Dallas, TX - September 15, 2016 – The Dallas Museum of Art presents Concentrations 60: Lucie Stahl, an immersive installation of new and loaned work by the Berlin-based artist. In the artist’s first US solo museum show, Stahl explores the intersection of nostalgia, patriotism, Americana, and surreality. The exhibition, which is on view September 16, 2016, through March 12, 2017, is part of the Museum’s Concentrations series of project-based solo exhibitions by international emerging artists. This year marks the 35th anniversary of the series, which began in 1981 as part of the DMA’s commitment to the work of living artists.
“Contemporary art and artists have been an important focus throughout my career, and as the new Director of the Dallas Museum of Art, I am especially pleased to continue our legacy of providing a platform for engaging new artists through the Concentrations series,” said Agustín Arteaga, The Eugene McDermott Director of the DMA. “Over the past three decades, Concentrations has featured over sixty emerging artists, and we continue that impressive heritage now and as the first museum in the United States to present a solo installation by Lucie Stahl.”
Stahl utilizes a flatbed scanner to create large-format images in which various objects such as food, photographs, magazine clippings, and trash appear to emerge from a dark abyss. The resulting images are encased in resin, giving them a glossy, tactile finish and distinct material presence. Stahl’s work plays with the notion of liquidity in its many forms—from finance to bodily fluids to the malleability of gender, identity, and images. In all her work, the artist explores the trappings of modern-day consumer culture through found objects and imagery, addressing branding, consumption, addiction/dependency, and excess.
For Concentrations 60, Stahl has created a new body of fourteen resin-encased poster works together with a grouping of Prayer Wheels—found soda and beer cans that have been transformed into post-apocalyptic kinetic sculptures. Of these pseudo-devotional forms, the artist explains: “When I transform old Coke or beer cans found in the California desert, where they’ve been used for target shooting since forever, into prayer wheels, the work starts to open up to all these issues art history is always drowning in—national identity, romanticism, nature—mixed with the loss of religion, which has been replaced by an almost folkish attachment to consumer goods.”
“Visitors will be left questioning contemporary notions of consumption and dependency. Lucie’s work may even trigger a deeper reflection on modern consumer culture,” said Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art at the DMA. “There is an observable post-apocalyptic feel to Stahl’s work and yet her work does not lack an optimistic outlook.”
Lucie Stahl was born in 1977 in Berlin, where she currently lives and works. She studied at the Berlin University of the Arts, Glasgow School of Art, and Städelschule, Frankfurt am Main. Recent solo exhibitions include presentations at Halle für Kunst, Lüneburg (2016); Queer Thoughts, Chicago (2014); Freedman Fitzpatrick, Los Angeles (2014); Neue Alte Brücke, Frankfurt am Main (2014); and dépendance, Brussels (2012). She has participated in group exhibitions, including the 9th Berlin Biennale (2016); The 13th Biennale de Lyon, Musée d’art contemporain de Lyon (2015); Mirror Effect, The Box, Los Angeles (2015); DOOM: Surface Contrôle, Le Magasin, Grenoble (2014); and Puddle, Pothole, Portal, Sculpture Center, New York (2014). Stahl has been awarded residencies at Hessische Kulturstiftung, London (2014) and MAK Center for Art and Architecture, Los Angeles (2012). Together with Will Benedict she ran the exhibition space Pro Choice in Vienna from 2008 to 2012.
Concentrations 60: Lucie Stahl is organized by the Dallas Museum of Art. The exhibition is curated by Gabriel Ritter, the former Nancy and Tim Hanley Assistant Curator of Contemporary Art at the DMA, with the support of Nolan Jimbo, Temporary Project Coordinator. The exhibition will be accompanied by a brochure featuring an interview between the artist and exhibition curator. The presentation is made possible by TWO x TWO for AIDS and Art, an annual fundraising event that jointly benefits amfAR, The Foundation for AIDS Research and the Dallas Museum of Art, and by the Contemporary Art Initiative. The exhibition is included in free general admission.
Images: Lucie Stahl, Identity, 2015, Inkjet print, aluminum, epoxy resin, Private collection, Switzerland, © Lucie Stahl; Lucie Stahl, Big Gulp, 2014, inkjet print, aluminum, epoxy resin, Pierpaolo Barzan, © Lucie Stahl; Lucie Stahl, Whistle Blower, 2014, inkjet print, aluminum, and epoxy resin, Ron Handler, © Lucie Stahl
About the Dallas Museum of Art
Established in 1903, the Dallas Museum of Art (DMA) is among the 10 largest art museums in the country and is distinguished by its commitment to research, innovation, and public engagement. At the heart of the Museum and its programs is its global collection, which encompasses more than 23,000 works and spans 5,000 years of history, representing a full range of world cultures. Located in the nation’s largest arts district, the Museum welcomes over 650,000 visitors annually and acts as a catalyst for community creativity, engaging people of all ages and backgrounds with a diverse spectrum of programming, from exhibitions and lectures to concerts, literary events, and dramatic and dance presentations. In January 2013, the DMA returned to a free general admission policy and launched DMA Friends, a free program available to anyone who wishes to join focused on active engagement with the Museum. For more information, visit DMA.org.
The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.