Not
too many months ago I attended the “Photo New York Expo”
at the Metropolitan Pavilion in Chelsea. The Expo contained
galleries and works that I had not expected, including sponsored
installations, galleries whose spaces were mobile - perpetually
in flux - and new art galleries from Houston, TX.
I recently paid a visit to Austin and Houston. From conversations
with various curators at the Photo Expo, I had been made aware
that Austin is perhaps one of the most liberal cities in the
south, especially given the state it's in, and that Houston
has a burgeoning art scene. It seems that a handful of these
cities in America’s southland are pining to be the next
“It” City. Unlike certain neighborhoods in New
York, these up-and-coming galleries in the cities of the south
are accepting countless submissions from artists anywhere
along their career paths.
This means that besides
owning entire portfolios of signed Ansel Adams’
prints, they are also representing emerging artists. I've
seen the pieces they're handling, and these galleries
have earned my respect. Unlike certain upscale neighborhoods
in New York, these galleries are open to unknowns. Yet
they are not fools. Besides displaying a few kitsch over-colored
hand painted silver gelatin prints – that’s
black and white for those of you foreign to photo speak-
the work is beautiful. Delicate, exceptionally printed,
and far better than I expected for the neighborhood I
was in, I found the collections inspiring.
|
|
 |
I realized then the
rumors were true. Many areas of downtown Austin and
Houston contained several galleries and museums dedicated
to the artistic education of its residents. From the
AMOMA- the Austin Museum of Modern Art, to the smaller
fine art photo galleries, the Houston area is extremely
precocious with regards to its art scene. It already
plays host to the Menil collection- a widespread collection
of fine and historic art that spans an entire complex,
woven somewhat haphazardly around the peaceful residences
of Alabama Street. Dorothy Menil and her husband - both
wealthy by birth - decided to use their inheritance
to accumulate an impressive collection of ancient and
modern art, which they have so generously shared with
the public. Rarely do we share the same air, the same
space, as an ancient sculpture; it made the experience
of viewing art more real and more interactive.
Houston still has bit to go. The Houston Center for
photography was disappointing. The artwork was well
worth the trip, perhaps the space's name was the real
let down. There was a beautiful series of five photographs
by Christine Shank entitled “The Expectation Continued
to Remain," which depicted muted interior areas,
excellently and gorgeously printed.
|
| They also have a
very interesting and whimsical installation of pieces
that were inspired by Lewis Carrol’s “Alice
in Wonderland” by Suzy Lee, whose raison d’etre
was to make people question the realism of their lives,
and to question the line that separates reality from
that of a dream. The images from this series were sewn
together in a book, which gave the illusion of a turning
page a bit more of a foundation.
There was an installation by Adrien Chesser, containing
photographs of his closest friends and family as he
tells them that he is HIV positive. The reason? He simply
could not find any other comfortable way of telling
them. |
|
 |
The pictures are
full of raw emotion. It is slightly difficult to see
beyond the fact that they feel a little exploitative,
and manipulative of his friends’ feelings. They
were each photographed in front of a small set of golden
and burgundy velveteen curtains in a small white patio
chair. Part of this is a series of five photos showing
the transition from neutral to reactive. His story can
also be listened to on a cd walkman, left on a table
beside his comment book and chair in front of the same
background as in his portraits. It is admittedly difficult
to portray a story or situation as saddening as one
of someone we care deeply for, going through something
as life threatening as AIDS. What comes into question
is whether it is necessary for their realization to
become your art, and something private that the artist
has made so very public.
For a space listed as a museum
it was terribly disappointing. Such a small space with
two or three exhibitions is hardly a center, and more
like yet another gallery space yearning to be something
more.
|
I have high hopes for the city of Houston, and hope that
someday soon, a space referring to itself as “The Center”
will have a bit more to show for itself. In the meantime,
I must applaud these cities for their open minded-ness, their
bravery, and pursuit of the art representation and education
of some of the cities that we have painted the greatest amount
of stereotypes upon.
|
