Capsule Reviews

"CraftHouston 2006" This biennial exhibit, which saw its inception in 2002, should really be named "CraftTexas," since the artists highlighted in the show are from all over the state. (Apparently the name will be changed for the 2008 show to reflect that very thing.) Art historian, writer and curator Suzanne Ramljak juried this year's exhibition, which ranges from obvious "crafty" pieces to ones that blur the line between craft and fine art. Certainly much of "CraftHouston" could be considered contemporary sculpture, like Todd Campbell's Hairline. The Austin-based artist has arranged forged and welded steel shards to create a caterpillar-like floor sculpture that resembles a feather boa, and yes, looks very much like parted hair. But Roy Hanscom's fascinating wall sculptures steal the show. Hanscom, who is from Houston, didn't receive an award or an honorable mention for his work here, and that's disappointing. His works consist of intertwining stoneware "snakes." One piece, Medusa, takes the concept literally. The sculpture is a huge horizontal rectangle of green twists. Hanscom has done an amazing job concealing where each snake begins and ends (or maybe it's one whole snake). Like many in this show, Hanscom demonstrates how a good artist can transcend materials and labels. Through October 1. Houston Center for Contemporary Craft, 4848 Main, 713-529-4848.

"H J Bott: Raising the Line" Artist Harvey Bott is like some mad math professor -- he's obsessed with geometry. His previous show at Sicardi Gallery featured masking-tape drawings from the '50s; it revealed a young artist's fascination with dividing space with line and looked like an earlier and better version of Frank Stella. "H J Bott: Raising the Line" is an installment of the artist's more recent geometric musings. Among the works is a planning drawing for his installation Fluid Architecture, a chamber that used the ridiculously low-tech materials of string and black light to create shapes in space. Another drawing, DoV Master Multiplicans (1972-76), graphs out a curved and angled shape; four of them fit perfectly together to make a square. Meanwhile, some of the graphically strongest works, like Footnote Retrospective (2005), take the ideas of his '50s works and render them three-dimensional using strips of pale wood subtly delineated with India ink. Who knew math could be so attractive? Through October 7 at Sicardi Gallery, 2246 Richmond, 713-529-1313.

"Joe Mancuso" Joe Mancuso's paintings at Barbara Davis Gallery have gone all floral -- and that's a surprisingly good thing. Mancuso's trademark painting style uses solid sections of matte color painted thickly and then sanded down. It lends itself incredibly well to the large-scale, high-contrast floral images Mancuso has selected. The newspaper the artist often has used to underlay his images is gone, and these new paintings have a graphic punch and uncharacteristically high contrast and vivid colors. There's stark black and white, but there's also hot pink and black as well as reds and purples. Mancuso has come up with a juicy new body of work. Through October 7. 4411 Montrose,713-520-9200.

"Power Pathos" Anyone who wasn't raised on a fundamentalist compound will have seen some of the imagery in this group show featuring five artists whose work mines the memes of advertising, cartoons, comics, carnivals, graffiti, tattoos, surfing and other bits of pop-culture detritus. Anthony Ausgang offers up several paintings of his signature cats, brightly colored and drawn in the cartoony style of Tom or Sylvester -- that is, if Jerry and Tweety were looking at them after dropping a couple of hits of acid. Man-child Daniel Johnston presents more than a hundred drawings, giving us the opportunity to see multiple variations of the artist's stock characters (Captain America, Joe Boxer, that frog with tentacle eyes) and his recurring themes (good vs. evil, unrequited love, mental illness). Gibby Haynes's drawings look just like what you'd expect from the lead singer of the Butthole Surfers -- in other words, they're weird -- and Clark Fox gets a lot of mileage from imagery of George Washington, Abraham Lincoln, John F. Kennedy, Hugo Chavez, Mr. Peanut and Big Chief. But the quintessential pop surrealist is Ron English, whose Kiddy Guernica reworks the Pablo Picasso masterpiece into a carnivalesque commentary on war games. Spanning a foot more than the original, the work is a definite must-see. Through September 24 at the Station Museum, 1502 Alabama, 713-529-6900.

Summer Studio Residencies If the new residencies at Project Row Houses are any indication of the emerging crop of Houston artists, then there may be cause for concern. Not that the five artists exhibited are untalented; quite the contrary. But conceptually, these installations feel flat. In fact, of the five works created by local college art students, none feels as fleshy as the side exhibit, Eric "Equality" Blaylock and Jason "Flash Gordon Parks" Woods's The Beautiful Side of Ugly, a 3-D version of the artists' poetry-and-photography book documenting Houston's marginalized. The installation pulses with imagery, objects and words, vividly rendering specific locations and emotional pinpoints. The student artists, on the other hand, who find no trouble talking about their work in artist notes, ultimately fail to deliver those concepts in execution. Least guilty are Keijiro Suzuki and Golda Hall, both sophomores at Houston Community College. Suzuki's Native American-inspired piece resonates with its focus on negative space and its sweeping, circular design. Clothespin-hung headshots of an ethnically diverse group of individuals hang above hard, socklike shells of feet. The installation manages to communicate a message about universality. Hall's black-and-white nude photos of most likely her fellow college students are displayed in pieces, so that smaller prints come together to create a larger, whole image -- not particularly innovative in design, but there's a conceptual point of view. The other three artists, two juniors and a senior, demonstrate potential but not much more. Through September 24. 2521 Holman, 713-526-7662.

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