• Stephen Lapthisophon, Who Will Survive in America (GSH), 2014, latex, india ink, pencil, spray paint, coffee, beard clippings, pigmented bacon fat on canvas, 60 × 42".

    Stephen Lapthisophon

    David Shelton Gallery

    “Coffee, seasonal fruit, spaghetti and rope”—this seemingly random list of items, which constituted the title of Dallas-based artist Stephen Lapthisophon’s first solo exhibition in Houston, flagged just some of the matter suggested by the heavily worked surfaces of the twelve recent abstract compositions on paper and canvas included in the show. There was evidence of disparate conventional media, including pencil, ink, charcoal, chalk, oil pastel, oil stick, and spray paint. But more enthralling (and at times grotesquely fascinating) were the traces—along with the scents and tastes,

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  • William N. Copley, Lost Innocence, 1965, acrylic on canvas, 37 × 45".

    William N. Copley

    The Menil Collection

    Over the course of his lifetime, the wayward yet prolific William N. Copley occupied three positions in the art world: those of collector, patron, and artist. “The World According to CPLY,” the first American survey of his work, considers each role in a sprawling exhibition that displays works that were formerly part of Copley’s personal collection alongside his own profuse output of paintings and the periodical editions he funded and published. Presented together, they reconstruct a worldview that is as dark as it is candied, as deadpan as it is expressive, and as infuriating as it is endearing.

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