March 22, 2019
Press Release - Michael Dixon - I, Too, Sing America
News

MICHAEL DIXON
I, Too, Sing America

April 7 through May 5, 2019

OPENING RECEPTION: Sunday, April 7 from 4:00 to 7:00 PM



David Richard Gallery, LLC
211 East 121 ST | New York, NY 10035
P: (212) 882-1705
www.davidrichardgallery.com


David Richard Gallery is pleased to present I, Too, Sing America, an exhibition of recent and new paintings by artist Michael Dixon in his first solo exhibition in New York. This series, begun in 2015 at the Sharpe-Walentas Studio Program in New York, is comprised of self-portraits that explore blackness; the value of black bodies in America; historic violence against those bodies; and the artist’s feelings as a bi-racial Black man. The presentation will be on view from April 7 through May 5, 2019 with an opening reception Sunday, April 7 from 4:00 to 7:00 PM on the Second Floor exhibition space at 211 East 121 ST, New York, NY 10035. Please contact the gallery at info@DavidRichardGallery.com or call 212-882-1705 or cell 505-467-9742 for additional information.

Dixon’s work is about belonging and fitting into a particular culture and ethnicity as part of a bi-racial experience. This social and psychological need provides, understandably, a certain amount of emotional security and nurturing. There is an overwhelming desire for one person to not define another purely based on that person’s skin color, or ethnicity, and for them to share a mutual tolerance and acceptance of each other. Yet, there is also an underlying need for individuals to belong to and identify with a specific ethnicity and culture in order to know the established social constructs and norms within those communities. However, the dynamic seems to change when a person is born into two different races, neither of which can always see that individual as whole.

Dixon lives in two worlds, always feeling that he is not black enough or white enough for either race and thus, not fully included within either. On one hand, he experiences discrimination and prejudice as a Black man, but on the other, he often enjoys the privileges of passing as white at times due to his light skin color. The polarizing experiences challenge his identity and where he fits, not only in terms of African American history, but also in terms of his day-to-day life and future relationships.

On a personal and practical level, Dixon copes with these personal racial challenges through his art. In a recent artist statement, he said, I have experienced fluidity in the perception of my race and ethnicity as a light skinned, bi-racial Black man. My struggles to fit into a racial group category and how I fashion an authentic self, while constantly feeling like an outsider, is the foundational and emotional content of my work.

The title of this exhibition, I, Too, Sing America, is the first line from I Too, a poem by Langston Hughes. The last line of the poem is equally profound and important, I, too, am America. The imagery in these paintings is powerful and haunting as it references both the historical and current racism and rage against African American communities in the United States. Dixon’s paintings are informed by the violence against Black men and women spanning slavery and the prejudice of Jim Crow Laws to recent shootings of unarmed Black men across the US and moreover, how the police and criminal justice system responds, or not, to such violence and discrimination.

The paintings are self-portraits, with very few exceptions; all are oil on canvas with just a partial view of the figure coming into the picture from the left, right or bottom and sometimes the painful reminder of dangling legs entering from the top. Dixon’s approach is reductive with no background or setting, thus emphasizing only the figure and how the artist is perceived by himself and viewed by others. The focus is on the brush stroke, minimizing the details and capturing only the essence of emotions, expressions and gestures. The broad and bold gestures are soulful, conveying tension, frustration, pain, horror, dismay and sorrow, which are the artist’s experiences on a regular basis.

About Michael Dixon:

Michael Dixon is an artist working primarily with oil paint. He was born in San Diego, California, and received his MFA from the University of Colorado at Boulder in painting, and a BFA from Arizona State University in painting and drawing. Dixon is currently a Full Professor of Art at Albion College. He has been the recipient of numerous awards and grants including a Pollock-Krasner Foundation Grant, Joan Mitchell Foundation Emergency Grant, Puffin Foundation Grant, Blanchard Fellowship, and Phi Beta Kappa Scholar of the Year Award. Dixon has received numerous artist residencies including the Sharpe-Walentas Studio Program, Yaddo, Virginia Center for the Creative Arts, and the Ragdale Foundation. His work has been shown both nationally and internationally at museums, universities, art centers, alternative spaces, and galleries. Dixon explores the personal, societal, and aesthetic struggles of belonging to both "white" and "black" racial and cultural identities, yet simultaneously belonging fully to neither. The works of artists such as Robert Colescott, Beverly McIver, Michael Ray Charles, Glenn Ligon, and Kerry James Marshall have informed his work.

About David Richard Gallery:

Since its inception in 2010, David Richard Gallery has produced museum quality exhibitions that feature Post War abstraction in the US. The presentations have addressed specific decades and geographies as well as certain movements and tendencies. While the gallery has long been recognized as an important proponent of post-1960s abstraction—including both the influential pioneers as well as a younger generation of practitioners in this field— in keeping with this spirit of nurture and development the gallery also presents established artists who embrace more gestural and representational approaches to the making of art as well as young emerging artists.

In 2015 David Richard Gallery launched DR Art Projects to provide a platform for artists of all stripes—international, national, local, emerging and established—to present special solo projects or to participate in unique collaborations or thematic exhibitions. The goal is to offer a fresh look at contemporary art practice from a broad spectrum of artists and presentations. The Gallery opened its current location in New York in 2017.

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January 17, 2017
Globalocation: Celebrating 20 Years of Artnauts
J. Willard Marriott Library
The University of Utah, 01/17/2017

The University of Utah’s J. Willard Marriott Library will host the art exhibition Globalocation: Celebrating 20 Years of Artnauts, Jan. 20-March 3.

Artnauts, an art collective formed 20 years ago by George Rivera, professor of art and art history at the University of Colorado, Boulder, consists of 300 global artists who serve as goodwill ambassadors, acknowledging and supporting victims of oppression worldwide. Their creativity has generated over 230 exhibitions across five continents. Five faculty members from the U’s Department of Art and Art History are members of the collective, Sandy Brunvand, Beth Krensky, V. Kim Martinez, Brian Snapp and Xi Zhang.

Globalocation derives from “Globalocational Art” — a concept used by the Artnauts to refer to their exhibitions in international venues. It is the mission of the Artnauts to take art to places of contention, and this anniversary exhibition is a sample of places where they have been and themes they have addressed.

“The Artnauts could not exist without the commitment of the artists in the collective to a common vision of the transformative power of art,” said Rivera. “The Artnauts make their contribution with art that hopefully generates a dialogue with an international community on subjects that are sometimes difficult to raise.”

Krensky, associate department chair of the Art and Art History Department, had the opportunity to travel with Rivera in Chile as part of an Artnauts project, working with mothers who were searching for their children who had mysteriously disappeared during a time of political unrest.

“When I travelled to Chile in 1998, George and I spent an afternoon with the Mothers of the Disappeared, and the meeting changed my life,” said Krensky. “It was from that moment on that I placed a picture of them on my desk to look at every day. I was so moved by what they each had lost — a son, a brother, a father — and yet what remained for them was a deep, deep well of love. They were fierce warriors and stood up to the government to demand the whereabouts and information of the people who had disappeared, but they lived within profound love.”

The 20th anniversary exhibition at the Marriott Library is a retrospective of the traveling works the Artnauts have toured around the globe. The exhibition will be located on level three of the library. The opening reception is open to the public and will be held on Friday, Jan 20, 4-6 p.m. Rivera will speak at 4 p.m.

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