"Calaveras Mexicanas: The Art and Influence of Jose Guadalupe Posada" The Museum of Fine Arts, Houston, commemorates the 100th anniversary of Posada's death with an exhibition titled "Calavaveras Mexicanas: The Art and Influence of Jose Guadalupe Posada." The exhibit decorates the white walls between the lower-level staircase of MFAH's Caroline Wiess Law building. It is separated into three sections, looking to the viewer like an unfolded pamphlet. In the center are Posada's pieces, which include La Calavera Catrina, his "most iconic calaveras" and others, such as La Calavera Amorosa (The Skeleton of Love). Drawn in 1907, it was printed in a Mexican newspaper in 1911 as the principal image for a cartoon depicting the execution of two Guatemalan criminals who assassinated General Manuel Barillas. Posada's El doctor improvisado (The Improvised Doctor), hanging in the very center of the exhibit, tells a different story, albeit with the same outcome: a traveling doctor who comes across death. As a gesture of friendliness, the doctor offers the bony burier his coat; in return, Death gives the doctor the ability to know whether his patients will live or die. In the end, however, it's the doctor who dies. The expiration of both the murderers, who took life, and the doctor, expected to sustain life, makes clear that death is not a respecter of persons. It falls on the just and the unjust. The left and right sections of this wall "pamphlet" display the artists influenced by Posada's works. To Mexican-American artist Luis Jimenez, death is a dance. His Baile con la Talaca (Dance with Death) (1984) lithograph shows him in a lusty tango with La Catrina, while Self-Portrait (1996) shows the artist decomposing. That Self-Portrait was created after Baile is probably a coincidence, but it does help to illustrate the inevitable conclusion to being in death's clutches. Baile shows Jimenez and Lady Death as half-human and half-skeleton. They embrace each other, with Jimenez's hand grazing her ribs while her bony fingers clasp his head. Jimenez is also half-skeleton in the latter lithograph. He is not a completed calavera, but the process is under way, as his sagging, pockmarked flesh reveals bone underneath. Jimenez's eyes and lips are uncovered, revealing hollow eye sockets and an eerie grin. The image takes up the frame, forcing viewers to come close — and become entangled in death's permanent embrace. Posada's influence reached Texas, too. Jerry Bywaters, an American artist and native Texan, created a lithograph painting of a graveyard in Terlingua. This place, Mexican Graveyard-Terlingua, transforms every year during Dia de los Muertos, when residents of the city come to pay tribute to the dead. Through December 15. 1001 Bissonnet, 713-639-7300. — AO
"Self, Model, and Self as Other" This exhibit of 50 self-shot photos from the Museum of Fine Arts, Houston's photography collection is more than a grab for attention. There is no Photoshop retouching, no Instagram filter, only subtle manipulations of perspective and clever backlighting that reveal each artist's portrait to be a facet of the psychological structure that Sigmund Freud defined as id, ego and superego. "Self as Other" correlates with the superego's job of restraining the untamed desires of the id. Again, these photographs don't have the luxury of digital retouching. There is, however, the use of addition or subtraction, with the artists hiding behind things so as to shield some part of themselves or dressing in flamboyant attire, as in the case of Kimiko Yoshida's The Divine Bride Praying, a piece from her 2003 "Intangible Brides" series. With "Model," the unrestrained id takes over. Ryan Weideman's Self Portrait with Transvestite, photographed in 1997, shows the artist in what appears to be a taxi. He is in the front seat; the transvestite peeks through a hole in the back. Juxtaposing himself — a man dressed in a conventionally masculine suit — with the transvestite — a man in full makeup with a conventionally feminine accent — affords the viewer two different meanings of what it is to be male. On the other hand, Weideman's placing himself in the forefront while the transvestite is confined to a hole in the background may give a negative connotation to the man's choice to feminize his maleness. Balancing the extremes of the superego and the id, the ego is the basis for the pieces that pertain to "Self." Through "Self," the photographers reveal themselves, as Oliver Cromwell said, "warts and all." Jen Davis's photo cleverly shows her "Self" by not showing herself — at least, not all of her. Instead of her face, we get her feet standing on a bathroom scale. The title of her photograph: Judgment. Through September 29. 1001 Bissonnet, 713-639-7300. — AO