January 13 - February 11, 2018
Reception - Saturday, Jan. 13th, 7pm-10 pm

New Works
by Clint Bargers
Downstairs / Front Gallery

Are some relics so foreign to our psyche that they appear to be from the future? What affect do landscapes and materiality have on our understanding of ourselves and culture? Do symbols and archetypes have autonomy? 

Select new sculptures by Clint Bargers address these questions surrounding collectiveconsciousness, mythology and materiality as they relate to the western American landscape.

Clint Bargers

Clint Bargers

Hemming and Hawing
by Steven Foutch

Downstairs / Main Gallery

Steven Foutch’s solo exhibition, Hemming and Hexing, explores a vague psychological space through narrative suggestion and the technical language of printmaking. The work is an exploration of mental clarity and cloudiness through landscape. Imagery is intended to evoke a discussion of terrestrial vs celestial vs psychological space. From where do mental objects arise and what if any narrative purpose do they contain.
The presentation and framing devices are a more considered, sculptural vehicle for works on paper. In addition to questioning the boundaries between presentation and art object, the display method hopes to push the ephemeral towards the sacred.

Steven Foutch

Steven Foutch

Ordinary Time
by Chris Ireland
Upstairs / Main Gallery

Chris Ireland’s solo exhibition Ordinary Time explores the psychology of ritual in the artist’s family though photographic studies spanning the last 10 years. Through loss and change, the photographic diptychs highlight the daily patterns and rhythms of life that do not disappear but adapt to changes in the family dynamic.


Collaborative Daydreams by Jessica Burke and Valerie Powell
Downstairs / Project Space

Paperwork features works on paper inspired by doodles and daydreams while attending a wide variety of Art Professor-type meetings.  Jessica Burke is a Georgia based artist and Associate Professor of Art and Georgia Southern University.  Valerie Powell is a Texas based artist and Assistant Professor of Art at Sam Houston State University.  


Joint Exhibition by Jessie Barnes and Lynné Bowman Cravens
Upstairs / Project Space

Car·a·pace is a site-specific installation and collaboration between printmaker, Jessie Barnes, and Photographer, Lynné Bowman Cravens. Car·a·pace explores tropical landscapes and foliage, focusing on the immersive experience of being engulfed in such a dense environment. The project stemmed from a trip to Panama, and presents recollections of thick air and entangled native species. Such darkly alluring and exquisitely lush surroundings provoke us to consider relationships between the land, fauna, flora, and self.

December 9, 2017 - January 7, 2018, Reception - December 9, 7pm-10 pm

Downstairs Gallery: A Thing Added

participating artists: Scott Bell, Kathleen Janvier, Adam Knoche, Kathy Lovas, Abby Sherrill, Kristina Smith

The definition of the word adjunct is: a thing added to something else.  The adjunct professors in our DFW community are diverse and studious additions to our university arts programs. This December, 500x Gallery has selected a group of artists who balance their studio time with the demands of a teaching. 


Upstairs Gallery: Houston artist collective, Box 13

participating artists: Kristy Peet, Daniela Koontz, Emily Link, Hannah Campbell, Caroline Roberts, Melinda Laszczynski, John Forse, Claire Chauvin, David McClain, Lance Brown, Jessica Kreutter, Patrick Phipps, Alexander Squier, Tudor Mitroi


Upstairs Project Space: Squeeze Machine, Yuni Lee and Molly Valentine Dierks

Squeeze Machine brings together the work of Molly Valentine Dierks and Yuni Lee in a 2 person show that explores the artists’ shared interest in the links between humanity and nature. Drawing on the disciplines of Ikebana, Japanese woodblock prints, and traditional Korean artwork, the large-scale paintings and installation borrow from the bright color-scapes and simulacrae of post-industrial culture, creating foreign landscapes from new and recycled materials and forms. Translating elements both familiar and strange, Squeeze Machine is inspired by machinery and ecology, questioning how technology and nature converse in the human void of longing and intimacy.

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November 11 - December 3, 2017, Reception - November 11, 7pm-10pm

500X will be closed for the Thanksgiving holiday on Nov 25 & 26

On Water, Solo Exhibition by Valerie Powell

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Valerie Powell’s solo exhibition, On Water, features new drawings & sculptures as well as a site
specific wall installation, informed by the rising water of hurricane Harvey on the Houston area,
where she lives. Inspired by both the devastation caused by Harvey as well as the resilience of
the human condition witnessed by the kindness & generosity felt by many after the storm, this
exhibition of new work explores the tension of being under/on water. Continuing to investigate
the complexities of being human, Powell’s new work reflects upon memories of floating & the
sensation of being carried by a force greater then yourself.
Powell’s art making practice is centered around Shrinky-Dinks {a sort of magical shrinkable
plastic material} which has the ability to evolve from a thin two dimensional sheet of plastic into
a three dimensional object that takes up space once heat is introduced. This plastic material is
put through intense stress; it contorts, shrinks, melts and folds into itself, only then to rebound
and emerge as something new and stronger. This material has allowed Powell’s work to
investigate what it means to be human, be under stress & what it means to recover. On Water
maps both physical and psychological journeys navigating the space between disaster & hope.
Through a reliance on drawing, sculpture & installation, Powell links her personal experiences of
longing for various things such as love, truth and understanding with historical, mythical and
contemporary archetypes of feminine longings found in literature, film and life.

Pass Through me, Solo Exhibition by Tabatha Trolli

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Tabatha Trolli’s solo exhibition, Pass Through Me, invites the viewer to inhabit a tunnel-like space as one might if shrunken and placed inside of a whale…a tomb…an underwater cave.

The space itself is a passage, momentarily transfixed by its current place in time. Connections can be made between the physical body and the sculptural object. Objects are imbued with their own unique appeal and have no shame in their boldness. The sculptures are layered, worn and seem to have lived once before, an alternate existence with different meanings. The artist is inviting her viewer to a place, vulnerable yet unafraid, to stay true to oneself. Further, she aims to provoke them to consider their own relationship between the objects and themselves.
The materials are intuitive and subconscious, as if they have chosen her. She exists in a space surrounded by objects, ranging in form and meaning, some functional, discarded; some found or gifted; pocketed; purchased; created. Tabatha hopes to transcend medium, and places no limitations on object or substrate. She uses these forms as prosthetics to aid her and her viewer’s experiences of passage, captivity, and exploration.

Upstairs Project Space: seawiid by Nat Olmo

seawiid is "an installation by Nat Olmo using remnants of sludgy trashwater environments to explore accumulation as adornment and attempt to discover connections between artificiality and a traditional sense of 'real' or 'natural'."

Downstairs Project Space: Plausible Structures? by Artist Scotty Hensler


Exhibition Statement: A pool of ambient information encompasses us; I unconsciously and consciously filter and sample from that expanse. There is a magnetic accumulation of notions and material that impress upon me about place and person. This new work is that amassing of materials, both physical and in thought, that spawn from my relationships with art, art history, people, structures. 

October 7 - November 5, 2017, Reception October 7, 7pm - 10pm

Downstairs / Main Gallery: Expo 2017

500X Gallery, Texas’ oldest, artist–run, cooperative galleries, hosts one of North Texas’ most anticipated annual juried competitions.

This years juror is Sara-Jayne Parsons. As the Director of the Art Galleries at TCU in Fort Worth, British curator Sara-Jayne Parsons drives the international vision of Fort Worth Contemporary Arts and promotes professional development of students and local artists through programming in Moudy Gallery. Her curatorial practice is informed by working in collaboration or close partnership with artists to produce new art works through commissions, exhibitions and artist residencies. Artists she has worked with in this way include John Akomfrah, Ayman Baalbaki, Sonia Boyce, Jyll Bradley, Sebastiaan Bremer, Gina Czarnecki, Hew Locke, RAWIYA, Janek Schaefer and Emily Speed. Before moving to Fort Worth in 2014 Parsons was the Exhibitions Curator at the Bluecoat in Liverpool, UK, where for eight years she produced a diverse, contemporary exhibition programme. In that time she was also a collaborative member of the curatorial team for the Liverpool Biennial (the largest international contemporary art festival in the UK) and produced notable commissioned works by Daniel Bozhkov, Khalil Rabah, The Royal Art Lodge and Ranjani Shettar. She has also published critical writing in various contemporary art magazines including Source, Art Monthly Australia and ArtLies, and has published essays in numerous exhibition catalogues.

Accepted artists:

Dannie Liebgot, Kristina Smith, Teresa Larrabee, Jonas Criscoe, Adrianna Touch, Dario Bucheli, Amy Dierdorf, Emily Loving, Michelle Hinojosa, Narong Tintamusik, Cande Aguilar, Selwa Moharram, Francisco Alvarado, Anna Lee, Austin Sparks, David Namaksy, Sierra Forester, Jon Ashcraft, Jeanne Neal, Raciel Camargo, Bunim Kim, Kiran Sattar, Audrey Travis, Bernardo Vallarino, Barbara Horlander, Jennise Burgos, Kendra Smith, Ricardo Orozco, Blake Weld

Upstairs Gallery: 500X Member's Exhibition

500X is ready to start the new season with the annual members show. Welcoming the addition of it's newest members, this group of emerging Texas artists will be showcasing a range of media investigating a variety of content and formal concerns.

Featured artists:

Kalee Appleton, Clint Bargers, Lynne Bowman-Cravens, Molly Dierks, Ross Faircloth, Chris Ireland, Steven Foutch, Seth Lorenz, Valerie Powell, Justin Strickland-Hoff, James Talambas, Tabatha Trolli, Tony Veronese, and Ashley Whitt.

As the oldest artist run co-op in Texas, the idea of collaboration, finding fresh talent and building community is what this current group hopes to continue to foster. Come out and help us kick off the 2017 season!

Downstairs Project Space

We Made Cool

by Ari Brielle

We Made Cool is a body of work by Ari Brielle that examines notions of black femininity, strength and softness. Candy painted colors and natural motifs decorate portraits that explore black culture, consumption and experience. Ari Brielle is an emerging visual artist based in Dallas, Texas. She completed her BA at the University of North Texas in 2016 where she cultivated her studio practice and studied Interdisciplinary Art and Design. Brielle has exhibited in Texas and New York, and was recently nominated as one of Dallas’ Rising Stars by Liliana Bloch Gallery. 

Upstairs Project Space

A Call From The Center of Things

by Bárbara Cartier

Bárbara Cartier energetically explores the tricky territory between painting and sculpture using a variety of materials and methods to create sculptural forms reminiscent of organic objects such as eggs and river rocks. Her use of vibrant colors and silky smooth surfaces suggest a “new car” seduction; polyurethane and fiberglass forms become outsized shining gems, transformed by hand and machine resulting in an ornate illusion of weight and volume. Teamed with collages, these totemic forms challenge decoration in a playful manner to create a kaleidoscopic installation intent on alchemy.

Born in Argentina, Bárbara Cartier now lives and works in Panama. Featuring new sculpture and collages, A Call From The Center of Things will be her first solo exhibition in the United States. This exhibition is sponsored by the Art Galleries at TCU.

August 19 - September 24, 2017,  Reception: August 19, 7-10pm

Downstairs / Main Gallery: a hard place

Curated by Gundula Schmitz (Laura Mars Gallery) and Gary Farrelly.


Featured artists:

Chris Dreier (DE), Christine Weber (DE), Cunningham Architects (TX), Dirk Krecker (DE), EVOL (DE), Gary Farrelly (IRE/BE), Julia Zinnbauer (DE), Laure Catugier (DE/FR), Matias Bechtold (DE), Oisin Byrne (IRE/UK), Pádraic E. Moore (IRE/BE), ScAle Architects (IT) and Tannhäuser Tor (Alekos Hofstetter (DE) & Florian Göpfert (DE).

A hard place brings together work by artists and architects from Germany, Ireland, France and Italy as well as a piece by Dallas’s Cunningham Architects produced especially for the show.  A unifying concern in the work is the legacy of post-war modernist architecture. The artists of a hard place employ highly divergent strategies across a wide variety of media to explore the theme. The exhibition includes video art, photography, drawing, painting, textiles, sculpture, sound recordings and the written word.

In post WWII Europe new civic infrastructure such as housing, factories and administrative facilities had to be erected on an unprecedented scale. Commonly known as Brutalism, the style that emerged was characterized by repeated modular elements articulated and grouped together into a stark, unified whole. Cast concrete was used for its raw and unpretentious honesty and structural integrity.

This new architecture constituted a forceful rejection of preceding political, social and economic thinking. The buildings symbolize the optimism of high modernism. Moreover, they might also be viewed as an affirmation of mankind’s ability to create, improve and reshape the world via practical experimentation, scientific and technical knowledge and human cooperation.

Today, the progress orientated stance and towering utopic mission of post-war modernism is subject to much criticism. The remnants of the defunct modernist project are ever present in the form of neglected edifices that prevail upon our cities and towns. Without a living transformative ideological project to substantiate their presence it is not clear what our responsibility towards the buildings and the ideas they represent should be.

Some of the artists have a very emotional / euphoric relationship with architecture. They adopt a caretaking posture casting themselves as faithful guardians of modernism's legacy. Others take a cynical stance and consciously disavow the naivety and idealism of post-war architecture. And there are those who stake out nuanced, idiosyncratic positions between these two poles. However, in the work of all participating artists in-depth research plays an eminent role.

The city of Dallas, with all its skyscrapers, elevated roadways, hub airports and subterranean tunnels serves as the ideal venue for this exhibition.