Liliana Bloch Gallery
2271 Monitor Street, Dallas, TX, 75207
Opening reception: Saturday, February 17 from 6 to 9 PM

Liliana Bloch Gallery is pleased to present new works by Michael Corris based on the artist’s
bookwork, The Fourth Book, published by Free Museum of Dallas Press (2017).

For this exhibition, Corris has chosen representative images from each of the six sections of The
Fourth Book to use as the basis for fabricating independent, unique works of art.

The images found in The Fourth Book and on view in the main gallery are the result of Corris’s
continuing innovative use of the tools of typography, graphic design, and illustration to create art.
Referring to earlier works of this kind produced by the artist, The New York Times art critic Roberta
Smith called Corris “a masterly artist of the printed word . . . a Saul Steinberg of the printing press”.
(A brief survey of works by Corris from the late-1970s through the early-1990s will be on view in the

This exhibition — Corris’s second at Liliana Bloch Gallery — is a powerful statement about the
power of art — specifically the genres of satire and parody — to constitute a collective
experience. Satire and parody are among the most empathic and accessible forms of visual
expression because their subject matter is based on the shared experience and impact of social
encounters and political events. For this reason, Corris maintains that satire and parody are
deserving of serious attention as art.

An impulse to engage in, and give visual form to, critical discourse is the origin of Corris’s art.
Throughout his career, Corris has created art in conversation with the world of contemporary art
and the world at large. For the current exhibition, the artist turns his attention to the depiction of
the exercise of power, gender inequality, and cultural appropriation.

Corris’s working method, with its reliance on historical research and appropriation, challenges us to
consider some difficult issues currently facing visual artists. How narrowly can any political or
cultural sign be defined? Is there such a thing as a “pure” cultural symbol? Can any one group lay
claim to the meaning of a cultural sign absolutely? If, as cultural critic Kwame Anthony Appiah
asserts, we are all mongrels of one sort or another, then what are we to make of the charge of
cultural appropriation, with its negative connotations and prohibitions?

(Please note that any image in “The Fourth Book” may be fabricated as an independent and
unique work of art similar to those exhibited in the main gallery. Please contact Liliana Bloch
Gallery for further details regarding the commissioning of works.)

Michael Corris is a pioneer of the current trend in versatility in contemporary art. As an artist, writer,
and exhibition organizer, Corris utilizes a variety of mediums and platforms for the making and
distribution of art that aims to engage critically with a wide range of contemporary themes.

Since the 1970s, Corris has exhibited in galleries, museums, and international art exhibitions
throughout North America, Europe, and Australia. Corris began working as an artist in New York as
a participant in the Conceptual Art group, Art & Language. His current practice includes
independent exhibitions and publications under the imprint Free Museum of Dallas Press, as well as
collaborative projects involving artists, writers, and educators.

Corris's art and bookworks may be found in public and private collections, including the Museum
of Modern Art (New York), Le Consortium (Dijon), Victoria and Albert Museum (London), Tate Britain
(London), Staatsgaleri (Stuttgart), Le Musée des Beaux-Arts (La Chaux-de-Fonds, Switzerland),
Progressive Art Collection (Cleveland and Tampa), Collection Phillippe Méaille/Château du
Montsoreau-Museum of Contemporary Art (Montsoreau, France), and the Getty Research Institute
(Los Angeles).

The artist's curatorial projects have included The Artist Out of Work: Art & Language, 1972-1980
(1999, PS1/MoMA, NY), Punishment + Decoration (1994, Galerie Hohenthal und Bergen, Cologne),
and the Free Museum of Dallas (2010-2014, Dallas, TX).

Corris’s writings on modern and contemporary art have been published widely in academic
journals and the art media — Art-Language Journal, Art in America, Rab-Rab (Helsinki), Art Monthly
(London), Artforum, Art Journal (College Art Association), Art History (Association of Art Historians, UK),
art+text, and Word and Image — and have been anthologized in Alex Alberro and Blake Stimson,
eds., Conceptual Art: A Critical Anthology (MIT Press, 1999), and Terry R. Myers, ed., Painting
(Documents in Contemporary Art, MIT Press, 2011).

Recent publications by Corris include: Leaving Skull City: Selected Writings on Art (Paris: Les Presses
du Réel, 2016), The Dallas Pavilion (with Jasper Joseph-Lester)(Dallas: Free Museum of Dallas Press,
2013), Conceptual Art: Theory, Myth and Practice (Cambridge, UK: Cambridge University Press,
2004), Ad Reinhardt (London: Reaktion Books, 2008), Non-Relational Aesthetics (with Charlie Gere)
(London: Art Words Press, 2008), Art, Word & Image: 2,000 Years of Textual/Visual Interaction (with
John Dixon Hunt and David Lomas) (London: Reaktion Books, 2010), and chapters in Steve
Edwards and Paul Wood, eds., Exploring Art and Visual Culture: The Twentieth Century (London:
Tate Publishing, 2012), Joanna Bourke, ed., Art and War (London: Reaktion Books, 2016), and Philip
Tinari (ed.), and David Diao (Beijing: Ullens Center for Contemporary Art, forthcoming 2018).

Corris has been supported in his work as an artist and writer through grants and fellowships from,
among others, the National Endowment for the Arts, the British Academy, the Arts Council of
England, the Sam Taylor Fellowship, the Gerald R. Ford Senior Research Fellowship, and the
Dedman College Interdisciplinary Institute (SMU).
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Harvest, 2017, acrylic on canvas,
46 x 46 x 1½"