Art Events This Weekend in San Antonio

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Brick Sunday Arts Market

Sundays, 12-5 p.m.
The Blue Star Arts Complex 1414 South Alamo, San Antonio San Antonio

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The Brick Sunday Arts Market will provide wines, mimosas, champagne and lots of craft beer selections on sale for guests. Other local vendors will include rare vinyl record finds, custom art, photography, vintage clothing, pet goods, and more for purchase. The event will also host blue art performances and other activities for guests to enjoy.

"Transcendental Tricentennial: Love Letters to San Anto, the (he)Art of David Zamora Casas"

Mondays-Saturdays, 9 a.m.-5 p.m. and Sundays, 12-5 p.m. Continues through July 28
Institute of Texan Cultures 801 E César Chávez Blvd, San Antonio San Antonio

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Over the last four decades, self-described “artivist” David Zamora Casas has delighted, shocked and intrigued San Antonio audiences with paintings, installations, altars and performance works that essentially present the artist himself as a canvas. Fusing elements of folk and outsider art with nods to the aesthetics of Frida Kahlo and Salvador Dalí, the DIY spirit of rasquachismo, religious iconography and Latinx and LGBTQ* activism, Casas has established something many artists strive for fruitlessly: an instantly recognizable aesthetic that’s distinctly their own. Nicknamed Nuclear Meltdown and dubbed a “clown shaman” by esteemed author and MacArthur Genius Sandra Cisneros, Casas often makes cameos in his own paintings, his fire-engine red lips, devilish goatee and Dalí-esque mustache emerging from surreal tableaus populated by skulls, deities, monkeys and mermaids swimming amid swirling patterns, Mesoamerican symbols and hand-painted text reminiscent of retablos. In the words of Chicano art specialist Tomas Ybarra-Frausto, Casas’ canvases “mix word and image to visualize autobiographical and universal stories  of homoerotic love, loss and persistent social concerns including immigration, environmental plunder, gender disparity and the multiple issues facing marginalized individuals and communities.” Billed as an artistic explosion of “folk-baroque manifestations” exploring themes ranging from indigenous history to gender fluidity, Casas’ new solo show “Transcendental Tricentennial” comprises “miles of ribbon, yards of fabric, embellished prints, various on-site assemblages, oil and acrylic paintings on canvas, barbed-wire and bone sculptures, and a Día de los Muertos ofrenda which spills into our collective consciousness.” Made possible by a grant from the National Association of Latino Arts and Cultures (NALAC), the “mega-installation” also involves creative collaborations with the likes of accordion queen Eva Ybarra and video/film producers Laura Varela and Fadela Gacis Castro. As for its slightly unexpected landing at the Institute of Texan Cultures, Casas reminds that the exhibition evokes the ITC’s mission to be “a lesson in diversity [that] shows the uniqueness and beauty of the many cultures that came to Texas.” (210) 458-2300

Mapping Memory: Space and History in 16th-century Mexico

Through Aug. 25, 11 a.m.-5 p.m.
Blanton Museum of Art 200 E. Martin Luther King Jr. Blvd, Austin Austin


Exactly 500 years ago, in August of 1519, an expedition led by the Spanish explorer Hernando Cortés began marching inland into Mexican territory. Just two years later, what today is Mexico City fell to an ethnically diverse army composed of both Spanish and local peoples from other cities, starting a long period of European colonization. This exhibition aims to expand our perspective on these events by featuring a selection of maps, known as Mapas de las Relaciones Geográficas, created by Indigenous artists around 1580. (512) 471-7324

Superhero Pajama Party!

Fri., July 26, 5-9 p.m.
San Antonio Museum of Art 200 W. Jones Ave., San Antonio San Antonio

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Put on your favorite superhero PJs and enjoy a marathon of Max Fleischer’s Superman cartoons from 1941. Explore Men of Steel, Women of Wonder, munch on breakfast and cereal-inspired food and drink, and make super art! The cartoons will be played on a loop throughout the evening in our auditorium. Auditorium is seating is limited. Feel free to drop in and out to watch the toons and explore other evening activities. (210) 978-8100

Mozart Festival Texas 2019

Sat., July 27, 8-10 p.m., Sun., July 28, 3-5 p.m., Sat., Aug. 3, 8-10 p.m. and Sun., Aug. 4, 3-5 p.m.
UIW Concert Hall 4301 Broadway, San Antonio Downtown

Buy Tickets$15-$115

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@ University of The Incarnate Word Concert Hall, 4301 Broadway St. San Antonio, Texas. 78209
San Antonio’s homegrown festival of (mostly) Mozart music celebrates its 10th anniversary with four concerts at the University of the Incarnate Word. While most of the concerts focus on our man Wolfgang Amadeus’ greatest hits — from the Don Giovanni Overture to the Divertimento for Strings in D — works by Johann Sebastian Bach, Franz Haydn, Claude Debussy and Jaques Ibert will also be featured. This year’s guest performers include Caleb Polachek, Bruce Williams, Megan Meisenbach, Elaine Barber, Toby Blumenthal, Richard Kilmer and Douglas Harvey, with a final concert capped off by a performance of Mozart’s Piano Concerto no. 17 in G by 2016 San Antonio International Piano Competition Bronze Medalist Osip Nikiforov.

Looking for Langston

Wednesdays-Saturdays, 12-5 p.m. Continues through Aug. 11

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Although his resume includes writing and directing credits for the award-winning coming-of-age drama Young Soul Rebels (1991) and the blaxploitation documentary BaadAsssss Cinema (2002), British filmmaker and installation artist Isaac Julien is arguably better known for conceptual films presented on multiple screens simultaneously. Seemingly dissected and left for viewers to reassemble with their own eyes, these immersive projects have involved journeys to remote ice caves in Iceland, juxtapositions of Arctic and African landscapes, travels through China and curious collaborations with the likes of Tilda Swinton and James Franco. A co-founder of the Sankofa Film and Video Collective (an organization “dedicated to developing an independent black film culture in the areas of production, exhibition and audience”), Julien made one of his earliest waves with Looking for Langston — a 1989 film billed as “a lyrical exploration — and recreation — of the private world of poet, social activist, novelist, playwright and columnist Langston Hughes (1902-1967) and his fellow black artists and writers who formed the Harlem Renaissance during the 1920s.” In essence a non-linear homage that presents Hughes as a metaphor for the black gay experience, the film has earned cult status and is taught extensively in universities as part of African-American and queer studies programs. Appointed Commander of the Order of the British Empire (CBE) in 2017, Julien was a favorite of late local artist and philanthropist Linda Pace, who acquired more than 50 of his works during her lifetime. In celebration of Looking for Langston’s 30th anniversary, the Linda Pace Foundation’s gallery Studio at Ruby City showcases the 45-minute film as the anchor of a new exhibition of two recently acquired photographs Julien shot during production — Film-Noir Angels and Masquerade No. 3.

Men of Steel, Women of Wonder

Fridays, 10 a.m.-9 p.m., Saturdays, Sundays, 10 a.m.-5 p.m., Tuesdays, 10 a.m.-9 p.m. and Wednesdays, Thursdays, 10 a.m.-5 p.m. Continues through Sept. 1
San Antonio Museum of Art 200 W. Jones Ave., San Antonio San Antonio

Buy Tickets$12-$20


Evidenced by the global success of recent films such as Black Panther, Avengers: Endgame and Captain Marvel, among many others, the world is still captivated by the concept of superheroes. While less memorable examples might fall within that formulaic realm the New York Times summed up as “mental popcorn, meant to be rapidly consumed and forgotten,” the box office numbers prove we’re still collectively content to sit and watch statuesque freaks of nature fight off evil forces — even when the takeaway is minimal. Long before the schlock of what’s been dubbed “Hollywood’s Comic Book Age,” Superman and Wonder Woman captured imaginations as defenders of humanity fighting injustices amid the backdrops of the Great Depression and WWII. Introduced in 1938 and 1941, respectively, this iconic, spandex-clad pair inspire myriad incarnations in “Men of Steel, Women of Wonder,” an exhibition organized by Crystal Bridges Museum of American Art in Bentonville, Arkansas, and landing at the San Antonio Museum of Art this summer. Although it might conjure visions of comic cons and nerdy fan art, the traveling show digs deep into the cultural significance of both figures — and it isn’t an entirely kid-friendly affair. Curated by Alejo Benedetti, the collection of 70-plus paintings, photographs, videos and installations goes beyond the expected depictions of costumed heroism to explore sexuality, immigration, race, idolatry, desire and the very building blocks that made these characters possible. Spanning from the 1930s to the present day, “Men of Steel, Women of Wonder” builds an interpretive timeline in four thematic sections. Encompassing both the reverent and irreverent, the introductory section The Heroes We Know comprises photographer Siri Kaur’s amusing portraits of celebrity impersonators captured in mundane, contemporary contexts, Peter Saul’s playfully surreal painting Superman Versus the Toilet Duck and a provocative yet nostalgic installation by Jim Shaw, The Issue of My Loins, that showcases — and supersizes — Superman’s crotch. Placing the mythical stars in historical context, Origin Stories is reportedly the germinating seed for the entire exhibition. Here, real-life men of steel and women of wonder are presented in etchings of 1930s-era steel workers building the metropolis, photographs of women welding in the Willow Run bomber plant in the 1940s and Norman Rockwell’s 1943 painting of brawny machinist and feminist icon Rosie the Riveter eating a sandwich as the American flag billows in the background. Contrasting God-like power with traces of vulnerability, Glimpsing Humanity places our heroes in unexpected contexts: an alienated Superman reads the paper amid a barren landscape in Llyn Foulkes’ 1991 painting Where Did I Go Wrong and gets lit in Mike Kelley’s 1999 video Superman Recites Selections from “The Bell Jar” and Other Works by Sylvia Plath. Wonder Woman becomes a religious icon in Valetin Popov’s 2009 painting St. Wonder Woman and gets placed In Exile alongside the Virgin Mary, Aphrodite and others in Mary Beth Edelson’s mixed-media painting from 1989. Timely and provocative, the closing section Defender of the Innocent challenges stereotypes of gender and race while importantly reminding that both beloved characters are immigrants (he’s from Krypton, she’s from Themyscira, aka Paradise Island). Sarah Hill addresses the plight of a trans Wonder Woman in the 2014 video They Wonder; late San Antonio artist Mel Casas calls out the lack of diversity in the superhero realm in his painting Humanscape 70 (Comic Whitewash); Superman locks lips with Batman in Rich Simmons’ 2014 mixed-media work Between the Capes; Dulce Pinzón celebrates Mexican immigrants as working-class superheroes in staged photographs; and an installation attributed to the U.S. Department of Illegal Superheroes (ICE DISH) comes complete with a hotline where concerned citizens can report suspicious activity. As host venue, SAMA rises to the heroic occasion with an abundance of complementary programs, including talks with featured artists, weekly gallery talks, workshops, a Superhero Pajama Party (July 26) and outdoor screenings of Black Panther (June 28), Superman: The Movie (July 12), Nacho Libre (July 19), The Incredibles 2 (August 2), Batman (August 6), Wonder Woman (August 9), Birdman (August 16), Lu Over the Wall (August 23) and Superman II (August 30). (210) 978-8100

"Spiritual Visions" Opening Reception

Sat., July 27, 6-9 p.m.
Bihl Haus Arts 2803 Fredericksburg, San Antonio San Antonio

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A series of inspiring illustrations exploring spiritual visions of the 18th century Missions, and a mystical journey reflecting scriptural scenes associated with water are the highlights of an exhibition by artist Richard Arredondo that opens with a reception. The exhibit, which continues through Aug. 31, includes poolside music by George and Aaron Prado. In conjunction with “Spiritual Visions,” a gallery presentation about the San Antonio Missions by Gilberto Hinojosa of the University of the Incarnate Word is at 2 pm Saturday, Aug. 10. (210) 383-9723

Lily Cox-Richard at the Blanton Museum of Art

July 27-28, 11 a.m.-5 p.m.
Blanton Museum of Art 200 E. Martin Luther King Jr. Blvd, Austin Austin


This installation will present new work that expands artist Lily Cox-Richard’s research into the contextual history of materials. By removing common materials such as plaster, concrete, or scrap copper from familiar settings and giving them new forms, Cox-Richard makes visible unseen systems that dictate materials’ production, value and use, and engages larger questions of natural resources, labor, the specifics of place and the politics of viewership. rganized by Claire Howard, Assistant Curator of Modern and Contemporary Art, Blanton Museum of Art (512) 471-7324

B Scene: A Love Supreme

Fri., July 26, 6-10 p.m.

Buy Tickets$15

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@ Blanton Museum of Art, 200 E. Martin Luther King Jr. Blvd
The opening of “Jeffrey Gibson: This is Is the Day” includes a celebration of your individuality, creativity, and authenticity. Join the B scene: A Love Supreme dance party where everyone will be encouraged to be their most genuine selves. You do you, and the Blanton Museum staff will set the scene with classic ’80s tracks, food, art-making activities, and more. If you’re a Blanton Member, you’ll enjoy free admission and a private, members-only lounge. The featured music performances include Très Oui, Masculine Pain, Louisianna Purchase, Workout! with Erica Nix and DJ Mark Murray of Sun Radio. The event is sponsored by Sun Radio and CultureMapATX. (512) 471-7324

Daniel Rios Rodriguez & Raul Gonzalez

Mondays-Fridays, 10 a.m.-5 p.m. and Saturdays, Sundays, 12-5 p.m. Continues through Aug. 18
Artpace 445 N. Main Ave., San Antonio San Antonio


With a powerful trio of exhibitions already on view, Artpace gives us two more reasons to visit this spring with the unveiling of new projects by San Antonio-based artists Daniel Rios Rodriguez and Raul Gonzalez. Although Rodriguez and Gonzalez explore wildly different topics and themes, their bright and bold bodies of work find common ground in playful energy, DIY aesthetics and transformations of commonplace materials. A Houston transplant who earned an MFA from UTSA along with grants from the Sustainable Arts Foundation, the Surdna Foundation and the National Association of Latino Arts and Cultures (NALAC), Gonzalez has long been fixated on the concept of work in many forms — construction, manual labor and his dual roles as a “werking artist” and undeniably cool stay-at-home dad. He’s captured the everyday joys of fatherhood in figurative drawings, celebrated his love for Whataburger and the Houston Astros in paintings and installations, enhanced his exhibitions with energetic, movement-based performances and even danced for 4.3 miles — continuously from downtown to the McNay. With a title lifted from a song by bygone Texas hip-hop duo UGK, his “Front and Back, and Side to Side” promises to transform Artpace’s Main Space windows with a “multi-dimensional mural” rendered in cardboard and colored duct tape. (Cue the selfies). A native of Killeen who earned his MFA from Yale and has exhibited in New York, Chicago, Marfa, Ireland and beyond, Rodriguez takes a tactile approach to small-scale “semi-figurative” paintings inspired by personal experiences and the natural world. Frequently using oddly shaped, homemade panels, he paints scenes and patterns in thick, textural layers, adding organic-looking embellishments such as stones, shells and feathers, and finishing the pieces with earthy frames rendered in found bits of wood, rope, wire and hardware accents. Bringing to mind everything from cave drawings and tribal symbology to folk and outsider art, Rodriguez’s work comes to light in “Bruisers,” his first ever solo show in Texas. Nodding to the battle scars we collect while navigating life on Earth, Rodriguez says the exhibition title also speaks to the surfaces of his paintings, many of which “undergo a lot of heavy hitting and burning and throwing across the floor.” During the opening reception, both artists will give short talks about their work and Artpace will also be rolling out a new Third Thursdays series that kicks off with a rooftop screening of shorts curated by the San Antonio Film Festival ($5-$10, 8pm Thu, May 16). (210) 212-4900

Blue Star Contemporary presents work by Berlin Residency Artists in Exhibition Titled Fünf

Saturdays, Sundays, 10 a.m.-6 p.m. and Thursdays, Fridays, 10 a.m.-8 p.m. Continues through Sept. 8
Blue Star Contemporary 116 Blue Star, San Antonio San Antonio


San Antonio’s first and longest running contemporary art non-profit, Blue Star Contemporary (located in the heart of the Blue Star Arts Complex), presents Fünf, on view June 7–September 8, 2019. This exhibition highlights the fifth year of Blue Star Contemporary’s Berlin Residency program and will feature artworks from 2017-2018 artists Amada Miller, Andrei Renteria, Ethel Shipton, and Jared Theis. The artists featured in Fünf present works they developed while in residence at the Künstlerhaus Bethanien and upon their return to San Antonio. Fünf brings together these artists to highlight the diversity of practices in the San Antonio art community and the impact of this life changing residency. The exhibition opens with a free reception on Friday, June 7. (210) 227-6960

The Canción Cannibal Cabaret

Sat., July 27, 6-9 p.m.
Guadalupe Theater 1301 Guadalupe, San Antonio San Antonio


In her 2015 TEDxMcAllen Talk titled “Scaling Walls With Words,” acclaimed Tejana actor, writer, activist and spoken-word artist Amalia Ortiz compared her code-switching linguistic style to an unlikely mashup of Selena and the Sex Pistols — “like a dyslexic DJ ready to bidi bidi bomb the suburbs, punk ruca style.” She also referenced a quote from historian Howard Zinn’s book Artists in Times of War, which presents artists as catalysts who should “think outside the boundaries of permissible thought and dare to say things that no one else will say.” Taken together, those two tidbits offer a glimpse into the outspoken, genre-challenging spirit that runs through Ortiz’s diverse work, which encompasses three seasons on the HBO series Russell Simmons Presents Def Poetry, the NBC-approved poetry collection Rant. Chant. Chisme and a Tex-Mex remix of Georges Bizet’s iconic opera Carmen dubbed Carmen de la Calle. An evolution of an MFA thesis manuscript Ortiz started writing before Trump’s election, The Canción Cannibal Cabaret & Other Songs functions as a multidimensional, multipurpose endeavor. Although firstly a collection of socially conscious, political poetry that doubles as a script for a punk musical, the forthcoming Aztlan Libre Press book is also a conceptual commentary on propaganda, a love letter to the DIY aesthetics of rasquachismo, a rebuttal of performance poetry’s questionable reputation within the ranks of academia and a “refugee, people of color, feminist, and LGBTQ+ call to action.” In the book’s introduction, Ortiz explains that The Canción Cannibal Cabaret is “more than a flat manuscript of text, but rather words which claim three-dimensional space.” Set in a post-apocalyptic, “not-so-distant” future just after the establishment of a totalitarian government, The Canción Cannibal Cabaret centers around La Madre Valiente, an anti-colonial, anti-capitalist refugee secretly planning an intersectional feminist revolution with assistance from her roving emissaries, the Black Bards and Red Heralds. Human flesh, however, is not on the menu. Here the term “cannibal” refers to the cannibalization of “knowledge from before the fall of civilization” as well as Ortiz’s “homolinguistic” translations (essentially English to English reconfigurations) of songs and poems by the likes of Bob Dylan and late Chicana icon Gloria Anzaldúa — whose poem “The Cannibal’s Canción” sparked the project’s name. “If you enjoy Anzaldúa or Dylan, you might enjoy this,” Ortiz suggests. In celebration of the book’s national release on July 27, the Guadalupe Theater plays host to a free book launch and a complete performance of The Canción Cannibal Cabaret, which Ortiz describes as a “deliberately theatrical” spectacle involving costumes, makeup, choreography, stage lighting, music and video. (210) 271-3151 (FAX); (210)

Lily Cox-Richard: She-Wolf + Lower Figs.

July 27-28, 11 a.m.-5 p.m.
Blanton Museum of Art 200 E. Martin Luther King Jr. Blvd, Austin Austin

Buy Tickets$12


This installation will present new work that expands artist Lily Cox-Richard’s research into the contextual history of materials. By removing common materials such as plaster, concrete or scrap copper from familiar settings and giving them new forms. Cox-Richard makes visible unseen systems that dictate materials’ production, value, and use, and that engage larger questions of natural resources, labor, the specifics of place and the politics of viewership. The event is organized by Claire Howard, Assistant Curator of Modern and Contemporary Art, Blanton Museum of Art (512) 471-5482

Juana Córdova, Francis Almendárez, Narcissister

Mondays-Fridays, 10 a.m.-5 p.m. and Saturdays, Sundays, 12-5 p.m. Continues through Sept. 8
Artpace 445 N. Main Ave., San Antonio San Antonio


The latest round of Artpace's International Artist-in-Residence program demands to be heard as much as seen. Each of the artists elected by guest curator Karina Aguilera Skvirsky has created visually distinct and seemingly disparate bodies of work, but the exhibitions are united by the presence of sound. For "Chronicles of Uprooting," Juana Córdova (Cuenca, Ecuador) collected samples of tumbleweed, an immigrant plant that made its way to the American West via a shipment of flaxseed from Russia, and achiote seeds, a plant common to the tropics of Latin America that has been used to give flavor and color to food, cosmetics and textiles since the Pre-Columbian era. The space is filled with a gentle droning, provided both by fans that keep three tumbleweeds spinning aloft in transparent tubes and a video installation featuring the frenetic movement of insects. From the winding roads of flattened tumbleweed unspooled on the wall to a diaspora of achiote seeds mounted in a corner, Córdova renders the journeys of immigrant peoples in miniature, metaphorically connecting the movement of flora to human migration worldwide. Francis Almendárez (Houston) focuses on the rhythms of work both commercial and domestic in "rhythm and (p)leisure." Shot in Honduras and El Salvador, the multi-screen video installation is abuzz with the myriad sounds of human tasks, whether it be a man hammering the soles of counterfeit Nike sneakers, a woman gently sweeping a tile floor or a group drumming on a street corner. From the rushed pace of the city to the more leisurely speed of the countryside, Almendárez has captured the processes of human work, both material and immaterial, and reveals how even activities we view as leisure are still "work" in their own right. Piles of clothes on pallets offer the viewer a place to sit or recline, but this is merely a brief respite before the garments reenter the global circulation of sale, resale and disposal. Masked artist Narcissister (New York, New York) is a provocateur whose performance art has been seen in venues from burlesque clubs to America's Got Talent. While functionally silent, the bombastic imagery of the erotic collages included in "Wimmin" are loud in their own way, unapologetically confronting the intersection of femininity, race and sexuality. However, the artist's work also possesses an auditory component that arises when pieces are "activated" (a term she isn't particularly fond of) in performance. During the free opening reception, performances will cycle every half hour, featuring small gestures such as the swishing of the fabric of a formal dress as it's wrapped around a body encased in a bale of aluminum cans and the echoing clank of the pan-eyelids of an assembled face being opened by an anonymous performer, who completes the structure's features with a large, pierced nose worn on her back. (210) 212-4900

On Water Exhibition at the Central Library

Through Aug. 16, 10 a.m.-6 p.m.

Buy TicketsFree


@ Austin Central Library, 710 W. Cesar Chavez St., Austin, TX 78701
On Water is a solo exhibition featuring 14 large scale photographs and photographic collages by artist Elizabeth Chiles. Presented in the Central Library's main gallery, On Water showcases two series of Chiles' work: Figs from Thistles, created in 2013 during the worst Texas drought in over a century, and On Water, created in 2018 during months of historic flooding along the Colorado River. 512.974.7400

Artist Lecture: The Influence of Comics with Robert Pruitt

Sat., July 27, 6:30-7:30 p.m.
San Antonio Museum of Art 200 W. Jones Ave., San Antonio San Antonio


Join Robert Pruitt, whose work is featured in Men of Steel, Women of Wonder, for a lecture on the influence of comics in his work. Pruitt explores black bodies and identities through sculpture, animation, photography, and large-scale figurative drawing. Doors open at 6:00 p.m. Seating is limited and first come, first served. (210) 978-8100

NYFA Immigrant Artist Mentoring Program Exhibition

Through Sept. 29, 11 a.m.-7 p.m. and Wed., Aug. 7, 6-9 p.m.
Centro de Artes 101 S. Santa Rosa Ave., San Antonio San Antonio


An exhibition of visual art, film, and performance by the first round of participants in the New York Foundation for the Arts Immigrant Artist Mentoring Program in San Antonio. Open daily 11am-6pm with an opening reception 6-9pm Thursday, June 27, Film & Performance night 6-9pm Thursday, July 11 and Artist Panel Discussion & Cataloque Release 6-9pm Wednesday, August 7. (210) 207-1435

Artist Workshop with Jerri Allyn: Create Your Own Empowerment Placemat

Sat., July 27, 10 a.m.-1 p.m.
San Antonio Museum of Art 200 W. Jones Ave., San Antonio San Antonio


Join artist Jerri Allyn, whose work "The Waitresses" is featured in Men of Steel, Women of Wonder, to explore the makings of everyday superheroes and create a comic empowerment place mat. Let’s spin “lasso’s of truth” to squarely face that “impossible task”-–one that requires a draw on a super power to accomplish it. No art training necessary. Participants are invited to draft their own comic, or use templates of figures in action and facial expressions that Allyn will provide. The event is $45 or $35 for members. (210) 978-8100

Ryan Gander: Ghostwriter Subtext

Thursdays-Saturdays, 3-7 p.m. Continues through Aug. 3
Sala Diaz 517 Stieren St, San Antonio San Antonio


Ryan Gander’s installation “Ghostwriter Subtext” consists of two single channel videos, one shown on a 16:9 projection, and one on a monitor. The projection documents an interview organized by Gander between the curator Hans Ulrich Obrist and the architect Rem Koolhaas being interviewed by an anonymous ghostwriter on the subject of interviewing. Most of the questions put to Obrist and Koolhaas concern their own practice of interviewing artists and architects. The video is edited so that only shots of the participants listening to one another are visible. The spectator never sees anyone speaking during the interview. The monitor displays a subtext rendered in white text on a black background, documenting an internal debate as to the significance of the work, the appropriateness of the subjects and chosen methodologies. There are two voices, one of which refers to himself as “the artist,” although no indication is given as to which speaker is which. It is often unclear which voice we are reading. At times, the conversation offers a commentary on the first video, but it digresses into argument and counter-argument. Indeed, the conversation seems mostly concerned with the failure of the artist’s original intentions with respect to the first film, which is, in essence, an interview about interviewing and the potential erasure of meaning as soon as words are spoken. (972) 900-0047

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