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Capsule Art Reviews: "The Age of Impressionism: Great French Paintings from the Sterling and Francine Clark Art Institute," "Georges Braque: A Retrospective," "Funnel Tunnel," "Garden Object," Magritte: The Mystery of the Ordinary, 1926-1938

"The Age of Impressionism: Great French Paintings from the Sterling and Francine Clark Art Institute" These days, Impressionist exhibitions are the art museum version of the ballet The Nutcracker: frothy and beautiful, if a little overexposed, and sure to pack 'em in at almost any price. Even though we've already had at least six or eight Impressionist shows during the past ten years, who could fail to love yet another one that includes 70-plus paintings by Renoir, Monet, Pissarro and Degas, among others? That's what the Museum of Fine Arts, Houston, is offering with "The Age of Impressionism." This isn't a star vehicle so much as an ensemble piece; these aren't the paintings that make the textbooks. They are, rather, a tribute to the taste of a collecting couple with very good eyes for art and lots of resources (that is to say, money) who were buying paintings to enhance their own lives at home rather than to dazzle tourists in museums. Frankly, unless you're something of an art specialist, you may have trouble remembering many of the paintings individually a day or two after you've seen the show. But if you're lucky enough to see it under the right conditions (not too many other viewers, the right kind of light that so often suffuses the galleries in the Rafael Moneo-designed Beck Building at MFAH, at a time when you're really in an art-viewing mood), you're almost certain to remember the deeply satisfying feeling that comes from standing in galleries surrounded by beautiful, harmonious paintings. Not at all a bad memory to take away from any exhibition. Through March 23. 1001 Bissonnet, 713-639-7300. — RT

"Georges Braque: A Retrospective" French artist Georges Braque (1882-1963) often gets second billing to his more famous colleagues Matisse and Picasso. He was as accomplished as either of them (or almost so), but not nearly as many go giddy at news of another Braque exhibition as do for the other two. With the exhibition "Georges Braque: A Retrospective" coming to Houston from Paris, where it was mounted on the 50th anniversary of Braque's death, the Museum of Fine Arts, Houston takes him out of the shadows of Matisse and Picasso and lets him stand gloriously on his own. Included are 70-plus works from all periods of his career, starting with a spine-tingling group of his fauve ("wild beast") paintings from 1906-1907, exploding with purple trees, green skies, blue mountains and red waves. These may be the greatest, and most satisfying, surprise of all. But there are also entire galleries of his delicate, art history-changing cubist paintings, as well as plenty examples of his own unique contribution to art, papier collé (collage), so fragile and so difficult to borrow that you may never be able to see so many together again. Installed in the Upper Brown Pavilion of the MFAH Caroline Wiess Law Building, a vast space that was recently reconfigured, the show shines brilliantly. One moment you can be completely surrounded by works of a single style or period, and then with a step or two you can see through to other galleries of earlier or later works and make visual connections across Braque's long career. It's a show not to be missed. Through May 11. 1001 Bissonnet, 713-639-7300. — RT

"Funnel Tunnel" Clunky, streaked wood and wiry metal are the last things one would consider using to celebrate Art League Houston and the colorful Montrose neighborhood that surrounds it. Then again, talent is as talent does, and bare-bones as they may be, Patrick Renner's pieces are feats of size and color. Bounded Operator (2012) is a wall of windows glued together and filled with sand, rock and gravel, mingled with pieces of wood splashed in tie-dye, exchanging its windowpane aesthetic for a swirling metal one. The rainbow brightness of Wooddauber (2012) is one of many rainbow-colored chunks of wood from Renner's "Vestigial Structures" show exhibited last year at Avis Frank Gallery. The two pieces are combined to create "Funnel Tunnel," a metal-on-wood masterpiece so big that Art League publicly called on volunteers to help paint the wooden strips in the weeks before its opening. Before then, Renner could be seen blowtorching metal pieces together to create a wiry foundation for the wooden strips to attach to. It would, however, be inaccurate to describe "Funnel Tunnel" as skeletal. While other Renner pieces may come off as hollow, the wood and metal in "Funnel Tunnel" work together to create an artwork representative of the inclusive nature of the area around it. Those wooden strips? Painted in the hues of the rainbow, they very accurately represent the diverse people, businesses and culture of Montrose. The metal? Permanently melded together to hold the rainbow strips of wood, it represents the collectivity of this community. These materials create a 180-foot civic art sculpture seen whirling down the center of Montrose Boulevard. "Funnel Tunnel" will be on display in front of Art League Houston for the next nine months. 1953 Montrose, 713-523-9530. — AO

"Garden Object" If Dr. Seuss and Antoni Gaudí made a sculpture together, it might look something like "Garden Object" at Rice Gallery. It was actually created by husband-and-wife team Roberto Feo and Rosario Hurtado, who are behind the London-based design studio El Ultimo Grito. Their installation snakes through the gallery like some vividly patterned, many-legged llama-esque creature with long, curving and arcing necks. Visitors are invited to sit on the creature's back(s), from which little round tabletops grow, perfect for holding a laptop or a lunch. The bulk of the installation was created with bubble wrap, packing peanuts and tape — the kind of cheap materials you could pick up at any Office Depot or dive for in any office building dumpster. The designers' simple but visually dynamic construction is inspirational rather than aspirational. You could make an extra couch out of the after-Christmas-morning trash pile if you wanted. It's the kind of thing that seems perfectly obvious when you're a kid but that you forget about when you become an adult. Feo and Hurtado are giving permission to grownups to reclaim the improvisations of childhood. Through March 16. Rice University Art Gallery, 6100 Main, Entrance 2, 713-348-6069. — KK

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