Houston audiences will get a rare glimpse into the Bayou City’s pre-boom, Jim Crow-era art scene when the exhibition Planned, Organized and Established: Houston Artist Cooperatives presents paintings and ephemera from two 1930s collectives—one white, one black.
For the first time at Dallas’ iconic Nasher Sculpture Center, curators have allowed for a physical alteration of the building: removing two rows of the site-specific oculi in the ceiling of the Renzo Piano structure.
Depending on one’s frame of mind, the new exhibitions on view through July 16 at San Antonio’s Southwest School of Art—created by three very different artists in three divergent mediums—offer either hopeful or apocalyptic visions of landscapes.
The women in Sappers and Miners, Kelli Vance’s new show of paintings on view through June 17 at Chris Worley Fine Arts, are preparing for a kind of war. Vance depicts her young soldiers in various modes of spiritual training.
Placed strategically throughout the lushly-landscaped grounds of the Dallas Arboretum and Botanical Garden is a selection of sculptures of African women, birds, safari wildlife and abstracted forms.
City as the “common denominator” is the main consideration of DATA CITY, an international UNESCO (United Nations Educational, Scientific, and Cultural Organization) exhibition of new media installations by artists from members of the organization’s Creative Cities Network (UCCN). Austin artist and designer Clay Odom has been invited to represent the Texas state capital.
Ambreen Butt’s decorative installations are beautiful on the surface however, upon closer inspection, the works reveal themes of violence and political oppression. Her exhibition, What is left of me, is on view thru Aug. 20 at Dallas Contemporary.
In most respects, the recent unveiling of a dedicated Islamic art gallery at the Dallas Museum of Art was a straightforward, self-evidently happy occasion.