Suzanne Paul, “Jim Harithas,” 1978, gelatin silver contact proof print.
Brandon Zech and Gabriel Martinez talk about the changing state of Houston’s art scene and what the future may bring.
“I think we’re seeing one of the most significant changes in the Houston museum landscape in the last ten years. Galleries come and go, artist-run spaces come and go, smaller nonprofits come and go, but the places that we think of as our museums generally don’t tend to come and go.”
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Related Readings:
—Glasstire: James Harithas, 1932 – 2023
—Glasstire: Ann Harithas, 1941 – 2021
—Glasstire: Station Museum of Contemporary Art Closes Until Further Notice
—Glasstire: Kerry Inman Buys Former Station Museum Building; Will Move Gallery
—Glasstire: Steven Matijcio Departs Blaffer Art Museum for Knoxville Museum of Art
—Glasstire: Andres Serrano at the Station Museum of Contemporary Art, Houston
—Glasstire: ‘Friendly Fire’ at the Station Museum of Contemporary Art, Houston
—Glasstire: Art Dirt: The Power of One
—Station Museum: Call it Street Art, Call it Fine Art, Call it What You Know
—Glasstire: Houston’s Art Car Museum to Permanently Close
2 comments
I’m going to expand just a bit on some of what you guys mention in this podcast.
Kerry Inman’s purchase of the former Station Museum building was made possible by the recent sale of another Midtown property she had purchased in 2012, the 23,000-square-foot Bermac Arts Building at 4101 San Jacinto St., which for years housed artists’ studios and the Community Artists’ Collective. “Amazing” for Kerry Inman, but a real blow to the Collective.
Not to take anything away from the Station Museum’s legacy, but everything you said about the Station is applicable to the Collective, only more so. And I would welcome more coverage on Glasstire (and other platforms) about Michelle Barnes and the Collective’s long history and impact on Houston’s art scene, and it’s search for a new home.
One of the Houston art scene’s great strengths has been the strength of artists, groups of artists, leaders and spaces at every level, and the strength of the local scene apart from and intersecting the big institutions. I think the assertion that the big places set the tone really gets something fundamentally wrong about what was exciting about being an artist in Houston. Maybe that is over and it’s fully institutional now, I’m a long time gone from Houston. That would be a shame. It implies an end to possibility. +1 for the commment above