Selected Press

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"David Freeman of McAllen, Tex., designs piñatas in the shape of border guards, presumably waiting to be thrashed to bits, and meticulously made “trophies” for gang leaders composed of tiny machine guns, marijuana leaves and other objects covered in gold spray paint. He also integrates found objects into his work, like the wood-plank ladders the migrants used to climb the multibillion-dollar security fence and clothing and ID cards that they leave by the river..."

The New York Times;

"A Vale of Terror, Transcended Artists Explore Immigration, Border Issues and the Drug War"

By LAURA TILLMANJAN. 2, 2014


Additional Press

The Brownsville Herald;

"'Gateway' to be formed of adobe, clay at Brownsville Museum of Fine Art"

by Frank Garza, 2017 

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Assisted & Curated by David Freeman

"What looks like a wooden structure outside the Brownsville Museum of Fine Art will soon become a metaphorical gateway that people will be free to pass through, no matter what their ethnicity is.St. Louis-based artist Ron Fondaw hopes the “Portal of Hope” can send the message that Brownsville is not willing to live in fear, he said."


Odessa Denver;

"Observing (A)trophy Life at Leon Gallery"

By Kristopher Michael Wright and Corinne Wells, 2016

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"Observing (A)trophy Life is an in-depth examination of the complexities of Border-Nation culture. Gold trophies, piñatas, decadent frames and bright colors draw viewers in while animal skulls, AK-47’s, barbed wire, and swastikas demand a reevaluation of what exactly is being celebrated. (A)trophy life is a surprise party you did not see coming.

Make no mistake, this is not an exhibition built on exoticism, shock, or lush eye-catching imagery. This exhibition is about reflection. Decadent mirrors filled with text push one to reflect on the outside viewer's role in enabling a culture in turmoil to thrive. It becomes clear Freeman’s work is just as much about the privilege, responsibility, and participation of the outside viewer within these topics as it is the drug cartels, immigrants, politicians, and border patrol agents."


The Monitor;

"ART AND WIT: Annueal Faculty Show Brings Together a Variety of Works and Media"

by Nancy Moyer, 2015

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"Social commentary occupied the thoughts of Charles Neumann, Phyllis Evans, and David Freeman. Freeman’s over sized photograph, “Inclusion, Exclusion,” plants the border fence in the viewers face. A montage of two fence images trying to mesh together speaks of immigration morality. It is at war with itself. It is also a commentary of the world around him, which segues into the viewpoints of Richard Lubben, Rachael Brown, Scott Nicol, and Richard Smith." 


The Monitor;

"STC art Instructor David Freeman Brings Fresh Eye to Folk Creations"

By Travis Whithead, 2009 

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"David Freeman: Unstoppable Imagination of Information for Change," which opens July 18 at the Brownsville Museum of Fine Art, addresses a number of themes including misuse of technology and the importance of folk art.

In a sense, Freeman’s love of folk art and his message about technology come together in the masks, which are folk art, and in the satellite towers. Perhaps the masks represent the primal and authentic spirituality of folk art, and the satellite towers communicate the deception of contemporary life in which modern man loses contact with his own soul, lost in a sea of bewildering and disjointed knowledge."