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"Joseph Havel: Hope and Desire" In his solo show at Hiram Butler Gallery, Houston artist and Glassell School of Art director Joseph Havel has just two pieces in the gallery's main room. The more prominent, and colorful, even in its monochromatism, is Hope and Desire, which also gives the show its name. It consists of ten Plexiglas boxes densely stuffed with carefully arranged shirt labels embroidered with the words "hope" and "desire." There are upwards of 30,000 of them to each box, with each box alternately consisting of shirt labels labeled "hope" and "desire." Thanks to the white edges of the labels, the labels form blue lines that run up and down, across and diagonally, like some Sol LeWitt line drawing done in fabric. Havel has worked with shirt labels and Plexiglas boxes like this before, but the ten used here make it the largest of this scale yet. It's visually striking, too. The labels read like blue and white paint until you get up close to confront it and the illusion is gone. The messages in the labels are also mostly hidden, save for some that are revealed along the edges of the clear frame or are out of place in the line, like a happy accident. The second piece in the show is Architecture, a tower of cast resin that replicates the collected papers of Sigmund Freud. The stack consists of seven casts of the set of books, as well as the original model, now destroyed, making it 5'7" tall — which by some lucky math was also the height of Freud himself. The cast leaves the imprint of the books' volumes and author like a ghostly shadow, which is quite fitting since it's meant to be referential. By using Freud, Havel is speaking to the influence of the thinker on Modernism. Hope and Desire is also said to be inspired by The Dream Songs by John Berryman, a work that expresses Freudian concepts. There's much art historical, cultural and personal information to read here, but even if it all doesn't come across, both works are still really satisfying formally to look at. Through January 26. 4520 Blossom St., 713-863-7097. — MD

"Unpremeditated Natures: Russ Havard and David McClain" Going to Gallery 1724, a salon-slash-gallery in the Museum District, you can never be too sure what's the newest artwork for display and what's just business as usual. So in the space's current show, curated by artist and proprietor Emily Sloan, if you find yourself wandering into the bathroom, don't worry, you're in the right place. As you enter the unconventional gallery, to your right, Houston artist David McClain has filled the walls with art traditionally framed and displayed in a grid. He calls it his "Lawyers" series, and in it, the artist (a lawyer himself, though he's currently not practicing) uses as source material meta magazine ads that advertise specialized law services geared toward other lawyers. He paints over the people and text in thick lines and patches, obscuring and revealing to create works that subvert the ads' original meaning. Phrases like "experience counts," "integrity" and "innovative solutions," meant to differentiate the lawyers and their services, are now exposed for how conventional they all are. Alongside the "Lawyers" series is "Works of Paper," an installation that layers the bathroom inside and out with paintings. McClain refers to his process here as "painting as meditation." Working in an undisciplined, unconscious process, the artist has created works that range from the abstract — splotches and rivers of moody color — to more representational — mostly faces and bodies composed in a naive style. There's also the rare photograph, which is the artist's primary medium. In such a confined space, it's a thrilling explosion of creativity. In the next room, Russ Havard's small graphite drawings line the walls. Like McClain, the Lufkin artist has an almost meditative process. He starts with a shape — a circle, an oval, a line — which morphs into a strong, recognizable form, from a fish to a tree to a pendulum in motion. They're mostly white and gray drawings, as if his little scenes are constantly overcast, though there are brief, welcome moments of spontaneous color. The show is titled "Unpremeditated Natures," which speaks well to the intuitive, carnal process of the artists. At the same time, they couldn't be more different — where McClain's paintings are wild and spontaneous, Havard's are controlled and ordered. It's a compelling pairing. Through January 26. 1724 Bissonnet, 713-582-1198. — MD

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