Contemporary Art in the Americas Arte Contemporáneo en las Américas
Words/Matter: Latin American Art and Language Words/Matter: Latin American Art and Language

Words/Matter: Latin American Art and Language

Curated by Beverly Adams and Florencia Bazzano-Nelson

Blanton Museum of Art Austin, Texas, USA 02/17/2019 – 05/26/2019

The Blanton Museum of Art at The University of Texas at Austin presents Words/Matter: Latin American Art and Language at the Blanton, an exhibition that examines how modern and contemporary Latin American and Latinx visual artists have engaged written language to make personal, political, and poetic statements. Words/Matter is drawn primarily from the Blanton’s extensive collection of

Alejandro Diaz, Unknown Artist at Unheard of Prices!, 2012. Acrylic paint on cast resin, 13 x 18 3/4 in., Collection of Alejandro Diaz. Photo courtesy of Alejandro Diaz Antonio Caro, Colombia Coca-Cola, 2010. Enamel on tin, 27 1/2 x 39 3/8 in., Blanton Museum of Art, The University of Texas at Austin, Susman Collection, 2014

Word on the Street Word on the Street

Word on the Street

Curated by House of Trees

Artpace San Antonio, Texas, USA 01/10/2019 – 04/12/2019

Word on the Street, an exhibition of original political and poetic banners created by renowned female artists and writers, opened January 10 at Artpace. Approximately 30 large-scale banners and flags will be on view in the Hudson Showroom and Main Space through April 12. An initiative by arts collective House of Trees in collaboration with

Tania Bruguera, When the rights of immigrants are denied the rights of citizens are at risk (2018). Felt banner. Image courtesy of Artpace Tania Bruguera, Today politics is half image-making half making people believe the image (2018). Felt banner. Image courtesy of Artpace Naomi Shihab Nye/House of Trees, Noise quiet lives inside (2018). Felt banner. Image courtesy

Recognize My Sign Recognize My Sign

Recognize My Sign

Nicolas Moufarrege

Contemporary Arts Museum Houston Houston, Texas, USA 11/10/2018 – 02/17/2019

During a career that lasted just over a decade, Nicolas Moufarrege (1947-1985) created an original and idiosyncratic body of embroidered paintings. Recognize My Sign—the artist’s first solo museum exhibition—traces the development of his work from the lap-scaled portrait-tapestries he produced in Beirut, Lebanon in the early-1970s to the final works he created in New York

Nicolas Moufarrege, Narcissix of One and Nick’s of the Other, 1983. Thread, pigment, glitter, and brooches on needlepoint canvas. Image courtesy CAMH. Photo by Emily Peacock Nicolas Moufarrege, The Fifth Day, 1980. Thread and pigment on needlepoint canvas. Collection of George Waterman, III. Image courtesy CAMH. Photo by Emily Peacock Nicolas Moufarrege, Title unknown, 1985. Thread,

From the Page to the Street: Latin American Conceptualism

From the Page to the Street: Latin American Conceptualism

Organized by Julia Detchon

Blanton Museum of Art Austin, Texas, USA 06/30/2018 – 08/26/2018

  From the 1960s to 1980s, artists around the world participated in the profound reorientation of art known as Conceptualism. Thinking critically about entrenched traditions of draftsmanship, painting, and sculpture, artists began to emphasize the idea (or concept) behind a work of art instead of the finished object. In Latin America, this shift involved more

View of From the Page to the Street: Latin American Conceptualism at the Blanton Museum of Art, The University of Texas at Austin, June 30 – August 26. Image courtesy of the Blanton Museum of Art. Alfredo Portillos, Caja con jabones para distintas clases sociales [Box with bars of soap for different social classes], 1974.

No Turns No Turns

No Turns

Brittney Anele, Luis Miguel Bendaña, Libby Black, Steven Evans, Lovie Olivia and Robert Raphael

Jonathan Hopson Gallery Houston, Texas, USA 06/10/2018 – 07/29/2018

Jonathan Hopson Gallery presents No Turns, a group exhibition celebrating Pride and the rich history of our Montrose neighborhood. The title references a sign restricting traffic on our street—“No Turns 7 PM–6 AM”. The sign and others like it were originally installed in an effort to curb “cruising” through Montrose, historically known as the center of

Group show. Exhibition view of No Turns at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Group show. Exhibition view of No Turns at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Group show. Exhibition view of No Turns at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Jonathan

Hyperobjects: Group show at Ballroom Marfa, Texas, USA Hyperobjects: Group show at Ballroom Marfa, Texas, USA

Hyperobjects: Group show at Ballroom Marfa, Texas, USA

By Saúl Hernández-Vargas Marfa, Texas, USA 04/13/2018 – 11/04/2018

The desert, neither uninhabited nor alone: Notes on Hyperobjects, curated by Timothy Morton and Laura Copelin For Cristina Compared to their Chinese and Mesoamerican counterparts, western astronomers were late in observing a wide range of celestial phenomena. It wasn’t until the sixteenth century that Nicolaus Copernicus, drawing on discoveries made by Arab astronomers at the

Emilija Skarnulyte, Sirenomelia, 2018. Video, único canal HD, loop. Imagen cortesía de la artista y Ballroom Marfa. Foto: Alex Marks El desierto, ni deshabitado ni solo: notas sobre Hyperobjects, curada por Timothy Morthon y Laura Copelin Para Cristina A diferencia de los astrónomos chinos, y mesoamericanos, los astrónomos occidentales tardaron en observar la gran variedad de fenómenos

Collaborative Work | Sounds from the Archeological Time Machine Collaborative Work | Sounds from the Archeological Time Machine

Collaborative Work | Sounds from the Archeological Time Machine

Margarita Cabrera and Cisco Jiménez

Ruiz-Healy Art San Antonio, Texas, USA 05/23/2018 – 06/30/2018

Both alumni of Artpace’s International Artist in Residence program, Jiménez in 1995 and Cabrera in 2008, their works are conceptually based in Mexican cultural objects and traditions and strongly connect with concepts of the collective/community. Director of Ruiz-Healy Art, Patricia Ruiz-Healy states, “I selected the work of Margarita and Cisco because of the dialogue they

Margarita Cabrera and Cisco Jiménez. Exhibition view of Collaborative Work | Sounds from the Archeological Time Machine, at Ruiz-Healy Art, San Antonio, Texas, 2018. Courtesy of Ruiz-Healy Art Margarita Cabrera and Cisco Jiménez. Exhibition view of Collaborative Work | Sounds from the Archeological Time Machine, at Ruiz-Healy Art, San Antonio, Texas, 2018. Courtesy of Ruiz-Healy Art Margarita Cabrera and

Paintings for the people of Houston Paintings for the people of Houston

Paintings for the people of Houston

Brad Phillips

Jonathan Hopson Gallery Houston, Texas, USA 05/21/2018 – 06/03/2018

I am a nice guy. I really did make (these paintings) so the people of Houston could enjoy looking at them. — Brad Phillips ___ Brad Phillips (b. Toronto, Canada, 1974): Solo exhibitions of his work have been held at Allen & Eldridge, New York; Rod Bianco Gallery, Oslo; Harper’s Books, East Hamptons; 8-11, Toronto;

Brad Phillips. Installation view of Paintings for the people of Houston, at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Brad Phillips. Installation view of Paintings for the people of Houston, at Jonathan Hopson Gallery, Houston, Texas, USA, 2018. Courtesy of Jonathan Hopson Gallery Brad Phillips. Installation view of Paintings for the people of Houston, at Jonathan Hopson Gallery,

Vignettes from San Antonio Vignettes from San Antonio

Vignettes from San Antonio

Michael Menchaca

Ruiz-Healy Art San Antonio, Texas, USA 03/21/2018 – 05/12/2018

Michael Menchaca earned his MFA from the prestigious Rhode Island School of Design in 2015 with a concentration in printmaking. A San Antonio native, Menchaca is known to juxtapose images from popular culture with Mesoamerican iconography. Vignettes from San Antonio is a new series of work that is inspired by the artist’s hometown. Large collage

Michael Menchaca. Exhibition view of Vignettes from San Antonio, at Ruiz-Healy Art, San Antonio, Texas, USA, 2018. Courtesy of Ruiz-Healy Art Michael Menchaca. Exhibition view of Vignettes from San Antonio, at Ruiz-Healy Art, San Antonio, Texas, USA, 2018. Courtesy of Ruiz-Healy Art Michael Menchaca. Exhibition view of Vignettes from San Antonio, at Ruiz-Healy Art, San Antonio, Texas, USA, 2018. Courtesy of Ruiz-Healy Art Michael

Spring 2018 International Artist-in-Residence at Artpace

Spring 2018 International Artist-in-Residence at Artpace

Rafa Esparza, Kapwani Kiwanga, Carlos Rosales-Silva

Artpace San Antonio, Texas, USA 03/22/2018 – 05/13/2018

ring the bells that still can ring… there is a crack in everything Kapwani Kiwanga In her most recent works, Kapwani Kiwanga appears like a scientist, mobilizing her knowledge in social sciences to develop research projects. Following a singular methodology, she creates specific protocols she uses like filters to observe specificities and capacity to change

Kapwani Kiwanga. Vista de instalación de Suena las campanas que aún suenen…En todo hay grietas, en Artpace, Texas, EE.UU., 2018. Comisionada y producida por Artpace San Antonio. Foto por Charlie Kitchen Suena las campanas que aún suenen… En todo hay grietas Kapwani Kiwanga En sus obras más recientes Kapwani Kiwanga se muestra como una científica,