By Pete Vonder Haar
By Abby Koenig
By Meredith Deliso
By Meredith Deliso
By Craig Hlavaty
By Meredith Deliso
By Abby Koenig
By Olivia Flores Alvarez
Two weekends ago, Houston hosted the Houston Fine Art Fair, the city's first art fair. More than 10,000 people showed up, and participating local galleries got a lot of traffic through their booths in the George R. Brown. Some also got a lot of sales. But there are many younger or smaller galleries that couldn't or wouldn't pony up the thousands of dollars it took to participate in the fair. And a lot of those galleries have some pretty fantastic work up right now, stuff that at least some of the estimated 8,000 local fair attendees should check out. Here are three of them.
Houston, TX 77098
Region: Lower Shepherd-Kirby
"Robert Pruitt: You Are Your Own Twin"
Through October 15. Hooks-Epstein Galleries, 2631 Colquitt, 713-522-0718.
Through September 30. Peel Gallery, 4411 Montrose, Suite 400, 713-520-8122.
"Tierney Malone: Ruminations of a Cluttered Mind"
Through October 8. PG Contemporary, 3227 1/2 Milam, 713-523-7424. Artist Talk: 3 p.m. Saturday, October 15.
In "You Are Your Own Twin" at Hooks-Epstein Galleries, Robert Pruitt offers up some of his best drawings yet. The show is packed full of Pruitt's smoothly rendered portraits of African-American men and women who seem unfazed by the often surreal additions the artist has made to their wardrobes or hairstyles. In Stunning Like My Daddy (2011), a slender young man in a red Kangol hat faces the viewer with his head cocked to one side; he also sports a large, ceremonial-looking feathered collar. And in Outta Sight (2011), a young woman wears a blue T-shirt with a Star Trek logo and a skirt with Native American geometric patterns; she also wears her hair carved into pointed futuristic shapes.
This incorporation of various and varied historical, cultural and pop-cultural references ties into the artist's exploration of W.E.B. Dubois's concept of "Double Consciousness" — being "African" and "American" at the same time, simultaneously knowing one's true multidimensional self and seeing oneself through the stereotypes and assumptions of others. Janus (2011), the first drawing of the show, depicts a young woman in T-shirt and jeans wearing an African wooden mask on back of her head. Janus was the double-faced Roman god who looked to the present and the past.
Pruitt previously made drawings on sheets of brown kraft paper, and while brown paper carries with it some strong historical associations — i.e., paper bag tests for "acceptably" light skin — the thinness and inherent flimsiness of the material ultimately didn't serve his drawings well from a practical standpoint. But in this show, Pruitt is using lovely smooth, heavyweight paper and dying it in various brownish tones that allow for more variation and contrast. Because this paper holds up better for his charcoal and conté drawings, it allows him to create portraits with a beautifully modeled, almost sculptural feeling.
The artist's large drawings are the most impressive, with the smaller head studies in the gallery hall slightly more uneven. Working primarily in charcoal, Pruitt keeps his color use selective but powerful, like the bright green of the dress in Steeped (2011), an image of a woman with a massive, gravity-defying Afro sculpted into the form of a Mesoamerican temple. The charcoal and the reddish brown of the paper provide the only other color in the image. As in many of the works, you never quite know how the symbol relates to the sitter. Is the temple a general reference to other American cultures, the Native American heritage of many African-Americans or to the particular sitter's ancestors? Or maybe it's all those things at once? However you choose to read it, it's an incredibly striking and original image — in a show that has a lot of them.
On view at Peel Gallery is "Gabriel Dawe," in which the artist presents Plexus No 9 (2011), an incredible, chromatically stunning installation. The Mexico City-born and -raised, Dallas-based Dawe created an elaborate network of thread running from floor to ceiling in a triangular pattern, conjuring a radiant haze of color that moves through the spectrum from greens to blues to magenta to orange to yellow. The slender lines of color shift and blend as you walk around the piece. It's color theory in action, and absolutely gorgeous. (I heard its effects caused at least one viewer at the opening to remark that he wished he were stoned.)
Hallucinogenic appeal notwithstanding, the fact that it is almost medievally low-tech makes the work all the more amazing. To create it, Dawe pieced together a 25-foot length of wood, screwed in evenly spaced hooks and then bolted it to the gallery ceiling beams. Shorter, four-foot strips of wood with more hooks were bolted to the concrete floor at right angles to the piece above. Every hook was numbered. The artist rigged up something like a giant needle and worked with huge spools of thread, stringing it taut between the pieces of wood, over and over again, repeating the process for days. The whole installation took nearly a week.
Plexus No. 3 is a Plexiglas box with thick layers of colored thread, a relic of a previous installation. On the walls are drawings with layers of multicolored fine lines, mimicking layers of threads. They remind me of spirograph drawings and feel like they are almost blueprints for Dawe's installations.
Dawe's installation at Peel is the coolest thing I've seen in a long time, and it's apparently the coolest thing a lot of people have seen in a long time. A least a dozen people told me how great it was before I ever saw it.
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