My colleagues and I are finalizing plans for "It is what it is. Or is it?" which opens May 1, and will be the first show I've curated since my arrival at the Contemporary Art Museum, Houston (CAMH). The exhibition features works by 18 artists and collaborative groups, and considers the readymade as physical remnants of conceptual practice.
It's hard for me to believe that Duchamp's first readymade is nearing its 100th anniversary-he made Bicycle Wheel in 1913. Since that time artists have taken advantage of the readymade's simple materiality and economy of means to offer pointed commentary on political, social, and esthetic issues. Given the advent of digitization, we consume images differently from even a decade ago. A selection of works in the exhibition considers the notion of images-as-readymades as well.
There's been a recent influx of New Yorkers to the Texas art scene: Bill Arning to Contemporary Arts Museum Houston; Regine Basha to Artpace; Steven Evans to the Linda Pace Foundation and Gary Tinterow to the Museum of Fine Arts, Houston, not to mention myself to the Contemporary Art Museum Houston. But Texas has its artistic exports, too.
Last July, I moved to Houston from Brooklyn to take a position as curator at the Contemporary Arts Museum Houston (CAMH), joining an inspiring team that includes director Bill Arning and senior curator Valerie Cassel Oliver. I'm fortunate to have moved to a city with such a vibrant cultural scene, great museums like the Menil and Museum of Fine Arts Houston, amazing artists and study programs like the Core Residency Program at the Glassell School of Art, and supporters who are enthusiastic about new ideas.
2012, aluminum, wood, sublimation print on polyester and concrete, 71 3/4 by 122 1/2 by 135 inches overall. Courtesy Tanya Bonakdar Gallery, New Yor