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Reportedly one out of every six Americans is now of Hispanic origin, an impressive social transformation with enormous political, economic and cultural consequences. To better understand this culturally shifting phenomenon, SPAIN arts & culture commissioned curator Claudi Carreras to gather the strongest photographic voices tackling issues of Latino identity. The resulting exhibition comprises works by established and emerging photographers such as Carlos Alvárez Montero, Sol Aramendi, Katrina Marcelle d’Au-tremont, Calé, Dulce Pinzón, Susana Raab, Stefan Ruiz, and Gihan Tubbeh.
For this years 28th Annual Fall Home and Garden Show, there will be not only dynamic guests, but also a variety of do-it-yourself concepts and ideas for your own designer needs. Bring the whole family because there is something for everyone.
French artist Xavier de Richemont has created high-tech sets for theater and opera and collaborated with the avant-garde visionary Robert Wilson but is arguably best known for his dazzling video installations, which have graced the facades of historic locales across Europe, Canada and Mexico. On view periodically for the next decade, Richemont’s 23-minute spectacle “San Antonio|The Saga” employs San Fernando Cathedral as a canvas to “narrate the historical discovery, settlement and development of San Antonio” via a 7,000-square-foot projection choreographed to music in surround sound.
Recently named Best Gallery in Louisiana by American Art Awards, New Orleans-based Octavia Gallery showcases modern masters alongside emerging and established artists from around the world, with an emphasis on Cuba. Set to open this month, the gallery’s Houston outpost will focus on forging relationships with Texas artists while providing members of Octavia’s international roster a platform in the Lone Star State. Offering a taste of the gallery’s unique curatorial slant, the pop-up exhibition “Summer Solstice” features paintings and sculptures by nine artists including SA’s own Waddy Armstrong, Jerry Cabrera and Rodolfo Choperena. Curated by Alice Carrington Foultz, the group show explores the balance between light and shade via works capturing forest canopies, golf courses, swimming pools and hot summer afternoons.
Born in New York in 1890, Paul Strand started taking photography seriously circa 1907, when he was studying under social reformer and documentary photographer Lewis Hine at the Ethical Culture School and frequenting soon-to-be mentor Alfred Stieglitz’s Little Galleries of the Photo-Secession (later known as 291). With encouragement from Stieglitz (who published Strand’s earliest work in his seminal quarterly Camera Work), Strand sharpened up his soft-edged aesthetic and developed a naturalistic style that loaned itself to stark cityscapes, candid street portraits (clandestinely executed with a rigged camera) and still lifes touted as “the first photographic abstractions to be made intentionally.” In 1932, Strand set out to document Mexico’s changing landscape—a project proposed by composer Carlos Chávez, who was then director of the fine arts department of the Secretaría de Educación Pública. While there, Strand worked with Chávez on the documentary-turned narrative film Redes (concerning the plight of fishermen) and created more than 175 large-format negatives and 60 platinum prints depicting small towns, fieldworkers, churches and religious icons. Recently acquired by the McNay as a gift from local collector Susan Toomey Frost, “The Mexican Portfolio” highlights this ’30s-era time capsule through a set of 20 photogravures first published in the 1940 book Photographs of Mexico.
Spanning six decades of his life’s work, “Matisse: Life in Color, Masterworks from the Baltimore Museum of Art" showcases the comprehensive, expressive, revealing and evolving indulgence of 20th century master Henri Matisse and the richness of his exterior world. The show, assembled from the renowned Cone Collection, features the artist’s definitive pieces such as The Yellow Dress (above), Large Reclining Nude, Purple Robe and Anemones and includes 80 paintings, works on paper and sculptures. A companion exhibit, “The Art Books of Henri Matisse,” opens the following week.
Bill FitzGibbons curates works by Richard Hunt, who has completed more public sculptures than any other artist in the country, including many throughout his hometown of Chicago.
A former stable the late artist and philanthropist Linda Pace repurposed as her studio, 111 Camp Street housed the Linda Pace Foundation offices until recently and is now open as SPACE, the Foundation’s first public facility. Tucked in the northeast corner of CHRISpark, SPACE will showcase works from the Foundation’s stellar permanent collection along with related contemporary art exhibitions and programming. Curated by LPF’s former Executive Director Maura Reilly and organized by Collection and Exhibitions Officer Kelly O’Connor, SPACE’s inaugural show “Pace Gems” reflects Pace’s “overarching collection criteria,” which focused on artists linked to Artpace, the “laboratory of dreams” she founded in 1995. While it highlights a number of New Yorkers (including Jim Hodges, Glenn Ligon, Marilyn Minter and Wangechi Mutu), “Pace Gems” also represents SA natives like Franco Mondini-Ruiz, Dario Robleto and even Pace herself.
The Witte’s “Fairytale Fiesta” invites viewers into a world of fantasy filled with gowns inspired by fairytales, myths and magic. This year’s featured pin dress is 1941’s Queen of the Court of Legends—a gold lame creation depicting the underwater kingdom of Atlantis with coral, starfish and seahorses rendered in velvet and rhinestones. Other dresses on display include the Duchess of Romantic Destiny, the Duchess of Youthful Enthusiasm and the Duchess of Insatiable Curiosity, from the 1983 Court of Never Neverland representing the Princess and the Pea, the tale of Peter and the Wolf and Alice in Wonderland.
Named after the Abel Meripool poem and song “Strange Fruit” (which was written in protest to 1930s-era lynchings and popularized by Billie Holiday’s recording in 1939), local artist Vincent Valdez’s large-scale portrait series The Strangest Fruit brings the lost/erased history of lynched Mexicans and Mexican-Americans in Texas into a contemporary context. Previously exhibited at David Winton Bell Gallery at Brown University, Valdez’s exhibition runs concurrently with light wizard Cathy Cunnigham-Little’s Window Works installation Within the Angles of Incidence.
The Wittliff Collections at Texas State University's Alkek Library in San Marcos recently opened Coming to Light, a photographic exhibition showcasing additions to their dynamically growing holdings. On view are works from 42 internationally acclaimed and emerging photographers, recently acquired and shown by the Wittliff for the first time. The images range from portraiture and the Southwest’s natural and invented landscapes to themes related to Mexico’s history, beauty, and cultural impact upon the United States.
Secession Gallery 107 opens its doors at Blue Star this week with the first look at an ambitious photography project focusing on a variety of issues including oil exploration, the environment and multiculturalism. Titled “Work Prints,” the two-year-long endeavor tasks photographers with capturing what America looks like today. Inspired in part by the “in-depth projects of the big picture magazines” that flourished before the Information Age, “Work Prints” aims to examine the present through an old-school lens that involves constructing a darkroom and printing a series of zines.
The new special exhibition Paper, Pencil & Ink: Prints & Other Works on Paper, mixes modern masters with Texas-based artists. The exhibit will run from July 10th until August 30th and will feature several artists.
The mighty N’gone Fall, curator for this go-round of Artpace International Artists-in-Residence, is an art critic, consultant, educator and “cultural engineer” based in Dakar, Senegal and Paris, where she graduated from École Spéciale d’Architecture and worked as editorial director of the seminal contemporary African art magazine Revue Noire from 1994 to 2001. In addition to editing the books An Anthology of African Art: The Twentieth Century (2002) and Anthology of African and Indian Ocean Photography: A century of African photographers (1999), Fall co-curated the African Photography Biennale in Bamako, Mali, in 2001, and the 2002 Dakar Biennale in Senegal. Fall has self-described as a “former architect” and as “a curator without a space” who now involves herself with projects in public and urban environments. In 2004, she helped to orchestrate Gaw-Lab, an ongoing project in which young Senegalese video artists collaborated with idealistic software designers to workshop short web-based animations, which “aired” alongside live Q&A video chats with prominent web-based video artists from Japan, Spain and France, all shown on “squatted” video screens in public spaces—exploding the borders between countries, genres and access to technology. Fall states her worldview in her essay “Providing a Space for Freedom: Woman Artists in Africa”: “Colonialism brought in its wake a host of other isms: primitivism … racism, imperialism, totalitarianism, traumatism. Moving beyond the isms is the challenge that the new generation of female artists is taking up.” Artists Jungeun Lee (Frisco, TX), Margaret Meehan (Dallas, TX) and Kader Attia (Berlin/Algiers) go a long way in demonstrating the scars of these isms, in an unmissable nexus of nationalist ideology, melancholy and fascination.
by Helen C. Kleberg and Toni Frissell
Two decades old and counting, Blue Star is SA’s main hub for contemporary (p)art(y), showing emerging and mid-career local artists alongside more established national and international touring shows, and anchoring the monthly First Friday melee of openings and beer-drinking. In the past two years, Blue Star has expanded its educational programming to introduce the joys of conceptual and post-conceptual art to the next generation.
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Austin-based journalist and author Chris Tomlinson became a reporter in 1994, covering the end of Apartheid in South Africa and reporting from 50 countries and nine war zones including Rwanda, Somalia, Lebanon, Afghanistan and Iraq. Hailed as a “masterpiece of authentic American history,” his book Tomlinson Hill tells the stories of two families who trace their roots to a slave plantation that bears their name.
With a nod to the Museum of Contemporary Art Denver and its lecture series Mixed Taste, the McNay launched its own Mash-Up Series in 2012 and continues it this week with an interactive experience inviting participants to “make the mash-up connection” between professor of Islamic art Stephennie Mulder and pastry chefs Anne Ng and Jeremy Madrell.
A new River Walk destination dedicated to preserving and interpreting the art, history, and culture of the American West, The Briscoe Western Art Museum invites the public to beat the heat at its Summer Sol Fest, a free event with food trucks and live music by Austin’s award-winning Latin funk orchestra Brownout.
With the Youth Orchestra of San Antonio providing a test sountrack, TPR’s free event invites guests to listen to the Tobin itself, hearing how the peformance space changes and magnifies the music being played. Acousticians, engineers and designers of the Tobin will break down the science of acoustics, from sound’s reverberation properties to how building shape can affect audio. Let’s just hope the TPR or Tobin folks will make good use of the opportunity to drop a Beastie Boys “Sound of Science” joke.
Though they live in Austin, OBN III’s members make their sonic home in the Motor City. Strutting like Raw Power-era Iggy, shredding like Fred “Sonic” Smith, OBN III’s play pure, fist-through-the-drywall, 40-to-the-face rock ‘n’ roll. With SA punkers Fruit Punch and White Christ.
San Antonio, TX 78215
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