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Texas State seniors Alexandra Galley, Amanda Lukacs, Ashley French Kontnier, Brenda Trevizo, Chloe Dehmer, Estefania Marquez, K. Botter-El Lababedi, Mackenzie Vaclav Petter, Mary Katherine Riley, Nathaniel Record,Taylor Waldt and Whitley Stratton explore and critique various topics (including gender identity, mental illness, meditation and subcultures) via painting, photography, mixed media and ceramics. The opening reception takes place in the University Galleries at the Joann Cole Mitte Building.
For their last and final exhibit, seniors will showcase a variety of different media, all representative of each artist. These include: paint, photography, mixed media, fibers, sculpture, film, instillation and other experimental processes. In addition, senior students in the ALAS Youth Theatre Company will present original theatre performances. The title of this student-led exhibition, “Future Pending…” addresses the biggest question they face during senior year: What does the future hold for them after graduation? It’s a question they are challenged to answer for their Senior Presentations, where seniors provide an oral and visual presentation that examines their growth as artists and their advancement into secondary education.
This pop-up exhibition created with French & Michigan Gallery will showcase recent Texas Biennial artist Shannon Crider's first solo exhibition, The Ballad of Polynices. The exhibition is inspired by Sophocles' Antigone and explores themes of heroism, family values, politics, and death in the medium of sculptural collage. The exhibit runs through May 31.
San Antonio-based artists Vincent Valdez and Cathy Cunningham-Little will discuss their work at the opening of their exhibitions. Artpace's Hudson (Show)Room will feature Valdez's work, Strangest Fruit, sponsored in part by Belinda Valera Molina. Cunningham-Little's work, Encounter, will be displayed in the Window Works room.
Each GAGA member was given the opportunity to the grab bag--blindly pick a color chip from over 50 chips that corresponded to ROYGBIV (the rainbow color sequence: red, orange, yellow, green, blue, indigo, violet) and create a square work based on her selection. In May, over 90 pieces of art will be assembled in this glorious color sequence, creating a flow of color, streaming down the walls of the exhibition space.
Come join us for the Second Annual Art Waddle. Meet local and surrounding artists as you walk the The Art Waddle or ride your bike along the banks in Boerne. Enjoy the art of your fancy, which is available for purchase. From paintings and illustrations, to pottery and sculpture. Contributions from the event will support scholarships to the Cibolo Nature Center and Farm Summer Art Camp.
Renowned French artist Xavier de Richemont debuts his video art installation "San Antonio | The Saga" on the facade of San Fernando Cathedral. The video chronicles the discovery, settlement, and development of San Antonio, and is de Richemont's first outdoor video installation in the United States. For the next ten years, the video installation will be shown periodically in the Main Plaza, free of charge for all to see and hosted by the Main Plaza Conservancy.
Inaugurated in 2009, the Southwest School of Art’s “Texas Draws” series functions as a biennial survey of “eloquent, expressive drawn works that reveal the power of a simple line or mark and the complexity of the drawn surface.” In its first two installments, the exhibition has highlighted local favorites (Jayne Lawrence, Katie Pell, Judith Cottrell, Alex Rubio and the late Regis Shephard, to name a few) alongside regional artists and such wild-card elements as a performance by the collective Electric Dirt and a Collaborative Continuous Drawing Project that invited gallery-goers to contribute to a 33-foot-long work of art. Embracing both the reverent (Mark Hogensen’s ink drawing Vice & Virtue (office) depicts a desk with architectural clarity) and the whimsical (Jeff F. Wheeler’s Wish You Were Here presents a postcard-inspired mashup rendered in mixed media), “Texas Draws III” unites works by the likes of Jorge Alegría, Kim Bishop, Sara Frantz, Tina Fuentes, Marshall K. Harris, Katie Maratta, Kermit Oliver and Robert Pruitt.
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.
The Witte’s “Fairytale Fiesta” invites viewers into a 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.
The male nude has been a primary motif of painters and sculptors since Greek and Roman antiquity. This exhibition focuses on prints and drawings of male nudes by 20th-century greats Paul Cadmus, Charles Demuth, George Bellows and Thomas Hart Benton as well as contemporary graphics by David Hockney and Beth Van Hoesen.
The American Romantic painter Thomas Sully (1783–1872) had a lifelong connection to and love for the theater, associations that were critical components of his artistic imagination. Throughout his career, Sully continued to paint leading actors of the day—both in and out of character.
This wonderful exhibition is inspired by Kuhn’s devotion to the practice of drawing. Masterpieces of observation, design and invention, Kuhn’s drawings were integral to his art—the building blocks upon which his paintings were constructed. Born in Buffalo, New York, Kuhn (1920–2007) began his observations of animals in the Buffalo Zoo and studied at New York City’s Pratt Institute. His detailed paintings of animals in landscape eventually made him one of America’s most popular wildlife illustrators. Kuhn’s work spans both North American and African subject matter, and Drawing on Instinct opens a window into the creative process of a prolific artist working at the crossroads of representational and expressionist traditions. Immersed in the observational precision of natural- history artists like John James Audubon and Carl Rungius, Kuhn was also cognizant of contemporary artistic movements emerging during his lifetime. Kuhn integrated the work of color-field theorists like Mark Rothko and Joseph Albers into deeply felt landscapes, which are settings for his dramatic moments of observation. Bob Kuhn: Drawing on Instinct is organized by the National Museum of Wildlife Art in Jackson Hole, Wyoming, and curated by its Curator of Art, Adam Duncan Harris. The exhibition is generously presented by Karen and Tim Hixon.
Commissioned by collector Richard Weisman in 1977, Warhol’s The Athletes comprises screenprinted portraits of Muhammad Ali, O.J. Simpson, Dorothy Hamill, Kareem Abdul-Jabbar, Chris Evert, Jack Nicklaus, Willie Shoemaker, Rod Gilbert, Tom Seaver and Pelé. Reportedly, Weisman hoped the series “would inspire people who loved sports to come into galleries, maybe for the first time, and people who liked art would take their first look at a sports superstar.”
Lawrence Markey is pleased to present the gallery’s first solo exhibition of work by California artist John Zurier. John Zurier "Recent Paintings" will feature six paintings informed by Zurier’s travels in Iceland. The foundation of Zurier’s work has been the interplay between physical, material structure, and more elusive aspects of perception in painting. In this elegant group of paintings, light, color, atmosphere and mood are revealed on the surfaces of canvas or raw linen. Structural supports are often evident, with corners frequently tacked or folded. A variety of brushstrokes display a skillful balance between lyrical gesture and pragmatic compositional method. With washes of distemper (raw pigments dissolved in rabbit skin glue), color seems to diffuse and hover in natural light. Zurier has cited “traditional Japanese aesthetic principals of simplicity, suggestion, incompleteness, and impoverishment” as guiding principles for his painting. Zurier has exhibited extensively, including at the 30th São Paulo Biennial, the California Biennial, multiple showings at the UC Berkeley Art Museum, and the Whitney Biennial.
In a 2013 article about the SITE Santa Fe exhibition “Time, People, Money, Crickets,” the weekly Pasatiempo wrote, “Just try to stereotype Mungo Thomson. You really can’t do it, because his artistic goals and mediums are so wide-ranging.” As true as that may be of the Los Angeles-based artist (who works with everything from film and photography to mirrors and reframed TIME magazine covers), field recordings of animal sounds are a recurring motif. In 2008, Thomson collaborated with composer Michael Webster on b/w—a bird song (slowed down to resemble a whale song) and a whale song (sped up to resemble a bird song) recorded on opposite sides of a 12” vinyl LP. An extension of that partnership, the 2012 project Crickets (a symphony of cricket chirps from around the world transcribed and performed by a 17-piece orchestra) forms the groundwork for Thomson’s “Crickets for Solo and Ensemble.” Installed throughout Artpace (including the Hudson (Show)Room and the Window Works gallery), the exhibition employs “sculptures of cricket cages,” iPods, mini speakers and blind debossed letterpress prints to explore the distinct sounds of a creature the artist deems “a standard for silence.”
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 opens this week 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.
Local sculptor Brandon Nepote explores language and conversation with a new body of work rendered in wood and steel. According to the artist, the works offer a discourse on interactions he “translates” into three dimensional, sculptural forms.
Although possibly best known locally as president of the Southwest School of Art, Paula Owen is also an accomplished artist and writer who’s represented in public and private art collections as well as publications such as Maria Elena Buszek’s book Extra/Ordinary: Craft and Contemporary Art. Aptly described by Current contributor Gary Sweeney as “symbolic and mysterious,” Owen’s paintings organize incongruent fragments (bits, bytes, symbols) into harmonious arrangements nodding to patterns that emerge in nature—including schools of fish, flocks of birds, whirling snow and ripples on ponds. With titles like Alluvium Squall and Scattered Galaxy, the oddly hypnotic works comprising Owen’s new exhibition “Vague Chatter” bring to mind everything from math equations and deep space to cave drawings and organisms one might only spy with a microscope.
Kellen Kee McIntyre curates an exhibition of new ink drawings and paintings by local artist Albert Alvarez, whose work touches on the dirty realities of life, the sufferings of humanity and the poisonous atmosphere of our modern world. At the reception: wine, hors d’oeuvres and live music by Lorita Drive with George Garza.
An exhibit of large outdoor sculpture, this is Fiesta®’s “quiet event.” Seventy sculptors from 10 states and six countries showcase more than 100 sculptures. All works are for sale. This high-end cultural exhibit is staged in a six-acre manicured sculpture garden. Photography and “sketching” welcome. Sculpture classes and memberships are available.
The facade of San Fernando Cathedral becomes the canvas for a decade-long public art project featuring projections related to San Antonio history accompanied by music. The first performance takes place on June 13.
The San Antonio Museum of Art will present Matisse: Life in Color, Masterworks from the Baltimore Museum of Art to San Antonio in June 2014. This sweeping exhibition features almost fifty paintings and sculptures and thirty works on paper spanning six decades of Henri Matisse’s prolific career. Drawn from the Baltimore Museum of Art’s permanent collection, perhaps the finest collection of Matisse’s work in the world, Matisse: Life in Color offers a once in a lifetime opportunity for San Antonio, and indeed all of Texas and our region to share in the beauty and importance of such a magnificent body of work. The exhibition will enrich our community, drive membership to the museum and increase the national and international stature of the San Antonio Museum of Art as well as the city of San Antonio as an important cultural destination. All of these are goals that Mr. Harper held dear for the future of the museum. As one of the most influential artists of the twentieth century, Henri Matisse (French, 1869-1954) fundamentally altered the course of modern art with his stylistic innovations. Across a succession of stylistic periods, Matisse aimed to discover the “essential character of things” through art that expressed balance and serenity. He experimented throughout his career with abandoning conventional perspective and form in favor of dramatically simplified areas of pure color, flat shapes and decorative patterns. The majority of the artwork in Matisse: Life in Color, Masterworks from the Baltimore Museum of Art come from the renowned Cone Collection, formed by Baltimore sisters Dr. Claribel Cone and Miss Etta Cone. Noted for their enduring dedication to modernism, the sisters assembled one of the largest private collections of the work of Matisse in the world. Matisse: Life in Color, Masterworks from the Baltimore Museum of Art features milestones of Matisse’s career including The Serf, (1900-03), The Pewter Jug (1917) Large Seated Nude (1922-29), The Yellow Dress (1929-31) and Large Reclining Nude, (1935).
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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In conjunction with National Poetry Month, 2014-2016 San Antonio Poet Laureate Laurie Ann Guerrero discusses the art and craft of poetry and reads from her collection A Tongue in the Mouth of the Dying.
That director Ishiro Honda had Katsumi Tezuka don that suffocating radioactive-reptile suit to stomp a scale-model of Tokyo in 1954’s Gojira rather than, say, Washington, D.C., might indicate something about Nihonjinron versus Toby Keith’s boot in yer ass, but we’ve come to praise Godzilla, not to write an ill-informed undergrad thesis about him/her. Subsequent films saw history’s most kickass nuclear-holocaust metaphor save mankind from such varied threats as Mechagodzilla, Godzillasaurus and Space Godzilla, but 1985’s The Return of Godzilla is a relapse into malevolence that’s never been released on DVD in the US. In anticipation of yet another reboot to be released next month, Cult Movie TV Danger Zone is screening Return (aka Godzilla 1985). Tickets, which must be purchased online, are $2—less than they would’ve cost 20 years ago. Plus it’s the Japanese version with English subtitles, so it counts as an artsy foreign film.
Kevin Prince, aka Mr. Composition, is one of the hardest workers in SA music. The 23-year-old has released at least one LP or mixtape every year since he was 18 (much of this material is available at mrcomposition.bandcamp.com). Last year’s release, Running Red Lights Through Life, was one of my favorite local albums of 2013. It laid bare the rapper’s growth from a curious and earnest wordsmith to a master of his craft, gifted at melding personal narrative with commentary on universal concerns. Graffiti the Mind, out on May 2, sees the emcee truly coming into his own. Produced by San Anto native Ruler Why, Graffiti the Mind features beats that enhance the meaning of individual songs. Prince rhymes with entertaining, engaging lyrics, delivered with a unique flare in diverse styles. As Prince told the Current, he has long used rap as “a means of expressing [himself] and [his] experiences and frustrations.” As Prince has grown as an artist, he’s expanded his scope, concerned now with broader societal issues. Most impressively, these aren’t just raps; these are songs. Graffiti, anchored by the anthemic posse cut “Believe” and thought-provoking extended metaphor “Graffiti Lenz,” is a joy to bump and communicates an unstoppably positive message: Be patient, work your ass off, ask questions and give of yourself if you want to receive anything in return. Don’t miss the chance to see Graffiti done live at Fitzgerald’s on April 25
Devised during the hacienda system as a method to prepare horses and riders for war and formally institutionalized in the post-revolutionary period, charrería is the national sport of Mexico. For the last six decades, the Asociación de Charros de San Antonio has championed charrería (often described as Mexican rodeo), competing throughout the year and attracting a diverse crowd each April with its beloved Fiesta charreada A Day in Old Mexico. Of the 10 official suertes (competitive roping and riding events performed in period costumes), the all-female escaramuza easily stands out as a fan favorite. Created during the 1950s and officially added to the charreada mix in 1992, the choreographed skirmish showcases a team of young ladies demonstrating precision skills (some inspired by the soldaderas who fought alongside men in the Mexican Revolution) while riding sidesaddle in colorful dresses named after Pancho Villa’s legendary companion Adelita.
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