x 101.6 cm)

A photograph of a detail of Sadie Benning's white flat artwork. There are 3 shapes that resemble figures: the one at left holds a shovel over the head of the second figure just to the right. At far right, within a rectangle, is another figure, walking away toward the edge of the rectangle.

Sadie Benning, AM 1 (detail), 2016. Aqua resin, wood and casein, 55 x 40 inches (139.7 x 101.6 cm)

A graphite and crayon drawing on paper with a smile centrally located near the bottom-center. There are swirls of brown, gray, and blue throughout.

Lee Lozano, No title, n.d. Crayon and graphite on paper, 8 3/4 x 11 1/4 inches (22.2 x 28.6 cm)

A photograph of a drawing with a drawing of the silhouette of the USA in the center, drawn in green. At the top are the words "IT'S DINK IN MICHIGAN," and on top of the drawing of the USA is a fallen spear, dramatically foreshortened with its stand at right. Just above and to the left of the fallen spear is the Gadsden Flag, spanning from Iowa to California.

Lee Lozano, No title, 1962. Crayon and conté on paper, 18 3/4 x 23 3/4 inches (47.6 x 60.3 cm)

A photograph of a graphite drawing of two columns overlapping. We get a sense of their roundness in their shading. It's a tight crop of one column in front of, and slightly crossing over, another in the back.

Lee Lozano, No title, c. 1964–65. Graphite on paper, 2 3/4 x 2 7/8 inches (7 x 7.3 cm)

A photograph of a painting that is composed of blocky shapes describing a face with a hand covering it, with 3 fingers only. There is a silver/gray shape behind the hand and in front of the face that appear like a knife.

Lee Lozano, No title [green face, brown hand, knife nose], c. 1962. Oil on canvas with silver painted frame, 17 1/8 x 14 5/8 inches (43.5 x 37.1 cm)

A photograph of a painting installed on a white brick wall. The painting is of a loose flower shape made up from maroon loopdy-loops. The work also has a pale lavender background, and stylized frame which is produced by the natural canvas being exposed. Ulrike's signature and the date is featured in this area of the painting at the bottom-right.

Ulrike Müller, Große Blume, 2015. Oil on canvas, 72 x 54 inches (182.9 x 137.2 cm)

A photograph of a sculpture made of black steel (prior to sandblasting), slightly open in the center. The words "Known Known" are sculpted into the fence itself in the center.

A.K. Burns, Known Known, 2016. Sandblasted steel, 80 x 43 1/4 x 5 inches (203.2 x 109.9 x 12.7 cm)

A photograph of a plywood sculpture, fashioned to resemble a single line. It is a silhouette of a figure, seemingly lifting something heavy from the center (bent knees, arms down near hips, head cocked back).

Lee Relvas, Lifting, 2016. Plywood, wood filler, epoxy putty, polyurethane, 61 x 30 x 25 inches (154.9 x 76.2 x 63.5 cm)

A photograph of a sculpture meant to look like a single line. The sculpture depicts a figure, standing, with hands interlocked in the center of the body, head cocked slightly to the left side.

Lee Relvas, Looking, 2016. Plywood, wood filler, epoxy putty, polyurethane, 63 x 28 x 15 inches (160 x 71.1 x 38.1 cm)

A photograph of a painting that is predominantly red, with striations going vertically on the surface but horizontally just beneath it. There are hues of purple, orange, black, and white that peek through.

Bracha L. Ettinger, Ophelia and Euridice no.3, 2002–09. Oil on paper on canvas, 10 x 14 inches (25.4 x 36 cm)

Press Release

SITE131 opens Dropout on Wednesday, April 13, 2016 from 5 to 9 pm. Guest-curated by Photios Giovanis, owner-curator of New York gallery Callicoon Fine Arts, the exhibition brings to Dallas this longtime colleague of SITE131’s co-founders Joan & Seth Davidow.

Dropout is triggered by the life and work of the idiosyncratic artist Lee Lozano. After a “short but major career” (Artforum, September 2006), Lozano removed herself from the art world. Leaving New York in the early 1970s, she eventually moved to Dallas, where she died at 68 in 1999. Two important solo exhibitions—PS 1 in 2004 and an international traveling retrospective in 2006—highlighted Lozano’s dramatically fast career. Surprisingly, Lozano’s work did not appear in Dallas: this exhibition brings the artist’s works, famous to scholars, to Dallas for the first time. 

Lozano’s graphic and expressionistic painting and drawing work in Dropout sets the stage for five currently working artists form New York, Tel Aviv, and Los Angeles: Sadie Benning’s large scale wall works, A. K. Burns’ steel sculptures, Bracha L. Ettinger’s and Ulrike Müller’s oil paintings and works on paper, and Lee Revlas’ figurative sculptures. 

At the peak of her involvement in the art world, in 1970 Lee Lozano began what she considered her most difficult work called Dropout Piece. Lozano’s Dropout Piece does not exist beyond the idea. It never took form in a physical space, performance, or object. Its only record appears in the artist’s personal notebook dated April 5, 1970. The work exists, in a sense, as Lozano’s removal from the art world. Within this context, according to curator Giovanis, Dallas appears as a site of non-production, a place where art in some other unrecognizable form ("dropping out") happens. “To invert this paradox, and to investigate the relationship between center and margins, the exhibition brings works by national and international artists to Dallas that evoke, in different ways, the work Lozano made while not dropped out,” states curator Giovanis. 

Timed with preview week of the Dallas Art Fair, SITE131’s Dropout opens to the Dallas and Fair audiences and continues through June 4, 2016, at its new location on Payne Street in the Dallas Design District. Special thanks go to international gallery Hauser & Wirth, managers of Lee Lozano’s work, and to Photios Giovanis for bringing his talented curatorial vision to Texas. 

On its path to ignite interest in contemporary art and the Dallas Art Fair, Dallas’ newest nonprofit kunsthalle (hall for art), SITE131 will be open and free to the public: Thursday through Saturday 12–5 pm during the Fair at its Dallas Design District site. In following weeks, SITE131 is open Fridays and Saturdays from 12 to 5pm or by appointment. 

131 Payne Street, Dallas, Texas 75207. Email under construction. For information, contact director | curator Joan Davidow:

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