The New York painter Deborah Kass became well known in the 1990s for a series called the “Warhol Project” where she expertly reproduced paintings of Barbra in a style very reminiscent of Warhol’s mid-1960s screen-prints and in a manner that seemed to correct the omission.
Lesley Dill: Hell Hell Hell/ Heaven Heaven Heaven by Eric Bookhardt, GAMBIT WEEKLY This was unexpected. Since the 1970s, Lesley Dill has been known for her gossamer sculptural works based…
I first interviewed Willie Birch in December 1996 for an article that appeared in the January/February 1997 issue of theGulf Coast Arts & Entertainment Review for the opening of an exhibit at the Arthur Roger Gallery in New Orleans.
An enormous television made of wood dominates the small back gallery at the Austin Museum of Art. On its larger-than-life screen runs a 28-minute continuous video loop that resembles inveterate channel surfing. Snippets of footage flash by: low-budget infomercials, self-serious history programs, blundering local news reports, didactic educational cartoons, exploitative reality shows.
The internationally esteemed sculptor, Jesus Moroles, although brought up in Dallas lives and works in Rockport, Texas, that is when he’s not on his way to Shanghai to finalize designs for a sculpture, lighting and landscaping commission or to Santa Fe for a one-person celebratory 200-year anniversary exhibition (2010) at the Mexican Embassy.
Jack Kerouac once said that if you own a rug, you have too much stuff. But for many middle-class Americans, too much is not enough. That is the subject of this amusing installation by Okay Mountain, a 10-person collective from Austin, Tex.
In March 2010, an exhibit of works by artist John Scott opened at the California African American Museum in Los Angeles. Featured in the exhibit, “Our Love of John Scott,” are the paintings, sculptures, and woodblocks created by this beloved artist who died September 1, 2007 in Houston after two double lung transplants and a long struggle with pulmonary fibrosis.
Visual art does not emerge from a void. Instead, it is bound by its own history and the temper of its time. In fact, now more then ever, art is riddled with cultural references—cues one must recognize in order to register the full measure of an artist’s intent. Such references can be arcane and idiosyncratic à la Matthew Barney, or retrograde and comical like George Condo.
The Dallas-based digital artist has for 20 years been recognizable for his uplifting, vibrantly colorful digital cloudscapes (one of his “thunderhead” clouds was shown earlier this year at the Dallas Museum of Art). But his latest exhibition, on display through July 17 at the Arthur Roger Gallery in New Orleans, resonates with a profound sense of loss and melancholy.
Botanical art has been with us since the earliest days of civilization, turning up on ancient Egyptian tombs and Greek and Roman monuments. Plants and animals are always in a state of evolutionary flux, so the artists of the past have been a major source of information about species no longer with us today. But art too evolves, and Courtney Egan’s Field Recordings expo reflects a turning point, not only for botanical art but also for video, liberated at last from monitors and projection screens. All that Egan’s work requires is a room with twilight lighting, a cool aesthetic gloom of the sort closed curtains or blinds can easily provide.