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Outlaw Intrigue

The mere mention of Bonnie and Clyde still resonates darkly and romantically today, nearly 80 years after their crime wave came to its bloody end.

“The Fall of Bonnie and Clyde (Symbol Key),” 2013, assemblage, 24 x 32 inches 

The murdering bank robbers have long been mythologized in books, films and songs, and they continue to fascinate. Now through June 29, Andrew Douglas Underwood’s The Fall of Bonnie and Clyde is on view at the MAC’s Square Gallery, and the artist’s multidimensional take on the outlaws is a singular exposition, weaving Dallas’ deadly duo together with Adam and Eve, Paradise Lost and sly allusions to Michelangelo, Marcel Duchamp and René Magritte. Underwood is a myth-spinner himself, and the works in the exhibition draw comparisons between Bonnie and Clyde’s star-crossed lives and Adam and Eve’s fall from grace. “What was really interesting was putting those two stories together and seeing where they lined up and where they didn’t,” he explains. “I think that tension, where fissures happen, is kind of compelling.” The pieces involve drawing, painting, text, sculpture and sound, and Underwood adds, “Whatever the work needs is what I do. And for me, it’s a more universal notion—it’s this couple against the world. I think everyone identifies with that on some level.” 3120 McKinney Ave., the-mac.org, andrewdouglasunderwood.‌com