Christina Rees and Christopher Blay are joined by artist and gallerist Wayne Gilbert to run down Glasstire’s top art picks of the week, including one in a gallery called G Spot.
“First of all, G is for ‘Gilbert,’ so let’s clean everybody’s thinking up first.”
To watch last week’s Top Five, featuring our spring preview of Texas exhibitions, please go here.
1. Visibilities: Intrepid Women of Artpace
Artpace, San Antonio
January 9 – April 26
Opening Reception: Thursday, January 9, 6 – 8pm
Curated by Erin K. Murphy, Artpace Residency and Exhibitions Manager, Visibilities: Intrepid Women of Artpace includes a wide array of mediums coming together in an exhibition with an astounding voice. Among the featured artists are the late Laura Aguilar, Jenelle Esparza, Mona Hatoum, Jennifer Ling Datchuk, Regina José Galindo, Autumn Knight, Margaret Meehan, Tracey Moffatt, Katrina Moorhead, Wangechi Mutu, Artpace founder Linda Pace, Joyce J. Scott, Wu Tsang, Martha Wilson, and Kathy Vargas.
“Two of the works in the exhibition are by women with strong ties to Artpace: one work by Linda Pace (founder of the organization) and another by Janet Flohr (of Hare & Hound Press, with whom many resident artists have worked since 1995),” remarked Erin K. Murphy. “The other artists in the exhibition all not only participated in our residency program, but their works address issues of identity, femaleness, gender, or feminism, which have been even more powerful statements in the past few years and is extremely relevant in the coming election year. Artpace celebrates its 25th birthday, but also in 2020 the U.S. will celebrate the 100th anniversary of the 19th amendment, which granted women the right to vote.”
2. Extravagant Drawing (ReDo)
G Spot Gallery, Houston
January 4 – 26
“This is a tiny sliver of current practice, and focusing on drawings will be enjoyable and comprehensible without knowing the artists’ larger practices. Still the intention of the exhibition is that it will provoke visitors to look more deeply at a few of the artists here, lured in by the drawing based artistic thirst traps presented here.”
Featuring:
TOD BAILEY ∞ JEFF LICHTFIELD ∞ DEBRA BARRERA
MATTHEW KELLY DEBBAUDT ∞ WES HOLLOWAY
RACHEL HECKER ∞ STEVEN EVANS ∞ MARK PONDER
DAVID KELLEY ∞ CODY LEDVINA ∞ THEDRA CULLAR-LEDFORD
BOB MORRISSEY ∞ EMILIO MITTRY ∞ RICK LOWE ∞ LOVIE OLIVIA
JOSH PAZDA ∞ HARRISON WORZEL ∞ MARK FLOOD
Kessler Theater, Dallas
January 12 – March 15
Opening Reception: January 12
Reading, studying, and keeping up with the baseball season is all part of his home life and travel on the road as a touring musician.
4. Good Sports
The Public Trust, Dallas
November 23 – January 11, 2020
Good Sports, an exhibition examining the intersection of art and sport, represented by a wide range of artists with varying studio practices. The exhibition includes original and editioned works by John Ahearn, Terry Allen, John Baldessari, Greg Colson, Robbie Conal, Kyle Confehr, Gajin Fujita, Victor Gastelum, Joe Goode, Kitaj, Mark Licari, Dan Life, Paul McCarthy, Michael C. McMillen, Raymond Pettibon, Ed Ruscha, Anthony Rianda, Jason Salavon, Shelter Serra, Grant Smith, Clay Stinnett, Joshua Vides and Wendy White.
5.Ryan Hawk: others other
Gray Contemporary, Houston
December 7 – January 11, 2020
Ryan Hawk’s practice generates instances that signal deep cultural anxieties about the body and its assumed borders. Similar to the way that a horror movie often uses monsters to symbolize confrontation with the “Other”, Hawk’s projects exploit western culture’s history of fear and prejudice towards alterity. By positioning the gaze to the physicality of the body, to its weight of flesh and fluid, his work scrutinizes normative structures of representation and emphasizes a debilitating phobia of the periphery.
In others other, Hawk’s first exhibition with the gallery, frameworks of social ordering are confronted through narratives of horror, tragedy, and dark humor. Spanning video, installation, and sculpture, the works in this exhibition aim to reverse processes of differentiation in order to destabilize phallic masculinity, whiteness, and heterocentric ideologies. The title, others other, is directly emblematic of this strategy: a doubling and reversal of the mirroring processes inherent to making a distinction, the basic act of introducing difference––or perhaps more simply put, a paradox.
