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Capsule Art Reviews: "Book Report," "If you didn't get to Austin to see the Texas Biennial," "Insperity Golf Experience," "Katja Loher: Multiverse," "Matt Magee," "New Formations: Czech Avant-Garde Art and Modern Glass from the Roy and Mary Cullen Co

 "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

"If you didn't get to Austin to see the Texas Biennial" The show's title pretty much says it all: It's a group exhibition of Darke Gallery artists who were included in the 2011 Texas Biennial. There's some nice work here, and unlike most group shows, every artist deserves a mention. Hillerbrand and Magsamen's humorous and unsettling 2010 video Accumulation, based around a massive pile of household crap, is on view. Kathryn Kelley has a fabulous installation in a narrow side gallery, left over from her recent show. Her trademark black rubber inner tubes are clustered over the ceiling, dangling down like flaccid stalactites, filling the space and overwhelming the viewer with the smell of rubber. Working in a decidedly smaller scale, Kia Neill offers up delicate clusters of beautifully fake and sparkly shells and coral. There's a lot of strong painting as well. Catherine Colangelo's flat, matte and graphic gouaches of houses and ships always have great color and pattern. Marcelyn McNeill's paintings blend flat color and hard-edged form with brushy bits in a pretty interesting way. And while shaped canvases can sometimes be gimmicky, Richard Martinez's Gulf (2007) is an elegantly elongated silver ellipse. Matthew Bourbon's paintings are on view as well, with scenes in which figures appear to be digitally interrupted with bars or pixel-like clusters of vivid color. It's definitely worth a trip, and it's much closer than Austin. Through November 19. Darke Gallery, 320 Detering St., 713-542-3802. — 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

"Katja Loher: Multiverse" Not unlike Swiss artist Pipilotti Rist, Swiss-born Katja Loher creates brightly surreal video worlds. The artist crafts kaleidoscopic visuals, setting unitard-clad female dancers against strange flora. The videos are hypnotic and riveting; the only problems are in the presentation. In an extremely successful installation in the back of the gallery, Loher amassed a cluster of huge white weather balloons and projected circles of video over their rounded forms. The artist's imagery and the balloon forms work incredibly well together. But in other pieces, Loher sets video screens behind circular openings in wall-hung panels. She then attaches thick glass spheres over them. The glass has nodules that distort the video in an interesting way but as an object, it's too much. The same goes for the circular screens set into a table like place mats and underneath a glass pitcher and goblets. These pieces are extremely slick and well-executed, but just because Loher can pull off these complicated objects/presentations doesn't mean she should. The video is strongest in its simplest presentation. Through November 23. Anya Tisch Gallery, 4411 Montrose, 713-524-2299 – KK

"Matt Magee" Tape is de rigueur for painters seeking crisp, graphic abstraction. Matt Magee makes those kinds of paintings, but he works without a net — i.e., no tape. Filled with patterns and rows of shapes, some of the works get a bit of an optical hum going through color placements and the occasional op-art-y pattern. There are also heavy doses of Latin American avant-garde abstraction. Overall, however, much of this is work that could be sterile or facile if it weren't for its hard-won hand-painted surfaces. Conduit (2011) is a white panel filled with rows of neat blue scallops. It's only when you get close to them that you see the slight wonkiness and the dense brush strokes, a visual record of the artist's failed struggle for perfection. There is something wonderfully engaging and charming about Magee's paintings. Through November 26. Hiram Butler Gallery, 4520 Blossom St., 713-863-7097. — KK

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