A collection of critical writings about the El Paso "art scene" of the late 1980s and 1990s, featuring contemporary art in museum, university, and gallery venues, by artist and arts writer Becky Hendrick. Articles appeared in the El Paso Herald-Post, The El Paso Times, Artweek, Artlies, Artspace, and numerous other regional and national arts publications.
Artist, writer, and educator Becky Hendrick uses this volume to conclude an eventual seven-part "memoir" about what making art and talking about it has taught her. Over the years she has written numerous essays on wide ranging topics --- mostly art-related, but as this collection reveals --- including responses to deaths and dying and the lessons learned from both art and life that make living more appreciated and dying more a meditation.
In Images of War in Contemporary Art, Uroš Cvoro and Kit Messham-Muir mount a challenge to the dominance of theoretical tropes of trauma, affect, and emotion that have determined how we think of images of war and terror for the last 20 years. Through analyses of visual culture from contemporary "war art" to the meme wars, they argue that the art that most effectively challenges the ethics and aesthetics of war and terror today is that which disrupts this flow-art that makes alternative perceptions of wartime both visible and possible. As a theoretical work, Images of War in Contemporary Art is richly supported by visual and textual evidence and firmly embedded in current artistic practice. Significantly, though, the book breaks with both traditional and current ways of thinking about war art-offering a radical rethinking of the politics and aesthetics of art today through analyses of a diverse scope of contemporary art that includes Ben Quilty, Abdul Abdullah (Australia), Mladen Miljanovic, Nebojša Šeric Šoba (Bosnia and Herzegovina), Hiwa K, Wafaa Bilal (Iraq), Teresa Margolles (Mexico), and Arthur Jafa (United States).
A revised and updated edition of the best-selling resource for art teachers This time-tested book is written for teachers who need accurate and updated information about the world of art, artists, and art movements, including the arts of Africa, Asia, Native America and other diverse cultures. The book is filled with tools, resources, and ideas for creating art in multiple media. Written by an experienced artist and art instructor, the book is filled with vital facts, data, readings, and other references, Each of the book's lists has been updated and the includes some 100 new lists Contains new information on contemporary artists, artwork, art movements, museum holdings, art websites, and more Offers ideas for dynamic art projects and lessons Diverse in its content, the book covers topics such as architecture, drawing, painting, graphic arts, photography, digital arts, and much more.
Winner, Award of Merit for Non-Fiction, The Philosophical Society of Texas, 2015 Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state’s dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas. Presenting new research and artwork that has never before been published, Katie Robinson Edwards examines the contributions of many modernist painters and sculptors in Texas, with an emphasis on the era’s most abstract and compelling artists. Edwards looks first at the Dallas Nine and the 1936 Texas Centennial, which offered local artists a chance to take stock of who they were and where they stood within the national artistic setting. She then traces the modernist impulse through various manifestations, including the foundations of early Texas modernism in Houston; early practitioners of abstraction and non-objectivity; the Fort Worth Circle; artists at the University of Texas at Austin; Houston artists in the 1950s; sculpture in and around an influential Fort Worth studio; and, to see how some Texas artists fared on a national scale, the Museum of Modern Art’s “Americans” exhibitions. The first full-length treatment of abstract art in Texas during this vital and canon-defining period, Midcentury Modern Art in Texas gives these artists their due place in American art, while also valuing the quality of Texan-ness that subtly undergirds much of their production.
Dorn's high-spirited, crazy-quilt, complex anti-epic is a masterful critique of late twentieth-century capitalism and is one of the great comic poems of American literature. Dorn is one of the few political poets in America; this fantasy about a demigod cowboy, a saloon madam, and a talking horse named Claude Levi-Strauss, who travel the Southwest in search of Howard Hughes, as become a minor classic.
Recipient of three National Endowment for the Arts grants and with works exhibited at the prestigious Biennale de Paris, New York’s Whitney Museum, the de Menil Collection in Houston, and other venues, Bob “Daddy-O” Wade started “keeping it weird” in 1961 when he arrived in Austin with his ’51 custom Ford hot rod and his slicked-back hair. Primed to study art at the University of Texas, Wade’s coif and dragster earned him his trademark moniker, and the abstract, welded sculptures he fashioned from automobile bumpers in his frat house basement laid the foundations for the distinctive, larger-than-life art pieces that would eventually make him famous. Daddy-O is the creator of the forty-foot iguana that perched atop the Lone Star Café in New York City, the immense cowboy boots (entered in the Guinness Book of World Records) outside San Antonio’s North Star Mall, and Dinosaur Bob, who graces the roof of the National Center for Children’s Illustrated Literature in Abilene, Texas. He is widely recognized as one of the progenitors of the “Cosmic Cowboy Culture” that emerged in Texas during the 1970s. Daddy-O’s Book of Big-Ass Art features images of more than a hundred of Wade’s most famous pieces, complete with the wild tales that lie behind the art, told in brief essays by both Wade and more than forty noted artists and writers familiar with Wade’s work.
This book takes readers on a literary ride across the Lone Star State. J. Frank Dobie tells true stories of rattlesnakes and buried treasure, Jodi Thomas finds romance in the oilfields.
Since its founding in 1993 by the late Pace Foods heiress Linda Pace, Artpace has become one of the premiere foundations for contemporary art. An artist residency program based in San Antonio, Texas, Artpace's goal is to give artists time and space to imagine new ways to work. Each year, nine artists (three from Texas, three from other areas of the United States, and three from abroad) are invited to the foundation to create new work. Selected by guest curators like Robert Storr and Okwui Enwezor, the artists who have undertaken residencies is impressive, prescient, and diverse, including Felix Gonzalez-Torres, Annette Messager, Tracey Moffatt, Xu Bing, Nancy Rubins, Cornelia Parker, Inigo Manglano-Ovalle, Glenn Ligon, Kendell Geers, Carolee Schneemann, Mona Hatoum, Isaac Julien, Arturo Herrera, and Christian Jankowski. Dreaming Red includes images of all the works created at Artpace since its inception; an essay by art historian Eleanor Heartney; short essays on selected artists by guest curators, including Cuauhtémoc Medina, Lynne Cooke, Chrissie Iles, and Judith Russi Kirshner; and a lengthy essay on the personal history of the foundation and its founder.
