In the Western world from the Renaissance to around 1880, the agreed upon definition of art was: art is the imitation of nature. Over centuries artists worked to create the illusion of three dimensional space on a two dimensional surface. Linear, aerial, atmospheric perspectives came into play; foreshortening figures and overlapping images became tools of the artist who gave the viewer a painting that seemed like a window through which you could see the world: people, places, landscapes.
But in the late 19th century artists like the French Fauve, Maurice Denis, thought this: a painting is essentially a flat surface covered with colors arranged in a certain order.
What? A painting did not have to represent something…no window to look through…no sense of walking a path from fore-ground to middle ground to back ground? Was it permitted that a painting could exist just for itself as an object with no reference to the seen world?
More than 130 years have passed since the Post Impressionists challenged the definition of art and it is to be said that many of us still have some difficulty looking at the art of today.
Artist Denny McCoy doesn’t make it easy.
Jay Shinn’s art is an enigma. It is both complicated and simple. On first glance it grabs one’s attention by light, especially in the pieces involving neon. Comparisons to Dan Flavin’s work are common. But as one approaches, it becomes apparent that there are many more layers to Shinn’s work.
Color is the other feature that commands attention for a viewer, such as in his new series “Inflorescence”. His work clearly celebrates a vivid variety of hues. But his choices of those colors are meticulous and yet peaceful. Each hue has enough intensity to demand our attention, yet there is a softness that feels mindful, almost meditative. Some viewers experience a kind of spirituality in his works, which the exhibition title piece—Silver Moon–evokes.
Texas Art House is pleased to present a group sculpture exhibition – CRYPTIDS – curated by Catherine Lee, and featuring sculptors Sarah Fox, Ken Little, Jared Theis and James Tisdale. The exhibition will be on view January 20 through March 10 with the Artist Reception/Talk on Saturday, January 27, 5-7 pm, Talk at 6 pm, led by Catherine Lee.
These four impactful artists utilize “diverse materials including glazed ceramic, sewn leather, video, music, textiles, cast bronze, assemblage, paper mache, paint, wood… any material or method that will realize these uncanny beings.”
Texas Art House is pleased to present Burton Pritzker in a solo exhibition ALTERNATE PREMISE October 28 through December 30 2017. Opening Reception is Saturday, October 28, 5-7 pm. The exhibit features work from a new series ‘Mosiac’, selections from past series and presents his video “Riding the Ox’. Pritzker collaborated with curator and art historian Mark L. Smith, PhD on the exhibit.
All of Pritzker’s black and white photography is produced optically, on film and printed in a traditional darkroom. The color work is shot on color transparency film, high resolution Imocon scans are made, fine tuned in Photoshop and printed as carbon pigment prints on 100% rag watercolor paper. None of the original imagery was created using digital photography.
Sally Weber’s solo exhibition ‘in FLUX’ held September 29 – October 21, 2017 showcased light installations, holography and dimensional imaging. The exhibition included an Artist Talk with Annette DiMeo Carlozzi, independent curator and arts writer.
Weber works with light – its color and movement through time in a particular place. She began exploring the potential to integrate holographic materials into architectural environments in the early 1980’s,has produced numerous public art installations and exhibited widely throughout the US and abroad.
Texas Art House presented Winston Lee Mascarenhas in a solo exhibition LIFE FORCES: kinetic rhythms August 18 through September 23, 2017. Exhibited were new works utilizing an encaustic technique imparting a rich and fascinating texture to his art. Winner of the highly coveted Hunting Prize in 2014, Mascarenhas received his Masters of Letters in Fine Art Practice, Glasgow School of Art, Glasgow, Scotland, UK. Born in Laredo, he now lives and works in Dallas.
Mascarenhas states – “My frames of reference are manifested in this new body of work with a deep rooted sense of the Life Force and it’s rhythms. A quiet calming movement ever present, there is a sense of the elements of nature in the
visual experience and encouraging conversations of contemporary social and eco-political concerns. “
Texas Art House presented Mars Woodhill in a solo exhibition of the earth July 8 through August 13. Her work references geological and biological influences – a work may suggest the interior of a mineral formation, a distant view of an undiscovered world, or the beginnings of a new life form.
Woodhill says, “My work depicts energy and movement. I seek to examine the elements that produce change, whether in nature or within an individual’s inner world. As I delve into adaptation to boundaries, and convergence/divergence, some of my paintings freeze a moment of explosive energy, while others provide a meditation on life’s beginnings. Both express progression and vitality.”
Exhibited were Gardner’s life sized mixed media sculptures of wild wolves, ravens and deer carcasses conveying stories of life, death and rebirth. Also on view were photographs, in collaboration with photographer Michael Loyd Young, of the sculptures integrated into the Texas Hill Country natural landscapes.
Gardner has exhibited widely in Texas including solo exhibitions at the Galveston Arts Center in 2016 and as a visiting artist at Molzberger Academy of Fine Arts, Hilmsen, Germany in 2015. She has her MFA from Houston Baptist University and currently is an adjunct professor at HBU.
In addition to new wall installations and the large, important sculpture ‘synchronicity of color – yellow cube”, several work study drawings from her Fall 2016 Brown Foundation Fellowship Program grant at the Dora Maar House in Southern France were presented. Designated the 2015 Texas State 3-Dimensional Artist by the 84th Texas Legislature, Margo Sawyer creates installations which translate the notion of an ancient sacred space into a contemporary vocabulary.
This solo exhibition of McKay Otto’s current work introduced a new series of luminous sculptures ‘ever know ever’. Otto continues to develop and explore his examination of the dimensional relationships that exist between drawing, painting, and sculpture. His work frees the two-dimensionality in painting creating art which goes beyond physicality. As the artist states – “This work serves as a vehicle for us to look inside and find the innermost echoes that pierce through us. It may serve as a metaphor for humanity’s capacity to transcend itself.”
“past/present” explored the relationship between rarely shown EARLY WORKS for four highly recognized artists: Catherine Lee, McKay Otto, Margo Sawyer, and Joan Winter.
“pure” featured the works of seven contemporary Texas artists: Joseph Cohen, Karen Hawkins, Catherine Lee, McKay Otto, Beverly Penn, Margo Sawyer, Joan Winter.
“INHERENT NATURE” featured eight Texas artists exploring nature as a metaphor for aspects of the human condition. Showcased artists exhibited a broad range of medium and styles including photography, paintings, sculpture, drawing and mixed media.
“unlimited” celebrated the unlimited diversity and remarkable vision of Texas artists. Showcased artists exhibited a broad range of medium and styles including paintings, sculpture and mixed media.