PaperCity Magazine

July/August 2019- Houston

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is taken from a quote by Emma Goldman, the early-20th- century anarchist, political activist, and writer. Evans says, "I find her message — that meaningful social change must allow for moments of happiness and joy — particularly relevant." See more images from the exhibition at papercitymag. com. Catherine D. Anspon ART + DECORATION 52 O n Friday, June 28, 2019 — exactly 50 years from the day when the Stonewall Rebellion ignited the movement for GLBTQ rights — the Contemporary Arts Museum Houston opened "If I can't dance, it's not my revolution!" The solo show features a talent who may be under-known as an artist but is widely recognized as a leader in the Texas art world, thanks to his day job. That would be FotoFest executive director Steven Evans, who previously held plum positions as director of San Antonio's Linda Pace Foundation and managing director of Dia:Beacon in New York. Now Houston audiences get entry into Evans' multilayered universe through his current CAMH exhibition, the artist's first one- person museum show, curated by Dean Daderko (through October 13). His SIGNS OF OUR TIMES practice intersects dance culture, the New York downtown scene of the 1980s, and activism of the era where the ACT UP movement was founded as a response to the AIDS crisis; this work also seems right for today. As we head towards 2020 and another presidential cycle, Evans' text- based imagery sampled from popular song titles of the past half-century — rendered in bold vinyl signage and flickering neon — reveals the intersection of the individual with his times. "These works are iconic, and they are about individual and collective memory, history, and identity," the artist tells PaperCity. "There are shared understandings of the songs, but also very specific memories for each viewer. A song like 'Don't You Want Me?' by The Human League was a big hit — we all know that it's about unrequited love, or the deterioration of a relationship — but for many people, it also reminds them of a specific person or failed love affair." The exhibition title S ome things are worth the wait: Designer Ray Booth's first furniture collection with Hickory Chair debuted at High Point in April. As a longtime partner at the prestigious McAlpine architecture firm, Booth is known for mixing organic, modern design with traditional classicism, Continental antiques, and heirloom pieces. A bit of glamour has rubbed off, too, from past tenure with John Saladino and ART AND CRAFTED J an Showers' travels to Europe, Africa, the Bahamas, and other exotic locales are the muse for her newest furniture collection for Kravet. Showers has borrowed a page from her travelogue for the collection, which includes bench-made chairs, tables, sofas, and benches. The Trevor chair and Baxter desk are influenced by her love of mid-20th century Italian design, while the silhouettes of the Charles bench and Anders coffee table take inspiration from pieces discovered in Paris. One of Showers' summer retreats is Harbour Island in the Bahamas, so we love that her current collection also reflects the island's breezy hues, textures, and laidback sophistication. To the trade at Kravet, Decorative Center Houston, 5120 Woodway Dr., Suite 150, 713.850.1461, Rebecca Sherman SUMMER SHOWERS Clodagh. A 2018 PaperCity Design Awards judge and author of Rizzoli's Evocative Interiors, Booth's work has been featured in Architectural Digest and Elle Decor. His collection for Hickory Chair makes ample use of such rich materials as bronze, nickel, marble, walnut, and santos rosewood, with each piece bench-made by craftsmen at 108-year-old Hickory Chair in North Carolina. Ray Booth for Hickory Chair, at Meredith O'Donnell, 1751 Post Oak Blvd., Rebecca Sherman COURTESY THE ARTIST AND JONATHAN HOPSON GALLERY ©2018 NATHAN LINDSTROM Steven Evans' More, More, More, 2013, at Contemporary Arts Museum Houston Steven Evans Ray Booth Ray Booth Hickory Chair collection includes the Block dining table in marble, brass, and wood. Jan Showers Spring 2019 collection for Kravet

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