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Felix Art Fair
February 13 - 16, 2020
Main Gallery
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Carol Jackson, Satan's Cue Card #1, 2014, digital print, acrylic, enamel, wax, nylon fibers, 15 x 23 1/2 inches
Carol Jackson, Satan’s Cue Card #8, 2014
digital print, acrylic, enamel, wax, nylon fibers
15 x 23 1/2 inches; 18 3/4 x 27 1/2 x 2 1/2 inches (framed)
Carol Jackson, The Day of Return, 2016, inkjet print, acrylic, leather, enamel 48 x 33 x 2 1/2 inches
Carol Jackson, Lake of Fire, 2016, leather, enamel, inkjet print, acrylic 21 x 25 1/2 x 33 inches
Carol Jackson, Coppertone, 2016, leather, enamel, inkjet print, acrylic 26 x 29 1/2 inches
Carol Jackson, drills, 2017, paper mache, acrylic, ipolymer clay, digital print 15 x 8 x 16 inches
Omar Velázquez, Whistlerblower, 2020, oil on acrylic on canvas, 20 x 16 inches
Omar Velázquez, Mucaro, 2019, acrylic, gouache on canvas 20 x 16 inches
Omar Velázquez, Heron and pana, 2020, oil, acrylic on canvas 20 x 16 inches
Omar Velázquez, Bobo, 2020, oil, acrylic on canvas 20 x 16 inches
Omar Velázquez, Turpial AM, 2020, oil, acrylic on canvas 20 x 16 inches
Ray Johnson, Wagstaff (Bitter Word, Cats, and “This Must Be the Face of Roy Lichtenstein”), 1982-85-88-89-90-94 collage on illustration board, 17 x 17 inches
Ray Johnson, Wagstaff (Bitter Word, Cats, and "This Must Be the Face of Roy Lichtenstein"), 1982-85-88-89-90-94, collage on illustrated board, 17 x 17 inches
Press Release
February 13 – 16, 2020
Room 112
At Felix Art Fair 2020, Corbett vs. Dempsey is pleased to present work by three artists:
Carol Jackson, Ray Johnson, and Omar Velázquez.
Working in tooled leather, often ingeniously incorporating photographic images, Chicago-based
artist Carol Jackson deftly folds together a deep knowledge of decorative ornamentation and subject
matter that can turn macabre or desolate. Car accidents overlaid with blood-red fleur-de-lis,
abandoned hotel beaches shot from bug-filled surveillance cameras framed in modeled
cowhide – Jackson’s is a poetic post-apocalyptic vision cloaked in a comfy overcoat. Omar
Velázquez’s paintings are equally deceptive. With a delicious surface, a palette to get lost in, and
dizzying focal shifts, each of four canvases created especially for the Felix features a tropical bird
interacting with detritus, perching on a radio antenna or fashioning a makeshift sculpture out of
castoff string and toothbrush, perhaps an analogy for the rigors of daily life in Velázquez’s Puerto
Rican homeland. The booth also features two historical works by legendary New York collage and
correspondence artist Ray Johnson (1927-1995). In Johnson’s collages, a cartoon sense of humor
belies a dead-serious sensibility – intellect wrapped up in a fun package like a Trojan Rabbit.