Things To Do

5 Art Events for Your Weekend, November 4-6

Synecdoche: Midge Lynn
Haley-Henman Gallery
422 Singleton Blvd.
5 to 8 p.m. Saturday

Dallas-based Midge Lynn chose the title Synecdoche to describe her process of capturing a particular moment in the life of the model. Lynn is a conceptual artist who plays with the world of everyday objects and people, the memes that remind us of the important concepts of life. The settings of her portraits are at once mundane and deeply nuanced: A 50-something woman staring out of a window with an open-to-interpretation facial expression that could represent internal peace or despair. Her process begins by capturing her unassuming models by photograph, which she then processes into drawings and paintings. It is in the transition from photography to drawing and painting that her artistic intuition melds psychology and symbolism.

Darren Jones: Nine Inch Will Please a Lady: Romance and Ribaldry in the Literary Vernacular of Scotland
The Reading Room
3715 Parry Ave.
6 to 8 p.m. Saturday

With a title like that, how can you not want to attend the opening of Dallas-based Darren Jones’ latest text installation? Multiple hat-wearer Darren Jones is an art critic, artist and curator who draws upon the rich literary tradition of his native Scotland. Nine Inch will include language that is bawdy, romantic, hilarious and mystical along with related images and objects. His studio practice focuses on textual observations of the everyday as commentary on social structures and cultural norms. He’s been featured in The Guardian, Huffington Post and The Sunday Post (to name a few), and is currently artist-in-residence at the Centraltrak Artist Residency Program of the University of Texas at Dallas.

H. Schenck: Is That Your Father’s Watch?
The Safe Room at Texas Theatre
231 W. Jefferson Blvd.
7 to 10 p.m. Saturday

The first thing you should know about artist H. Schenck, whose exhibit Is That Your Father’s Watch? opens Nov. 5, is that he creates art out of mud. Why mud? It’s universal, apolitical, communal, essential, accessible and ubiquitous. Our planet is made up of it. We use it, move it, play with it and have religious narratives about it. Because of the nature of the material, its ability to function in diverse ways, and our relationship with it, mud can act as an accessible metaphor for a diverse population. Is That Your Father’s Watch? features new installations by H. Schenck, as well as the release of a new limited edition risographed zine and posters.

The second thing you should know about Schenck is that the bio on his website is a hand-drawn layout/faux architectural blueprint of every house, apartment, college dorm and dwelling he’s inhabited since birth (22 different places in seven states). It’s a refreshing departure from the I-won-this-award-and-that-award CV typical of accomplished artists.

Paul Manes – Harem
Cris Worley Fine Arts
1845 East Levee St., No. 110
Ongoing through Nov. 12

Paul Manes has never been a slave to conformity where his works are concerned. He’s not into trends, but rather the old-school classicists: the Rembrandts, the Pollocks and cousins. The oil painter’s adept mastery of abstraction and representation allows him to flow seamlessly between the two genres. Swampy grasslands, foreshortened piles of short logs and reflective pools of raindrops characterize his collection Harem. The installation includes lots of screens and nets, which typically represent a separation between two things. That, he says, is a lie: “What reveals and what is revealed are the same thing. Without the revealer there would be no revealed."

American Photographs, 1845 to Now
Amon Carter Museum of American Art
3501 Camp Bowie Blvd., Fort Worth
Ongoing through Feb. 12, 2017

Nostalgia buffs take note. American Photographs, 1845 to Now brings together more than 70 photographs drawn from the Amon Carter’s permanent collection. Spanning the history of the medium, the works reflect the diversity of photographic practices in the United States that grew along with the country’s industrial development beginning in the mid-19th century. Covering 170 years of photography’s history, from unique daguerreotype portraits to large-scale contemporary works, the exhibition provides a glance at photography’s central role in recording the people, places and events that have come to define the United States.
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Rachel Williams is the social media editor for the Dallas Observer.
Contact: Rachel Williams