there was some speculation as to the potential impact of the Blanton exhibit Pop Crítico/Political Pop: Expressive Figuration in the Americas, 1960s-1980s (through Jan. 16), as well as a certain wariness when it comes to trying to parallel contemporary problems with art from the past.
Now the world will also view O’Keeffe in a different light and see a trove of her recently discovered photographic art in the MFAH exhibition Georgia O’Keeffe, Photographer, running through Jan. 22.
“There are many Black people who feel like art is not their space…it’s been really great to have shows where people come who might not typically engage with the art. Where they can be seen in a special way.”
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.
The everyday is extraordinary, or so it seems in artist Nic Nicosia’s exhibition homemade stories 2020-2021, on view at Erin Cluley Gallery through Nov. 13.
In September, Nelson’s wish came true: She curated the DMA’s new exhibition, Naudline Pierre: What Could Be Has Not Yet Appeared, on view through May 15, 2022.
This is Descendance, a work by artists and sometimes-collaborators Michael Love and Ariel René Jackson, who in April were named winners of the 2021 Tito’s Prize.
“Steam-powered anything is one of the backstories of this exhibition,” explains George Shackelford, Kimbell Art Museum’s deputy director and curator of European art, referring to the museum’s latest exhibition, Turner’s Modern World, Oct. 17-Feb. 6, 2022.