Four San Antonio artists — Casey Arguelles, Megan Harrison, Scott Proctor, and Chris Sauter — appear in “Culivated Artefacts,” curated by Angela Carranza in the Pop-Up Gallery space in 4411 Montrose, a building that houses a number of exhibition spaces, including the renowned Anya Tish Gallery. The artists’ reception pulled in a strong crowd from the Montrose District, known equally for late-night restaurants and art galleries.
Chris Sauter's Powerline Towers, made of wheat on wood table, continue his interest in the rural.
As does his painting, Exploding Silo VI.
Megan Harrison is known for works in graphite that portray impossible landscapes. Above, Terminal Form.
Above, Submission of Weight, by Casey Arguelles
Ibeam, by Scott Proctor.
Cultivated Artefacts, 4411 Montrose Ste. C, Houston TX, (713) 320-3129, cultivatedartefacts.com. By appointment through March 28.
At Avis Frank, Jerry Cabrera, Jung-Hee Mun, and Esteban Delgado repped SA in the opening of “Spring Introduction,” a group show of 16 artists newly added to the gallery’s roster.
Cabrera, who has explored the bullfight in previous works, presented work from his abstract series on shaped canvas. Somewhat popular during the 1960s and ’70s with abstract painters such as Frank Stella, Kenneth Noland, and Robert Mangold, shaped canvases are often seen as occupying a hybrid territory between painting and sculpture. In Cabrera’s piece, painting dominates. Three stacked horizontal bars seem to hover on the wall, the effect made in part by the sharply raked edges that accentuate the plane of canvas fronts. These are color field works, but the interplay of hues is not the cool affair associated with the past mid-century: a lateral swath of hot-white running the length of each canvas front makes them pulse with light.
Mun, whose installation is the CAM selection in SA’s Fl!ght Gallery, has two pieces on view at Avis Frank from a series she made several years ago. In each, a masterfully rendered child’s head is garlanded with a festive array of cartoony flowers and hearts, which also surround a single, disembodied hand that appears much older. Despite the allusion, these young faces are not cherubim. Their glance is dull, without affect. Pretty as a picture, yes, but beyond creepy.
Delgado’s work appeared in “Dirty Dozen,” a pairing of Houston and SA artists shown at Blue Star Contemporary Art Museum last winter, curated by PaperCity art and society editor Catherine Anspon. His hard-edge abstract paintings made their usual play with three-dimensional space, but the new use of a lighter background in one piece made the blocks of color in the foreground more effectively pop into objects. Larger canvases, and more dramatic action, are called for.
Also showing are works by Gerardo Rosales, McKay Otto, Andrew Anderson, Ann Wood, Kristen Cliburn, Camille Warmington, Alex Rosa, Brian Moss, Thedra Cullar-Ledford, Chris Bakay, Corrine Jones, Tim Gonzalez, and Lisa Barleson.
Spring Introduction, 11am-5pm Wed-Sat, Avis Frank 1606 White Oak Dr. Houston, TX, (713) 231-8967, avisfrank.com