Even a short while ago, an effort like this would have seemed too sentimental and self-indulgent, and probably too low-art, for me to appreciate it.
Miguel Aguilar’s oil painting"Bad Boy,” from 2024. It is part of the group exhibition"The Dog Show” at Bell Projects. Taylor Faulkner’s"The Mangy Little Dog” is made from pastel and charcoal on paper. The piece is a tribute to chihuahuas, and other small dogs, that want to"curl up at your feet while biting off your toes,” as he explains in the exhibition guide. John Hazekamp’s digital print “Meditation for Moose,” from 2024. Moose is a Pyrenean mastiff.
Miguel Aguilar’s oil painting “Bad Boy,” from 2024. It is part of the group exhibition “The Dog Show” at Bell Projects. Miners crops his scene so that we can see that the field is something close to a dump and that this day is anything but special — there are dead trees and graffiti present in the background, and there are blurry spots on the surface of the print. The photo captures a number of things: how dogs connect to nature, how easy they find satisfaction, how they transform nothing days into special events.
But it comes together experientially to reflect the deep relationships we have with our pets. We do love them to death, and that sort of thing is telegraphed in pieces like Miguel Aguilar’s “Bad Boy,” an oil painting of a man carrying his over-sized dog on his shoulder, the way parents cart sleeping children off to bed.
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