Top Five: October 24, 2024

Glasstire counts down the top five art events in Texas.

For last week’s picks, please go here.

A still image of a film by Olivia Erlanger of a woman reaching into an oven.

Olivia Erlanger, “Appliance (video still),” 2024, HD video, color, sound. Image courtesy the artist

1. Olivia Erlanger: If Today Were Tomorrow
Contemporary Arts Museum Houston
April 20 – October 27, 2024

From Contemporary Arts Museum Houston:

“Contemporary Arts Museum Houston (CAMH) is excited to announce the exhibition: Olivia Erlanger: If Today Were Tomorrow, the artist’s first solo museum presentation in the United States. Across an installation, a video, and a series of commissioned sculptures, Erlanger continues her decade-long investigation into what it means to call a planet home.

Informed by her interest in ‘closed worlds’ — human-made, climate-controlled environments — the artist has produced all newly commissioned work for CAMH’s subterranean Nina and Michael Zilkha Gallery. Erlanger is converting the gallery into a sculptural landscape comprising distinct yet interrelated zones: a set showcasing her short film Appliance (2024); dioramas of off-world landscapes and impossible architectures; illuminated planet sculptures; and a constellation of arrows piercing the Museum’s brutalist staircase.”

A sculpture by Carl Cheng.

Carl Cheng, “Alternative TV #3,” 1974.

2. Carl Cheng: Nature Never Loses
The Contemporary Austin
September 6 – December 8, 2024

From The Contemporary

Carl Cheng: Nature Never Loses surveys six decades of the prescient, genre-defying work of artist Carl Cheng (b. 1942, San Francisco; lives and works in Santa Monica). His ever-evolving body of work, incorporating a variety of materials and media, engages with environmental change, the relevance of art institutions to their publics, and the role of technology in society — topics with urgent contemporary relevance.”

Side-by-side paintings by Kathleen Blackshear.

Kathleen Blackshear

3. Kathleen Blackshear: American Artist from Texas
J. Wayne Stark Galleries, Texas A&M (College Station)
October 17 – December 14, 2024

From Texas A&M:

“Born in Navasota in 1897, Kathleen Blackshear — despite her conventional upbringing — welcomed innovation as a woman and an artist. She made a name for herself as a professional artist at a time when the art world was marginalizing women. She was one of the few female faculty members at the Art Institute of Chicago prior to World War II, becoming an innovative teacher known for mentoring African American students.

During her over 30-year teaching career she influenced generations of art history students, embracing modernism, introducing them to African art, and instilling her constant drive to explore new things into her students.”

A photograph of an outdoor alter-like sculpture by Megan Solis.

An artwork by Megan Solis from “Are We Just Phantoms?” Photo: Joshua Anthony Rodriguez

4. Are We Just Phantoms?
Sala Diaz (San Antonio)
October 25 – December 20, 2024

From Sala Diaz:

“Sala Diaz is pleased to announce the opening of the three-person exhibition, Are We Just Phantoms?, featuring Sarah Fox, Jonesy, and Megan Solis. The exhibition will open to the public with a reception on Friday, October 25, 2024, from 6–9 pm.

This exhibition explores horror as an examination of safety and vulnerability in the face of unstoppable forces. While traditional villains can be reasoned with, monsters — whether they manifest as vengeful spirits, human perpetrators, or oppressive societal forces — remain beyond negotiation or comprehension. Through their installations, the artists investigate how horror manifests in both psychological and physical forms.”

A designed graphic with a swirl of gray paint on a black background.

5. Nanibah Chacon: CURRENTS
Nancy Fyfe Cardozier (Odessa)
September 26 – November 8, 2024

From Nancy Fyfe Cardozier Gallery:

“A showcase of a body of work made around the study of water as abstract drawings and string installations. The work began with questioning the personal investment in water conservation movements and politics. For one month, Nanibah did several studies of water using ink and paper. The work examines the line as language to understand the simplest formations of water and movement, investing time to understand its nature and allowing that process to become a point of growth and personal transformation.”

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