A few years back while exploring place-making with intersections between art and landscape architecture, I experienced a deeper understanding of sculpture through the art of Jesús Moroles. His remarkable ability to combine art and spirit of environment captured my attention and illustrated an ever-prevailing interest about the forces that bind nature and human beings.
In 2006, off the back of their much lauded “Athlete” and “Athlete/Warrior” series, photographic duo Anderson & Low were invited to photograph this circus troupe between performances of their show Eclipse in Blackpool. The full series of around fifty images opens at The Lowry next week.
With few exceptions, the 26 paintings and sculptures by David Bates at the Austin Museum of Art represent a fine and familiar overview of the artist’s oeuvre.
Notice the poor little man splashing around near the bottom of Luis Cruz Azaceta’s painting “Swimming to Havana.” Even if he were to somehow escape the high cement walls of the angular pool of water that contains him, he’d still be trapped in the maze of jagged abstract shapes that twine around the edges of the canvas. There’s no way out. Not physically. Not psychologically.
It might seem like just another grim artistic stroll down Katrina memory lane. But, trust me; it’s not nearly that simple.
“Balcony”, 2003
The late John T. Scott’s woodblock carvings, now on display at Arthur Roger@434 gallery, depict mountains of debris avalanching into the New Orleans streetscape.
The painter Wayne Gonzales messes with our expectations. He cracks open images we think we already know and injects them with subversive sensuality and doubt.
It’s an intensely graphic month at the San Antonio Museum of Art, where antique suppurating martyrs are countered by modern meat, splayed, ground, stacked, and photographed for consumption.
A House Made of Food: Bread House is included in photographer David Halliday’s exhibition ”Culinary Delights” at the San Antonio Museum of Art.
Robert Colescott—who was born in Oakland on August 26, 1925 and died June 4, 2009 in Tucson, AZ—was an energetic painter who pushed his presence into the history of American art completely on his own terms. His fifty-some-year oeuvre, featuring crude figuration, splashy, garish color, and blunt racial and sexual themes, was generated by a spirited mix of deep ties to past art, immersion in popular culture, committed social topics and uncompromising self-expression.
Simon Gunning and Mitchell Gaudet by D. Eric Bookhardt, GAMBIT WEEKLY “I paint and draw light,” says Simon Gunning, and if that sounds almost biblical, his new Avery Island landscapes…