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WWI is currently strengthening fundraising efforts to build or locate a permanent structure to house the significant number of Texas Red paintings in our permanent collection. To assist this effort and to provide first access to many in the international art community that have heard mention but not seen a Texas Red we will be posting images of selected paintings throughout 2014.

During our fundraising and construction projects Texas Red paintings are available on loan to accredited museums and private collections. If you are interested in such an arrangement please let us know.

We would also like to take this occasion to state that our immediate goal is to have the largest and most comprehensive collection of Texas Reds in the world. If you are a museum, gallery or private collector with a Texas Red painting for sale please contact us. Also, if you would like to have a possible Texas Red painting authenticated we provide this service for a fee.

For those of the general public unaquainted with TR’s art it may be helpful to introduce some key themes and objectives of his work:

1) Every Texas Red painting, or panel in a series, is primarily composed of his ranch’s brand, the Rockin’ TR. By relying on a single sign or glyph to convey his meanings and motives Texas Red is a symbolist, a minimalist, and a leader of the poetic school of post-modern art.

2) When Texas Red brands his subject matter he makes it his. The ‘hide’ can be a canvas (“Jackson Pollock”), a literary character (“Lolita”), a philospher (“Nietzsche”), a painter (“Pablo Picasso”) or a selection of other objects. After branding the ‘horse’ he brings it into his corral. In this sense the Rockin’ TR sign is a superbrand, and Texas Red’s art is a kind of super or meta art.

3) Because he never strays from his brand, Texas Red’s paintings are simultaneously tags ( alluding to a past as a graffiti artist) and icons. From his days adorning boxcars and subway trains Red is now totally antithetical to the precarious nature of ephemeral art. His paintings are filled with the strong scent of  long term survival and the aura of enduring Western icons.

4) Texas Red’s favorite philosopher is Aristippus, a disciple of Socrates. Aristippus was famous in the classical world for claiming that human happiness—in all its physical, mental and spiritual forms—is a gentle rocking motion. This philosophy and decidedly nondialectical way of life is symbolized by the rocker in his brand. The beauty lies in the reality of the motion. His paintings are aesthetically entertaining but their true power comes from a deeper place.  Like Sophocles and Beethoven Texas Red’s art transforms while it entertains—the viewer begins to gently rock in his soul, some interior suddenly makes sense and he leaves the experience with a refreshed vision of himself and the world.

5) Grafitti art is necessarily territorial and Texas Red has extended it to time, to the present, past and future. When he brands an Apple I-Phone or the Black Madonna he strips it of its original commanding commercial or religious meaning and replaces or ‘improves’ it with a transcendental one. As a superbrand the Rockin’ TR is a freeing mechanism from all other brands and a clear statement that in his corral the  power of the artistic deception is always greater than any parading political or economic ‘truth’. What distinguishes Texas Red from most of post-modern art is the complete absence of reference to the inanities and grotesqueries of modern consciousness —his icons are not mirrors. You’ll see no violence, insanity, or gratuitous ugliness here. A Texas Red is a doorway, an idea, a seduction to an optimisic vision of life.

6) The Socratic irony of experiencing a Texas Red painting is that the individual accepts happiness as a gentle rocking motion (thereby jettisoning a lifetime of accumulated intellectual and spiritual excuses for unhappiness) by being branded. In the simple act of looking at a Texas Red he suddenly “finds himself” (in the Heideggerian sense) and instantly eludes all the dominant ideologies that have demeaned life by promising false or delayed happiness.

7) The ability of Texas Red to promote well being through art is certainly relative and debatable. What is clear is that most of modern and post-modern art concerns itself  with revealing and exulting the dirty little ‘truths’ of contemporary consciousness or is reverse engineered like Koons to satisfy the peculiar tastes of ignorant patrons and greedy flippers. There is so little optimistic, fun or uplifting art today that Texas Red can be considered a major revolutionary precisely because he is so reactionary.

8) There is a secondary irony that must be addressed for new eyes viewing Texas Reds online. They are much rougher in the flesh. If they are ‘horses’ they are lathered and sweaty, randomly frolicsome and often constructed with little attention to detail. For an artist with such a firm, and one could almost say hyperbolic grasp on the intents and functions of his work Texas Red displays a disconcerting indifference to painterly technique. His canvases are often oversprays of recycled paintings and the previous (and alien) strokes show through. Carelessness and leaky stencils appear to cause some of his most attractive elements. The power and certainty of his strategy is needlessly undermined by improvisation and chance. Given clear evidence of his allegiance to the masters of the ‘found’ in his “Marcel Duchamp” and “Andy Warhol” he appears to be playing a double game: nobody else can have the idea of this painting but anybody else can actually do it. Except nobody can actually do it. If Kafka can claim “I am literature” Texas Red can say (and will on occasion) “I am art”. Yet even here contradictions creep in.  He is notorious for not allowing any reproduction of his work yet encourages his fans to add his brand to their cell phones and t-shirts for free. He rigorously negotiates sales with qualified clients at presumed high five and six digits but gives away some of his masterpieces (including the famous but never photographed “John Lennon”) to friends and strangers.

9) We at Western Way Institute are convinced of the ascending financial value and historical greatness of Texas Red’s art. We believe it will break the cosmic logjam that has stopped the flow of Western artistic expression since Warhol. We have been extremely fortunate to receive gifts of Texas Reds from WWI Society members, anonymous donors and have also invested heavily to bring together the largest collection of Texas Red originals in the United States. We will build or find the appropriate space to house them so they are no longer in danger of returning to Russia and are available to the American public on a daily basis. We now invite you who may know everything and may know nothing of art to put your preconceptions aside and let Texas Red work his magic on your small screen, let the gentle rocking begin.

 

 
 
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