San Antonio’s McNay Art Museum has been transformed into a haunted house for the Halloween season, as if a witch had cast her spell on the venerable San Antonio institution.
The art scene in Dallas has long been influenced by avant-garde women: From the The Betty McLean Gallery, which opened in 1951 as one of the first modern art galleries in Texas, to Valley House Gallery, founded by Peggy and Donald Vogel, to the visionaries of today who show no signs of slowing down.
Brooklyn-based artist Graham Caldwell’s exhibition Glimpsed Through Liquid, his first at Circuit12 Contemporary in Dallas’ design district, fills the space with serial glass sculptures, spanning nearly two decades.
It would be beating a long-dead horse to proffer any remark on the dearth of new music being performed in classical circles, a fact of which Elizabeth McNutt is well aware.
Audiences rarely flock to exhibitions about 18th century European art with the enthusiasm shown for Impressionism and ancient Egypt, but the Kimbell Art Museum is hoping Casanova: The Seduction of Europe, on view Aug. 27 through Dec. 31, will change that.
On October 8, Faith Ringgold will be 87. Alive, well, and still making art in her Englewood, New Jersey, studio, she has earned the moniker “living legend.”
“Keep Austin weird,” the bumper-sticker admonition goes, but German filmmaker John Bock—the latest of many European artists to take a cinematic crack at Texas, has envisioned a weirder Austin in Dead + Juicy, an exhibition combining an “uncanny musical” with an installation of transformed versions of the film’s props and sets.
One shouldn’t read too much into serendipitous timing, but I can’t help noting that Rebel, Jester, Mystic, Poet: Contemporary Persians —The Mohammed Afkhami Collection, on view through Sept. 24 at the Museum of Fine Arts, Houston, is the fourth exhibition of post-revolutionary art the MFAH has mounted in 2017.