Glasstire counts down the top five art events in Texas.
For last week’s picks, please go here.
A work by Krista Chalkley
1. Krista Chalkley: hallowed be thy name
Art League Houston
February 23 – April 20, 2024
From Art League Houston:
“hallowed be thy name is an exhibition featuring textiles, sculpture, and mixed media installation by Chicago-based artist Krista Chalkley. Serving as a queered reimagining of a Gothic cathedral, this body of work subverts traditional motifs of Christian iconography by imbuing them with exaltations of queerness in an attempt to heal religious trauma and facilitate reparative discussions surrounding queer worth.”
An artwork by Tim Olson
2. Human Centric, people-centered work by Tim Olson
Clamp Light Studios (San Antonio)
March 8 – April 6, 2024
From Clamp Light Studios, a statement from the artist:
“I am Tim Olson. I am a mixed media artist currently based in San Antonio who has become increasingly tired of using the third person perspective when writing artist biographies. I grew up on a small farm outside of the city of Zumbrota in southeastern Minnesota. The farm was filled with abandoned tools and equipment from previous owners in piles and sheds going back probably over a century. I think this helped feed a curiosity of things.
After graduation from high school, I studied art in Bemidji, MN in the northern part of the state. It was a former logging community turned college and tourist town. There I earned a BFA in visual arts with an emphasis in painting and drawing. Since leaving Bemidji, I have moved to Portland OR, Denver CO, Baton Rouge LA, Keller TX, and finally finding myself in San Antonio.
My work consists largely of drawing/illustration and painting combined with collage and assemblage of found objects, often with components of language.”
Installation of Lucia Arbery Simek’s show at Blind Alley Projects
3. Lucia Arbery Simek: Stage Manager
Blind Alley Projects (Fort Worth)
March 2 – April 6, 2024
From Blind Alley Projects:
“Lucia Arbery Simek, astute and erudite, brings a fearless freshness to her work that is often puzzling while referentially familiar as well as visually undeniable. With allegiance to present ideas and interests, unbeholden to a canon or style, the work is unpredictable, delightfully surprising. This is certainly true of Stage Manager for which Arbery Simek transforms the exhibition space, which she sees as a stage, into the work itself. Blind Alley projects becomes sculpture, sculpture that is built something like a Constructivist painting, a compelling mashup of familiar references and materials used unconventionally to an inexplicable yet irrefutable end.”
A work by Chad Rea
4. Chad Rea: All Together Now
K Space Contemporary (Corpus Christi)
March 1 – April 12, 2024
From K Space Contemporary, a statement from the artist:
“My artwork expresses the messy, ironic beauty of human experience. It combines social commentary with personal truths, inviting viewers into a space of presence and perspective that transcends right and wrong, emphasizing our similarities rather than our differences.
By juxtaposing vibrant, iconic imagery with cultural insights, I address the inequities of our world and encourage introspection, healing, and action. Often paradoxical in nature, my works draw from pop, street, folk, and punk aesthetics, transforming the world’s pain and trauma into expressions of joy, connection, and hope.
Guided by my own healing journey, I hope my art inspires others to embrace their imperfect truths, realizing that everything advertising tries to sell is already present within us.”
A work by Paho Mann
5. Paho Mann: Fractured
Angelina College – ACA Gallery (Lufkin)
February 26 – April 4, 2024
From Angelina College:
“Paho Mann investigates the personal and cultural relationships to objects we collect to address shifting values, perceptions, and memory. In the project, Fragmented Cameras, Mann used a consumer-grade 3D scanner to scan historic and obsolete cameras ranging from early stereoscopic cameras to first-generation iPhones. These images explore connections between new and historic imaging technologies. Often, the use of an emergent technology results in some deterioration in quality – in using consumer grade 3D scanning technology the scans often depict objects as fragmented versions of themselves, almost as if they have exploded. This becomes a metaphor for the constant transition of photographic technology and the use of new technology to comment on increasingly obsolete formats of historic image making. The new technology displaces the old, reflecting a tempestuous relationship between the two.”
