“I arrived with very big ideas,” Rich Aste says, as he surveys his first two years as Director of the McNay Art Museum in San Antonio.
When I walk into Audrya Flores’s home studio in San Antonio, I find a wood-paneled room, with a carefully curated selection of objects—needlework, prints, collages, fabric pieces—paired with found things—a turtle shell, stones, a preserved bat, potted plants.
The donated collection includes over 500 photographs, 75 of which will be on view Feb. 22 – May 12 in Capturing the Moment: Photographs from the Marie Brenner and Ernest Pomerantz Collection at SAMA alongside key works from the Museum’s existing photography collection.
In five sections, Contesting Modernity surveys twenty years of work in Venezuela by numerous artists, some of whom a Houston audience will already know from curator Mari Carmen Ramírez’s extensive catalog of groundbreaking, research-driven exhibitions at the MFAH.
Tammie Rubin’s exhibition at Austin’s Women & Their Work (through Jan. 10) ostensibly takes the Texas ball moss as its subject.
On view through Jan. 27, The Condition of Being Here at the newly-inaugurated Menil Drawing Institute (MDI) in Houston includes a selection of Jasper Johns’s drawings dating from 1954 to 2016, many of which get at the fragility of the body and its musings.
At Dallas’s Nasher Sculpture Center through Jan. 6, The Nature of Arp considers Jean (Hans) Arp’s diverse production through his processes, linking them to the processes of the natural world.
REVIEW: Jessica Stockholder, Relational Aesthetics and Robert Davidson, U and Eye at The Contemporary Austin
Stockholder titled the Davidson exhibition U and Eye (through March 3, 2019), taking the title from one of his prints, but with a nod to both artists' interests in relationships.
REVIEW: Margaret Meehan, Hope is the Thing with Feathers and Eric Zimmerman, A Few Things for the World’s End at Conduit Gallery
As you come around the entrance to Margaret Meehan's Conduit Gallery exhibition, Hope is the Thing with Feathers (through Nov. 24), a concrete cast of a tree stump sits facing the pink parachute installation in the center of the room.