It’s been awhile since an exhibition prompted me to play the “Whither Texas art?” parlor game—to check in on what, if anything, we mean when we use the term and how, if any way, we feel about it.
In 1913, Agnes Ernst Meyer, the wife of financier Eugene Meyer, Jr., and pregnant with her second child, was out of sorts and unable to make her rounds to the art galleries, where, as a former New York Post reporter on the art beat, she had been dubbed “the Sun Girl” by photographer-gallerists Alfred Stieglitz and Edward Steichen. Writing to Stieglitz, a brooding Meyer quipped, “I am now your Eclipsed Sun-girl.”
Extraordinary examples of handmade stone tools, some of the first aesthetically-conceived objects known to humankind, will be included in the exhibition First Sculpture: Handaxe to Figure Stone which opens Jan. 27 at the Nasher Sculpture Center.
After seeing the selection of recent paintings by Katherine Bradford in the Modern Art Museum of Fort Worth’s intimate Focus show of her work, on view through Jan. 14, I found myself searching for the perfect word to describe her surprising color palette.