Amarie Gipson

  • Deborah Roberts, What if?, 2021, panel, acrylic, felt, ink, mirror, linen, form lining, metal rods, metal rings, metal feet, bench, 84 × 96 × 48". Photo: Colin Doyle.

    Deborah Roberts

    Black children are dressed in brightly colored clothing and posed in front of stark-white backgrounds. Their limbs are masterfully rendered in paint; their faces, however, are collaged, and the fragments vary in origin. These images appeared in Deborah Roberts’s exhibition “I’m,” the Austin native’s first solo presentation in a Texas museum, organized by the Contemporary Austin’s chief curator, Heather Pesanti. For more than ten years, Roberts has challenged perceptions of race and identity through her intricately constructed portraits. She uses her art to advocate against the violent adultification

  • Tomashi Jackson, Time and Space (Blue), 2020, Pentelic marble dust on election ephemera, acrylic, paper bags, canvas, 81 1/2 × 76 1/2".


    AS A GRADUATE STUDENT at Yale University in the mid-2010s, Tomashi Jackson had a striking realization: The essentialist language of Josef Albers’s pioneering instructional text Interaction of Color (1963) closely mirrored the rhetoric of the segregation policies fought by Thurgood Marshall and the NAACP Legal Defense and Education Fund in civil-rights court cases. The Houston-born artist has in turn developed her own language of abstract painting, one as rigorous in its inquiries into shape and hue as it is in uncovering legacies of systemic racism in the United States. Visitors to the 2019