Five-Minute Tours: Bethany Johnson + Group Exhibition of Gallery Artists at Moody Gallery, Houston

by Glasstire December 14, 2020

Installation View of Helen Altman’s Nest series, Moody Gallery, Houston

Note: the following is part of Glasstire’s series of short videos, Five-Minute Tours, for which commercial galleries, museums, nonprofits and artist-run spaces across the state of Texas send us video walk-throughs of their current exhibitions. This will continue while the coronavirus situation hinders public access to exhibitions. Let’s get your show in front of an audience.

See other Five-Minute Tours here.

Group Exhibition of Gallery Artists at Moody Gallery, Houston. Dates: November 24, 2020 – January 16, 2021.

Via Moody Gallery:

We are pleased to present a new Group Exhibition of Gallery Artists, on view through January 16, 2021.  Featured artists include Jim Love, Michael Kennaugh, Pat Colville, Gael Stack, Melissa Miller, James Drake, Michael Bise, Al Souza, Helen Altman, Dan Sutherland, Claire Ankenman, Liz Ward, Page Kempner, and more. 

“Bethany Johnson’s one-person exhibition, Safe Keeping, is also featured within the group exhibition which showcases new sculptures and collages. Safe Keeping marks Johnson’s fourth solo exhibition at the gallery since 2012. Johnson began working on this new series at the Joshua Tree Highlands Artist Residency in Joshua Tree, California in the summer of 2020.”

Bethany Johnson: Safe Keeping at Moody Gallery, Houston. Dates: November 24, 2020 – January 16, 2021.

Via Moody Gallery:

“Of the series Johnson states: ‘Reminiscent of geologic formations, and appearing perhaps at home within a cabinet of natural curiosities, the intimate sculptures of Safe Keeping offer an inconclusive and multi-layered meditation on deep time, material metamorphosis, and the anthropogenic land-making of landfills. These dimensional works are first assembled composed by cutting and stacking collected waste materials, including plastics, paper, aluminum, fabric, foam, cardboard and wood. Tightly bound together by a hidden, internal armature of screws and bolts, the final sculptural forms are then trimmed and sanded. The works’ satin surfaces evoke the hand-worn patina of worry stones, and the handheld scale suggests the intimacy of a beloved keepsake. As a quiet meditation on the damage of material consumption on our natural environment, the works of Safe Keeping offer a new alchemical life to otherwise discarded waste.'” 


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