Glasstire counts down the top five art events in Texas.
For last week’s picks, please go here.
Anthony Sonnenberg
1. Anthony Sonnenberg: The State of My Heart
Rockport Center for the Arts
March 19 – April 28, 2024
From the Rockport Center for the Arts:
“Anthony Sonnenberg’s exhibition will explore the art of decoration. He expresses the process of decoration and adorning by designing elaborately enriched 3-D pieces.
A multi-media artist, Sonnenberg, works with all types of adornment. Whether it’s making jewelry, or adding jewels and tchotchkes to beautify a sculptural piece, or using both techniques in the creation of elaborate crowns. Historically adornment is used to enhance beauty, to indicate status, or signify cultural traditions. Crowns express all of these truths. Sonnenberg even places himself in these crowns and adornments as part of his performance art.”
Bill Walterman, “Surrendering to the Lord.”
2. Bill Walterman: Shine the Light
Museum of East Texas (Lufkin)
February 4 – April 12, 2024
From Museum of East Texas:
“In celebration of Black History Month, Shine the Light, a collection of 21 images taken by Bill Walterman, will be displayed in the Museum’s chapel. Bill spent six years capturing images from Black churches throughout East Texas and compiled them in his self-published book of the same title. The artist and his mentor will discuss the process and experiences shared while creating this photographic treasure.”
Jess Johnson aka flesh_dozer-g/re/p
3. g/re/p: Jess Johnson aka flesh_dozer
Co-Lab Projects (Austin)
March 9 – April 20, 2024
From Co-Lab Projects:
“Jess Johnson brings to life a complex fictional world through hand-drawn images that are inspired by her interests in science fiction, comic books, technology, architecture, and theories of consciousness. For her exhibition in the culvert, Johnson has collaborated with her mother, Cynthia Johnson, on a new series of quilts. They appear suspended in the culvert, as doorways offering glimpses into different realms.
The concept of world-building lies at the heart of Johnson’s densely layered artworks. She formulates worlds within worlds through self-replicating geometric patterns, temple-like structures, and obscure symbology. The worlds depicted are inhabited by a variety of humanoid figures, alien creatures, worms, prehistoric bugs, and deities entangled into the patterning and internal architecture of this realm.”
Katrina Moorhead, “SWEET THING,” 2021-2024
tambourine frame, rabbit fur, paint stir sticks, dye, hinges, cast bronze, thread, 13 x 24 x 2 in
4. Katrina Moorhead: (of) Everything Island
Inman Gallery (Houston)
March 8 – April 27, 2024
From Inman Gallery:
“Katrina Moorhead’s (of) Everything Island gathers together a number of evocative sculptural objects interacting with one another in the main gallery. Together, and reflecting the artist’s extraordinary sensitivity to materials’ potential for expansive storytelling, they reimagine aspects of the natural world, referencing otherworldly entities and apparitions, flora and fauna, culled from Victorian evolutionary theory, video games, and traditional Irish fairy folklore .”
Raychael Stine, “Middle Lover 6 (from Vallecito if I needed you),” 2023, oil and acrylic on canvas.
5. Raychael Stine: Wonder Dawn
Cris Worley Fine Arts (Dallas)
March 30 – May 4, 2024
From Cris Worley Fine Arts:
“Cris Worley Fine Arts is pleased to announce our first exhibition of New Mexico based artist, Raychael Stine. Stine makes luscious, joyful paintings that integrate multiple painterly languages and approaches to mark, texture, and levels of visual legibility, allowing for playful slippage between formal and material abstraction and traditional devices of painterly representation. She works in thematic series: Vision paintings, Jammer paintings, and Middle Lovers each of which make up this exhibition.
Color schemes come from looking at photographs, digital translations and screens, natural and artificial shadows and light, working plein-air, flowers, skies, dogs, hummingbirds, rainbows, postcards, other paintings. Sometimes it is direct, and encapsulates color from observation and translation, and other times the color is intuitive—riffing off of undertone, and splaying color in ecstatic prismatic grades.”
