For last week’s picks, please go here.
Installation view of Sarah Fisher’s “You Won’t See It Coming” at the Museum of East Texas.
1. Sarah Fisher: You Won’t See It Coming
Museum of East Texas (Lufkin)
August 6 – October 15, 2022
From the Museum of East Texas:
“In You Won’t See It Coming, Houston-based artist, Sarah Fisher shares new work from her years-long, multidisciplinary, self-portraiture practice, including two- and three-dimensional pieces that are painted, drawn, etched, printed, collaged, assembled, and written. Repurposed found objects ranging from a discarded vintage baby bed to sheared-off crape myrtle bark, from dry cleaning identification stickers to pallet separator board, weave into a narrative Fisher experiences as an ongoing series of “sideswipes,” explosive moments of surprise, both big and small, that detour, devastate and inspire.”
Installation view of Artspace111’s “9th Annual Texas Juried Art Exhibition.”
2. 9th Annual Texas Juried Exhibition
Artspace111 (Fort Worth)
July 16 – August 27, 2022
From Artspace111:
“Artspace111 is excited to announce the opening reception for the 9th Annual Texas Juried Exhibition, juried by Daisha Board, Owner and Director of Daisha Board Gallery.
Selected artists include: Kaima Akarue, Cody Arnll, Sarah Ayala, Scott Bell, Kelly Berry, Christopher Blay, Raymond Butler, Keri Carter, Rafael Castanet, Brenda Ciardiello, Wes Coke, Ron Crouch, Willie Dave, Will DeShazo, Brad Forsythe, Cody Freeman, Matthew Freeman, Drew Gaines, Raul Rene Gonzalez, Giovanni Gonzalez, Jazmin Gonzalez, Elizabeth Gonzalez, Nicholas Gully, Barbara Hack, Sibylle Hagmann, Brandon Harris, Marianne Howard, Cedric Ingram, Assandre Jean-Baptiste, Nitashia Johnson, Sudeep Kumar, Danyelle Lakin, Rosie Lee, Ray Little, Jesus Lopez, Solomon Mahlatini, Yasuyo Maruyama, Margaret McNiel, Katherine Miller, Janak Narayan, Bảo Nghi Ngo, Clark Nunn, Kemba Opio, Fari Rahimi, Amanda Rambo, Amber Razzouk, Chad Rea, Anna Redman, Lizzete Rendon, Jon Rogers, Anastacia Sadeh, Kelly Steller Hrad, Henry Thomas, Robert Weiss, Shannon West, Barron Wortham, and Alex Zapata.”
Sandra de la Rosa, Border Theory.
3. Sandra de la Rosa: Border Theory
Box13 Art Space (Houston)
August 6 – October 1, 2022
From Box13 Art Space:
“One would wrongly assume that borders are just physical, that they are geographical markers that divide nations. Borders go beyond that; they permeate geography and people, they are even capable of dividing an individual’s own identity. As a Mexican immigrant, I experience a liminal space where I feel confined and exposed at the same time. This liminal experience manifests from the ambiguity and uncertainty of living in the United States as someone with a hybridized identity: Mexican, American, Texan, brown, other. The spaces depicted in my work are representations of experiences felt by immigrants, including myself. We are both surrounded and kept out by metaphorical walls that creates a liminal space felt internally. I create these spaces through painting and drawing.”
Margie Criner, “When I Was King,” 2022, mixed media (wood, glass, paper, plastic, metal, LED, electrical wiring), 6 x 10 x 8 inches.
4. Margie Criner: Destination Unknown: Life in Miniature
Yard Dog (Austin)
August 5 – 28, 2022
From Yard Dog:
“Chicago artist Margie Criner makes abstract, organic-shaped sculptures that house small dioramas, viewable through a peephole. She calls these ‘sculptures in sculpture.’ They are miniature narratives hidden inside abstract sculpture that explore the notion of vacancy in everyday places.
Also included in the show will be a number of individual miniature everyday objects. These are the same scale as the objects she makes to populate her dioramas.”
Justin Sterling, “Stolen Evidence,” 2018, found windows, dirt, tape, gravel, insulation foam, caulking.
5. Justin Sterling: Windows of Opportunity
Redbud Gallery (Houston)
July 2 – August 30, 2022
From Redbud Gallery:
“Justin Sterling considers the built environment his medium and deeply explores this methodology, collecting abandoned windows and other urban objects from various neighborhoods in Brooklyn, Lower Manhattan, and Queens to repurpose them and reimagine their stories. He fills the discarded windows with new life, literally and figuratively, using a variety of media to express both their pasts and their futures within the language already prompted by windows in the built environment. His aim is to unravel the way we view structures of power by revealing various truths about urban ecosystems, poverty, collective memory, and bad-faith legislation. Each window, or group of windows, presents a view to a new world, as it could be.”
