The DoSeum’s holiday exhibit is DoSeum Express: Tiny Trains and Trolleys. Photo: google
The DoSeum is proud to announce an exciting group of artists selected as part of its fifth annual Artist-in-Residence (AIR) program. For this year’s Artist-in-Residence exhibition, The DoSeum sought artists who traditionally work in miniature and who could bring an artistic touch to the holiday exhibit DoSeumExpress: Tiny Trains and Trolleys. “We are thrilled to work with these talented artists to launch a new holiday tradition for San Antonio Families” says Dan Menelly, DoSeum CEO, “The miniature worlds created by these artists for DoSeumExpress: Tiny Trains and Trolleys are imaginative, playful, and incredibly creative, we cannot wait to share them with our visitors.” (The DoSeum, 2021)
The 2021 DoSeum Artists-in-Residence are:
Daniel Rivera, who creates miniature worlds that provide the viewer with a sense of amusement and exploration while expressing complex subjects rendered in a miniature scale.
Kallie Cheves’ work involves photographic installations that hold deep roots in surrealism. Cheves also writes and illustrates children’s picture books using hand-cut paper miniature creatures. She enjoys weaving science with myth and lore to encourage social-emotional conversations between children and their caregivers.
Linda Vivenza began sharing small-scale dollhouse scenarios with running humorous and quotable narratives in 2013, primarily for the development of large-scale photos. Her life-like miniature displays capture interactions, which move people together to share common, funny moments in real life.
Randall Rudd was once an actual child himself and has fostered his interest in all things mechanical and miniature since inventing a working phonograph with Tinker Toys at age Aside from being a university professor, Rudd also delights in model railroading and creating automata (performing sculpture) for various museums.
Robert Wurzbach and Emily Kinder are a brother and sister team joining forces to create a special miniature world for The Kinder’s interest in miniatures began 10 years ago with the creation of Putz houses. She was intrigued by the concept of a tiny world of cardboard houses. From there a new creative world arose. Wurzbach’s interest in miniatures began as a child watching his mother and Grandmother make small decorations and desserts for every season. His favorite was the decorative peek-a-boo sugar Easter eggs.
This year’s artists-in-residence will apply their imagination, creativity, and out-of-the-box ideas to create distinct miniature sceneries children can view through pop-up bubbles and cameras. The exhibit is set to become a new holiday tradition for San Antonio families and will feature public workshops where AIR artists will share their art practice with children. DoSeumExpress: Tiny Trails and Trolleys opens on November 6, 2021, and on view through January 2, 2022.
“We are thrilled to work with these immensely talented artists to create a new holiday tradition for The DoSeum and San Antonio. We cannot wait to present these fantastical miniature sceneries in our gallery and offer a truly creative and unique new holiday experience.” – Meredith Doby, Vice President of Exhibits for The DoSeum
The DoSeum is much more than a children’s museum. It is a place where interactive fun and hands-on learning come together—a place where minds are always at play. The DoSeum offers exhibits, programs, camps, classes, and field trips designed for all learners, encouraging young minds to explore the joy of learning through connections to STEM, the arts, and literacy. Originally founded as San Antonio Children’s Museum, The DoSeum has grown over the past 25 years to become a premier leader in informal education, while still staying true to the mission of connecting families and transforming communities. The DoSeum is a 501 c3-non-profit organization.
Lady Arundel restoration. Photo: San Antonio Museum of Art, used with permission.
Over the course of its 40-year history, the San Antonio Museum of Art (SAMA) has developed an expansive 30,000-object collection that represents human creation and experience from across thousands of years and from cultures spread across six continents. In its upcoming exhibition, 40 Years, 40 Stories: Treasures and New Discoveries from SAMA’s Collection, SAMA will present works from the collection that are currently held in storage and that have been selected by members of the Museum’s curatorial team as works of particular personal interest, inspiration, and fascination. Many of the 40 objects chosen for the show have been off view for numerous years, while others are being presented for the first time. In other instances, artworks capture little-known or under-studied artistic and cultural narratives. Together, the works engage audiences anew with SAMA’s broad-ranging holdings and highlight the depth, range, and dynamism of the collection. 40 Years, 40 Stories will be on view from October 16, 2021–January 2, 2022. (San Antonio Museum of Art, 2021)
Among the highlights in the exhibition is the reinstallation of the monumental painting Mary, Lady Arundell of Wardour (1767) by the famed English painter Sir Joshua Reynolds. The full-length portrait was acquired by SAMA in 1981 and held a prominent position in its European decorative arts gallery for many years. In 2016, the painting was sent to the Museum of Fine Arts, Houston for a multi-year conservation project, which was completed this year. The newly conserved painting reveals a new depth of detail and color within Reynolds’ composition. The removal of old, discolored layers of retouching and varnish has given the portrait a fresher and more balanced look. Another work in the exhibition that is being presented following recent conservation is the late 17th- to early 18th-century Chinese handscroll, Peach Blossom Spring. The work depicts the tale of a fisherman who discovers a utopian community. The handscroll, which has been in storage for many years, was repaired and remounted, so that it can be safely unrolled for viewing.
40 Years, 40 Stories also presents for the first time several new acquisitions, including an exquisitely carved Islamic amulet that was acquired in 2013. The amulet is inscribed with 63 Names of God and a verse from the Qur’an, and was intended to invoke divine protection. The exhibition will also feature a recently acquired Petrosphere, a massive stone sphere that weighs more than 600 pounds and was produced by the ancient inhabitants of Costa Rica. Found in groups, these spheres demarcated features of the landscape for communities in the Diquís region, though their precise meaning is not yet understood. The exhibition will also be the first occasion to show Celia Eberle’s sculptural installation Moss Grotto (2016) at SAMA. Recently acquired in 2019, this monumental work invites contemplation of the inevitability of Nature and of human loss.
Other objects in the exhibition include embroidered textiles made by Salvadoran refugees who fled their country’s civil war in the 1980s that have never previously been shown; a mosaic depicting a Nereid that was thought to be an ancient Roman work but was later discovered to be a 20th-century copy after a floor in the Baths of the Seven Sages, Ostia; a richly carved Yoruba veranda post; and a painted portrait of Pola Negri, a femme fatale of 1920s and 30s Hollywood who retired to San Antonio and left her glamorous portrait to the Museum.
Works in 40 Years, 40 Stories will be organized loosely by subject, function, and aesthetic resonance, capturing the ways in which seemingly disparate objects relate to and connect in dialogue together. The exhibition is curated by Powers, with objects selected by members of SAMA’s curatorial, collections, and education teams.
40 Years, 40 Stories is generously supported by the Sue Denman Memorial Exhibition Fund, the Helen and Everett Jones Exhibition Fund, the Amy Shelton McNutt Exhibition Fund, and the Daniel Sullivan Exhibition Fund.
“All of the artworks featured in the exhibition have a story to tell about culture, community, and history. The exhibition provides an exciting range of creative and technical innovation through time and captures the ways in which material culture has always been and continues to be essential to both constructing and understanding the world in which we live. At the same time, re-examining our collection felt like the perfect way to celebrate the Museum’s 40th anniversary. It’s an opportunity to explore how the collection has evolved and is also instructive as we continue to bring works into our holdings that capture the diversity of artistic production across time, geography, and media.” – Jessica Powers, Interim Chief Curator and The Gilbert M. Denman, Jr. Curator of Art of the Ancient Mediterranean World.
The San Antonio Museum of Art serves as a forum to explore and connect with art that spans the world’s geographies, artistic periods, genres, and cultures. Its collection contains nearly 30,000 works representing 5,000 years of history. Housed in the historic Lone Star Brewery on the Museum Reach of San Antonio’s River Walk, the San Antonio Museum of Art is committed to promoting the rich cultural heritage and life of the city. The Museum hosts hundreds of events and public programs each year, including concerts, performances, tours, lectures, symposia, and interactive experiences. As an active civic leader, the Museum is dedicated to enriching the cultural life of the city and the region, and to supporting its creative community.
Detail of jaguar and coatimundi way on Cylinder Vase with Animal Figures, Belize, AD 650-750, earthenware and mineral paint. Photo: The Mopan Valley Archaeology Project, Bernadette Cap, used with permission.
Nature, Power, and Maya Royals, an exhibition of thirty-four artworks and objects discovered by the University of Texas at San Antonio (UTSA) researchers in two royal Maya burials at the ancient city of Buenavista del Cayo, Belize, is now on view at the San Antonio Museum of Art (SAMA). This exhibition is the first time the selection of works will appear for public viewing. This exhibition is an exciting collaboration between UTSA, SAMA, and the Belize Institute of Archaeology. (San Antonio Museum of Art, 2021)
Nature, Power, and Maya Royals: Recent Discoveries from the Site of Buenavista del Cayo,Belizewill be on view through February 27, 2022. It was organized by the San Antonio Museum of Art in collaboration with the Belize National Institute of Culture and History’s Institute of Archaeology and scholars in the University of Texas at San Antonio Department of Anthropology. It is supported by the Gloria Galt Endowment Fund, Andrew W. Mellon Foundation, and UTSA Maya Archaeology Excellence Endowment. The UTSA excavations that recovered the objects were conducted with the permission of the Belize Institute of Archaeology and funding from the Alphawood Foundation and Termini Endowment for Maya Archaeology.
In 2014 and 2019, a team of UTSA archaeologists led by Jason Yaeger, President’s Endowed Professor of Anthropology at UTSA and Senior Associate Dean of the College of Liberal and Fine Arts found finely painted ceramic vessels that display kings and symbols of authority as well as shell pendants, earrings, and bracelets worn by a king. “The objects in the exhibition are priceless to us and to the government of Belize for what they tell us about the ancient Maya. This show presents a wonderful opportunity to grow connections with institutions across San Antonio and Belize,” Yaeger said.
The discovery is particularly extraordinary because looters had previously trenched the building in which one of the royal burials was located, missing it by just a few inches. Finding the site and objects following the looters’ destructive actions is incredibly lucky and makes the discovery particularly special. “We are delighted to share these beautiful and precious artworks. Visitors will also be able to view images taken during our excavation in Belize. The recovery of the objects such as these from known, well documented locations provides essential information for interpreting similar Maya art held by museums,” said Bernadette Cap, Andrew W. Mellon Curatorial Postdoctoral Fellow at SAMA and curator of the exhibition.
The artworks date between AD 450 and 800, a period when Maya kings and queens reigned over large populations and lived in elaborately designed cities. The exhibition highlights how two Maya rulers commissioned artwork that featured commanding iconography to express and legitimate their power. For example, a common theme in rulers’ art was the portrayal of jaguar pelts worn as clothing and used as decorative elements of royal palaces. The Maya admired the jaguar for its strength and skills as an apex predator, and rulers retained exclusive rights over jaguar imagery and products.
One of the most outstanding pieces in the exhibition is a large, elaborately carved pendant made of marine shell. Incised Maya glyphs appear on it and have been deciphered to read, “This is the pendant of Naah Uti’ K’ab, king of Komkom.” The discovery of the pendant confirms that the buried individual is a king. Given the context of recovery, Komkom is likely the original name of the site we now call Buenavista del Cayo. Maya texts at nearby sites state that Komkom had been attacked and conquered in the AD 600s and 700s. The shell pendant dates to around AD 450, however, and thus provides the earliest reference to the site of Komkom.
The San Antonio Museum of Art serves as a forum to explore and connect with art that spans the world’s geographies, artistic periods, genres, and cultures. Its collection contains nearly 30,000 works representing 5,000 years of history. Housed in the historic Lone Star Brewery on the Museum Reach of San Antonio’s River Walk, the San Antonio Museum of Art is committed to promoting the rich cultural heritage and life of the city. The Museum hosts hundreds of events and public programs each year, including concerts, performances, tours, lectures, symposia, and interactive experiences. As an active civic leader, the Museum is dedicated to enriching the cultural life of the city and the region, and to supporting its creative community.
The University of Texas at San Antonio (UTSA) is a Hispanic Serving University specializing in cyber, health, fundamental futures, and social-economic development. With more than 34,000 students, it is the largest university in the San Antonio metropolitan region. UTSA advances knowledge through research and discovery, teaching and learning, community engagement and public service. The university embraces multicultural traditions and serves as a center for intellectual and creative resources as well as a catalyst for socioeconomic development and the commercialization of intellectual property—for Texas, the nation and the world.
Yesterday the San Antonio Museum of Art (SAMA) announced the acquisition of important historic Chinese artworks, including a gilt openwork crown and a gilt plaque decorated with a standing lion, both from the Liao dynasty (907–1125); a set of jade belt plaques from the Ming dynasty (1368–1644), and a set of gilt silver hairpins embellished with kingfisher feathers from the Qing dynasty (1644–1911). These new artworks expand SAMA’s stellar collection of Chinese art, which has particular strengths in ceramics from the dawn of Chinese civilization to modern time. The new acquisitions are part of an ongoing effort to enhance under-represented areas within the Museum’s wider Asian art collection such as metal work and jade. (San Antonio Museum of Art, 2021)
“The artworks announced today capture the incredible artistry and skill of Chinese craftsman from across history, while also illuminating the importance of these objects—and the imagery and material they hold—to Chinese culture and society,” said Shawn Yuan, Associate Curator of Asian Art. “We are delighted to enhance the Museum’s Chinese art holdings with these stunning works, which further our ability to share narratives and develop understanding of Chinese material culture through time.”
Crown China, Liao dynasty (907-1125) Gilt bronze H. 11 7/16” Purchased with funds provided by the Bessie Timon Endowment Fund 2021.1.1
The magnificent gilt crown is a mortuary item for a noblewoman of the semi-nomadic Khitan people, who lived in today’s northern China and Mongolia in the 11th to 12th century. The domed cap is covered with chased floral scrolls and surmounted by a lotus flower and a now-missing deity. On each of the attached standing “wings,” two glorious phoenixes, with wide spreading wings and long tails, are positioned among scudding clouds. This crown is an example of the luxurious lifestyle of the Khitan elite, who established the powerful Liao dynasty and controlled an enormous landmass bordering Korea to the east and central Asia to the west. Acquiring this crown helps the Museum to present a more complete image of the rich Liao dynasty material culture, along with the Museum’s expansive collection of Liao ceramics.
Plaque with a Standing Lion China, Liao dynasty (907-1125) Gilt bronze L. 8 3/8” W. 4 7/8” Purchased with funds provided by the Bessie Timon Endowment Fund 2021.1.2
The gilt bronze plaque decorated with a standing lion is an example of the impressive craftsmanship of the Liao dynasty. The energetic lion, hammered in low relief, stands on his left hind leg while thrusting the other forward. The lion’s broad chest rises, and his massive head turns backward as his flamboyant mane sweeps upward. Under the bushy eyebrows, the lion’s eyes focus intensely on a flaming pearl. The imagery has a Buddhist origin: the lion guards the Buddha’s teaching while the flaming pearl represents the Buddha’s wisdom. The images of a lion with protective power are rarely seen on other Liao works in the Museum’s collection.
Belt Plaques China, Ming dynasty (1368-1644) Jade Elongated tab: 3.5”x1.4”; rectangular: 3.1”x1.4”, 2.2”x1.4”, 1.4”x0.7”; tear-drop: 1.4”x1.3” Purchased with funds provided by the Bessie Timon Endowment Fund 2021.1.3.a-r
The set of eighteen jade plaques is the first important jade work to enter the Chinese collection. Jade has been China’s most valued gemstone since the dawn of its civilization. These plaques were once attached to belts worn by noblemen. The rectangular plaques are carved in high relief with lively scenes of male figures teasing frolicking lions with ribbons—an auspicious subject with a long history in Chinese art. The hardness of jade is second only to that of diamonds. The delicate carvings on these plaques present the impressive craftsmanship of the jade carver.
Hairpins China, Qing dynasty (1644-1911) Silver and kingfisher feather 5 ¾” to 5 ¼”x3 ¼” by 3 1/8” Purchased with funds provided by the Bessie Timon Endowment Fund 2021.1.4.a-c
The set of three gilt silver hair pins is an exciting addition to SAMA’s collection of Chinese dragon robes, embroidered brocade, shoes, and jewelry—all items from the wardrobes of upper-class families. All three hairpins are inlaid with kingfisher feathers, whose colors are as brilliant as azurite, lapis, cobalt, and turquoise. They were iridescent under the sunlight, creating a dazzling visual effect. Kingfisher feathers were a luxury material used on hair ornaments and crowns for thousands of years. The dominant image on each hairpin is a stylized bat with foliate wings outlined in thin silver. Bats are considered auspicious because the word bat is pronounced the same as luck and blessing.
The San Antonio Museum of Art serves as a forum to explore and connect with art that spans the world’s geographies, artistic periods, genres, and cultures. Its collection contains nearly 30,000 works representing 5,000 years of history. Housed in the historic Lone Star Brewery on the Museum Reach of San Antonio’s River Walk, the San Antonio Museum of Art is committed to promoting the rich cultural heritage and life of the city. The Museum hosts hundreds of events and public programs each year, including concerts, performances, tours, lectures, symposia, and interactive experiences. As an active civic leader, the Museum is dedicated to enriching the cultural life of the city and the region, and to supporting its creative community.
Plaque with a Standing Lion China, Liao dynasty (907-1125) Gilt Bronze L. 8 3/8″ W. 4 7/8″ Purchased with funds provided by the Bessie Timon Endowment Fund 2021.1.2 Courtesy photo, used with permission.
Blue Star Contemporary presents the work of Doerte Weber, Joanna Keane Lopez, and Terran Last Gun. Photo: google
Blue Star Contemporary (BSC), San Antonio’s first and longest-running contemporary art nonprofit, announces the opening of three new summer 2021 exhibitions, opening to the public on Thursday July 1, 2021. The solo exhibitions feature the work of Doerte Weber, Joanna Keane Lopez, and Terran Last Gun. (Blue Star Contemporary, 2021)
Doerte Weber presents Shed, a collection of weavings reflecting on COVID-19, everyday life during the pandemic, and climate issues. Joanna Keane Lopez is a multidisciplinary artist whose work blurs boundaries between contemporary sculpture and architecture through the medium of adobe mud. Her BSC presentation will include a newly commissioned sculptural work. Terran Last Gun presents an exhibition of ledger drawings, a form which rose to prominence among Native American artists in the mid-1800s and continues today.
In her work, Doerte Weber reflects on the emotions brought by the COVID-19 pandemic as she worked on more than 45 handwoven towels. As Weber worked on the loom, she experimented with patterns, colors, designs, and inscriptions. The resulting work is a direct reflection on the feelings of frustration, worry, and acceptance.
Joanna Keane Lopez is a multidisciplinary artist whose work blurs the boundaries between contemporary sculpture and architecture through the medium of adobe mud. By working with materials of adobe architecture, earthen plaster, and alíz (a clay slip paint) her work addresses sculpture’s relationship with land. Through the passing down of knowledge of the vernacular architecture techniques of the greater Southwest, Joanna creates work that seeks healing and reparation of fragmentation towards land, home, family, and community that is connected to her own multi-generational roots in New Mexico.
Terran LastGun creates a visual interpretation of nature, the cosmos, cultural narratives, and recollections in reduced geometric aesthetics and vibrant energetic color harmonies. Often referencing Piikani painted lodges and visual iconographic vocabulary, his work explores the varying relationships between color, shape, nature, and sky. Piikani or Blackfoot painted lodges are visual masterpieces of the Great Plains and are pre-European invasion classic art. Through various art making approaches, Terran Last Gun seeks to connect the ancient to the contemporary while creating visual color stimulation. His presentation at BSC, features ledger drawings which explore and visually dissect the three visual tiers of most Piikani painted lodges with a focus on the top and bottom zones, and the various narratives that accompany them and make connections to the land and sky.
For the first time at Blue Star contemporary, the exhibitions are accompanied by an interactive app featuring in-depth exploration through gallery texts, visitor prompts, and information aimed at giving visitors a broader context to engage with the works of art. The newly launched app is free to download and available at the Apple App Store and Google Play Store.
“Last month, we saw great energy and excitement in our galleries as people enjoy their new freedom and venture off to see art in person. This app has allowed our visitors to have an enhanced on-site experience, but it has also allowed them to spend more time with the exhibition content once they are back home and take time to reflect on the work they saw.”
Mary Heathcott, Executive Director
All BSC’s summer exhibitions will be on view through September 5, 2021. Terran Last Gun’s exhibition was made possible in part by First Peoples Fund. Blue Star Contemporary’s exhibitions are supported in part by the City of San Antonio Department of Arts and Culture, the Andy Warhol Foundation for the Visual Arts, the John L. Santikos Charitable Foundation Fund of the San Antonio Area Foundation, and the Texas Commission on the Arts.
Blue Star Contemporary (BSC) is the first and longest-running nonprofit space for contemporary art in San Antonio, Texas. Founded by artists and grown from a grassroots art exhibition in 1986, BSC arose from the need to provide a platform for the work and ideas of contemporary artists. As an artist-centric, educational, forward-thinking, inclusive institution that strives to exceed expectations, BSC welcomes 30,000 residents and cultural tourists each year to experience contemporary art through its exhibitions, public art projects, and education programs. In 2016, BSC became the first San Antonio arts organization to be W.A.G.E.-certified, solidifying its commitment to fair compensation of artists and creative professionals.
Jenelle Esparza, Continent. Photo: Jenelle Esparza, used with permission.
The San Antonio Museum of Art (SAMA) announced yesterday that it has acquired eight artworks by seven San Antonio-based artists, including Jennifer Ling Datchuk, Jenelle Esparza, Joe Harjo, Jon Lee, Ethel Shipton, Chris Sauter, and Liz Ward. The acquisitions are part of the Museum’s Initiative to Acquire Art by Contemporary San Antonio Artists, which was developed to enhance the Museum’s commitment to support the city’s visual artists by acquiring works for its collection. The artists were chosen with the support of an Advisory Committee comprised of San Antonio-based visual artists, professors, collectors, arts leaders, and Museum staff and Trustees, who have also made recommendations for additional artists whose work could be purchased in the future. The Committee was Co-Chaired by SAMA Trustees Katherine Moore McAllen, PhD, and Dacia Napier, MD. All of the artworks, which include textiles, painting, photography, prints, and sculpture, mark first entries by the artists to SAMA’s collection. The new acquisitions are scheduled to go on view at the Museum in late fall, with more details about the presentation to follow. (San Antonio Museum of Art, 2021)
Over the past several years, as part of its vision to diversify its collection and best represent its community, SAMA has placed a particular emphasis on acquiring works by artists from San Antonio as well as from across Texas. Recent acquisition announcements have included works by Texas-based artists Ana Fernandez, Kirk Hayes, Earlie Hudnall Jr., Michael Menchaca, Marcelyn McNeil, Daniel Rios Rodriguez, and Liz Trosper. In 2020, SAMA also presented Texas Women: A New History of Abstract Art, which focused on women artists from across the state that have and continue to contribute to the development of abstract art—a subject that previously had not been explored in depth. Artist Liz Ward, whose acquisition was announced today, was among the artists featured in the exhibition.
More details on each of the artist and artworks below:
Jennifer Ling Datchuk (American, born 1980) Enter the Dragon, 2020 Porcelain, ceramic decals from Jingdezhen, China, wood, gold mirrors 65 × 16 × 5 in. (165.1 × 40.6 × 12.7 cm) San Antonio Museum of Art, Purchased with The Brown Foundation Contemporary Art Acquisition Fund and funds provided by Dr. Katherine Moore McAllen, Dr. Dacia Napier, Edward E. (Sonny) Collins III, and The Sheerin Family, 2021.2
Trained as a ceramicist, Jennifer Ling Datchuk’s practice is grounded in explorations of identity, beauty, and femininity—drawing from her own experience as an Asian American woman. Utilizing found and handmade ceramics and porcelain motifs in her sculptures, installations, performances, and photographs, Datchuk calls attention to both historic and contemporary cultural appropriation, while also blurring the boundaries between craft and fine art. Datchuk was named 2021 Texas State Three-Dimensional Artist by the Texas State Legislature.
Jenelle Esparza (American, born 1985) Continent, 2017 72 × 100 in. (182.9 × 254 cm) Handmade quilt, recycled fabric and clothing, embroidered blocks, batting, cotton blends San Antonio Museum of Art, Gift of Zoe A. Diaz, 2021.8
Jenelle Esparza’s multidisciplinary practice examines the connections between agriculture, gender, race, and bodily experience. Through photography, textiles, and installations, Esparza uncovers the history of cotton farming in South Texas and its principally Mexican American labor force.
Joe Harjo (Muscogee Creek, born 1973) The Only Certain Way: Faith, 2019 24 Pendleton beach towels, 24 custom memorial flag cases 78 × 104 × 4 in. (198.1 × 264.2 × 10.2 cm) San Antonio Museum of Art, Purchased with The Brown Foundation Contemporary Art Acquisition Fund and funds provided by Dr. Katherine Moore McAllen, Dr. Dacia Napier, Edward E. (Sonny) Collins III, and The Sheerin Family, 2021.3
Joe Harjo is a multidisciplinary artist from the Muscogee Creek Nation of Oklahoma. His practice redresses the historic erasure of Native American art, culture, and people. Through photography, sculpture, performance, and installation, Harjo explores Native American identity, debunks stereotypes and myths surrounding Indigenous People, and asserts the vibrant, contemporary presence of Native communities.
Jon Lee (American, born South Korea, 1968) O1701, 2017 and O1702, 2017 Woodcut 17 × 12 in. (43.2 × 30.5 cm), each San Antonio Museum of Art, Purchased with The Brown Foundation Contemporary Art Acquisition Fund and funds provided by Dr. Katherine Moore McAllen, Dr. Dacia Napier, Edward E. (Sonny) Collins III, and The Sheerin Family, 2021.4.1-2
Jon Lee’s woodcuts explore the poetic subtleties of color and line, reinventing traditional printmaking processes and materials. Born in Seoul, he draws on his native Korea’s rich and long history of printmaking, which includes the implementation of moveable type predating Gutenberg’s fifteenth-century printing press. For over ten years, his practice has focused on a traditional Japanese woodcut technique called mokuhanga that he honed during residencies at the Mokuhanga Innovation Lab in Japan, where O1701 and O1702 were printed.
Chris Sauter (American, born 1971) Shape of the Universe, Kandariya Mahadeva, 2013 Cut acrylic mounted photography, Sintra 60 × 30 in. (152.4 × 76.2 cm) San Antonio Museum of Art, Purchased with The Brown Foundation Contemporary Art Acquisition Fund and funds provided by Dr. Katherine Moore McAllen, Dr. Dacia Napier, Edward E. (Sonny) Collins III, and The Sheerin Family, 2021.5
Chris Sauter is a multidisciplinary artist whose work explores connections between biology and culture, science and religion, the personal and the universal, and the past and the present. He often deconstructs materials in order to reconstruct them in new ways that challenge viewers’ perceptions.
Ethel Shipton (American, born 1963) The Valley – RGV, 2021 Archival digital prints on Hahnemühle German Etching Matte paper Series of 6 prints, Edition 1/8 24 × 36 in. (61 × 91.4 cm), each San Antonio Museum of Art, Purchased with The Brown Foundation Contemporary Art Acquisition Fund and funds provided by Dr. Katherine Moore McAllen, Dr. Dacia Napier, Edward E. (Sonny) Collins III, and The Sheerin Family, 2021.6.a-f
Ethel Shipton is a conceptual artist, who works across painting, installation, printmaking, photography, and text. She grew up in Laredo, TX, and her experience of a fluid US-Mexico border informs her practice, which focuses in particular on place, space, language, time, and movement. Her focus on signage observed along Texas roadways is an ongoing body of photo-based works on paper that began in 2014.
Liz Ward (American, born 1959) Ghosts of the Old Mississippi: Dismal Swamp/Northern Lights, 2015 Watercolor, gesso, silverpoint, pastel, and collage on paper 71 5/8 × 31 7/8 in. (181.9 × 81 cm) San Antonio Museum of Art, Purchased with The Brown Foundation Contemporary Art Acquisition Fund and funds provided by Dr. Katherine Moore McAllen, Dr. Dacia Napier, Edward E. (Sonny) Collins III, and The Sheerin Family, 2021.7
Liz Ward’s practice—which includes paintings, drawings, and prints—is informed by natural history and our current environmental crisis. Ghosts of the Old Mississippi, a series of fifteen large-scale drawings, is based on maps of the ancient courses of the Mississippi River and reflects on society’s relationship to the environment.
The San Antonio Museum of Art serves as a forum to explore and connect with art that spans the world’s geographies, artistic periods, genres, and cultures. Its collection contains nearly 30,000 works representing 5,000 years of history. Housed in the historic Lone Star Brewery on the Museum Reach of San Antonio’s River Walk, the San Antonio Museum of Art is committed to promoting the rich cultural heritage and life of the city. The Museum hosts hundreds of events and public programs each year, including concerts, performances, tours, lectures, symposia, and interactive experiences. As an active civic leader, the Museum is dedicated to enriching the cultural life of the city and the region, and to supporting its creative community.
The DoSeum seeks artists who will create a miniature exhibit to complement ‘DoSeum Express: Tiny Trains and Trolleys’. Photo: google
The DoSeum is now accepting applications for their fifth-annual Artist-in-Residence Program (AIR). For this year’s Artist-in-Residence exhibition, The DoSeum is looking for a San Antonio-based or regional visual or multidisciplinary artist who has experience or has worked in miniatures or miniature scenery. The artist’s installation will complement DoSeum Express: Tiny Trains and Trolleys, a new holiday exhibition featuring working train sets which will become a holiday tradition at The DoSeum in the years to come. (The DoSeum, 2021)
For this program, The DoSeum seeks to partner with professional mid-career artists who seek ways to challenge the young, curious minds of San Antonio through their art. The Artist-in-Residence program provides children with the opportunity to interact with the work of a professional artist to appreciate the artistic process while connecting to themes of STEM and literacy.
The DoSeum will provide the venue, staging, and trains. We request artist support to create the miniature scenery through which the trains will travel. Imagination, creativity, and outside-the-box thinking is encouraged. Children will not touch the scenery but will be viewed through interactive pop-up bubbles, periscopes, and cameras (provided by The DoSeum). We are seeking up to 6 artists to provide a 4’x8′ landscape (base material will be provided).
Previously chosen residents submitted proposals that simultaneously challenged themselves to explore new facets of their own work while incorporating meaningful experiences for guests. We are seeking up to six artists. The selected AIR artist(s) will receive an honorarium of up to $1,000 and production costs of $2,500 to aid them in the execution of their project.
ELIGIBILITY
Artists must meet these following requirements to be considered:
Open to visual and multidisciplinary artists.
Desire to work collaboratively with museum staff and the public to create works that step away from traditional models.
Experience creating social engagement participatory works of art.
Experience with miniatures and creating miniature scenery
Local and regional mid-career professional artists are encouraged to apply.
Artists presently enrolled in post-secondary or graduate-level programs are encouraged to apply after completing studies.
Chosen artists will need to pass a background check.
Artists with the above-mentioned experience, interested in exploring non-traditional exhibition spaces, and available for The DoSeum’s 2021 production and exhibition timeline are strongly encouraged to apply.
TIMELINE
Application Deadline: Friday, June 18, 2021
· June 2 at 10a.m.: Optional Virtual Question Forum – Registration link for Q&A.
· June 18: Application Deadline
· June 18-25: Organization Deliberation
· June 25: Finalists Announced
· July 16: Finalist Proposal Deadline
· July 23: Winners announced
· August – October: Prototyping and Fabrication
· November 6: Exhibition Opening
For information regarding the Artist-In-Residence program, eligibility, or questions about the process please contact Meredith Doby, VP of Exhibits.
More information about the program is available online.
The DoSeum is one of the leading children’s museums in the nation; a place where your mind is always at play. The DoSeum offers innovative exhibits and experiences to get children excited about concepts in science, math, art, and literacy and encourages them to take the excitement into the world. Through joyful learning and discovery, The DoSeum Experience grows curious minds, connects families, and transforms communities. For more information, visit TheDoSeum.org The DoSeum is a 501 c3-non-profit organization.
Blue Star Contemporary (BSC), San Antonio’s first and longest-running contemporary art nonprofit, announces the opening of its first summer 2021 exhibition, The Sitter, opening to the public on Thursday June 3, 2021. (Blue Star Contemporary, 2021)
The Sitter features works by artists using contemporary portrait painting and figuration to build narratives and generate conversation around the subjects’ actions, experiences, or identities. The exhibition highlights how contemporary artists expand their definition of portrait painting and how they can activate the figure through paintings, drawings, and photography. The sitters or subjects transcend the role of model or muse and are sometimes collaborators or activators, giving access to broader contexts and unraveling complicated stories.
For the first time at Blue Star Contemporary, The Sitter is accompanied by an interactive app featuring an in-depth look at the exhibition through gallery texts, visitor prompts, and information aimed at giving visitors a broader context to engage with the works of art. The newly launched app is free to download and available at the Apple App Store and Google Play Store.
“As our community heals and feels ready to venture out, we are thrilled Blue Star Contemporary stands strong and ready to be a place for inspiration and enjoyment of contemporary art. We had long planned to launch an interactive app to accompany our exhibitions, and now seems like the perfect time to launch a digital component that enhances the visitor experience on-site and provides an opportunity to revisit and reflect on the art once back home.” – Mary Heathcott, Executive Director.
Opening later in the summer on July 1 are new exhibitions featuring the work of three distinctive artists. Doerte Weber presents weavings reflecting on COVID-19, everyday life during the pandemic, and climate issues. Joanna Keane Lopez is a multidisciplinary artist whose work blurs boundaries between contemporary sculpture and architecture through the medium of adobe mud. Her BSC presentation will include a newly commissioned sculptural work. Terran Last Gun presents an exhibition of ledger drawings, a form which rose to prominence among Native American artists in the mid-1800s and continues today. All of BSC’s summer exhibitions will be on view through September 5, 2021.
Blue Star Contemporary’s exhibitions are supported in part by the City of San Antonio Department of Arts and Culture, the Andy Warhol Foundation for the Visual Arts, the John L. Santikos Charitable Foundation Fund of the San Antonio Area Foundation, and the Texas Commission on the Arts. Terran Last Gun’s exhibition was made possible in part by First Peoples Fund.
Blue Star Contemporary (BSC) is the first and longest-running nonprofit space for contemporary art in San Antonio, Texas. Founded by artists and grown from a grassroots art exhibition in 1986, BSC arose from the need to provide a platform for the work and ideas of contemporary artists.
As an artist-centric, educational, forward-thinking, inclusive institution that strives to exceed expectations, BSC welcomes 30,000 residents and cultural tourists each year to experience contemporary art through its exhibitions, public art projects, and education programs. In 2016, BSC became the only San Antonio arts organization to be W.A.G.E.-certified, solidifying its commitment to fair compensation of artists and creative professionals.
Sandra Gonzalez is one of the artists chosen to curate murals for the community mural project. Courtesy photo, used with permission.
As part of the generous grant awarded to the San Antonio Museum of Art by the Art Bridges Foundation this spring, SAMA has selected three local artists to create community murals celebrating the vibrancy and community of the Alamo City. Positioned on San Antonio’s eastside, westside and onsite at SAMA’s campus, the artists will begin creating their works this July and will showcase their completed murals this August. The community is invited to participate in the process through voting this June and sharing their ideas starting this week. The purpose of the initiative is to celebrate the importance of community through the arts, connecting San Antonio’s culturally diverse neighborhoods and their traditions through a creative framework. (San Antonio Museum of Art, 2021)
The mural curation project is a joint effort between SAMA’s education department, the San Anto Cultural Arts, and the San Antonio African American Community Archive & Museum
About the Artists:
Suzy González – Mural Location: San Antonio Museum of Art Campus Suzy is an artist, curator, zinester, educator, and organizer based in San Antonio, Texas. She has had solo exhibits at Presa House Gallery, Hello Studio, Palo Alto College, and two-person exhibits at Texas A&M University Corpus Christi and the University of Connecticut. Suzy co-publishes the Yes, Ma’am zine, co-organizes the San Anto Zine Fest, and is half of the collective Dos Mestizx, who recently curated XicanX: New Visions in New York and Texas. She has created public art with the City of San Antonio, the San Antonio Street Art Initiative, Centro San Antonio, and the City of San Marcos, and is currently working on a project with the City of Pasadena.
Victor Zarazua – Mural Location: Wicho’s Mexican Deli on the Westside As a practitioner of the Graffiti Art Subculture, Victor started painting at the age of ten. Victor used this medium as an escape from outside influences in his neighborhood and schools. As a youth, he began to appreciate art, what it could do, and where it could lead him to. During high school, Victor found himself looking for like-minded youth and found SACA & SAY Si. Those two programs opened the door further for him to delve further into the arts and the “lowbrow” art movement.
Sandra Gonzalez; Mural Location: Tony G’s on the Eastside (Mural to be created in partnership with Malachy McKinney) Sandra is an active muralist in South Texas and an art educator at Roosevelt High School in San Antonio, who has also participated in numerous art exhibits throughout the U.S. In 2013, Sandra received a Master of Fine Arts degree from the Pennsylvania Academy of the Fine Arts. Sandra learned about engaging with the community through her work for the City of Philadelphia Mural Arts Program where she worked for over a year and assisted with various large-scale murals, involving different communities such as inmates, mental health patients, students, and several artists.
From Saturday, June 26, 2021, to Saturday, July 10, 2021, the San Antonio community will have the opportunity to vote on one of three themes designed by each artist to create for each mural location. Those interested in voting may do so by visiting SAMA’s website where a landing page will be available for voting or in-person at SAMA using the onsite voting box; both will be available starting in late June. Each mural will be constructed throughout the summer starting July 12, 2021, and the completion of each will be revealed on Sunday, August 15, 2021. The San Antonio community is also invited to join in a special conversation between the mural artists and committee panel that Sunday.
The San Antonio Museum of Art serves as a forum to explore and connect with art that spans the world’s geographies, artistic periods, genres, and cultures. Its collection contains nearly 30,000 works representing 5,000 years of history. Housed in the historic Lone Star Brewery on the Museum Reach of San Antonio’s River Walk, the San Antonio Museum of Art is committed to promoting the rich cultural heritage and life of the city. The Museum hosts hundreds of events and public programs each year, including concerts, performances, tours, lectures, symposia, and interactive experiences. As an active civic leader, the Museum is dedicated to enriching the cultural life of the city and the region, and to supporting its creative community.
Art Bridges is a nonprofit arts foundation whose mission is to expand access to American art across the U.S. Founded by arts patron and philanthropist Alice Walton, Art Bridges has been creating and supporting programs that expand access to American art around the country by partnering with institutions of all sizes and in all regions on projects that deeply engage communities via thematic traveling exhibitions, long-term loan sharing collaborations, among additional initiatives.
“Murals have always been a powerful tool to educate and commemorate local histories. By asking for community input and having residents of San Antonio be a part of the mural selection process, we are emphasizing that art is for all and that art can be enjoyed anywhere. Communal relationships are the foundation of any society, so we must continue to build and grow with the people of San Antonio. We hope that the selected businesses continue to be an anchor in their community, and that these murals shine a light on how San Antonio is a beautiful, culturally rich city.” – Yohanna Tesfai, Public Programs Manager for San Antonio Museum of Art.
The San Antonio Museum of Art receives grant towards the exhibition Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii. Photo: San Antonio Museum of Art, used with permission.
The San Antonio Museum of Art (SAMA) is honored to have been selected to receive a grant through the National Endowment for the Arts’ Grants for Arts Projects program. The Museum has been awarded a grant of $35,000 toward the exhibition Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii, which will be on view in Spring 2023. SAMA’s project is among the more than 1,100 projects across America totaling nearly $27 million that were selected during this second round of Grants for Arts Projects fiscal year 2021 funding. (San Antonio Museum of Art, 2021)
The San Antonio Museum of Art will be the only venue for this groundbreaking exhibition, which will be the first in the U.S. to explore the rich body of landscape imagery in ancient Roman art. The exhibition will feature landscape scenes in a variety of media, including wall paintings, sculptures, mosaics, and cameo glass and silver vessels, many from Rome, Pompeii and other archaeological sites in Italy. These works depict a fascinating yet imaginary vision of a countryside replete with seaside villas and rural shrines, where gods and mythological heroes mingle with travelers, herdsmen, and worshippers. The NEA grant will support the installation of Roman Landscapes at SAMA and development of a bilingual self-guided tour that will draw connections between works in the exhibition and landscapes from other cultures in SAMA’s collection.
“As the country and the arts sector begin to imagine returning to a post-pandemic world, the National Endowment for the Arts is proud to announce funding that will help arts organizations such as the San Antonio Museum of Art re-engage fully with partners and audiences.” – NEA Acting Chairman Ann Eilers.
The San Antonio Museum of Art serves as a forum to explore and connect with art that spans the world’s geographies, artistic periods, genres, and cultures. Its collection contains nearly 30,000 works representing 5,000 years of history. Housed in the historic Lone Star Brewery on the Museum Reach of San Antonio’s River Walk, the San Antonio Museum of Art is committed to promoting the rich cultural heritage and life of the city. The Museum hosts hundreds of events and public programs each year, including concerts, performances, tours, lectures, symposia, and interactive experiences. As an active civic leader, the Museum is dedicated to enriching the cultural life of the city and the region, and to supporting its creative community.
