Glasstire counts down the top five art events in Texas.
For last week’s picks, please go here.
Keliy Anderson Staley, “Arely,” 2019.
1. Keliy Anderson-Staley: Documents & Dwellings
Art Museum of Southeast Texas (Beaumont)
July 2 – September 18, 2022
From the Art Museum of Southeast Texas:
“Anderson-Staley is a Houston-based artist and the Associate Professor of Photography and Digital Media at the University of Houston. She was recently awarded a Guggenheim Fellowship. She grew up in an off-the-grid cabin in Maine, only learning later in life that her family’s bohemian lifestyle was purposely chosen by her father. At 12, she learned her father was not her biological father, resulting in a reevaluation of her life and memories that continue to present day.
The exhibition includes the installation of: Shelter in Place, a 10-foot by 10-foot house structure covered in over 560 tintype portraits; The Baking Pan Series: An Incomplete Family History, a selection of antique baking pans with emulsified images on their surfaces; Father, Dad: Tom, Bill, a grid of tintypes of Anderson-Staley’s biological father and adoptive father; Raw Materials in War and Peace, multiple volumes of palimpsest books made with prints and cyanotypes; and Paper Quilts, 8-foot by 5-foot quilts made from notebook pages, handwritten letters, and photographs. The exhibition will demonstrate Anderson-Staley’s unique and personal investigation into the definitions of home, family, and community.”
Maria A. Guzmán Capron, “Sígueme,” 2021, fabric, thread, batting, latex paint, spray paint, and acrylic paint. Courtesy of the artist and Shulamit Nazarian, Los Angeles.
Nick Vaughan and Jake Margolin, “The Retirement of no. 99 Kensett AR,” 2019, charcoal powder and wind on paper. Courtesy of the artists.
2. Maria A. Guzmán Capron: Forma Seductora & Nick Vaughan and Jake Margolin: Wayfinding
Blaffer Art Museum (Houston)
July 15 – September 18, 2022 | July 15 – October 9, 2022
From the Blaffer Art Museum:
“Maria A. Guzmán Capron creates fantastical hybrid figures that explore converging forms of identity, culture, desire, and social exchange. Her self-described “beyond-human characters” are made from vivid, often recycled fabrics and paint, which are stitched together to fashion sinuous bodies in various states of motion and repose. Often these bodies verge on abstraction as swathes of pattern and pure color are employed by Capron to represent a flopping, folding arm or billowing hairstyle. The contours of individual figures are subsequently lost, or melt into one another, suggesting an effervescent spillage of personality or emotion—whether it be joy, despair, lust, or introspection.
The Blaffer Art Museum is proud to present the first solo museum exhibition in Texas of artistic and life partners Nick Vaughan and Jake Margolin (working collaboratively as “Nick & Jake”), whose poignant interdisciplinary practice marries art, theatre, performance, archival research, and spoken word. As part of this select survey that spans multiple years of activity, the Blaffer will commission a precedent-setting number of new works by Nick & Jake that include two monumental drawings, intimate cartographic mappings of pioneering community members, and a pair of new performative lectures. The artists will also orchestrate a new performance-based “cloud” painting that will be presented at a campus-based location outside the museum, and a newly assembled compilation of their seminal video works will be displayed at the UH Student Center and Blaffer Art Museum social media channels. Within this multi-faceted and multi-site celebration, this constellation of new works will be integrated with a handful of past works to carefully trace the evolution and achievement of Nick & Jake’s practice.”
Guadalupe Hernandez, “Cut Paper Sabor De Mexico Red.”
3. Guadalupe Hernandez: Recuerdos Vividos
Presa House Gallery (San Antonio)
July 2 – 30, 2022
From Presa House Gallery:
“Hernandez was born in San Miguel de Allende, Mexico, before relocating to Pleasanton, Texas, a small city south of San Antonio, in 1996. Despite moving to the United States, Hernandez maintained a deep connection to his Mexican heritage and customs through time-honored familial traditions. Hernandez’s practice examines his cultural identity by reinterpreting childhood memories and family stories connecting his past and offering greater meaning to his present. Through the use of photographic references accumulated over several years, retracing the markets, street scenes, and people of his homeland Hernandez creates elaborate papel picado portraits and figurative oil paintings with gestural brushwork.”
A promotional flyer for Talley Williams “The
Nesting Project” on view at the Janette Kennedy Gallery in Dallas.
4. Talley Williams: The Nesting Project: A New Heaven /A New Earth
Janette Kennedy Gallery (Dallas)
June 25 – July 22, 2022
From Talley Williams:
“An installation exhibit, The Nesting Project is the first follow up exhibit since the artists post covid installation Playing In The Dark : Burned But Not Consumed featured last year at South Dallas Cultural Center.
The exhibit is centered around a 6 ft x 9 ft bird’s nest constructed and maintained by the artist for over a year. In The Nesting Project, Williams casts her artistic cloak in the ring as she merges a woman who claims to have woke up miraculously woke up endowed with creative abilities , with a conceptual presentation of antiquity. The installation showcases early canvases of William’s unique painting style with newly constructed large scale sculptures and conceptual garments.”
Heather Parrish, “Other Eye IV,” 22 x 28 inches.
5. Seeing Out the Other Eye – A View Through Waller Creek at Flatbed
Flatbed Center for Contemporary Printmaking (Austin)
June 12 – July 26, 2022
From Flatbed Center for Contemporary Printmaking:
“Bearing the name of Austin’s first city planner, this cretaceous limestone waterway is inscribed with legacies of racialized division and displacement. As an Austin native with family traces to the city’s founding, artist Heather Parrish explores these threads through historical layers of terrain and urban development. Her exhibition at Flatbed uses images sourced from historic photographs of Waller Creek, remembered (sometimes forgotten) as a dividing border line that runs through the city of Austin.
Heather Parrish employs printmaking, experimental photography, collage and installation to unsettle simple binaries and consider complex embodiments of boundaries. Rather than firm and fixed, she explores the dynamic potentialities of boundaries as porous sites of exchange. Born in Austin, Texas, she spent formative years of her childhood in Southeast Asia. This experience underlies a heightened sensitivity to negotiations of belonging, identity, and connection to land. Collaboration is also central to her art practice including projects with scientists, filmmakers, poets, and activists, bees, microbes, canals, creeks and other waterways.”
