Capsule Reviews

"David Fulton: In and Of" David Fulton's paintings are filled with snaking, overlapping lines that make reference to geography -- the paths of rivers, the edges of coasts, the outlines of lakes. For this exhibition, Fulton has expanded the scale of many of his works. Conversion (2005) is the standout. The translucent white lines of the painting create a narrative, leading you through layered networks of paint into the dark caverns of the ground. Fulton is also experimenting with color over dark backgrounds in some of the works on view, but not all of them are as successful. The gallery lighting may be a factor, but the shiny varnish on the paintings makes some of the works hard to see. The most successful of the colored works is the tall, narrow painting called Immersion, (Red) (2005). In this haunting work, Fulton's crimson lines of pigment glow like hemoglobin. Through October 15 at New Gallery, 2627 Colquitt, 713-520-7053.

"David Simpson: Iridescent -- Interference" Seventy-seven-year-old David Simpson has been painting abstractly since the 1950s and was included in the famed 1964 exhibition "Post Painterly Abstraction" at the Los Angeles County Museum of Art, which was organized by Clement Greenberg, the czar of modernism. One wonders what the anti-minimalist Greenberg would have to say about Simpson's work 40 years on, given that it has become decidedly minimal. In this exhibition, Simpson makes minimalist paintings with a lush, iridescent beauty. Using layers of color and interference pigments that have the ability to refract light, Simpson creates paintings that shimmer like fish scales. Their burnished surfaces glow, and their colors shift according to the light in the room and the position of the viewer. A painting that appears lavender will shift to pink or gray. The works are quietly beautiful. No word on what Greenberg is doing in his grave. Through October 30. Gallery Sonja Roesch, 2309 Caroline, 713-659-5424.

"Lester Julian Merriweather: Chopped and Screwed" Lester Julian Merriweather samples pop culture for his drawings, and among his sources are magazines put out from the '50s to the '80s -- publications like Jet, Tan, Life, Time and Ebony. The title of his show is a reference to Houston's own brand of hip-hop -- "screwed," slowed-down songs that are "chopped" and intermingled with themselves. It's not unlike the process Merriweather goes through with his art as he extracts snippets from the media and corporate party lines and processes them through his own stream of consciousness. In his neat pen-and-ink drawings, text and image intermingle. A primly executed image of a disembodied bow tie and an Oscar are accompanied by musings about Halle Berry and Denzel Washington's Academy Awards. A text-heavy work focuses on Marcus Dixon. Another drawing pairs an image of a black man with an altered Brillo box as Merriweather goes post-pop on Andy Warhol. The Brillo box with "rust resister" now reads "Trill" (triple-ill) with "bust resister." In another work, he manipulates the Campbell's soup can. With a fluency in politics, pop culture and art history, Merriweather's work creates multiple entendres. Through October 22 at DiverseWorks, 1117 East Freeway, 713-223-8346.

"Reading Between the Lines" Dressed like an engineering geek in a striped tie and a short-sleeved dress shirt with pocket protector, Nate Larson inserts himself into his own photographs as he explores the paranormal. His black-and-white photos include neat lines of text that record his experiments and tales of mysterious signs and events, like the appearance of rocks on his doorstep. The artist addresses our curiosity about the supernatural with the wit and sense of irony that temper his own desire to believe. Also in this group show, Juan Miguel Ramos's work tells a San Antonio urban legend -- that if you stop your car in neutral on the railroad tracks, the ghosts of children who died there will push you to safety -- using bilingual text, photographs and animation. Ramos's approach to images creates a work that feels part Blair Witch Project, part MTV -- in a good way. Victoria Crayhon uses text for her own disconcerting ends by commandeering theater marquees. Her photographs record her interventions, like the one in which "OH GOD" is written on one side and "I LOVE MY LIFE" on the other. In Houston she took a crack at the 4819 Main marquee. Drive by and take a look. Through October 22 at the Houston Center for Photography, 1441 W. Alabama, 713-529-4775.

"Robyn O'Neil: Take me gently through your troubled sky" Robyn O'Neil's weird little guys in sweat suits are back. In her latest exhibition, O'Neil continues to create pencil drawings of surreal, psychologically evocative environments populated by dumpy guys in discount exercise wear. Her drawing style is smudged and blended in the style of pencil portraits created by earnest high school students. While those descriptions may not sound inherently appealing, O'Neil's work is. One of the standout pieces in her Inman show is As my heart quiets and my body dies, take me gently through your troubled sky (2005), an epic, five-part panel that depicts her characters migrating through a snowy landscape for some unexplained ritual involving an open trench/grave. O'Neil does well in equally evocative smaller works like Forgetting (2005), in which a lone, sweat-suited character sits in the snow under a bare tree, his back to the viewer. O'Neil is on a hot streak, with a 2003 Artadia Award and work in the 2004 Whitney Biennial. She manages to mix absurdity with sincerity to create wryly poignant work. Through October 8. 3901 Main, 713-526-7800.

KEEP THE HOUSTON PRESS FREE... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we'd like to keep it that way. With local media under siege, it's more important than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" program, allowing us to keep offering readers access to our incisive coverage of local news, food and culture with no paywalls.
Kelly Klaasmeyer
Contact: Kelly Klaasmeyer