Amauta affirmed the rights and political demands of Latin America’s indigenous groups and recognized their cultures as vital and authentic alternatives to Hispanicized, colonial narratives.
| During a public meeting at the Centro de Artes in San Antonio, Texas, the center’s committee voted to reinstall Xandra Ibarra’s work, which had been removed from the exhibition XicanX: New Visions. The city, which funds and oversees Centro de Artes, had barred Ibarra’s video prior to the exhibition’s opening, citing “obscene content.” The decision now moves to the hands of the San Antonio Arts Commission, a group of 15 members appointed by the Mayor and City Council, who will vote on the issue on March 10. Read the full story here.
The National Coalition Against Censorship says the removal of Ibarra’s video “raises serious First Amendment concerns.”
Skimming through the titles — like Recetas que escribió mi madre con amor para sus hijas (“Recipes my mom wrote with love for her daughters”) — gives one a sense of the intimate nature of these objects, digitized by the University of Texas at San Antonio.
Robyn O’Neil’s oversized, multi-panel graphite drawings resemble a graphic novel told across multiple walls and rooms. This narrative storytelling makes sense, as O’Neil’s cited influences are more literary than artistic.
speechless: different by design is unrelenting in its demands that visitors interact with the exhibitions.
Betelhem Makonnen and Stephanie Concepcion Ramirez trace the influence of neo-colonialism on immigrants from the Global South, merging their personal journeys into a collective experience.
In unifying contemporary tropical realities with histories of colonization, Minaya demonstrates how imperialist attitudes survive in the discourse and commodification culture surrounding tropical tourism.
This book commemorates the 50th anniversary of Public Art of the University of Houston System and features public artworks by artists including Carlos Cruz-Diez, Margo Sawyer, Alyson Shotz, Frank Stella, and Andy Warhol.
Using cubicle partitions obtained from the Texas Department of Education in Austin, Jessica Vaughn’s setup resembles a planned office airlifted from the 1980s.
Pete Gershon’s book about the Houston art community offers some simple advice: live around artists you respect and in a place you can afford to make work, even if no one buys it.
The exhibition Illuminated Earth asks audiences to consider not only Hood’s dynamic and commanding murals as the thought-provoking pieces they are, but also how artistic legacies are made and remade over time.