Cleaning House a solo show with Clayton Skidmore 1/15 – 2/14

Clayton postcard imagePCF

CLEANING HOUSE by Dallas native, CLAYTON SKIDMORE depicts architectural structures with scale models. His miniatures represent a metaphysical realm where the fantasy of building and destroying institutions can be perceived.

Skidmore uses Homeland Security as an example of the anti-authoritarian interpretation of the domestic space as an institution. The attitude of asserting Living With Art as opposed to Going to See Art collapses and inspires the work in CLEANING HOUSE.

CLEANING HOUSE consists of a video projection of “Thru Albers to Richter” in the front room, a film shoot of a burning model of Homeland Security in the backyard, and a video feed of the footage playing on the bedroom television. CLEANING HOUSE represents both a cleansing sacrificial act and a violation, Skidmore along with Homeland Security houses questions of cultural inheritance and the role personal places play under the weight of public organizations.

Clayton Skidmore is an artist working in Ithaca, NY. He is currently pursuing an MFA in Visual Arts at Cornell University and received his BFA from Kansas City Art Institute. During his residency at Urban Culture Project Studio Residency in 2011, he helped start up Subterranean Gallery in Kansas City, MO. During his time working as the gallery’s Exhibition Coordinator, he co-curated The Hot Tub Dialogues Lecture Series, which gathered both local and national attention for its absurd premise. CLEANING HOUSE at Homeland Security is his first solo-exhibition and in the spring of 2016 he will have his second solo-exhibition at Tjaden Gallery in NY.

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Homeland Security General Store November, 21 2016



Homeland Security General Store was a temporary installation during the Cedars Open Studios on November 21st 2015. It involved several local businesses, artisans and community initiatives that were not included in the Cedars Open Studios roster. It’s aim was to bring attention to the work of these individuals who bring a unique beauty and experience to living in the Cedars neighborhood. It included Re-Gallery owner Wanda Dye’s own BBQ sauce, granola from Wheat & Sour, herbs from the Cedars Community Garden, artisinal bondage rope from Dallas Kink, coffee from Full City Rooster and an album with Lily Taylor and T-shirts from local businesses Ham-Hula, Lee Harvey’s and Dallas’ oldest bar the Passtime Tavern. Our goal was to give another platform as well as a platform for all the local producers that we know and love.

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Greetings Friends,
We would like to get the next invite / date out earlier
to give everyone time to pick up and get into
Simone de Beauvoir’s The Second Sex!
Everyone we spoke with during and after the meeting seemed really into this one, as it’s a classic. Contrary to our original thoughts, it’s a long read, clocking in around 800 pages and in two volumes. Our thoughts are that we try to bite off all of the first section and see how we do & how it reads. No pressure tho.
Volume 1: Facts and Myths section 1: Destiny.
1 Biological Data,
2 the Psychoanalical Point of View
3 The Point of View of Historical Materialism.
Inline image 1

“I tore myself away from the safe comfort of certainties through my love for truth – and truth rewarded me” – Simone de Beauvoir

Next Femme Book Club:
6pm – ?pm
1715 Gould st.
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American Fantasy Classics with Homeland Security

American Fantasy Letter_Redactedw_clouds_lowres

DATES:          April 10- April 14 2015

RECEPTION: April 11, 5:00- 10:00pm

LOCATION:  Homeland Security Domesti

1715 Gould St

Dallas, TX 75215

Dallas’ Homeland Security and Milwaukee’s American Fantasy Classics invite you to be a part of our collaborative event this weekend in The Cedars, Dallas.

 American Fantasy Classics is an ongoing collaborative project established by Oliver Sweet, Alec Regan, Brittany Ellenz and Liza Pflughoft. AFC encourages ambitious experimentation by dedicating its resources to contemporary artists as a multi purpose fabrication / production / coordination / collaboration studio.

 Homeland Security is a non-commercial, domestic exhibition space located in The Cedars neighborhood of Dallas that is dedicated to exposing artists outside of a conventional business model. We exercise our freedom to give artists an alternative platform to display their work through hospitality.

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Darryl Ratcliff on Central Trak



25 Things Worth Celebrating In The Dallas Arts Right Now.

By Darryl Ratcliff on Thursday, April 2, 2015 at 2:58 PM

Welcome to Canvassing, our regular look at the conversations that surround the Dallas art world. Pull up a chair. Stay with us for a while. The view’s pretty nice from here.

It’s easy to sit on this perch and point out the not-so-great in our city’s arts. But it’s important too to acknowledge all of the actually great things and people that are propping Dallas culture up right now.

Because there are tons of those — more than can be celebrated in a single piece of writing, really. It’s just too big a job.

Still, I’ll try — with advance apologies to Joachim West, Thor Johnson, #yearofrandy, 500X, Art Monsters, Lily Taylor, Sean Miller, Mighty Fine Arts, DaVerse Lounge, Pan African Connection, Basement Gallery, Contre Culture, Make Art With A Purpose, Peter Simek, Lauren Smart, Christina Rees, Anne Bothwell, Catherine Cuellar, the Arts District, The Dallas Arts Fair, Goss Michael Foundation, Ariel Saldivar and The Old Guard, all of whom are appreciated and essential to what makes Dallas vibrant and viable right now. I’ll be sure to write nice things about you all some other time.

For now, though, let’s choose not to ignore the following people, places and developments and the ways they’re making Dallas great.

Funding for Individual Artists. The Office of Cultural Affairs’ decision to invest directly into creatives who live in Dallas and into creative projects in Dallas is a huge policy win that many people spent years fighting for. It’s something worth celebrating — even as we continue to advocate for its expansion and refinement.

Fair Park. The conversation about how to best activate and maximize the potential of Fair Park is becoming a community conversation — and, yes, that’s very exciting. Fair Park is the most valuable cultural resource in the City of Dallas, yet it has been sectioned off from the rest of the city to the point that we rarely even think about it. How can our cultural organizers and artists integrate and utilize Fair Park for the benefit of the city? It’s an important question.

The Cultural Centers. The Oak Cliff, Latino, Bath House and South Dallas Cultural Centers are in many ways the true jewels of the city. They represent the most successful municipal art initiatives we have, and they do so much for their communities. Imagine what Dallas would look like if every council district had a cultural center. And ask yourself: How can we think about cultural centers in ways that don’t necessarily involve large buildings?

Zhulong, Cydonia and Erin Cluely. All three of these spaces are elevating the cultural discourse in this city. Better still: When I think about these spaces, I’m reminded of why I violently disagree when top collectors say that it doesn’t matter if they buy from local galleries. It does, especially when a new space as is showing art as good as any in the world, as these ones do. Our collector class should go out of their way to make sure these three galleries — all of which are run by very smart, very savvy female gallery directors — thrive. If any of these spaces should fold due to lack of local support, then perhaps Dallas simply doesn’t deserve nice things.

Wanda Dye. In a previous column, I referred to Wanda Dye as “the Nancy Whitenack of The Cedars.” What I meant by that is this: Just as Nancy was the first to start the Design District revolution, Wanda was one of the first to start the now-in-vogue Cedars revolution. Yeah, I know South Side and people like Karen Weiner were there over a decade ago, and they deserve equal credit. But RE, Homeland, Pariah and their combined activity have sparked a renewed interest in the area, which has in turn led to larger institutions deciding to choose the Cedars for their new homes.

Nancy Whitenack and Danette Dufilho. Conduit is just such a well-oiled machine. If you want to know what a successful professional contemporary arts gallery looks in Dallas, start here. I like to compare this crew to the San Antonio Spurs; sometimes their professionalism and their excellence feels boring,. but they playing the game the right way, they’re always showing exciting art and they’re repeat champions. They make being number one look easy.

The Reading Room. It’s such a small space in such a strange location, but the Reading Room is also truly unique in the types of exhibitions it presents and in its dedication to melding the literary with the visual. Karen Weiner is a true gem, and her wisdom and intellectual curiosity shines in how she curates exhibitions, and in the caliber of artist she attracts.

Michael Morris and Carolyn Sortor and Bart Weiss. These longtime advocates and practitioners of experimental films and videos have been having one of their most successful years in gaining traction with the mainstream art viewer. They deserve it.

Alison Starr. Substitute the words “experimental films and videos” for “performance art” in the above blurb and the same can be said of how this local gem is advancing and advocating how we think about live performances.

Beefhaus. Luke Harden’s space continues to be a safe haven for risk-taking and creative ideas. Not all of them work, no. But that’s OK: Beefhaus is essential because there are not enough spaces in town where artists can boldly and safely fail.

Heyd Fontenot and UTD Centraltrak. With the man at the helm tightening this spot’s programming in recent years, this Expo Park anchor has arrived at comfortable pace of exhibitions and talks — all of which interest and engage.

Dan Pritchett. The guy is seemingly everywhere, and always with a kind word at the ready. But he’s more than just some social gadfly. He also financially supports local artists. He’s a real MVP.

The Brians. Brian Jones and Brian Scott are having another big year creatively — pretty much an annual occurrence these days — but they’re still as generous, kind and strange as ever. Most importantly they’re loved by the arts community, and the group show dedicated to them at UTD-Centraltrak earlier this year was one of the more smile-inducing concepts I’ve seen in some time.

Ro2 Art. Susan and Jordan Roth’s Downtown space has been coming into its own for a while now, but it now feels fully realized and deserving of a place in the conversation alongside the best galleries in town.

Giovanni Valderas. There’s possibly no one doing more for Dallas culture right now than Giovanni Valderas. Between making art, serving as the gallery director of The Cliff Gallery at Mountain View College, curating shows at Oak Cliff Cultural Center and City Hall, and serving as the Vice-Chair of the Cultural Affairs, he’s at the forefront of making Dallas an equitable and progressive place for artists.

Arthur Peña. The guy’s just killing it with his roving Vice Palace venue. And it’s clear that at this point that the venture has turned from hobby to passion project. In turn, he’s bridging gaps in our cultural world, and it will be interesting to see how all of these inputs play out in his future work.

Black Lodge. Quietly, Evita Cortez and Darius Goodson have built the most exciting and ambitious experimental space in Deep Ellum. Check them out if you haven’t already.

Eli Walker and Kelly Kroener. Between curating shows at Homeland Security and their own solo work, this duo is always engaged in something interesting.

Pariah Arts. Pariah Arts is killing it right now, too. The crew’s more active than ever, really: Joshua Von Ammon and Frank Darko combine film, music and art in their playground in the Cedars, and it’s a joy to watch.

That That. Although mostly a hub for music with live visuals, That That remains a favored place for young Dallasites to hang out — and a melting pot for the fashion, art and music worlds.

Justin Adu. He’s creating a movement amongst black creatives in Dallas-Fort Worth through his own art practices. And, in the process, he’s unearthed many other talented people, all of whom are deserving of attention and respect locally — even though many of them have the resume to be household names.

The Laurens. Lauren Wood and Lauren Cross are two of the most important creatives in DFW. Their show at the South Dallas Cultural Center is a must see.

Francisco Moreno.
Francisco Moreno is trying to put the city on his back — and, if his recent successful Kickstarter campaign is any indication, it’s clear that many people believe he has what it takes to increase the ambitions of Dallas-based artists. His Soluna debut is highly anticipated.

Kevin Ruben Jacobs. In many ways, Kevin’s singular energy and spirit helped launch and support a generation of creatives doing great work in Dallas. So it’s a pleasure to see him back and tending to his OFG.XXX space. After his return show with Josh Reames and Amber Renaye, it seems like his fastball is as good as ever.

Epocha. You wouldn’t expect a store to necessarily be one of the most important spaces for creatives of color to congregate and exchange ideas in fashion, music and visual art, but it very much is. Don’t be surprised if some of the artists who will dominate the cultural discourse in this city in a few years are being nurtured at Epocha right now.

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Diego Leclery: Mature Work

Diego pcf

DATES:          Oct. 23. 6pm-9pm, 2014

                        Oct. 24. 6pm-10pm, 2014

RECEPTION: Thursday, Oct. 23. 6pm-9pm, 2014

 LOCATION:  Homeland Security Gallery

                        1715 Gould St

                        Dallas, TX 75215

On Thursday, October 23, 2014 at 6PM, Homeland Security will host the opening of Diego Leclery: Mature Work, the artist’s first solo exhibition in Texas. As a group, the works included in this show set the idea of artistic progression against the measure of personal growth.

Where the relationship artists and artworks have with society has been a long-explored topic in art (Mike Kelley’s 1988 Pay for Your Pleasure being a thorough example), Mature Work instead focuses on the ability of art and artworks to affect the artist’s personal life, directly.

In this exhibition, Leclery expands on a theme explored in the 2013 solo exhibition entitled Mom—where, through art, he attempted to generate stronger bonds with his mother—as well as his contribution to the 2014 Whitney Biennial—a performance where he evaluated the cutting-edge’s show vanguardist credential as a measure of its potential to blur art and life for him in particular, by potentially launching his commercial career, and helping him blur art and life by making a living off art.

The works in this series all test the post-studio practice’s blurring of art on this deeper, more personal standard.

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Old F_ags and Chicken Shits

old f_agsandchickenshits

old f_ags & chicken shits
Lucy Kirkman
Justin Hunter Allen
January 9–February 27, 2015
Opening Reception 6–9 P.M., January 9

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Mark Brown: Casual Encounters @ Homeland Security

DSCN2218 18.38.25

OPENING RECEPTION: June 21 6:00pm-10:pm
LOCATION: Homeland Security Domestic
1715 Gould St
Dallas, TX 75215
CONTACTS: Eli Walker, Curator
Kelly Kroener, Curator

Homeland Security is pleased to present Mark Brown: Casual Encounters. New paintings by Mark Brown on June 21 from 6:00pm- 10:00pm.

Brown is a native of North Carolina and studied at The Art Institute of Chicago before spending his graduate studies between Bowling Green State in Ohio and S.A.C.I. in Firenze, Italy. Brown has a deep fondness for his times spent in Italy in a Benedictine Monastery (San Benedetto Nocia) and draws much of his inspiration from the portraiture of the Florentine Mannerist Period.

Recently, Brown has been touring the US exploring the cultures, personalities and commerce of different regions with an emphasis on the South. For Casual Encounters, Brown will be displaying these influences by way of the portraits made during his brief stay in Texas.

Casual Encounters gets its namesake from the coincidental crossing of paths from the artist with the gallery. The show will only be up for one day while the artist continues on his travels.

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Glasstire: From DIY to DIT: A Micro History and Possible Future for the Dallas Art Scene

From DIY to DIT: A Micro History and Possible Future for the Dallas Art Scene

Read on Glasstire

It is no longer a secret. There is something happening with the Dallas art scene. There is a spirit moving upon previously hushed waters. Just last year, Christina Rees was exhorting young whippersnappers to fuck things up, and now they’re hanging out at RE Gallery with the mayor.

Over the past two years, the Do It Yourself movement has swept over Dallas, bringing energy, new artists taking creative risks, and a host of interesting art spaces and collectives. Yet to continue the growth of the Dallas art scene, Do It Yourself won’t be enough; we are going to have to start Doing It Together.

Dallas in Recession

Much of the recent growth of the Dallas art scene can be attributed to the great recession. North Texas wasn’t as affected as other art centers; economic prospects dipped but they did not shatter. Talented artists who would have left Dallas to pursue careers in other places realized it was more economically viable to stay in Dallas. Artists who had finished MFAs elsewhere but had North Texas roots realized that their best bet might be to return home. Much of the talent that helped kick start Dallas’ recent DIY revolution never intended to be here. The recession brought to the city a concentration of young, energetic, like-minded creatives that it had previously lacked.

Even though Dallas was brighter than other areas, it still experienced a downturn in the arts. Between 2008 and 2010, dozens of contemporary art galleries closed their doors, and even the best had a couple very tough years. By 2011, we were left with old stalwarts like Barry Whistler and Conduit Gallery, who had mostly-full gallery rosters, and a bunch of new galleries starting to pop up, but very few galleries in the seven-to-fifteen year range that would typically support top MFA talent. These artists were stuck in Dallas and there weren’t enough respected gallery spaces to show them, so they decided to take matters into their own hands.

In Cooperation with Muscle Nation, 2012

Although, S.C.A.B and the Art Foundation have gotten most of the press recently, I would suggest the first successful Dallas collective to come out of this post-recession landscape was In Cooperation With Muscle Nation, which came from an earlier collective, 14+1. Homecoming Committee was getting started at the same time and so was Oliver Francis Gallery, which might be best understood as a collective at this point. Then the Art Foundation happened. Then the collective of collectives, S.C.A.B happened. What makes S.C.A.B different is that their artists were mostly not originally from Dallas. They came to Dallas by choice, fresh from the Midwest and Northeast.

During this same time, new galleries and spaces (sometimes manned by the collectives) were opening: Cohn Drennan, Ro2, Cris Worley, Angstrom (round 2), The Power Station, Circuit 12, Red Arrow, W.A.A.S, Blow Up Gallery, Nerv Gallery, Studio DFTU, Homeland Security, RE Gallery, Black Lodge, That That, Fort Worth Drawing Center, Ash Studios, Two Bronze Doors,  and more. Pop-up and temporary spaces dominated the landscape, and young artists in Dallas realized that they could get just as much notoriety showing in a dilapidated warehouse as in a pristine white cube.

This energy became infectious. Aurora was happening; semigloss. was happening; (wo)manorial was happening; East Dallas was happening; Cedars was happening; West Dallas was happening; Design District was happening; Deep Ellum was happening; Expo Park was happening; UTD CentralTrak was happening; Reading Room was happening; Goss Michael became less stuffy; the Omni became a new media installation; SMU gained Michael Corris; Dallas Contemporary gained Peter Doroshenko; the DMA gained Maxwell Anderson; the Arts District gained Catherine Cuellar; and the City of Dallas gained Mike Rawlings. What started as a couple dozen emerging artists with no place to show their art has led to a state-wide, and sometimes even national conversation about whether Dallas can be a world-class arts city.

But the country is changing. Quietly, slowly, and steadily, the economy has improved. As the economy improves, what little funding there is for the arts starts to return as well. Unfortunately for Dallas, most of that funding is not in Dallas. Our top young artists and art leaders are entering a new stage. Danielle Georgiou, a founding member of In Cooperation with Muscle Nation, recently spent some of her spring in Fresno and Portland exhibiting her performance art. Michael Morris, a founding member of S.C.A.B., spent time recently in Chicago, Portland, and Austin. Kevin Jacobs, founder of Oliver Francis Gallery, just finished curating his first New York City show at Interstate. Most importantly, the people in those places loved them, want to have them back, will keep them on their short list for the next residency, grant award, or job opening that comes up. And this is happening with the majority of our top young talent. The young whippersnappers of the DIY revolution are legitimately good artists, curators, and arts professionals. Not just Dallas good; they are anywhere good.

Kevin Ruben Jacobs in action at the Fallas Dart Air, 2013

If Dallas wants to continue the growth of our art scene, we are going to have to solve some of the systemic issues that every artist has to face. We are going to have to tackle the same problems that some “art destination” cities have done a better job of dealing with, including cities in our own state. Namely, we have to have better funding opportunities for emerging artists and creative projects; we have to address health care for artists; and we have to take better advantage of perhaps our best asset, our bountiful amount of space. These are issues that aren’t solved by Doing It Yourself, but can only be solved by Doing It Together. We have the energy and the resources to tackle all of these issues. We must harness the collective energy of the moment to build a strong foundation that will help support working class artists in Dallas for the next twenty and thirty years. This is what the Doing It Together movement is about, and the more people, collectives, organizations, and institutions that are willing to work together, share resources, and force change—the better Dallas will become.

The DIY movement has made Dallas an attractive and viable destination for emerging artists to live, work, and jumpstart their careers. However, as these artists continue to prosper and thrive, it will be the success of the DIT movement that will determine whether Dallas becomes their home or just another pit stop in their careers.

 Darryl Ratcliff is the CEO of the Green Bandana Group, innovators in art commerce. He organized the recent panel discussion, Not Waiting For Permission: 2nd Annual State of the Emerging Arts at CentralTrak on April 25.

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Dirty New Rococo by Homeland Security

Dirty New Rococo by Homeland Security

DATES: May 24- June 21 2013
OPENING RECEPTION: Friday- May 24, from 4:00pm to 10:00pm
LOCATION: Lindsey and Patrick Collins’ Cedars Home
1415 Beaumont St
Dallas, TX 75215
CONTACTS: Eli Walker, Curator
Kelly Kroener, Curator

Homeland Security is pleased to invite you to Dirty New Rococo; a group-show comprised of nine local and national artists. The artists have been selected for their aesthetic sensibilities to the 18th century, French movement and their correlation to contemporary art practices. Homeland Security proposes that the Rococo period was less about being decorative and more of an indication of lavishing the wealthy in a time of political turmoil. Art practices have arisen to echo this sentiment through different forms of irony, spectacle, adornment and an overall acceptance of post-modernism.

The artists selected represent a contrast to this state of affairs by diligently working from within and outside of the current art structure. Many of the artists run their own studio spaces as an alternate strategy for escaping a market model- the same model that can be recognized as restrictive to a progressive dialog for burgeoning forms of art. All of the artists have overcome difficulties to advance their career by embracing and celebrating their own unique vision. Special thanks goes to Lindsey and Patrick Collins for opening their Cedars property and for their advocacy to art production in the Cedars neighborhood.

In the spirit of Larry Rivers and Frank O’Hara:

“Embrace the Bourgeoisie. One hundred years of grinding our teeth have made us tired.”
-How To Proceed In The Arts (1955)

Homeland Security presents Dirty New Rococo:

Edmund Chia was born in Singapore and now lives and works in Chicago where he operates PEREGRINEPROGRAM- an influential artist-run gallery. He is also currently a faculty member of the painting department at The School of the Art Institute of Chicago where he gets to share his love and knowledge of painting.

Alex DiJulio grew up in Philadelphia and received his BFA for sculpture from Maryland Institute College of Art. With his art partner, Samantha McCurdy, he is a founding and active member of SCAB collective in Dallas. Together they also run That That Studio, a live/work/gallery space in Fair Park. DiJulio’s sculptural practice involves found materials and often uses site-specific elements for installation.

Heyd Fontenot was born in Louisiana and now lives and works in Dallas. He currently is the director of UNT’s CentralTrak, an artist residency in the Fair Park area of Dallas. Fontenot produces a very distinct and prodigious body of figure drawings and paintings that are often sexual and playful. As well as creating his individual work, he also has curated many shows around Texas.

Matthew Jansen grew up in Minnesota and received his BFA from the College of Visual Arts in St. Paul in 2005, where he later held positions as assistant gallery director and sculpture technician. Jansen received his MFA at the Maryland Institute College of Art. He now lives and works in Baltimore and has shown at the Baltimore Museum of Art as a finalist for the 2010 and 2012 Sondheim Prize. Jansen describes his work as “Baroque constructions that coyly celebrate tragic facades of excess and indulgence while confronting the loss of Modernist ideals.”

Brian K. Jones has been collaborating for 20yrs with Brian K Scott as the “Art Duo” Chuck & George since their graduation from UNT in Denton. They were both trailblazers of the Bishop Arts area in Oak Cliff, Dallas and were fundamental to its cultural community. He and his art partner Brian K. Scott were both recipients of 2013 Masterminds award from the Dallas Observer.

Samantha McCurdy grew up in Philadelphia and received her BFA in painting from Maryland Institute College of Art. Along with DiJulio, she is a founding and active member of SCAB collective in Dallas. She runs That That Studio, a live/work/gallery space in Fair Park. As well as painting, McCurdy also maintains her social practice of organizing events in their studio.

Rueben Melendez recently received his BFA from the University of Texas in Arlington for sculpture. Melendez mixes his sculptural practice with his experience in bodybuilding to address various notions of masculinity and sexuality.

Easton Miller was born in Indiana and received his BFA from The School of the Art Institute of Chicago in 2008. While in Chicago he ran a popular artist-run gallery called Thrones. He currently resides in Los Angeles where he is a frequent contributor to Beautiful/Decay magazine. Miller describes his work as ‘portraits of circumstance’ and often utilizes three-dimensional materials to interact with the painted patterns he creates.

Brian K. Scott has been collaborating for 20yrs with Brian K. Jones as the “Art Duo” Chuck & George since their graduation from UNT in Denton. They live and work in the Bishop Arts area in Oak Cliff, Dallas and were fundamental to its community. Scott and his art partner Brian K. Jones were both recipients of 2013 Masterminds award from the Dallas Observer.

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