Dallas’s annual TWO x TWO benefit for AIDS and Art will
be celebrating its 20th anniversary when this year’s sold-out event takes place on October 27th.
To date, TWO x TWO has raised over $75 million supporting both amfAR (the Foundation for Aids Research) and the contemporary art program at the Dallas Museum of Art.
A portion of the proceeds have funded the acquisition of over 260 works at the DMA, as well as recent major exhibitions dedicated to Jackson Pollock, Jim Hodges, and Laura Owens.
Each year TWO x TWO honors a single artist with the amfAR Award of Excellence for Artistic Contributions to the Fight Against AIDS.
The selection of Dana Schutz as this year’s honoree marks the fifth time the award has been given to a female artist. In receiving the honor,
Schutz also joins such celebrated artists as Cecily Brown, Ellsworth Kelly, Robert Rauschenberg, and Ed Ruscha.
Since the earliest stages of her career, Schutz’s work garnered a wealth of public attention and demonstrated exceptional promise.
Her first solo museum exhibition was held just two years after
she completed her graduate studies at Columbia University in New York City.
After MoMA acquired one of her large-scale paintings in 2005, she rapidly began checking off a number of additional milestones.
To date, she has been the subject of thirteen museum exhibitions across North America and the UK.
Her work is also in the collections of the Whitney, the Guggenheim, the Met, SFMOMA
(San Francisco Museum of Modern Art), MOCA (Museum of Contemporary Art Los Angeles), as well as both the ICA (Institute of Contemporary Art)
and Museum of Fine Arts in Boston, among others. Friedrich Petzel, Schutz’s gallerist since 2011,
first encountered her work when he was invited to attend graduate critiques at Columbia.
Petzel was immediately struck by a guiding principle,
which he believes continues to unify Schutz’s output today:
“It’s this question of how do you make a picture of something that cannot be depicted,
that the photograph cannot render, and which cannot be represented in any other shape or form other than an oil painting?”
Schutz’s Sneeze paintings (2001–2002) dramatically capture the gesture, force, and physicality of a sneeze expelled from the body.
Rendered in a disorienting high-key color palette, the figure’s nostrils flare to the point of resembling a pig nose.
The combined facial distress and projectile mucus summarily prove the subject to be most ideally rendered in paint.
Sure, it’s sort of disgusting, but it’s also amusing and brilliant.
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