Capsule Art Reviews: "Neurotic," "The Cowboy Spirit: Faces of the American West," "The Livable Forest," "Pictures and Words," "Push Play," "Thin Places"

"Neurotic" Over a film career spanning 40 years, John Waters has managed to simultaneously offend and entertain his audience. His art, it turns out, is no different. This show at McClain Gallery includes conceptual works by the Pink Flamingos director made between 1993 and 2009 that comment on film, writing, sex, humor, and, yes, neuroses — it's a glimpse inside Waters's twisted, transgressive bald head. The bulk of the show is comprised of these visual storyboards — movie stills Waters took with a camera and grouped by a highly specific, highly dark theme. There are images of plane crashes, people puking, drug use — he tries to make you cringe, then laugh, then question both reactions. In other, less shocking montages, Waters had some fun with Photoshop. In Product Placement, he adds some unfamiliar items to famous movie moments (in one humorous scene, Charlton Heston's Moses clutches The Ten Commandments in one hand, a bottle of Tilex in the other). Though all made within the past 15 years, these series have this throwback 1980s New York art school vibe that Waters seems to embody. On the non-photography side, Waters fills the gallery with quirky surprises that are also highly personal works. There's his larger-than-life replica of a La Mer jar — a long-time favorite of the artist's — minus the actual lotion (if he did fill it with the pricey stuff, the jar would have a price tag upwards of $200,000). For some inside art world humor, there's Visit Marfa, a satirical advertisement for the minimalist art capital of Texas. The poster highlights such attractions as "Eat food all the same color," "Pretend to see the 'Marfa Lights,'" "It's a l-o-o-o-o-n-g drive!" You get the idea. It's one of the few insidery pieces in an otherwise highly accessible show. Through April 21. 2242 Richmond, 713-520-9988. — MD

"The Cowboy Spirit: Faces of the American West" Robb Kendrick's show at William Reaves Fine Art Gallery features photographs dedicated to the American West. Each of the multitude of images tells a story; most are profiles of cowboys, with various scenic shots of ranch life sprinkled in. The portraits are nothing less than stunning. You may find yourself staring into the eyes of a young boy in a beat-up ten-gallon hat for more time than feels comfortable, but it is too difficult to turn away from him. A wiry old cowboy with a thick mustache conjures feelings of a lost generation, desperate to remain relevant. The wrinkles under his eyes are deep and cracked from years of living an SPF-free lifestyle. What is so remarkable about these photos, aside from the captured images themselves, is the manner in which Kendrick has shot and produced them. He uses an antiquated process called tintype, which dates back to the mid-1800s. The process is complicated and difficult, but its result is magnificent. The images come out somewhat underexposed, with unequal amounts of light distribution and a grainy, tan pigment. If you have ever taken one of those "old timey" photos that are so prevalent along boardwalks and amusement parks, you can conjure up an image, but Kendrick's photos are the real deal. Through April 21. 2313 Brun St., 713-521-7500. — AK

"The Livable Forest" This winter, the closest you can come to ice is at the Devin Borden Gallery. Laura Lark's latest show turns the gallery into a cool forest of silver and white. From the piles of brick on the ground, topped by deer and sirens, to the Tyvek the Houston artist uses as a canvas, the space is coated in shiny silver and stretches of white. The human dwellers of this forest are equally cool — portraits of Steve McQueen, Jane Fonda and a trio of lounging, longhaired women hang throughout the space, with silver strands of faux leaves hanging from the ceiling. The images of McQueen and Fonda, pulled from old magazine photo shoots, are meticulously made through stippling — a seemingly simple, elementary task of making many, many black dots, here with a Sharpie marker, with the dots denser in some parts, less so in others, to create the desired image. It's a technique Lark has used before, but is still completely awe-inspiring. Other works are made with watercolor, in smooth, blue strokes that look light and easy in comparison despite their own painterly skill. Lark has chosen one of Steve McQueen's most enduring images — his 1962 Harper's Bazaar cover — to re-create, but she crops out any white space, so that even the magazine name just reads "Azaa," and just focuses on his grinning mug, draped by a seemingly disembodied arm. Lark's black-and-white stippling technique makes him ghostly, as if McQueen is slowly disappearing. In a second dotted-Sharpie replica of the movie star, McQueen comes off more menacing than sexy, as the lipstick marks on his forehead and mouth once implied, with his hard, cold stare coming back at you. Fonda, on the other hand, looks more like a goddess than ever in a long, striking profile, based on an image when she was a teenager, forever young. Through April 7. 3917 Main, 713-529-2700. — MD

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Meredith Deliso
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Abby Koenig
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