In my first brief conversation with San Antonio-based artist Jose Villalobos regarding his 2018 Luminaria artwork, La Carga de Tradición, the artist was incorporating dance-based performance with wearable sculpture.
Jenelle Esparza’s weavings reflect her South Texas lineage, but also ask what that history might look like from the perspective of the landscape.
“Creative people need time to sit around and do nothing.” This perceptive quote from author Austin Kleon, a self-described “writer who draws,” is front and center on Deborah Robert’s Instagram account as I’m writing.
The Tobin Collection of Theatre Arts contains artifacts dating back centuries, and its exhibitions sometimes revel in that broad historical panorama. But The Great Stage of Texas, running through July 24 at San Antonio’s McNay Art Museum—the collection’s home—could hardly be more contemporary.
Damaris Ferrer describes a bridge as a portal and any path or structure that serves as a connector. The Crossings is her global project which uses a massive, red fabric with eight elastic waistbands for eight movers as a catalyst.
This force, rooted in Red Star’s deep connection to Crow culture and identity, is foundational to all of Red Star’s works. When the San Antonio Museum of Art (SAMA) presents Wendy Red Star: A Scratch on the Earth (Feb.11-May 8), it will be the first solo exhibition of a Native American artist for the museum.
San Antonio-based artist Jennifer Ling Datchuk reminded me of Brecht’s riddle-like assurance while discussing her current exhibition Later, Longer, Fewer: The Work of Jennifer Ling Datchuk, on view at the Houston Center for Contemporary Craft until Jan. 8, 2022.
Sir Joshua Reynolds’ Mary, Lady Arundel of Wardour has belonged to the San Antonio Museum of Art since 1981.