previews

  • “Antonio Berni: Juanito and Ramona”

    Museum of Fine Arts, Houston
    1001 Bissonnet
    November 10 - February 2

    Curated by Mari Carmen Ramírez and Marcelo Pacheco

    Remarkably, given the longstanding ubiquity of Antonio Berni’s work in his home country of Argentina, “Juanito and Ramona” will be the artist’s first major international exhibition. This show of 115 works will concentrate on Berni’s iconic characters Juanito Laguna and Ramona Montiel, archetypes of the villas miserias of Buenos Aires whom he repeatedly depicted between the early 1950s and the late ’70s in a series of drawings, paintings, and assemblages made of discarded materials. In addition to showing the monster sculptures from the ’60s that further established Berni’s affinity with Nouveau Réalisme, the exhibition will reveal how he used found objects in the service of a figurative response to the political and economic hardships of the period. Catalogue essays by Ramírez, Pacheco, Andrea Giunta, Héctor Olea, and others will tell more of Berni’s international history.

    Travels to the Museo de Arte Latinoamericano de Buenos Aires in late 2014.

  • Matt Connors, VIDEO, 2012, acrylic and colored pencil on canvas, 44 x 34". From “Outside the Lines.”

    “Outside The Lines”

    Contemporary Arts Museum Houston
    5216 Montrose Boulevard
    October 31 - March 1

    Curated by Bill Arning, Valerie Cassel Oliver, and Dean Daderko

    This year, a string of six shows based around the current state of abstract painting will commemorate CAMH’s sixty-fifth anniversary. Forgoing a voguish focus on the medium’s networked aspects, “Outside the Lines” will position “painting” and “abstraction” as foils for genre- defying artworks of the recent past. While Arning’s “UIA: Unlikely Iterations of the Abstract” will address contemporary reworkings of modernist ideals and his “Painting: A Love Story” will explore gestural pleasures, Daderko’s “Rites of Spring” and “Outside the Lines” (after which the larger project is named) will look past painting’s ineluctable flatness via the work of an irreverent progeny of emerging artists from Michele Abeles to Abigail DeVille. And to further contextualize these innovative new practices, Cassel Oliver will turn to the often overlooked, with the two-part show “Black in the Abstract,” focusing on the disintegration of figuration by black painters since the late 1960s in a salubrious introduction of societal concerns to the formal.