50th Anniversary Celebration: Exhibition Catalogs 1990 – 2006

This exhibit is the fourth installation in a year-long effort to celebrate the history of Blaffer Art Gallery by showcasing a retrospective of our exhibition catalogs. This iteration focuses on Exhibition Catalogs from 1990–2006.

The Blues Aesthetic: Black Culture and Modernism (1990), Time Dust: Complete Graphics (1993), and Michael Ray Charles, 1989-1997: An American Artist’s Work (1997), offer a diverse exploration of American art. Hosted by the Blaffer Art Museum, these exhibitions collectively celebrate the enduring impact of African-American culture on modern art, showcase the evolution of artists' vision, and critically examine racial stereotypes in contemporary society.

These catalogs illustrate the contemporary themes present during the cusp and following the turn of the century. During this period, the use of various mediums, ideas of juxtaposition and duality, and reimagined cultural norms became a vehicle for exploring societal beliefs.

Credit

Lea Holiday, Catherine Leon Lemos, Claudia Moreno

Houston Area Exhibition, Blaffer Art Gallery

The Blues Aesthetic: Black Culture and Modernism (1990)
Powell, Richard J. The Blues Aesthetic: Black Culture and Modernism. Edited by Richard J. Powell. Washington, DC: Washington Project for the Arts, 1989.
Exhibited Jun 8 – Jul 29, 1990

The Blues Aesthetic: Black Culture and Modernism offered a window into the enduring impact of African-American culture on twentieth-century art. Organized by the Washington Projects for the Arts and showcased in several major American cities including Houston, this interdisciplinary exhibition presented a remarkable collection of works transcending racial and ethnic boundaries. These artworks were unified by a shared affinity for various elements of African-American culture and style in the United States.

Sponsored by the Ford Motor Company, the exhibition catalogue bore witness to the influence of black culture on the American artistic landscape. As John Cephas noted, the blues were seen as an integral part of the oral black tradition, resonating through various forms of vocal and instrumental music and addressing subjects of common importance to the black community. The Blues Aesthetic served as a historical artifact, reflecting the cultural convergence that has left an indelible mark on American modernism, a testament to the enduring significance of black culture in shaping the nation's artistic identity.

James Rosenquist: Time Dust Complete Graphics (1993) Exhibition Catalog

James Rosenquist: Time Dust Complete Graphics (1993)
Cross, Doris and Jim Edwards. James Rosenquist: Time Dust, The Complete Graphics 1962 – 1992. Edited by Jim Edwards. Santa Fe, NM: Museum of Fine Arts New Mexico, 1993. Exhibited June 12 – July 25, 1993.

The exhibition Time Dust: Complete Graphics by artist James Rosenquist was shown in Minnesota and Hawaii before making its way to the Blaffer Art Museum in Houston, TX. Along with many other Pop artists of his time, James Rosenquist was inspired by the consumer-culture realism of the 1960s. Rosenquist was a member of the “young vulgarians,” a group of artists that had the intention of finding individual voices that acknowledged the irrevocable gains of Abstract Expressionism. They also responded to the reality, feel, and sheer grittiness of the world from a more down-to-earth perspective of Abstract Expressionists such as Jackson Pollock and Willem De Kooning.

Rosenquist started as a sign painter. He went from creating advertisements for the world to see to then deconstructing and utilizing advertising to warn and converse about societal matters. Formal issues compelled his art, but social and ecological concerns became the subtext of the work, confirmed by recurring images and carefully crafted poetics of his titles. The works included in this show contained variations in oil, charcoal, pencil, collage, and mixed-media. The significance of the title is that Time Dust is, “what we all accumulate!” being described by Rosenquist himself as the “garbage left in space,” expressing his thoughts about the consumerist society in which he lived.

Magnification and grandeur of scale are at the heart of his expression, as have powerful, disjunctive couplings that remain inscrutable in the face of attempts to align them through logic or reason. There is no narrative in Rosenquist’s work, only the theme: the boundaries of perception and patterns of seeing. He has been called one of the premier colorists of his time, and evidence of his mastery is confirmed in the way he uses hue and intensity to alter our ability to integrate multiple experiences in way that are “neither direct and linear in their impact nor uniform in their effect.”

This exhibition, previously showcased in Minnesota and Hawaii before arriving in Houston, delves into Rosenquist's artistic progression, from his initial print in the 1960s to his later exploration of scale and traditional media. His work challenges conventional narrative, emphasizing the boundaries of perception and patterns of seeing. Rosenquist's skillful use of color and the absence of a traditional narrative intrigues viewers, prompting them to reconsider their understanding of art and experience. 'Time Dust: Complete Graphics' is an exploration of an artist's evolution and creative vision, offering an objective journey through the world of James Rosenquist.

Darkness + Light: Twentieth Century Works from Texas Collections (1993)
Ward, Elizabeth. Darkness + Light: Twentieth-Century Works from Texas Collections. Edited by Elizabeth Ward. Houston, TX: Blaffer Art Gallery, 1993. Exhibited June 23 – March 28, 1993.

Darkness + Light featured a diverse collection of works by 56 artists, including luminaries like Robert Mapplethorpe, Robert Rauschenberg, Cindy Sherman, Lorna Simpson, and Gael Stack. Curated by artist Elizabeth Ward, the exhibition highlighted art devoid of color, transcending conventional categorizations and exploring the interplay between darkness and light.

Ward's curation showcased artists who deliberately eschewed color in their work, reflecting Modernist principles and postmodern explorations of black-and-white imagery. This restraint in color use underscored the seriousness and purpose of the artists. The exhibition's juxtaposition of darkness and light evoked a rich interplay of mystery and revelation, inviting visitors to delve into the profound nuances of perception and creativity.

In her own words, Ward emphasized that the absence of color in these works reflects the Modernist pursuit of reducing art to its structural essence, while postmodern artists harnessed black-and-white imagery's connection to photography and film. These creations also played with black marks on white surfaces, invoking the essence of written language on a page.

Asia/America: Identities in Contemporary Asian American Art (1996)
Machida, Margo, Vishakha N Desai, and John Huo Wei Tchen. Asia/America: Identities in Contemporary Asian American Art. Edited by David Sternbach and Joseph N Newland. New York, NY: Asia Society Galleries, 1994. Exhibited June 8 - July 28, 1996

Asia/America: Identities in Contemporary Asian American Art, organized and curated by The Asia Society Galleries with guest curator Margo Machida, is a groundbreaking exhibition that delves into the multifaceted identities of 20 foreign-born artists of Asian parentage who have come to the United States to live and create. The artists hail from diverse Asian countries, including China, India, Japan, Korea, Laos, the Philippines, Thailand, and Vietnam, making this exhibition a vibrant exploration of bicultural identity.

The exhibition marks a significant turning point as The Asia Society's first foray into Asian American issues and its initial major contemporary art show. Asia/America illuminates themes related to transcultural experiences, addressing both the artists' connections to Asia and their interactions with Western culture. It also delves into the duality of their position as insiders and outsiders in the United States, artfully engaging with artistic, historical, and cultural matters.

The diverse selection of artists brings forth an array of visual messages that capture the essence of bicultural identity, employing various mediums, including photography, painting, mixed media, and installation. Through these works, the exhibition aims to showcase the myriad ways in which Asian-born American artists articulate their sense of living between two worlds, providing a platform for dialogues on identity, culture, and the complex intersections of East and West in contemporary art. Asia/America is a testament to the mission of The Asia Society, founded in 1956, which seeks to educate Americans about all facets of Asian arts, cultures, and political systems.

Michael Ray Charles, 1989 - 1997: An American Artist's Work
Charles, Michael Ray and Blaffer Art Gallery. Michael Ray Charles, 1989-1997: An American Artist's Work. Houston, TX: Blaffer Art Gallery, 1997. Exhibited June 14 – August 31, 1997.

In 1997, Blaffer Gallery presented the first major museum exhibition of work by African-American artist Michael Ray Charles. His revised depictions of stereotypical characters such as Sambo, Buckwheat, and Aunt Jemima twist racial and racist stereotyping, calling attention to contemporary issues of race and prejudice. In addition to the 70 paintings and works on paper, Michael Ray Charles, 1989-1997: An American Artist’s Work was augmented with a selection of popular culture reference objects from the artist’s collection.

Charles’ carefully crafted and “aged” canvases and works on paper are sometimes presented simply tacked to the wall. His political imagery addresses the history of racism and prejudice and calls attention to its role in contemporary society. Charles’ reinterpretations of Norman Rockwell’s Saturday Evening Post covers, circus posters, and advertisements use humor and word play to twist racial and racist stereotypes. The artist’s images of mammies, Sambos, and jesters subvert the original (often overtly pejorative) intent on these figures. He adopts and recontextualizes these images and uses layers of puns and word play to address issues of race and bigotry. Some of these issues he confronts include how tobacco and liquor companies’ marketing strategies target minorities, the depiction of African-Americans in the entertainment and sports industries, and concepts of “all-American (white) beauty.” Addressing the reclamation of these characters, Charles states that the “sambo image and images like that of the early 1900s and 1800s laid the format for how we consume images about who we are and who other people are. We are products of products past” [and] “I’m interested in the past that exists in the present that will possibly be the future. I was seeking elements of Americanism.”

The exhibition was accompanied by a two-volume 55-page catalog that includes large scale color reproductions, an introduction by filmmaker Spike Lee, an essay by Dr. Marilyn Kern-Foxworth, an extensive interview with the artist, an artist biography and a bibliography.

Working-Class Heroes: Images from the Popular Culture (1999)
Huerta, Benito, Dave Hickey, and Michael Brenson. Luis Jiménez Working Class Heroes: Images from the Popular Culture. Edited by Deni McIntosh Henry. Kansas City, MO: Dallas Museum of Art, Exhibits USA, 1997. Exhibited Jan 23 - March 28, 1999

Working-Class Heroes: Images from the Popular Culture is a retrospective exhibition that pays tribute to the prolific career of artist Luis Jimenez, spanning three decades from 1967 to 1996. The exhibition, curated by Benito Huerta, explores Jimenez's distinctive artistic journey and his fascination with popular culture, which encompassed themes such as cars, music, sex, dance, and plastics. Jimenez also taught sculpture, art, and drawing at the University of Houston from 1995 to 2006, which left a lasting impact on future generations of artists.

The collection is organized into four thematic sections: The Political, The West (exemplified by the 1981 sculpture Vaquero), Mythology, and The Working Class. Jimenez's work transcends clichés through a creative and respectful treatment and portrayals of his explored themes through the average person with a glossy, colored fiberglass finish that imbues the pieces with a sense of modernity.

Luis Jimenez's art is deeply rooted in an exploration and celebration of culture and mythology on both sides of the Mexican/United States border. It reflects the impact of these elements on the everyday individual, while underlying themes explore the relationship between humanity and nature, as well as themes of sexuality. Jimenez's work, including lithographs, watercolors, ballpoint drawings, and fiberglass sculptures, showcases his versatility as an artist.

An integral part of Jimenez's legacy is his ability to generate discussion and controversy through provocative public sculptures, emphasizing his commitment to engaging with community issues. Notably, Fiesta Jarabe (Fiesta Dancers), one of his prominent sculptures, is displayed on the University of Houston campus near the Cougar Woods dining hall, providing a tangible testament to his enduring impact both as a working-class hero and an influential artist.

The Splendora Years James Surls (2005)
Heartney, Eleanor, James Surls, and Terrie Sultan. James Surls: The Splendora Years. Edited by Terrie Sultan. Houston, TX; Austin, TX: Blaffer Art Gallery; University of Texas Press, 2005. Exhibited Sep 16 – Nov 12, 2005. 3.

James Surls: Embracing Paradox is a profound exploration of an artist whose work defies conventional boundaries and captures the essence of dualities. Surls' sculptures, crafted from wood, steel, and bronze, blend natural forms with sophisticated and often edgy imagery, touching upon universal themes while maintaining a deeply personal and expressive quality. This exhibition showcases a remarkable collection of works created during the two decades when Surls resided in Splendora, Texas, where he established an artists' colony that encouraged creativity across various art forms.

Surls' impact on Texas as a hub of vibrant creativity is undeniable, and he has simultaneously garnered international recognition for revolutionizing traditional sculpture while upholding a high degree of aesthetic and intellectual quality.

As both a professor of sculpture at the University of Houston and a visionary artist, Surls has balanced formal discipline with intuition, believing in the invisible, underlying forms within natural materials. His art beautifully reflects the coexistence of humanity with the environment and delves into the complexity of the human soul. James Surls: Embracing Paradox offers a compelling narrative of the love between an artist, a landscape, and the raw materials he transforms into works of art. Surls' creations embody a duality, expressing the benevolence of nature, the fruitful coexistence between man and his surroundings, and the profound mysteries of the human experience. This exhibition brings to life Surls' belief in embracing paradox, where meaning is discovered in the connections between the seen and the unseen, the dark and the light, and the tangible and the intangible.

Newspapers (A Fiction of Authenticity: Contemporary Africa Abroad): Siemon Allen (2006)
Allen, Siemon. Newspapers. Edited by Ellen R. Feldman. Des Moines, IA: Anderson Gallery, Drake University, 2004. Exhibited Sep 9 – Nov 11, 2006.

Newspapers: A Fiction of Authenticity - Contemporary Africa Abroad is a thought-provoking exhibition by artist Siemon Allen that delves into the international character of contemporary art and the complex narratives surrounding Africa in the global context. This exhibition, accompanied by a catalog, showcases the work of prominent African and African diaspora artists based in Europe and the United States. Born during or before the postcolonial era in Africa, these artists challenge prevailing Western notions and desires for authentic African art, offering a fresh perspective on the continent's creative strategies and formal vocabularies.

Siemon Allen initiated this project in 2001, aiming to explore how the portrayal of South Africa shapes the nation's identity in the post-apartheid era. The media plays a pivotal role in crafting this image by selectively highlighting or concealing significant historical moments related to contemporary South Africa. Inspired by a prior installation on the United Nations' representation of South Africa, Newspapers scrutinizes media coverage, particularly its decline following the events of September 11, 2001. Starting with two years' worth of content from The St. Louis Post-Dispatch, the project evolved by incorporating local media from each exhibition venue.

The exhibition is highly relevant to the ongoing nation-building process and identity formation in post-apartheid South Africa. Newspapers reveals that the depiction of South Africa in the United States is, in many ways, a construct of American imagination, shaped by media representation. Siemon Allen masterfully organizes the external image of South Africa into a minimalist chronological grid, emphasizing the relative invisibility of the country in the American media landscape. This monumental collection, displayed on gray linen and transparent vellum sheets, harmonizes the language of high modernism with the ordinary culture found in mass-produced newspapers, offering a unique and engaging exploration of how the media shapes our perceptions of a complex and evolving nation.

Other Labels + Images and Resources

Houston Area Exhibition 1975
Exhibited June 1 – July 20, 1975

Houston Area Exhibition 1977
Exhibited June 1 – July 20, 1975
Design and Production, James A. Ledbetter

Additional Resources

Photgraphy credits: King Wong (University of Houston), Harold Taylor (Daily Cougar, UH), Hickey Robertson Photographers Houston, William A. Robinson (Blaffer Gallery, UH)

Houston Area Exhibition 1996
Exhibited Feb 3 – March 31, 1996
Design: Minor Design Group, Cheryl Beckett

Additional Credits:

Production Coordinator + Editor: Nancy Hixon. All photos by Rick Gardner Photography except Brian De Levine (p. 6) and Bunny Smith Newmann (p. 9)

Houston Area Show 2008
Exhibited May 9 – Aug 2, 2008
Design: TEBO Design, Houston

Additional Credits:

Publication copy editor Polly Koch. Multiple photo credits by artists in show)

50th Anniversary Celebration: Exhibition Catalogs 1990 – 2006

Credit

Other Labels + Images and Resources

Museum Hours

Museum Hours