PaperCity Magazine

PaperCity Houston June 2023

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K A T H E RI N E WA R R E NREA LT O R. C O M Katherine Warren, J.D. REALTOR- REALTOR-ASSO ASSOCIATE® CIATE® Circle of Excellence Member, Hall of Fame Circle of Excellence Member, Hall of Fame 832.725.4340 T hree for the Road: If you don't know the mighty Ming Smith, you haven't kept up w i t h t h e n a t i o n a l a r t i c l e s a n d m e d i a a t t e n t i o n s i n c e h e r ground-breaking MoMA show this spring. Now the Contemporary Arts Museum Houston presents her first career retrospective, "Ming Smith: Feeling the Future" (through October 1). Not since Cindy Sherman's first museum solo in 1980 has the CAMH mounted such a seminal exhibition for an artist working in photography. "Feeling the Future" brings Smith — the first Black woman to be collected by MoMA — into the art-world limelight after more than half a century of improvisational, impressionistic, but meticulously conceived image making. Think of her not as a photographer but as an artist tapping the photographic medium in a way that's comparable to a jazz score, as described by The New York Times critic Holland Cotter in a recent review. She's also the subject of "Ming Smith: Catching the Light," dual gallery shows at 4411 dealers Art Is Bond (whose gallerist, Janice Bond, conceived of the CAMH retrospective when she was deputy director there) and Barbara Davis Gallery (both shows through July 8). In audio interviews for the Studio Museum on her MoMA show, "Projects: Ming Smith," the artist says, "I was looking at the light … That's my practice. I follow the light, in the movement, in the flight, in sun streaming, in the darkness pulsing. It's how the birds are, how the dancers move, how the musicians breathe. The way I photograph is all dictated by the certain ways that light behaves. It's a constant, it's my constant." Read our exclusive interview with Smith in the July/August issue ... History and Identity: In their McClain Gallery debut, Texas artists Nick Vaughan and Jake Margolin address both reclaimed memories and the lost social and political histories of LGBTQ people (through June 24). The real-life partners and collaborators — you might recall their critically reviewed Blaffer Art Museum solo in 2022 — pair rigorous research with poetic installations that challenge the viewer to connect with the excavated narratives of their protagonists, who are being resuscitated from the sands of lost time. McClain showcases their latest work, including three ephemeral wind drawings from the artists' ongoing "50 States Project" … Inman Gallery introduces an emerging talent fresh from his 2021/2022 Lawndale residency, Loc Huynh, whose captivating Pop paintings also put forth a serious message a b o u t i d e n t i t y. T h e e x h i b i t i o n title, "Western Bootleg," hints o f t h e E a s t / W e s t m a s h ups at work in Huynh's latest canvases, while speaking to the multiculturalism of Houston (through July 1). Catherine D. Anspon OBSESSIONS. DECORATION. SALIENT FACTS. ART NOTES Ming Smith's Greyhound Bus, Pittsburgh, 1991, at Barbara Davis Gallery Top left: Ming Smith's African in Gold, 1972, at Art Is Bond 14

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