Top

arts

Stories

 
 "Asis/Esmeraldo/Espinosa/Lizárraga" Work by 79-year-old Argentine artist Antonio Asis is a standout in Sicardi Gallery's thoughtful works-on-paper show. The gallery is showing Asis's geometric work from the 1960s — small, page-size acrylic works on paper. Carefully rendered on graph paper, Asis's designs reveal their handmade origins in minute and endearing ways. Gorgeous little bands of color radiate against each other in one work, while in another tiny, pixel-like grids of squares in warm and cool colors look like early computer-generated imagery. A series of small, black-and-white graph-paper paintings explore positive and negative space using circles, semicircles and squares. Their patterns are beautifully precise, but if you scrutinize them carefully enough, you are rewarded with evidence of the artist's brush straying just a little too far here and there. In an age of masking-taped edges and slick digital geometries, there is something warm and wonderful about seeing the human hand strive for perfection and fail. Through October 8. 2246 Richmond, 713-529-1313. — KK

"Book Report" As the electronic word slowly usurps the printed word, books are becoming increasingly fetishized. "Book Report," organized by Kinzelman Art Consulting in the lobby of the Bank of America building, brings together a host of book-related works. Given all the recent bank bailouts (and my personal animosity towards BoA and the jacked-up interest rate on my credit card), I found it particularly fitting that the show includes Conrad Bakker's carved and painted replica of a Penguin Classics edition of Karl Marx's Capital: Volume One, displayed in a vitrine. Other works are hung on temporary walls, including images from art duo Manual's ongoing series of book photographs. Their great homages to Josef Albers's square paintings, featuring books of different sizes and colors stacked on each, are on view. Daniela Comani offers images from her series "New Publications," in which the gender-specific titles of classic literature are tweaked — as are the viewer's assumptions. The digitally manipulated photos of slightly used paperpack covers are spot-on, and it takes more than a moment to notice Dostoyevsky's Sisters Karamazov or Ralph Ellison's Invisible Woman. Meanwhile, Darryl Lauster's cast-resin books turn reading material into dark, weighty slabs that come across like small-scale monoliths. It's an incredibly nice show and would be for any venue, let alone a bank lobby. If you work downtown, you should definitely check it out, and if you don't, it's worth the trip. Through December 29. Bank of America Center, 700 Louisiana. For information, call Kinzelman at 713-533-9923 — KK

"Hayden Fosdick: Paper Compounds" Hayden Fosdick's small, minimalist collage works feel right at home on the walls of downtown urban boutique The Tipping Point. The little cut-and-paste jobs, utilizing imagery and paper from a collection of old books the artist inherited from his late father, look like tiny wheat-paste street-art works. Most contain only two or three image components, combined to create a simple yet visually compelling hybrid. Fosdick slips up occasionally, but only because he tries, perhaps, to keep it simple, and some of his juxtapositions lack an organic connection. In other words, some pieces feel unfinished. But there's much to enjoy in this show, like an ear inserted into an incomplete female face, where the earlobe is transformed into the end of a stuck-out tongue; and one in which the upper torso of a woman doing a workout routine springs from the funnel of a tornado. Another plus: The price is right. Most of these pieces can be bought for $150-$200, just a shade more expensive than that cool pair of PUMA high-tops on the shelf. Through October 15. 1212 Main, 713-655-0443. — TS

"Helen Altman: Half-Life" It's like she's psychic. The nature and fire imagery in Helen Altman's show, done way before the rash of Texas wildfires, was nothing if not prescient.  Of course, it's not like it came out of nowhere — Altman has an abiding interest in the natural world, and she's done drawings with blowtorches before, as well as building sculptures from glowing fake fireplace logs. I've never been that big on Altman's 2D work, but when she starts bringing in the 3D elements, things get interesting. In the back gallery at Moody, Line of Fire (2011), Altman's wall painting of a beaver dam, has a stand of stripped-down trees in its background. Flickering, flame-like Christmas lights are attached to the wall and clustered over the painted trunks, seemingly setting them alight. Meanwhile, Two Deer Reflecting (2011) is a gorgeously black-humored work, a vintage lamp with a colorfully hokey forest scene on its shade. It's one of those cylindrical lamps with a rotating insert, which Altman altered by cutting out tiny flame shapes. As the inner cylinder rotates against the light, fire seems to rage through the tranquil forest. Vinyl letters on the wall behind it read: Gordon said to Enid, "Living well is the best revenge." Enid looked up and replied, "Burning down their cabin is a close second." Through October 15. Moody Gallery, 2815 Colquitt St., 713-526-9911. — KK

"Insperity Golf Experience" Putt-putt golf isn't the leisure activity it used to be. What killed it? We have no idea, but if upscale makeovers are bringing people back to the bowling lanes, we think contemporary art might do the same for putt-putt. The nine-hole Insperity Golf Experience explores what happens when you ask artists to design putt-putt holes. You get your standard, avoid-the-obstacles holes like Emily Sloan's Sloan Winding Landscape, a yellow-turf area split by a little winding fence, as well as trick-shot challenges like Elaine Bradford's Hole in the Sidereal, complete with a replica of the artist's signature sweater-clothed deer. We wanted to play Anthony Thompson Shumate's Galactic Forfeit Cowboy Lounge, which launches the golf ball through a custom-made pinball machine, but it was temporarily out of service. And the Art Guys naturally contribute a hole you can't even play; it's meant only as sculpture. (Score yourself a hole-in-one and enjoy.) Through November 27. Discovery Green, 1500 McKinney, 713-400-7336. — TS

Marc Swanson: The Second Story This exhibit's title, "The Second Story," suggests that there was indeed a first story, a previous narrative — that this show is in effect a sequel. Or it references a San Francisco gay bar by the same name. Both are true. Viewers familiar with the artist Marc Swanson who are clued in to his gay-culture (specifically ball culture) references, may walk away from the show smugly satisfied, feeling as if they'd received a secret message. But the work is also enjoyable as a series of contemporary memorials: the "second story" of a life. Immediately visible upon entrance is a turtle shell encrusted with rhinestones (Swanson is known for his taxidermied deer heads covered in crystals), a reference to a character in the 19th-century novel Against Nature, who sets gemstones in his pet tortoise's shell, and the extra weight kills the animal. Other works are arrangements of items, chains, fabric and photos, boxed and hung like shrines. One piece is a kind of stacked totem displaying a man's portrait; it includes a little shelf where you might place a candle. Overall the show comes off as a highly personal set of works, and viewers' personal histories will determine the degree to which its symbolic content connects. But even without a reference library, the show emits a strong emotional charge. Through October 9, Contemporary Arts Museum Houston, 5216 Montrose, 713-284-8250. — TS

"Mary McCleary: A Survey 1996-2011" The Art League Houston named Mary McCleary Artist of the Year and is presenting a jam-packed 15-year survey of her work. McCleary is widely known for her collages, which incorporate "paint, paper, rag board, foil, glitter, sticks, wire, mirrors, pencils, nails, glass, painted toothpicks, string, leather, lint, small plastic toys and other objects" to create figurative images. The face in a portrait might be comprised of hundreds of multicolored fragments of glass, while the background roils with bits of painted string. The work is incredibly well-crafted and wonderfully obsessive, but there is something missing. Even allowing for the 15-year time span, there isn't a consistency of vision in the work, only a consistency of materials. Some of McCleary's imagery seems as if it is trying to have an edge — a living-room scene of a white, upper-middle-class family might have some dysfunctional back-story, a work depicting boys with sticks may be trying for Lord of the Flies overtones — while others, like a natural history museum-esque arrangement of moths, go in other directions. The materials trump the figurative imagery and whatever content McCleary is trying to imbue it with. The most successful work in the show is the artist's 2006 Sehnsucht, a giant floral arrangement that calls to mind 17th-century Dutch still lifes but is fascinatingly comprised of tiny beads, snippets of paper and string. Here you aren't wondering what the hell the relationship might be between the imagery and the materials. It's exuberantly and masterfully decorative but feels less craftsy. It's much more successful as a fine art piece than many of the works with seemingly more "important" subject matter. Through November 12. 1953 Montrose, 713-523-4053. — KK

"Raimund Girke 1930-2002" Raimund Girke made deceptively simple paintings — the kind of art that people think their kids could do. With determined gesture and controlled expression, the late German artist dragged long, brushy strokes across his canvases. It's pretty masterful work; the marks are forceful and unwavering, the paintings dominated by strokes of white over dark grounds. Paintings like this can succeed or fail in ways that are incredibly difficult to categorize, as illustrated by the show itself, which features a couple near-misses shown with some standout works. Die Kraft der Vertikalen (1997) has an amazing presence and is the centerpiece of the show. It's a great rush of frosty white strokes over and intermingled with dark blue-black ones. Don't try this at home. Through October 29. Gallery Sonja Roesch, 2309 Caroline, 713-659-5424. — KK

"Working in the Abstract: Rethinking the Literal" This show acts as a kind of teaching tool, so it's appropriate that it's on display at the Glassell School of Art. It's a primer on different styles of abstract painting, and it features some local heavy hitters of abstraction. The styles range from the liquid and organic compositions of Michael Kennaugh and Terrell James to the structured and geometrically inspired works of Pat Colville and Susie Rosmarin. The show's good for cleansing your mood palate; it's a way to exorcise those analytical demons and distill your surroundings down to color, shape and pattern. Rosmarin's meditative grids are consistently sweet eye candy, illuminated and flickering in an op-art-ish way. And Brooke Masterson Stroud's mysterious black paintings mix hard lines with hazy, unknowable open space. The exhibit succeeds in displaying the potential for emotion in abstraction. Through November 28. The Glassell School of Art, 5101 Montrose, 713-639-7300. — TS

Show Pages
 
My Voice Nation Help
0 comments
 
Loading...