Between Love & Madness: Mexican Comic Art from the 1970s
Organized by Christopher Sperandio in collaboration with
students from Practical Curation, Rice University
January 18–March 25, 2018
O'Quinn Gallery

Entre el amor y la locura: Arte del cómic mejicano de los 1970
Organizado por Christopher Sperandio en colaboración con 
estudiantes de Conservación Práctica de la Universidad de Rice
Del 18 de enero al 25 de marzo del 2018
Galería O'Quinn

Wildly popular in Mexico, the art of micro-cuentos, or “mini-tales,” are little known internationally. Beginning in the 1960s and continuing through the mid-seventies, these idiosyncratic Mexican comic books, measuring three by four and a half inches, present genre stories that carry subtle political critique. Between Love & Madness is comprised of approximately 380 works, including original interior art, original painted cover art, and ephemera.

Extremadamente popular en Méjico, el arte de los micro-cuentos, o “mini-historias”, es poco conocido internacionalmente. Desde sus inicios en los 1960 y continuando hasta mediados de los setenta, estos libros de cómic idiosincráticamente mejicanos de una medida de tres por cuatro y media pulgadas, presentan historias con una crítica política sutil. Entre el amor y la locura está compuesta de aproximadamente 380 obras, incluyendo arte original interior, pinturas originales de portadas y piezas de colección.

Jamal Cyrus x Jamire Williams: Boogaloo & The Midnite Hours
February 9–March 25, 2018
Horton Gallery
Essay by Charisse Weston

“And whatsoever master, owner or overseer shall permit or suffer his or their Negro or other slave or slaves, at any time hereafter, to beat drums, blow horns, or use any other loud instruments […], shall forfeit ten pounds, current money, for every such offence […]”

South Carolina Slave Code Article 36 (1740)

Taking as its starting point the phenomena of percussive “rudiments”, and in particular a drum pattern known as the “Boogaloo”, in this exhibition Jamire Williams and Jamal Cyrus artistically mine the most generative phases of Black musical evolution. Born out of the convergences between Africa and the Americas, the Boogaloo is a diasporic rhythm, speaking to multiple origins, and ways of being. Pulling from their respective disciplines of the Visual Arts and Sound, Cyrus and Williams delve into the graphic, sculptural, and sonic possibilities inherent within the tradition of Black music, mixing aspects of the past, present, and future into their recombinant formulas.

Jamal Cyrus is engrossed with the power and efficacy of images, the range of communicative and emotional registers found in material, the present and absent mimetic qualities of place, the divine properties of sound, the wondrous outcomes of selfless collaboration, the resonant and echoing qualities of words that eschew confinement to one meaning, the performative energy embedded in process, non-cochlear sound, the energetic recording capabilities of line, accumulative surfaces that tell time, and the healing properties within all of these.

Jamire Williams is a world renown musician and visual artist who has grown to sincerely feel that his purpose is to meld these mediums together in an organic, seamless fashion. A graduate of Houston’s acclaimed High School for the Performing & Visual Arts, Williams received his BFA from The New School in New York City in 2006. Since then he has grown into one of the leading voices of his generation performing and collaborating with such artist as Herbie Hancock, Solange, Madlib, Christian Scott and Chassol. He has also begun to journey into more conceptual spaces with abstract painting and curated installations. In 2012, he received the Harlem Stage Fund For New Work grant and was also an integral contributor to Jason Moran’s BLEED exhibition at the year’s Whitney Biennial. Williams released a solo concept record entitled ///// EFFECTUAL in 2016 where he explores the dimensions of the drum set in acoustic and electronic capacities accompanied by his personal paintings. “Jamire Williams shows himself to be an inspired crafter of sound, capable of building entire worlds from just his drum hits.” - Pitchfork

His goal is to push the envelope within these creative disciplines by performing in unconventional spaces and creating 2D and 3D still life works that join sound and structure to space and place."

Charisse Pearlina Weston is a conceptual artist and writer who interrogates language, representation, and history through the deconstruction and reconfiguration of text, photography, and archives of black experience. Her work been presented nationally in venues including Project Row Houses. She has participated in residencies at Alabama Song Houston, Atlantic Center for the Arts, and Vermont Studio Center. She has received awards from the Santo Foundation, the Sally Hands Foundation, the Dallas Museum of Art's Arch and Anne Giles Kimbrough Fund and was a 2016 Southern Constellations Fellow at the Elsewhere Museum in North Carolina. Her writing has been published in Art and Culture Texas, Pomona Valley Review, Not that But this, and she is the author of The Red Book of Houston: A Compendium for the New Black Metropolis (2015, self-published), A Vessel. A Case. A Fruit, for Touching (2016, self-published chapbook), and co-author of Fantasy Objects: an artist book of text and images (2014, onestar press).

Augusto Mora: ¿A Dónde Nos Llevan? (Where Are They Taking Us To?)
January 18–March 25, 2018
Cavnar Gallery

Augusto Mora: ¿A dónde nos llevan?
18 de enero al 25 de marzo del 2018
Galería Cavnar

Where Are They Taking Us To? is an exhibition based on the eponymously titled graphic novel by Augusto Mora, a comic artist based in Mexico City. Where Are They Taking Us To? attempts to provide the reader with a timeline of and framework for understanding the circumstances surrounding the disappearance of 43 students of Ayotzinapa’s Teacher Training College in Iguala, Guerrero, on September 26, 2014, and the subsequent demonstrations world-wide that demanded justice for the victims and their families.

¿A dónde nos llevan? es una exhibición basada en la novela gráfica homónima de Augusto Mora, un artista de cómic de la Ciudad de México. ¿A dónde nos llevan? intenta proporcionar al lector una cronología y un contexto para entender las circunstancias que rodean la desaparición de 43 estudiantes de la Escuela Normal Rural de Ayotzinapa.

Daniela Antelo: Intersections and Interactions on Language
February 9–March 25, 2018
Project Space
Essay by Georganne Boardman

Intersections and Interactions on Language is a performance-based video work documenting nine separate interactions between the artist and nine strangers. Documented over a five-month period in 2017, the work examines the ways that communication can be forged when there is no common language to rely upon. The exhibition is accompanied by documentation unique to each of the nine interactions.

Daniela Antelo is a multi-disciplinary artist working in Houston, TX. She received her MFA in Sculpture from the University of Houston in 2015. Her works involve performance and audience participation through time-based installations. She is interested in process more than final product. Her inspiration often comes from the potential of the random and collaboration is a major part of her work. She has performed and shown work at institutions such as Diverse Works, Alabama Song, University of Houston's Blaffer Gallery, The Barn, Asia Society, The Wortham Theater and Hope Stone Center.

Georganne Boardman left the world of visual merchandising and retail display design to earn a BA in Anthropology at the University of Houston in 2013. After interning at the Museum of Fine Arts, Houston in American Painting and Sculpting she combined her love of art history and human behavior by earning her MA in Art History from UH in 2017, studying American scholarship of Yves Klein's Anthropometrie series. As a former fine arts student of blown glass, painting and drawing, Georganne is currently assisting artists with their writing needs as she pursues her own freelance writing projects.

Michelle Matthews: Sculpted
February 9–March 25, 2018
Sculpture Garden
Essay by Perry Price

Sculpted, 2017, Image by Peter Molick

Using traditional methods such as a hand-formed clay coils and carving techniques, ceramic artist Michelle Matthews constructs intuitive forms that balance formal integrity and chance. For this site-specific installation, Matthews will create a large-scale, interactive work comprised of nine clay-based sculptures that will be subject to the natural effects of Houston’s environment for the duration of the exhibition.

Michelle Matthews, born in New Jersey, has called Houston home since 1981. She received her ceramic education at the MFAH Glassell School of Art, completing the Glassell's BLOCK program in 2016. Matthews' ceramic sculptures reflect her love of processes, those found in geological development and those discovered while working in clay. Her work has been exhibited in solo shows at Galeria Regina, Houston, TX in 2015 and 2016, as well as many group exhibits at Coconino Center for the Arts, Flagstaff, AZ; LH Horton Jr. Gallery, Stockton, CA and at the Baltimore Clayworks, MD. Currently, she is curating Collective Transference: An Exhibit of Houston Area Ceramic Artists, a ceramic exhibit on view at the Art Gallery at Houston Community College Central Campus January 23–February 17, 2018.

Perry A. Price is Executive Director of Houston Center for Contemporary Craft in Houston, Texas. Price received a BA in the History of Art from the Johns Hopkins University and an MA in Museum Studies from the Cooperstown Graduate Program in Museum Studies, State University of New York Oneonta and the New York State Historical Association. Prior to joining the HCCC, he served as director of education for the American Craft Council in Minneapolis, Minnesota

2017 Lawndale Mural Project

by Francesca Fuchs
North Exterior Wall

2017/2018 Mural by Francesca Fuchs, Image by Peter Molick

Lawndale is excited to announce the 2017 Mural Project, created by Francesca Fuchs.

With a few stripes and shapes in beige, soft whites, and simple grays, Francesca Fuchs transforms Lawndale's blank north wall into the illusion of cathedral pillars, starting a conversation with the building's iconic Art Deco façade and suggesting a deeper consideration of the role that art spaces play in contemporary society.

Francesca Fuchs was born in London and grew up in Münster, Germany. She completed her BFA at London's Wimbledon School of Art and finished her graduate work at the Kunstakademie Düsseldorf. Fuchs came to Houston in 1996 for the Core Program at the Museum of Fine Arts, Houston. Her work has been shown in national and international venues including the ICA, London; The Whitechapel Art Gallery, London; and The Modern Art Museum of Fort Worth. She had a solo show at the Contemporary Arts Museum, Houston in 2007 and was part of the 2017 survey show American Genre: Contemporary Painting at ICA, Maine College of Art. Fuchs has been the recipient of two Artadia Awards, Individual Artist Grants from the City of Houston, and a MacDowell Fellowship. She is Head of Painting at the Glassell School of Art, Museum of Fine Arts, Houston.

Lawndale Art Center

Lawndale Art Center develops local contemporary artists and the audience for their art.

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