KEVIN KENNEDY: Experience + Education
2 February – 27 April, 2018
Hodges Taylor is pleased to present a solo exhibition of recent work by Kevin Kennedy, based in Shreveport, Louisiana. Kevin’s sculptures mirror his own history. His works often employ utilitarian forms and appear as if they once served some purpose, thus blurring the distinction between functional form and fine art object. Using everyday materials, such as wood, paper, and linen string, he treats the sculpture’s surface to create pieces that seem like relics from the past. Kevin narrates his story through three-dimensional dialogue that is personal and universal.
SILHOUETTE: Lynn Saville + Ahmad Sabha
3 November, 2017 – 26 January, 2018
This exhibition discloses aspects of the city that usually go unnoticed because we are routinely absent at certain hours, or because our routine presence takes them for granted. Both inspired initially by New York City, Saville and Sabha offer two takes on oftentimes out-of-sight structures and sites found in every major metropolitan area. Through diverse mediums, their work discusses the city as subject in a way that is both reverent and revealing.
Lynn Saville, born in Durham, North Carolina, lives and works in New York City. She specializes in photographing cities and rural settings during, as she describes it, “the boundary times between night and day.”
Ahmad Sabha, of Acre, Israel, is a civil engineer for the city of Charlotte. Inspired by the water towers and silos that punctuate a city’s skyline, Sabha’s ceramic, metal, and concrete sculptures reinterpret these utilitarian structures.
KIT REUTHER: casual geometry
7 September – 27 October, 2017
Hodges Taylor, in collaboration with David Lusk Gallery, is pleased to present recent paintings and sculptures by Nashville-based and self-taught artist Kit Reuther. Reuther’s work has evolved over her career from realism to complete abstractionism. Reuther’s playful take on the confines of geometry stems from her intuition, rather than any particular rubric or subject matter. She contemplates a canvas and shapes a sculpture with meditative restraint. As Reuther states, “I try to avoid making art with an intended outcome or message for the viewer. My only real intention is to make work that pushes and challenges me and feels slightly odd and fresh to my eyes.” Reuther’s casually elegant approach to line, form, and color provides respite from rules and an approachable richness in their subtleties.
ELIZABETH ALEXANDER: I May Not Be A Lion
7 April – 16 June, 2017
Alexander deconstructs and reconstructs appropriated materials to question symbols of femininity, domesticity, and class and confront the American dream. “I may not be a lion” references Queen Elizabeth I’s iconic quote about underestimation: “I may not be a lion, but I am a lion’s cub and I have a lion’s heart.” The exhibition is a survey of works that use removal and rearranging of decorative embellishment through different cutting and assemblage techniques in various forms of sculpture, collage, and photography. Found porcelain, images of porcelain, formal gardens, party dresses, furniture, and antique wallpaper are dissected and reorganized to visualize the cost and absurdity of social climbing through material veils.
cusp: photographs of contemporary girlhood
by Carolyn DeMeritt and Margaret Strickland
Created nearly thirty years apart, Carolyn DeMeritt and Margaret Strickland’s poised portraits of girlhood commingle to create a site of encounter between gender identity, gender performance, and the tensions therein. From her 1986 to 1990 series, “When I Was Little…I Thought I Could Fly,” DeMeritt photographed her close friend’s daughters in backyards of family homes, each year, as they grew from childhood to girlhood. Taken in 2016, Strickland’s portraits documenting her three nieces, two of whom are twins, are set against the background of cicada nights and hot, humid summer days, and seek to understand how girls’ identities are influenced by southern cultural norms, an inherited femininity, and broader gendered expectations. In photographing friends and family, the girls’ statures reflect a realm of comfort and shared female identity in their relationship with the artist, with the camera, and in turn with us, as after-the-fact voyeurs. DeMeritt and Strickland’s girls are on the cusp, between girlhood and womanhood, but also on the cusp of forgetting that place where for a fleeting moment, at least according to the outside world, we were all a work-in-progress.