#rachofsky

Gathering more than 100 works created between 1952 and 2016 by 61 artists, Topologies, curated by Mika Yoshitake, offers both snapshots of particular moments in time and historical lineages that unfold over years and which centers on the concept of geometric transformation, in which space and shape can be expanded, contracted, distorted, and twisted while the structure of the object remains constant throughout. Currently on view at The Warehouse, Topologies draws works from The Rachofsky Collection, the Dallas Museum of Art, Deedie Rose, and Jennifer and John Eagle.

Jiro Takamatsu, “Light and Shadow”, 1973/2012. Light bulb and stainless steel board

Barry Le Va, “Cut, Placed Parallel”, 1967. Felt and aluminum Hitoshi Nomura, “Dryice”, March 28, 1970. 24 black and white photographs Koji Enokura, Untitled No. 14, 1978. Canvas, waste oil, and wood  

Akira Kanayama, copy on paper, 1992 GEORGES BIZET: “Carmen Suite No.1.2” FRANZ PETER SCHUBERT: “Schwanengesang, D.957 Ständchen” (“Serenade”) ANTONIO VIVALDI: “Concert No. 1, 2, 3, 4” GEORGE GERSHWIN: “Rhapsody in Blue” WOLFGANG AMADEUS MOZART: Overtures 1-6 DVORÁK: “Symphony No.8” LUDWIG VAN BEETHOVEN: “Symphony No.9 D minor, op. 125” IGOR STRAVINSKY: “The Firebird”

David Altmejd, “The Academy”, 2005. Wood, glass mirror, Plexiglas, magic-sculpt, foam, synthetic flowers, jewelry, feathers, paint, lighting system, and minerals

Park Hyunki, Untitled, 1984. Single-channel video, color, silent; monitor, steel plate, and stone

Paloma Varga Weisz, “Fallende Frau, Doppelköpfig (Falling Woman, Double headed)”, 2004. Carved limewood and fabric

Shinro Ohtake, “Retina #30 (Scandinavia)”, 1990-1991. Cloth adhesive tape, vinyl sheet, and resin covered on laminated chromogenic analog print mounted on wooden panel

El Anatsui, “Ink Splash”, 2010. Aluminum and copper

I recently photographed The Warehouse for Droese Raney Architecture

The Warehouse is a project initiated by Howard Rachofsky and Vernon Faulconer to make their collections available to curators, scholars, critics and students, and to open new dialogues about postwar Modern and contemporary art. At the heart of the project is an adapted industrial building on 14105 Inwood Road in Dallas, containing art storage facilities, an extensive library, and 18,000 square feet of flexible exhibition space. Here, The Warehouse presents carefully considered, original exhibitions of works from the Rachofsky and Faulconer collections, complemented by art acquired jointly with the Dallas Museum of Art and works on loan from other significant institutions and private collections.

These changing exhibitions are developed specifically to suggest new perspectives on art and invite fresh questions that expand accepted notions of history. Devoted to education, The Warehouse offers special programs and public days; hosts visiting artists and art professionals; and publishes important new scholarship.