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Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Textured (unlit) Bezier surfaces. I could'nt come up with a good texture for the Klein bottle, so I slapped some random scribbling on it. Didn't turn out very well - it obfuscates the shape.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
By processing the work, I have endeavoured to demonstrate that there still exists an ability to provide flexibility and gives hope that there exists an apotheosis.
By raising the exposure of the piece, I have attempted an antonymous obfuscation which proposes a zeitgeist which is ever-changing.
Technically complex, this processing totally changes the global perception of the original image.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
mystroh's terrific talk last night on Holocaust memory and memorialisation in Southern Germany - Freiburg, Emmendingen and Sulzburg. A persuasive presentation on how the memory of the Shoah has been minimised, obfuscated, distorted, or simply ignored in that corner of Germany.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
I was thinking of naming this J'accuse but I wasn't sure if that would count as a one-word title given the apostrophe. As it happens, I think Obfuscate is a more appropriate title given the uncertainty with which I regard this image. I know from the out-takes that I wasn't as angry or confrontational as this image suggests; and I'm not setting out to document my life with this project so there's never been an obligation to be entirely truthful but it seems that this is another image that misrepresents me. And maybe that bothers me just a little.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.