Houston Alternative Art

1759:, an independent Houston-based 501(c)3. That same year, Nameless Sound expanded to include two classes for people with special needs (the mentally-challenged and autistic) and a Creative Kids Ensemble (grades K though 8th) in addition to its Youth Ensemble, public school workshops, and homeless shelter workshops. In 2008, Nameless Sound added a class for refugee children (political asylum seekers). Nameless Sound has become the most important regional presenter of creative music, contemporary jazz and musical improvisation, making Houston an important center for this cutting-edge art form. More significantly, Nameless Sound has become known nationally for a new type of music education, emphasizing creativity, improvisation, and diversity. 914:

AWA soon made a gallery in an unused space in the Jack Pearce Building. The artists in the first show were Bill Angert, Rusty Arena, Lee Benner, Jim Bril, Certer Burnette, Daniel Cilhoun, Patti Candelari, Mimi Davies, robert Fain, Kirt Ferris, John Fournier. Bob Flowler, Bob Gotschall, Fred George, Allen Hacklin, Donna Hamiton, Bob Homes, Sandra Joseph, JIm Kronlage, Curtis Maddox, Martin, Jimmy Neon, Ginni Nickell, Mike Patrick, Jon Lucien Piccinin, RAZ, Edward Rodgers, Ruthie Russell, Bernard Sampson, Wayne Sheffield, John Steiger, John Swenson, Jim Wicker and C.W. Wood. By summer it was over, with the fun and shows came higher rents, most artists moved out. In 2010 there are still many artists in NO Ho.

1062:, noted for his improvisational work in jazz and rock, launched New Music America 1986 in Houston. Cora collaborated with local artists Trish Herrera and Rachel Hecker on the organization of the parade, which included a hodge-podge of Houston's art community, including the Urban Animals, sculptural cars by Jackie Harris and Paul Kittelson, belly dancers, and more. The New Music Parade proceeded south on Montrose to the Museum of Fine Arts, Houston sculpture garden, which opened that same day with an event featuring the world premiere of John Cage's “Ryoanji.” Inspired by the success of the New Music Parade, The Orange Show organized the first Art Car Parade in 1988. 1239:, Rick Lowe, and Dean Ruck moved to a six-acre site on Feagan Street in the West End to fashion one of the most energetic communal art projects in the city. The site included several living spaces, a theater, a communal kitchen, gardens, several warehouse spaces for studios, and an outdoor stage and canopy used as a drive-in movie theater for up to thirty-five cars. Many artists lived and worked there, including Jim Pirtle, Andy Mann, Michael Battey, Fritz Welch, Mario Perez, and Giles Lyon. Initially called Meaux's Bayou, Topchy changed the compound's name to Zocalo, and then to TemplO as it grew and transformed. 571:, was formed by Edie Scott and Scott Prescott. Their activities included roller hockey, parking garage surfing, midnight crosstown skating, bar hopping, roller jousting, and graffiti art. At their zenith in the late 1980s, they numbered several hundred and included skating filmmakers, artists, mechanics, lawyers, electricians, topless dancers, bartenders, and even a Harris County deputy. The Animals became notorious among the press, city government, and local police, but the group's creative output was large and its charitable efforts at local shelters and community centers were generous. 619:

Wow: Contemporary Artists & Models Ball, curated by Bert L. Long Jr., Miniatures Exhibition, an exhibition of work by over five hundred artists. Students at the original Lawndale Art Annex on Dismuke and Lawndale included: Sharon Kopriva, Ed Wilson, Jack Massing and Michael Galbreth (The Art Guys), Paul Kittleson, Kelly Alison, Bert Samples, Craig Lesser, Donald Redman, Mary Jenewein, Barbara Jones, Robert Shuttelsworth, Glen Gipps, Chuck Dugan, Wes Hicks, Judy Long, Jim Poag and Jeff Delude. In 1993, Lawndale moved to its current location on Main Street in the Museum District.

314:, Ant Farm staged a series of free-form architectural performances in the Houston area. Subsequently, they worked throughout the United States, but realized some of their important projects in Houston, including Time Capsule 1972–1984 (1972); a monumental sculpture on Kirby Drive for the Hard Rock Café with an actual 1962 Thunderbird hardtop convertible towering aloft, STP (Save the Planets) (1985); and their award-winning project The House of the Century (1971–73), a futurist spaceship-like dwelling for Marilyn Oshman Lubetkin located near Angleton, Texas, south of Houston. 22: 221:, and found objects—mosaic tiles, wrought iron fencing, wagon wheels, mannequins, and tractor seats—to transform two plots on Munger Street in the East End into a vividly painted architectural maze of walkways, balconies, exhibits, and performance stages. When The Orange Show finally opened to the public in 1979, the hordes of visitors McKissack anticipated did not come. He died shortly thereafter. The facility is now preserved by the Orange Show Center for Visionary Art and is the site for events and performances. 966:(NAAO) conference on April 24–27. Panels, lectures, and performance and video events with artists, curators, and arts administrators from across the United States occurred at a number of locations, including DiverseWorks, Lawndale Art and Performance Center, Square One, and Republic Bank. Joan Mondale gave the keynote address and Frank Hodsoll, Chairman of the National Endowment for the Arts, was a speaker. Events included the Performance Rodeo at Lawndale Art and Performance Center. 585:, artist Mel Ziegler offered to paint any house for free as long as the owner accepted his conditions that the entire edifice, inside and out, be painted boldly in red and left that way for three months. The house remained a compelling architectural quirk on Bomar Street in the Neartown area for fifteen years because the owners kept repainting the house as Ziegler had originally instructed. The structure still exists but is no longer painted red. 840:

participants. In 1989 a fire forced DiverseWorks to move to The Docks near the East Freeway, a warehouse complex where some artists also maintain studios privately. DiverseWorks Artspace continues as a vital laboratory where programming includes the visual, performing, and literary arts. In 2012, DiverseWorks moved to 4102 Fannin Street, in the heart of the Midtown Arts and Entertainment District, and within the Houston Museum District.

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Commission and the Greater Houston Preservation Alliance. Accompanying events included “A Celebration of the Churches” with gospel singing; Ed Hugetz and Brian Huberman's video Who Will Stand with the Fourth Ward, produced by SWAMP; a University of Houston College of Architecture design charette; and a roundtable discussion with architects V. Nia Dorian Becnel, William Neuhaus, and Renzo Piano, and community organizer Lenwood Johnson.

738:, NYC. Each ROBOTT represents a different discipline, appearing thru a time-warp, warning of our environmental destructive and inhumane behaviors, and specific for a respective discipline; e.g., Egairt was a catastrophic event triage-bot, mimicking human attitudes, "I do not deal in patient plea bargaining." All performances were politically, highly charged scripts. 984:

over two decades as living and studio space for up to forty visual artists at a time, and housed many different communal galleries. Artists who have had studios at CSAW include Wes Hicks, Virgil Grotfeldt, Deborah Moore, Orson (Titus) Maquelani, Kevin Cunningham, John Calaway, Robert Campbell, Jack Massing, Rick Lowe, John Peters, James Bettison, Jim Pirtle,

508:, a sculptor whose medium is food and its attendant ceremonies. In a nod to the local Rainbow Bread Company, the artwork on view was an installation of bread dyed all the colors of the spectrum. Perhaps stirred by the high-kicking Rangerettes, the opening night crowd erupted in mayhem and tore the bread apart in a food fight that spilled into the streets. 1947:

performances staged in 2008 included Sexy Attack, inspired by an eighties-style aerobic workout video. PAL members choreographed their own version and took it to the streets. Showing up unannounced in over 50 public places such as Kroger's grocery store, performers played a boombox and did their workout. The online videos became very popular on YouTube.

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and technology works. Whitman assembled volunteers and assigned each participant a specific location on a map of Houston and a time to call in. When they reached Whitman, they talked about where they were and what they saw. Using a sound mixing board, Whitman then arranged recordings of the calls into a concertlike sound piece that was broadcast live on

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the 23rd c A.C.W, (After the Corporate Wars) voice by Margaret (a.k.a. Dee Dee) Bott. ROBOTT voices were by gallerists, curators and a collector. Two of the DoV-Z ROBOTTs, Nadair (an Inter-galactic political consultant/historian) and ROWE ( a radiation analyst/bot-philosopher), were then included in a two-year 11 museum traveling exhibition,

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Warfare to create a video magazine covering all aspects of emerging hip-hop culture; centered on graffiti, the magazine is now sold worldwide. In 1992 they established Houston's first “wall of fame,” a legal spot for artists to graffiti, which is still running today at Palmer and McKinney Streets. In 1994 Christian Azul and Christopher Karl

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and hosted workshops, exhibitions, and art events that showcase local artists and artwork produced through these activities. An annual photography exhibition, RATIO, showcasing a wealth of Houston photographers, has been established. ERS houses a diverse array of artists – painters, photographers, sculptors, videographers, and performers.

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Hughes, and Tim Miller, because of their works’ provocative content. Rally speakers included Walter Hopps, Peter Marzio, Michael Peranteau, Tim Miller, and Paul Winkler. Artists made “Don’t Gag the Arts” posters, placards, and fans. The “NEA Four” took their case to the Supreme Court and in 1998 the Court upheld the grant awards.

1710:, created Field of Vision, a series of eyes resting on pedestals fashioned out of concrete and installed in a parklike setting in the Fifth Ward; each was dyed a different color to reflect the diversity of the neighborhood. After it was vandalized, it was relocated in 2008 to a site on the Project Row Houses campus next to the 1395:

Many artists visited on a semi-regular and collaborated on paintings, sculptures, street art and conceptual projects. These artists include Mark Flood, Betsy Odom, Ed Goleman, Julie Boone, Seth Mittag, Kyle Henriks, Ralph Elliott and Jack Massing. ILYB's website iloveyoubaby.org acts as an archive of their work from 2003-2008.

775:’s downtown branch. Farris then acquired donations of paint and lighting supplies, as well as approval from the City of Houston, and went on to single-handedly revitalize the bridge. He continued the project with the acquisition of nearby property and added park space, which has become a source of civic pride. 298:. Members of Daucus Carota used images and sculptures of carrots in their work, often leaving bunches of real carrots in their wake. They sculpted an oversized painted carrot, which they placed around town, including in front of the Museum of Fine Arts, in a gesture designed to belittle the art establishment. 1251:, Kelly Alison, Bill Hailey and filmmaker Ramzy Telley, Rubber–An Art Mob mounted twenty-five to thirty exhibitions in Texas. For a few years, the group ran 101 Space, located near downtown, as their home base. Their projects included film, video, performance art, and visual and sculptural exhibitions. 1964:

Co-curated by the Aurora Picture Show's Andrea Grover and artist Jon Rubin for Lawndale Art Center, Never Been to Houston invited artists from around the world to photographically document (without leaving home) what they imagined Houston looked like. They uploaded their photos on a daily basis to an

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The Cynthia Woods Mitchell Center for the Arts, a center for artistic collaboration at the University of Houston, presented its inaugural performance, DUGOUT III: WARBOY (and the backboard blues), a musical theatre piece written and directed by multidisciplinary artist Terry Allen. Featuring original

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While its gallery was undergoing renovation, Lawndale Art Center moved its programming to the streets with the Billboard series. A billboard at Highway 59 and Montrose Boulevard provided a venue from June through November for the works of five artists: Ryan Molloy's The Jones’ Got Platinum Doorknobs;

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Dave Thompson and Randy Twaddle created HIWI (Houston. It's Worth It.), launching a website where Houstonians could express in their own words why Houston is worth it. Later HIWI partnered with the Houston Center for Photography to present the open call exhibition Houston. It's Worth It.—Show Us Why.

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Artist Jim Pirtle renovated a nineteenth-century storefront building on Main Street in downtown Houston into a coffee bar/ chess club/gallery/performance space that he dubbed notsuoH—Houston spelled backwards and the name of an early twentieth-century civic celebration. notsuoH became one of the most

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Jeff Elrod and Mark Flood opened a gallery in Elrod's storefront studio on West Gray Street and named it Art of this century (after Peggy Guggenheim's 1940s New York gallery). It mounted four shows, but the space was not open to the public: Elrod explained, “I like having a gallery, but I hate having

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Soon after DiverseWorks began programming in its building next to Market Square, it initiated a plan for an artist-designed park. Participating in this landmark park project, one of the first artist-designed parks in the country, were Malou Flato, Paul Hester, Douglas Hollis, James Surls, and Richard

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From 1992–present Rodney Chinelliott, Paul Kremer, Will Bentsen, and created artwork together, often on the same canvas. In 2002 the group began meeting regularly on Wednesday nights at CSAW and adopted the name I Love You Baby (ILYB) and inducted Chris Olivier (Bexar), and Dale Stewart as members.

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began to acquire neighboring bungalows and transform them into environments evocative of another time and place; the houses hovered somewhere between artwork and home. To create the neighborhood, Vaughn purchased her property in tandem with Hiram Butler, who bought the block adjacent to hers to build

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who offered a critique of male-dominated art world activities, a small group of steadfastly anonymous women artists formed the Houston Gorilla Girls. Dressed in gorilla masks and costumes to hide their identities and to foment a satirical counterpoint at art openings, they carried signs, targeted art

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The Houston Festival presented New Music America 1986 as part of the city's Sesquicentennial celebrations. The world's largest festival of experimental music, which showcased renowned musicians and artists working with sound, was inaugurated in New York at The Kitchen in 1980. It was presented yearly

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In 1981 Patrick Waugh began work on Speed Street, a teaser for an unrealized feature film on Houston's roller-skating gang the Urban Animals. Conceived and directed by Waugh, with production and art direction by Scott Prescott, the 18-minute 1985 film features gritty nighttime skating footage shot at

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Cleveland Turner found himself homeless and living on skid row until he had a vision in 1983 of a whirlwind that deposited colorful junk onto a long wall. Since then, he has transformed his homes in Houston's Third Ward with massive amounts of colorful debris, handmade sculptures, and flower gardens.

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Terry Allen presented his music-theater piece The Ring in a full-scale wrestling ring erected in Spinoza, Inc., the industrial warehouse of Max Miller's railroad track company near Channelview. In the ring, a couple verbally recounted their relationship as a male and a female wrestler violently acted

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with funds he raised from GeoSource, an oil company. Chin and GeoSource worked closely to build the work, which consisted of two 6-by-6-foot (1.8 by 1.8 m) “planter boxes” set 60 inches (1.5 m) apart and linked by a hydraulic system, so that they ascended and descended in opposition to each

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In April the Aurora Picture Show converted two Toyota Scions into mobile micro-cinemas using portable projectors with the rear windows as projection surfaces. In June the Aurora Picture Show, the nonprofit arts organization Minetta Brook, and the Buffalo Bayou Partnership presented a floating cinema

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Workshop Houston was founded by artists Zach Moser, Katy Goodman, Seth Capron, and Benjamin Mason. Today it has five workshops in Houston's Third Ward that provide resources and support for young people: a do-it-yourself bike repair shop, a welding and metal fabrication shop, the Beat Shop for music

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founded the Aurora Picture Show, a micro-cinema, in her home in a former church in the Sunset Heights. Currently the organization is housed in a renovated warehouse in the Rice/Upper Kirby area. Programming is dedicated to noncommercial film, video, and media, often presented in other nontraditional

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In association with the community service group Youth Advocates, William Steen made available a 16-foot-high (4.9 m) wall on the side of his studio building on Harrisburg Boulevard as a site for a constantly changing painting created by a core group of graffiti artists including Daniel Anguilu,

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Founded by Joel Orr, this puppet theatre presented experimental adult puppet performances with low admission prices, giving actors, directors, playwrights, musicians, sculptors, dancers, and engineers a singular outlet for their creativity. Bobbindoctrin has since performed original work hundreds of

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Artists Lucas Johnson, Dick Wray, Lynne Foster and H.J. Bott began programming exhibitions in El Palomar Restaurant, a modest Mexican café on White Oak Drive in Houston's Heights. For every exhibition, Foster produced a catalogue comprising photocopies of photographs taken at the exhibition opening.

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in Houston's Third Ward, one of the city's oldest African American communities. Installations, exhibitions, and performances were programmed in the houses, some of which also became a residential program for young, single mothers . The opening of Project Row Houses was preceded by the Drive-By Show,

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Dan Havel created Alchemy House from an existing bungalow on Blossom Street as part studio, part sculpture, and part performance space, with performances by Kelli Scott Kelley and sound design by William D. Kelley. It was a center of activity for many members of the art community in the months prior

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Primal Screen: A Fake Art Movement, an exhibition organized by artist John Peters for Treebeard's Restaurant on Market Square, included work by Jane Addison, Jose Cipriano Aquirre, James Bettison, Mel Chin, Randy Cole, Jeff Cowie, Ramona Fabregas, Wes Hicks, John Kaiser, Jack Massing, Joel Orr, John

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in a location across from the Wortham Center, an area that was once an outdoor farmers’ market. Included in this inaugural exhibition were works by Paul Kittelson, Noah Edmundson, Jackie Harris, The Art Guys, Dean Ruck, Olin Calk, Carter Ernst, Ken Adams, Pati Airey, and Tim Glover. Watermelon Flats

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The exhibition Fresh Paint: The Houston School, curated by Barbara Rose and Susie Kalil, was presented at the Museum of Fine Arts, Houston. Sparking heated debate about inclusions versus exclusions and the true definition of the “Houston School,” the exhibition nevertheless was a watershed moment in

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Lee Benner, John Calaway and Sandra Joseph started AWA early in 1984. Artist were moving into the abandon warehouses north of downtown in large numbers. The first meeting over 50 artist came, the youngest artist there said "we should name ourselves The Cloud because we all had our heads in a cloud".

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In the summer, artist Lee Benner renovated the old Consolidated Meats Warehouse on Montrose just south of the Highway 59 overpass. The first event, “Dance with Live Artists,” was a huge blowout with five bands, multiple happenings, and artwork on display. The venue remained open periodically for the

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In 1982, Michael Peranteau and artist Max Pruneda founded the Center for Art and Performance (CAP), a gallery/alternative art space on Almeda Road where many local artists had their first exhibitions and performances. These artists include Terrell James, Kathleen Packlick, Jesus Moroles, John Peters

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under the direction of sculptor Allan Hacklin. It continues to thrive today providing recipients with studio space, facility use, a stipend, seminars with visiting artists and scholars, and an annual exhibition. Numerous artists from the program have contributed to the development of the Houston art

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project grew until it covered the house and yard. In 1992 the house burned down when a gas heater exploded; Harper's mother died from injuries sustained in the fire. The Fan Man then moved to a property owned by his brother and began to rebuild his environment, working on it until his death in 1995.

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with programming implemented independently from the university, the cavernous former cable factory grew into a freewheeling laboratory environment that served as classroom, studio, and exhibition and performance space for students and artists in the community. One of the earliest exhibitions was Pow

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John Milkovisch, a retired railroad upholsterer, began to transform an ordinary bungalow in Houston's West End into a kinetic, shimmering environment. Working for twenty years, he covered the entire yard and drive with intricate patterns of concrete studded with marbles, salvaged industrial washers,

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Live Oak Friends Meeting House was built in a collaboration initiated and organized by Hiram Butler that involved light artist James Turrell, architect Leslie Elkins, and the Live Oak Friends Meeting. Notable for Turrell's open-roof Skyspace, this Quaker place of worship, funded largely through the

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Area artists including Paul Kittelson, Carter Ernst, Ed Wilson, Lee Littlefield, and Tim Glover, among others, relocated their studios and residences in a neighborhood in North Houston between Yale and North Shepherd Streets on various plots of wooded acreage. Today they use the shared compound for

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Sculptors Dan Havel, Dean Ruck, and Kate Petley collaborated on O House, a large-scale installation that transformed a small bungalow slated for demolition in Houston's West End neighborhood into a camera obscura. The work featured an interior circular room, earth floors, and pinhole projections of

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Sharon Engelstein opened Houston's smallest gallery, a 1.37-square-foot (0.127 m) space modeled after the main space at the Texas Gallery. This portable space, whose floors were made of coffee stir sticks to simulate hardwood, hosted exhibitions of miniature work by a number of other artists.

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Curator Chris Ballou and artist Sean Thornton staged a series of interactive public art exhibitions in response to what they saw as inadequate art-presentation strategies by galleries and museums. Unusual in format, these exhibitions appeared in unlikely places: Frost Free was held in the appliance

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said that Project Row Houses "may be the most impressive and visionary public art project in the country." In 1999 Project Row Houses partnered with the School of Architecture at Rice University to build low-income housing. By the end of 2010 Project Row Houses will be housing over 75 residents.

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The rally “Don’t GAG the Arts,” held in the park on the Menil campus to protest censorship of grants by the National Endowment for the Arts (NEA) and to support freedom of expression, drew a large and vocal crowd. The NEA had rescinded grants awarded to four artists, Karen Finley, John Fleck, Holly

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After the 1989 shooting death of Ida Delaney at the hands of a drunk, off-duty police officer, Rick Lowe presented an exhibition in the playground of the S.H.A.P.E. Community Center as part of his Victims series. The exhibition featured life-size figures of painted plywood representing those killed

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Graffiti artists GONZO247 and MERGE360 began to document on video what they were doing both legally and illegally. They established a pen pal system with graffiti artists in other cities, exchanging videos of their work. They then compiled these videos from all over the world under the name Aerosol

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In 1988 The Orange Show, in conjunction with the Houston International Festival, organized and presented the first Art Car Parade in downtown Houston as a tribute to the burgeoning phenomenon of “art cars.” The parade continues annually under the auspices of the Orange Show Center for Visionary Art

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Commerce Street Artists’ Warehouse, located in a warehouse on the far eastern edge of downtown, was founded as an inexpensive home and studio for Houston artists, with exhibition space and a large performance area. Despite ownership changes and internal leadership struggles, the facility served for

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that he called the “Third World.” Assembling found materials like abandoned TVs, water skis, mannequins, bottles, and numerous electric fan blades, he said, “I build for the Lord. Everybody can look at what I build and know that there is a God up above because I get my ideas from the blue sky.” The

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Mark Lombardi moved to Houston in 1975 to become an assistant curator under Director James Harithas at the Contemporary Arts Museum. In 1979 in an attempt to support himself and other local artists such as James Bettison, Ibsen Espada, Andy Feehan, and Andy Mann, he opened the gallery Square One on

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In fall 1973 Ian Glennie, interim director of the Contemporary Arts Museum, organized an exhibition called Re:Vision, which included performances, concerts, films, and artworks. One of the projects was a site-based sound portrait of Houston by Robert Whitman, a New York artist known for his theater

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Founded by Juan Alonzo, this alternative studio space was established to create an environment to nurture an exchange of ideas and experiences through artistic practices to the benefit the surrounding East End neighborhood community. For further expansion of community dialogue, ERS has facilitated

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Sketch Klubb was organized to meet bimonthly and produce drawings and a ’zine. The group now counts twelve members, including artists Patrick Phipps, J. Michael Stovall, Rene Cruz, Michael Harwell, Lane Hagood, Nick Meriwether, Sebastian Forray, Eric Pearce, Seth Alverson, David Wang, Cody Ledvina

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The exhibition Rolywholyover–A Circus for Museum by John Cage, presented by the Menil Collection, included the rotating display of objects from all the museums in Houston (including the National Museum of Funeral History, among others) and a multidisciplinary, multi-organizational series of events

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1983, followed at the University of St Thomas, Houston, featuring 12 of the parabots in dialogue with three screens of art and news, a shaman (Shanabu), newscaster mimes (Walter Cranktight and Bonnie Warbler) and the omnipotent computer force of the Universe (Mother PCOF—Power, Control, Order) of

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As part of a national initiative the Smithsonian Institution's Archives of American Art began a pilot project, the first privately funded archive documenting predominantly Texas artists. Later records from New Mexican artists were added. Originally scheduled to function for two years, it continued

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Artists Sasha Dela and Ariane Roesch founded Skydive, an exhibition space in their studio on the ninth floor of the office building on Montrose Boulevard that houses the Skybar. Skydive was established to create opportunities for artists and to broaden the spectrum of arts dialogue in the city by

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DiverseWorks organized The Soldier Billboards by Suzanne Opton. Appearing on billboards throughout Houston were photographs of soldiers who had been deployed more than once to Afghanistan and Iraq, and a website address where one could go to get more information about the individuals represented.

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In March artists Cody Ledvina and Brian Rod created “the joanna,” an artists’ collective and space for presenting art, performances, and collaborative endeavors in what was Rod's and is currently Ledvina's home on Graustark Street. Using the bedroom, living room, kitchen, garage, and backyard for

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to be here to let people come in. Now they can just look in the window.” Each show was accompanied by a handmade catalogue with an essay, and boasted lively openings attended by artists and art world insiders. The inaugural exhibition, Objects Beside the Economy, was curated by Robert Montgomery.

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Organized by Deborah Brauer for DiverseWorks, Project Houston was a collaborative exhibition presenting designs for Houston's future by artists, architects, engineers, scientists, a choreographer, and a composer, working both individually and in teams. Held May 2–July 29, the exhibition addressed

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The Buffalo Bayou ArtPark was founded as a continuation of the Watermelon Flats show. Today it is an artist-run organization that features a constantly rotating collection of public art below the Sabine Street Bridge between Allen Parkway and Memorial Drive. Twenty to twenty-five works of art are

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DiverseWorks sponsored public artworks placed throughout Houston. Paul Kittelson received one of these modest $ 500 grants and created his Stegosaurus, a life-size dinosaur made of foam cushions over a metal armature, which he installed under the Highway 59 overpass (later demolished) at Montrose

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The McKee Street Bridge, which spans Buffalo Bayou in the northeast corner of downtown Houston, was regularly trashed with vandalism and graffiti up until the early 1980s. Artist/environmentalist Kirk Farris and photographer Paul Judice created an exhibition called Bridges over Buffalo Bayou that

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Located in Houston's East End at Harrisburg Boulevard and Cesar Chavez Street, the nonprofit artist-run exhibition and studio space BOX 13 was founded by Elaine Bradford, Woody Golden, Michael Henderson, Young-Min Kang, Kathy Kelley, Teresa O’Connor, Whitney Riley, and Mat Wolff. The space today

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The "Crawl" was launched in 1992 by the Internationally acclaimed art team of Charlie Jean Sartwelle & John Runnels of Mother Dog studios. During this event the artists in the old downtown art/warehouse district open their doors to the public and they can meet and speak with the artists. The

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Social Bodies, a one-night exhibition of the work of John Peters, occupied two sites: Homage, a downtown club, and 3221 Milam. To serve as his stand-in at one site, Peters hired a male model, who signed his own eight-by-ten headshots as “John Peters.” On his new canvases, Peters sold advertising

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French-born conceptual artist Bernard Brunon began a high-concept art project in Houston that consisted of painting rooms, walls, or exteriors in a manner that was indistinguish-able from typically painted rooms, walls, or exteriors. He considers these “jobs” as his artwork and signs, dates, and

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Michael Galbreth dedicated the project The Human Tour: An Anthropomorphic Route through the City of Houston “to a more human city.” He created a human figure that was thirty-four and a half miles long, superimposing it over the streets of Houston to connect six disparate neighborhoods. He placed

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Artist Charles Gallagher founded DiverseWorks in an historic Civil War-era armory and dry goods store on Travis Street in downtown Houston. It included studios and an artist-in-residence program with James Bettison, Billy Hassell, Doug Laguarda, Don Redmond, Lisa Schoyer, and Beth Secor as early

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Bob Camblin, Earl Staley, and Joe Tate, all university studio art teachers, used the chance operation of the I Ching to name their collaboration the “B. E. & J. Holding Firm.” In the backyard of their shared studio on Garrott Street, they built a large sculptural tower with a payphone on the

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Artist Paul Horn, in collaboration with Dolan Smith, took over the entire top floor of the Holiday Inn Select at Highway 59 and Kirby for the exhibition The Million Dollar Hotel. The show brought together more than twenty artists, each exhibiting in a separate room or suite, for a long night of

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A group of artists known as the Watershed Collective, occupying a group of buildings on property at TC Jester and Interstate 10, began a yearly program of allowing other artists to create an artwork on a billboard on their property that faces the interstate, directing its message to the passing

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In 1989 The Art Guys renovated and moved into a nineteenth-century warehouse on the northern edge of Houston's Heights neighborhood. This became their studio as well as an alternative art space, where they presented and staged exhibitions and performances of their own work and the work of other

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Media Center of a film (Out of the Blue, 1980, directed by and starring Hopper) involving a school bus accident. The entire audience was then transported via school buses to the Big H Speedway stock car race track for the “Russian Dynamite Death Chair Act.” In the infield, Hopper sat in a chair

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Artist Mark Larsen founded The Artery, an art and performance space that was part art school, part arboretum, and part center for political activism. Located in a house on Jackson Street in the Museum District, The Artery served a large group of Houston's artists, actors, musicians, and social

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Artist Ted Brown, with Karen Poltarek, and Rick Sargent, who were co-owners, opened an exhibition space in a building at 1306 Waugh Drive. Later, Loretta Cooper became a partner. The space opened in 1984 and closed in 1989. The purpose of the gallery was to give a space for a new generation of

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This exhibition featuring archival and contemporary photographs, architectural models, maps, sculpture, paintings, documentary videos, and oral histories about the historic neighborhood of Freedman's Town opened at DiverseWorks, co-sponsored by the City of Houston Archaeological and Historical

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Lawndale Art and Performance Center (now Lawndale Art Center) began in a warehouse located on Hillman Street near Lawndale in the East End of Houston after a fire displaced the painting and sculpture department of the University of Houston. Under the direction of artist and sculpture professor

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Sculptors Dan Havel and Dean Ruck altered two buildings owned by the Art League of Houston on the corner of Montrose Boulevard and Willard Street. The exterior skins of the houses were peeled off and used to create a large vortex that funneled into the small central hallway connecting the two

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For the Millennium artist Lee Littlefield installed his first artist-initiated Pop-Up sculpture along Interstate 10 near downtown Houston. Typically painted in eye-catching yellow and made from willowy vines and branches, the sculptures now number in the hundreds and have become well known to

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designed the first residence using an industrial metal exterior. This residential type has since proliferated in the area (sometimes referred to as “Tin Town”) and throughout the city. Glennie and Fredericka Hunter of Texas Gallery were the original inhabitants of the loftlike space, and they

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The Bill Hicks Resurrection Laboratory was an independent artist-run collective space. Active from 2003 until 2006, BHRL offered space for wood and metal shops, screen-printing facilities, craft area, event space, and an edible garden. It was located at 2915 Delafield off Old Spanish Trail.

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Dolan Smith founded the Museum of the Weird in his two-bedroom house in Houston's Heights. Attending by appointment, visitors could view a pet columbarium where Smith entombed the ashes of people's pets, a homemade “Bed of Nails,” 12-foot-long (3.7 m) tusks, a giant model of a heart, an

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Performance Art Lab (PAL) was founded by Elia Arce, then a graduate art student at the University of Houston. She taught performance art and worked with her students to create the collective. When the class ended in 2008, PAL was launched as an independent performance collective. Guerilla

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The traditional Houston street art festival began on Westheimer Street in the 1970s. A group of young artists, led by independent curator/writer Sean Carroll, revived the festival to include drive-by painting exhibitions, a bike-ride exhibition through the neighborhood, graffiti, busking,

1136:) to assist African American artists with a special sensitivity to women artists. In 1989 its headquarters was established in midtown. The Collective has sponsored numerous exhibitions and educational programs, many aimed at making cultural experiences more accessible to inner-city youth. 266:; and clad the house with thousands of flattened beer cans, ensuring that he would never have to paint the house again. “They say every man should leave something to be remembered by,” he said. “At least I accomplished that goal.” The site is now a revered local monument maintained by the 2038:

conceived and founded labotanica, a resource and a laboratory using flexible, open-ended formats to frame new art forms and dialogues. Based in Houston's third ward community, labotanica is a multi-disciplinary space that engages diverse communities through education, collaboration, and

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which invited artists to paint on the plywood temporarily covering the windows of the row houses facing Holman Street. Project Row Houses has grown from the original 23 shotgun houses on 2 blocks to about 50 buildings on 8 blocks. Project Row Houses is internationally recognized and

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Lee Benner moved his studio to Commerce St. in July 84. There was space for shows and parties like "Love Burns". Space was also rented to artists; Jim Bril, Jack Massing, Rick Lowe, Ed Wilson. A Halloween party next door in a vacant building started Commerce Street Artist Warehouse

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The Mule Men were Jim Kanan and Steve Paulk, whose collaboration grew out of their shared construction company. Together they made several large-scale mobile works including Texan Mexan Drive-In and Paging Oral Roberts, which were part trailer home and part outdoor movie theater.

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Victoria Herberta moved to Houston and began to create a “Shrine to Swine” at her Crawford Street home. Unfortunately, when Victoria died, Judy, her roommate was evicted from the house, and Pigdom no longer exists, although the art work was stripped from the home and salvaged.

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through 1985 because of the scale of the work. This southwestern archive was run from Houston by Sandra Curtis Levy, assisted by Terrell James. Liz Ward and Maggie Olvey also helped. A duplicate of this archive, which is part of the National Archives of American Art, is kept on

1041:. Using the entire west side of downtown Houston as a skyline backdrop, the event included music, laser lights, and gigantic projected images on the buildings. An estimated 1.3 million people attended the event, making it one of the largest concerts in history up to that time. 2067:

The building housing the Contemporary Arts Association (CAA) was from its inception often referred to as the Contemporary Arts Museum (CAM) and the latter name was used almost exclusively from the 1970s to 1990s. In 2002 the institution’s name was officially changed to the

461:–designed Menil Collection, which opened in June 1987 on part of the site where some houses had been demolished or moved. The remaining bungalows today are art administrative offices, arts spaces, and homes—a unique and homogeneous neighborhood-within-a-neighborhood. 786:

The Orange Show re-opened to the public after its restoration by the Orange Show Foundation (now the Orange Show Center for Visionary Art). In 1983 the Orange Show Foundation began its stewardship of other visionary art sites and programming inspired by these sites.

1370:, known for his installations, or “displacements,” that construct chaotic architectural growths around existing aspects of the urban landscape. Kawamata created Favela in Houston, an elaborate series of rooms made from scrap lumber and installed along the banks of 656:

on Congress Street in a derelict area east of downtown Houston. For several years, it was one of the most influential art spaces in the city. Art exhibitions, readings, lectures, films, and performances were staged there, including works by experimental punk band

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department of a Sears store; Potlatch occurred in a local warehouse as part of Rolywholyover–A Circus for Museum by John Cage, presented at the Menil Collection; and Cross-City Blowout was a traveling “art mobile” stuffed full of artworks from Houston artists.

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Ann and James Harithas established the Station Museum of Contemporary Art to present topical exhibitions of works by artists from around the world and to serve as a platform for artists to express progressive alternative political and artistic points of view.

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Artist Kate Ericson's Rock Extension was a row of rocks that extended from the front porch and down the walkway of a house in the Neartown area. Ericson went on to create several other important works in Houston in collaboration with her husband, Mel Ziegler.

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Artist Jim Pirtle produced a video parody of the famous Hollywood movie by lip-synching the actual appropriated soundtrack with himself in the starring role. Shooting entirely on the grounds of the Zocalo artists’ compound, he enlisted many artist friends

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The Art Guys were commissioned by Absolut Vodka to create a billboard. Located on the West 610 Loop freeway near the Galleria, the billboard featured a giant Vodka bottle that was painted with a thousand separate coats of paint over a nine-month period.

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in different cities in the United States until 1990. The festival in Houston exploited the city's special qualities and spaces, including the Astrodome, the tunnel system of downtown, various office lobbies, a YWCA pool, and incoming airline flights.

449:, at first intended for potential university expansion. They later decided to build their museum there and to maintain the residential properties against the incursion of unwanted architecture and businesses. In 1974, under the direction of architect 1578:, Mark Flood, George Hixson, Michael Battey, Giles Lyon, The Art Guys, among others) to play various characters in the movie. The video was later screened at various underground and alternative venues such as Aurora Picture Show and Cue Foundation. 1802:

Trailer Park was an exhibition organized by artist Danny Kerschen on August 30, 2003 in a Trailer home in Deer Park, Texas. It included work by artists Aimee Jones, David Krueger, Donna Huanca, Gabriel Delgado, Rosalinda Gonzalez, Gorton Othengo,

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Bissonnet Street. Later in 1994, Lombardi began an art practice of tracking various political, energy, and military-industrial complex conspiracies on thousands of index cards, then mapping the connections on elaborate flow chart-like drawings.

354:. On display in the oversized attic of a house on Hyde Park Street was a range of artifacts, including 250,000 postage stamps wrapped in bundles of 100, dinosaur excrement and bones, Indian skulls, tools, handmade models, over 1,000 clocks, the 988:, Steve Wellman, Ken Adams, George Hixson, J Hugo Fat, Frank Anthony Porreco III, Rodney Elliott, Daniel Adame, Teresa O’Connor, Elaine Bradford, Ben DeSoto, Cynthia Cupach, Y. E. Torres (Yet), Betsy Odom, Jacqueline Rusca and I Love You Baby. 1888:

buildings and eventually exited through a small hole into an adjacent courtyard. Inversion has become one of Houston's most well-known, albeit vanished, sculptures. The structure was later demolished to make way for a new Art League building.

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notorious, complicated, experimental “social-sculpture” environments in Houston. On any given night, one could converse with physicists while playing chess with a homeless alcoholic against the background noise of a Japanese speed punk band.

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Herschel Berry, Michael Hollis, and Kelly Kirkonnel started Daucus Carota (Latin for “wild carrot”) while they were in high school. The group had a shifting membership that included Andy Feehan, Nicky Galmiche, Chris Lesikar, Jim Martin, and

1973:

A group of artists led by Teresa O’Connor founded Hello Lucky, an artists’ boutique on Studewood Street in Houston's Heights. Artists consign their works for sale, and part of the proceeds go to nonprofit arts organizations across Houston.

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Grace Spaulding John and a group of women opened the city's first artist-run gallery, the Houston Artists’ Gallery, in the basement of the Beaconsfield Hotel on Main Street. The organization sponsored exhibitions, auctions, and lectures.

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The Art Guys unveiled their conceptual artwork SUITS with a two-man parade in downtown Houston. After leasing advertising space on two business suits designed by Todd Oldham, The Art Guys wore them for a year, promoting their “clients.”

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Fredericka Hunter and Ian Glennie formed ARTPIX, an experiment to explore new media and commission young artists to create new work on CD. Ongoing today, it has evolved to include archival projects that bring little-known work forward.

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MotherDogStudios was organized on Walnut Street on the eastern edge of downtown by artists Charlie Sartwelle and John Runnells to provide sixteen studio spaces for artists and present exhibitions in the Mother Dog Museum of Modern Art.

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Guillermo Morales, Carlos Martinez, Chris Rodriguez, Jason Nava, and Roland Saldana. Though sanctioned, the paintings provoked the Houston Police Department's attention and in July 2000 were overpainted in an anti-graffiti campaign.

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In 2001 musician David Dove founded Deep Listening Institute Houston (DLIH), a branch of a New York organization, to bring world-class musicians to Houston and further his teaching goals. In 2006, under Dove's direction, DLIH became

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The area informally known as the West End is bounded by Washington Avenue on the north, Memorial on the south, and Durham and Westcott to the east and west, incorporating more formal subdivisions such as Rice Military and Magnolia

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events, and distributed handouts with statistics about the poor representation of women in the arts. DiverseWorks brought the Gorilla Girls to Houston where they mounted a major installation and never disclosed their identities.

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wasps’ nest, and the “Dome of Silence,” as well as Smith's paintings. The Museum of the Weird also included the “Scar Room,” where Smith documented every scar on his own body and urged visitors to add scar stories of their own.

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site-specific installation, performance art, and social interactions. Participants included Elia Arce, Robert Pruitt, Will Boone, JoAnn Park, Cheyenne Ramos, Matthew Dupont, YAR!, BLOWJACK, B~Kay, and Skeez-181, among others.

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DiverseWorks brought Los Angeles artist Robbie Conal to Houston to install his posters of politicians and celebrities guerilla-style throughout the city, including images from his Men With No Lips and Women With Teeth series.

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William Steen was commissioned to create a performance in front of the downtown library. Called Dark Continence, the performance included projected imagery, elaborate scaffolding, and dancer Margaret Boswell with music by

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The Midtown Art Center was founded at LaBranch and Holman Streets in 1982 as a multidisciplinary arts complex with music, visual art, performance, and literary programs. It continues as a community outreach organization.

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Patrick Media began its sponsorship of the Super Canvas Project in which a panel selected artists to design billboards, which were then produced and displayed throughout Houston. This project continued for a few years.

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In April Los Angeles artist Michael McCall tarred telephone poles and switching boxes throughout Houston with his 9-inch-square (230 mm) Tar Baby paintings, which were mixed-media paintings on roofing tar paper.

524:(SWAMP) was founded as a Texas-based nonprofit organization to promote the creation and appreciation of film, video, and new media, as well as, originally, to provide low-cost access to media production facilities. 1807:, John Champion, Jon Read, MD Williams, and Virginia Fleck. The exhibition also featured musical performances by Go Spread Your Wings, NME, Indian Jewelry, and the Wiggins (the last performing in a bathroom.) 725:(parabots), artist H. J. Bott staged eight biweekly robot performances in his studio in the Heights, which were highly attended (SRO) by local Houston artists, gallerists, collectors, curators and art writers. 235:

Artists Jim Love and Roy Fridge shared a studio in a two-story derelict storefront on Truxillo Street near West Alabama. It became a meeting place and notorious party site for artists such as Donald Barthelme,

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urban and sociological issues facing Houston, such as housing preservation and reuse, transportation, environmental responsibility, and urban revitalization. The collaborations were documented in a catalogue.

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artists. For more than fifteen years while at this location, The Art Guys Museum (its name changed frequently) was a Houston hot spot for unusual and sometimes seminal exhibitions, performances, and events.

310:, Chip Lord and Doug Michels founded the architecture and art collective Ant Farm, which later included Douglas Hurr, Hudson Marquez, and Curtis Schreier. In 1969 while Lord and Michels were teaching at the 2025:

Sunday Soup, a community meal that functions as a grant funding process, was launched at the exhibition space Skydive. Proceeds from the $ 5 meal go to support an artist initiative or community project.

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Michael Peranteau and artist Max Pruneda began monthly exhibitions of area artists at 120 Portland, a restaurant where Pruneda was chef. The openings were held on Sundays, when the restaurant was closed.

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slow-scan video cameras and permanent markers at the figure's head, hands, and feet. The monitors receiving the video images, the project's working drawings, and its maps were installed at DiverseWorks.

547:, to actively support equal opportunity and visibility for work by women. Participants included MaryRoss Taylor, Gertrude Barnstone, Lynn Randolph, Toby Topek, Suzanne Bloom, and Roberta Graham Harris. 2006:

bringing artists from around the country to Houston. Many of the artists presented are exploring relational aesthetics, a form of art that relies on a direct interaction between the art and the viewer.

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A group of anonymous knitters began to tag public signage, doorknobs, railings, trees, fences, and public sculptures on the streets of Houston with custom-knitted sculptures wrapped around the objects.

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The Houston Center for Photography was founded as a member-run cooperative and was eventually incorporated as a nonprofit visual arts organization devoted exclusively to photography and related media.

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and former Contemporary Arts Museum Director James Harithas founded the Art Car Museum at the southern end of Heights Boulevard. Today it presents exhibitions and programs featuring art and art cars.

1619:

Before he moved to California, Mark Allen opened an art space called Revolution Summer where he walled off and painted the interior of his rented house and mounted three conceptual art exhibitions.

362:, wax recordings, a three-toed horse hoof, short wave radio paraphernalia, bee tracking glasses, dressed fleas, and many other curiosities and miscellany, all carefully arranged and catalogued. 1300:. True Artist Tales began as a make-believe comic soap opera in which Gilbert sprinkled recognizable characters with pseudonyms to present a semi-fictitious rendering of the Houston art scene. 192:

Houston artists and architects seeking a venue for displaying contemporary art and design founded the volunteer-operated Contemporary Arts Association, initially presenting exhibitions at the

1965:

on-line photo-sharing site; the images were projected as an evolving slide show at Lawndale Art Center. A sequel exhibition, Never Been to Tehran, was presented by Parkingallery, Tehran.

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The exhibitors received and displayed over six hundred images. Created from the exhibition and website, the landmark book Houston. It's Worth It. (HIWI: The Book) was published in 2007.

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out their roles while random audience members stood and recited parts of the narrative. This was one of the first public performances of actress/performance artist Jo Harvey Allen.

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was co-curated by Toby Kamps and Meredith Goldsmith and featured projects by twenty-one Houston artists using the city as inspiration, material, and site. This chronology documents

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as a way to educate himself about the art being created in Houston. After a year, he had written more than 300 blog posts, mostly reviews of exhibits and performances in Houston.

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Transco Tower opened an exhibition space in its lobby, regularly showing artists from the city and region. It continues today as Williams Tower Gallery, curated by Sally Sprout.

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Keith Hollingsworth, who lived and worked in a studio on Summer Street during the nineties, held annual Erotic Art Shows as well as other sporadic exhibitions and performances.

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Project Row Houses, conceived and founded by artist Rick Lowe together with a group of African American artists and community activists, rescued and rehabilitated a series of

1988:

offers studios for emerging and established artists, with two exhibition galleries, a window gallery for installations, and an outdoor performance and exhibition space.

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South African native Lindi Yeni founded Kuumba House to create, teach, perform, and preserve African art forms of dance, theater, music, and other creative expressions.

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Artist Terrell James opened and operated a gallery for several years on the premises of the downtown Christ Church Cathedral, an Episcopal church founded in 1839.

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D. D. Smalley, grandfather of artist and musician Frank Davis, was inspired by his grandson's birth in 1941 and began production of what was eventually called the

902:

The Houston Women's Caucus for Art opened an exhibition space, the Firehouse Gallery, in former Houston Fire Station No. 16 on Westheimer Street in Neartown.

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The Orange Show Foundation commissioned artist Jackie Harris to create the Fruitmobile, a decorated art car that has become an enduring symbol for the form.

1938:

Aerosol Warfare was invited to paint the exterior of a house acquired by DiverseWorks at Alabama Street and Almeda Road in a project called This Old House.

375:, and Mark Battista, a former architecture student from Rice University. Their collaboration resulted in three exhibitions at the University of St. Thomas. 453:, the many bungalows comprising the neighborhood were all painted gray with white trim, inspired in part by Dominique de Menil's Rice Museum exhibition of 1071:

Boulevard. The sculpture became a public phenomenon during its nine-month installation. It met its demise when it was set on fire by anonymous arsonists.

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Katrina Moorhead's Sampled Sky; Fannie Taper's Trust; Mark Wade's Manifest Destiny; C. Andrew Boyd's Hero 1K; and Danny Yahev-Brown's untitled project.

500:, a renowned women's synchronized drill team dressed as miniskirted cowgirls, performed during the opening night of an exhibition at CAM organized by 1084:, Mary Long, Paul Kittelson, Robert Campbell, Ed Wilson, Frank Martin, Wes Hicks, Deborah Moore, Ken Adams, Rick Lowe, James Bettison, Jim Pirtle, 1404:

Turner. They worked collaboratively to design the park in cooperation with the Houston Parks and Recreation Department. It was dedicated in 1992.

1787:, began staging artworks and installations dealing with African American social and historical issues. The group's work was featured in the 2006 196:

and in 1949 erecting an A-frame museum building on Dallas Street in downtown Houston. The organization gradually gained professional status and

217:, a brightly colored, carnival-like environment dedicated to the orange and to the virtues of good health and right living. He used concrete, 2266: 2207: 890:

and European gallery dealer Petra Benteler as the first international biennial of photography and related art in the U.S. In March 1986,

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Artist Kathleen Packlick opened the West End Gallery on Blossom Street, occupying a small space adjacent to the West End Bike Shop.

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In May at Studio One, William Steen presented Paintings and Assemblages by Dennis Hopper, with a related screening at the

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Local artists banded together to organize their own temporary outdoor sculpture show called Watermelon Flats set along

240:, David McManaway, and Charles T. Williams, along with numerous Houston art patrons and international visitors such as 2319: 497: 975:

daredevil speed, roller joustings, and a high-energy music soundtrack selected by punk rock radio DJ Marilyn Mock.

156:(CAMH) to accompany the group show of the same name. The exhibition was on view at CAMH from May 9-October 4, 2009. 1133: 862:

next couple of years, catering to punk music and exhibitions of young artists in Houston's burgeoning art scene.

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venues. To date, they have screened over eight thousand films and videos and hosted over six hundred artists.

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third floor. It became a meeting place for many artists in the community, including Al Smith, David Folkman,

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founded the alternative space 3221 Milam, which presented art exhibitions, performances, dance, and music.

673:. Steen also became a liaison to various outsider and prison artists such as Henry Ray “Pretty Boy” Clark. 2035: 1784: 1248: 1209: 772: 47: 1626: 1730: 735: 1858:

and bookseller Russell Etchen. They have produced over fifty ’zines and have compiled two anthologies,

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celebrations of Houston, the Houston Festival produced an outdoor concert/spectacle by French composer

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music by Terry Allen, Richard Bowden, and Lloyd Maines, it starred veteran actress Jo Harvey Allen.

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his gallery and sculpture garden, retaining one of the modest houses on the property for his home.

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Otabenga Jones & Associates, the Houston-based artist collective of Dawolu Jabari Anderson,

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and mirroring the vernacular metal warehouses scattered throughout the neighborhood, architects

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A number of knitters broke with KnittaPlease to form their own subversive yarn-tagging group.

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production, a fashion design shop, and the Scholar Shop for tutoring and academic enrichment.

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and stones; decorated the house and trees with garlands made from beer can tops, rims, and

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generosity of the arts community, today is open for public viewing every Friday evening.

1294:, which was then Houston's leading alternative newspaper weekly, and later moved to The 1804: 1756: 1081: 944: 505: 501: 403: 388: 339: 255: 2313: 1707: 1633: 1575: 1436: 1371: 1296: 1236: 1176: 1085: 985: 887: 670: 543:

The Houston Women's Caucus for Art was founded as a regional chapter of the national

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surrounding trees and the sky. The artists funded the project with proceeds from a

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A postgraduate fellowship program was founded at the Glassell School of Art at the

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presented its first biennial of photography in sixty-four sites around Houston.

615: 458: 2176:"BOX 13 ArtSpace – An artist-run studio and exhibition space in Houston, Texas" 2257:

Huber, Caroline and The Art Guys (2009). “Merging Traffic: A Chronology” from

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William Steen founded Studio One in a storefront studio space he shared with

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As part of its Landscapes public sculpture exhibition, DiverseWorks and the

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and has become an internationally recognized focus of the art car movement.

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staging programs, it is open today for special events and by appointment.

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During the opening of Exhibition 10, curated by Sebastian J. Adler at the

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Peters, and Santiago Pretence, with opening night music by Jim Pirtle.

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Lee Benner, opened his first studio on Wheeler St. Made sculpture for

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painting Gray is the Color. This gray theme informed the look of the

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barge for viewing by an audience sitting on the banks of the bayou.

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a.k.a. Perry Webb a.k.a. Mark Flood, Beth Secor, among many others.

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discreetly began acquiring thirty acres of property adjacent to the

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Jermayne MacAgy was hired as its first full-time director in 1955.

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ArtCrawl is always held on the last Saturday before Thanksgiving.

661:, improvisational musician Richard Landry, avant-garde filmmaker 211:

Postman Jeff McKissack began to single-handedly design and build

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created an elaborate piece on the advertising light grid of the

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staged throughout the city by local artists and organizations.

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rigged with six sticks of dynamite and safely blew himself up.

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Bob Harper, the Fan Man, began to build an environment in the

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The organization was conceived by artists and art educators

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artists to exhibit. Shows included works by such artists as

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A Tribute to Courage, a 67-foot-tall (20 m) statue of

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McBride, Elizabeth, et al. (1993, exhibition catalogue).

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Perspectives @25: A Quarter Century of New Art in Houston

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chronology was originally compiled by Caroline Huber and

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eventually became what is today Buffalo Bayou Art Park.

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Inspired by the activities of the New York and Chicago

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Facilitated by the lack of zoning in Houston, John and

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times in both traditional and nontraditional places.

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presented the first Houston performances of composer

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The art installations continue in six-month cycles.

2242:Herbert, Lynn M. and Valeris Cassel Oliver (2004). 1505:on a 10-foot (3.0 m) granite base, created by 1343:by violence installed in a large-scale tableau. 2202:, 1948–1982, Contemporary Arts Museum Houston. 2200:In Our Time: Houston's Contemporary Arts Museum 1290:Artist Scott Gilbert's comic strip appeared in 1058:New Music Parade by New York musician/composer 1526:Rolywholyover–A Circus for Museum by John Cage 964:National Association of Artists’ Organizations 2215:Texas: 150 Works from the Museum of Fine Arts 1771:exhibition, performance, and general mayhem. 312:University of Houston College of Architecture 8: 551:Ring II: The Embrace . . . Advanced to Fury 472:As part of the Main Street Festival, artist 105:. There might be a discussion about this on 2272:Mayo, Marti (1997, exhibition catalogue). 2132:"Beer can house in Houston to be restored" 1871:Cynthia Woods Mitchell Center for the Arts 817:scene and continue to reside in the city. 402:On Roy Street, a few blocks away from the 1006:the maturation of the Houston art scene. 979:Commerce Street Artists’ Warehouse (CSAW) 567:The Urban Animals, a loose-knit group of 125:Learn how and when to remove this message 66:Learn how and when to remove this message 29:This article includes a list of general 2104:"TSHA | MacAgy, Jermayne Virginia" 2095: 2060: 1366:commissioned a work by Japanese artist 1228:displayed at the park at any one time. 1088:, Paul Watson and Kevin Cunninghamand. 718:After making a series of 16 sculptural 2294:Rose, Barbara and Susie Kalil (1985). 2151:"Inversion creators are back for more" 1723:exhibitions and musical performances. 7: 2276:, Contemporary Arts Museum Houston. 2261:, Contemporary Arts Museum Houston. 2246:, Contemporary Arts Museum Houston. 2232:, Contemporary Arts Museum Houston. 2217:, The Museum of Fine Arts, Houston. 727:ROBOTT Opera: A Time- Warp Newscast, 623:Smithsonian Archives of American Art 334:, artist and experimental filmmaker 268:Orange Show Center for Visionary Art 808:Core Program of the Glassell School 608:Lawndale Art and Performance Center 485:other when visitors stood on them. 1820:Bill Hicks Resurrection Laboratory 1679:travelers in and around the city. 1509:, was erected on Interstate 45 in 1100:activists before closing in 2013. 35:it lacks sufficient corresponding 14: 2291:, DiverseWorks Artspace, Houston. 2259:No Zoning: Artists Engage Houston 2118:"The Orange Show, Houston, Texas" 1934:This Old House by Aerosol Warfare 522:Southwest Alternate Media Project 516:A community-wide offshoot of the 158:No Zoning: Artists Engage Houston 150:No Zoning: Artists Engage Houston 2298:, Museum of Fine Arts, Houston. 2070:Contemporary Arts Museum Houston 154:Contemporary Arts Museum Houston 82: 20: 2296:Fresh Paint: The Houston School 2213:Greene, Alison di Lima (2000). 2149:Gray, Lisa (February 8, 2009). 1775:Otabenga Jones & Associates 1585:Mural on William Steen's Studio 1338:S.H.A.P.E. Protest Installation 579:Placing a classified ad in the 2289:DiverseWorks Artspace, 1983–93 1832:HIWI (Houston. It's Worth It.) 1741:Live Oak Friends Meeting House 1364:Houston International Festival 821:Center for Art and Performance 755:Houston Center for Photography 342:, which flew over the museum. 285:, Bush Gardens, and Jockey's. 1: 1232:Meaux's Bayou/ Zocalo/ TemplO 1123:Community Artists’ Collective 1066:Stegosaurus by Paul Kittelson 882:was founded by photographers 188:Contemporary Arts Association 152:, which was published by the 1547:Bobbindoctrin Puppet Theatre 1497:Sam Houston by David Adickes 1383:to its expected demolition. 1277:Art Guise World Headquarters 814:Museum of Fine Arts, Houston 634:Museum of Fine Arts, Houston 476:created an earthwork called 2198:Cathcart, Linda L. (1982). 1196:Magnolia Grove Neighborhood 1187:That's Painting Productions 909:Artists' Warehouse Alliance 857:Consolidated Arts Warehouse 498:Kilgore College Rangerettes 366:B. E. & J. Holding Firm 2341: 1641:Absolut Art Guys Billboard 1569:Jim Pirtle Is Forrest Gump 1260:space by the square inch. 1013:Architecture & Culture 352:Hyde Park Miniature Museum 346:Hyde Park Miniature Museum 164:'s alternative art scene. 2228:Herbert, Lynn M. (2006). 2047:Robert Boyd created this 2043:The Great God Pan is Dead 1942:Performance Art Lab (PAL) 1134:Texas Southern University 681:Dancer and choreographer 1860:You Don’t Know Any Girls 1766:The Million Dollar Hotel 1691:traffic on the freeway. 1653:The Clothes Make the Man 1273:joined Aerosol Warfare. 1192:catalogues his efforts. 962:DiverseWorks hosted the 844:Dennis Hopper in Houston 447:University of St. Thomas 332:Contemporary Arts Museum 176:Houston Artists’ Gallery 1488:Gallery One Three Seven 732:The History of Robotics 423:and performance artist 326:Goodyear Blimp over CAM 139:Houston Alternative Art 50:more precise citations. 2036:Ayanna Jolivet McCloud 1992:The Soldier Billboards 1913:El Rincón Social (ERS) 1901:Westheimer Block Party 1513:, Sam Houston's home. 1132:and Dr. Sarah Trotty ( 1045:New Music America 1986 773:Houston Public Library 545:Women's Caucus for Art 539:Women's Caucus for Art 504:featuring the work of 2230:Jim Love: From Now On 1960:Never Been to Houston 1479:El Palomar Restaurant 1330:Summer Street Studios 1223:Buffalo Bayou ArtPark 1149:Houston Gorilla Girls 736:American Craft Museum 531:Christ Church Gallery 398:West End Metal Houses 231:and Roy Fridge Studio 1686:Watershed Collective 1437:shotgun-style houses 1140:Robbie Conal Posters 435:The Menil Collection 246:Niki de Saint Phalle 147:exhibition catalogue 95:confusing or unclear 1783:, Kenya Evans, and 1627:Aurora Picture Show 1565:at the front door. 1538:Art of this century 1465:Museum of the Weird 1202:Salle Werner Vaughn 1028:Rendez-Vous Houston 766:McKee Street Bridge 669:, and actor/artist 194:Museum of Fine Arts 103:clarify the article 2320:Culture of Houston 1731:The Station Museum 1666:Artist and patron 1446:the New York Times 1430:Project Row Houses 1408:Don’t GAG the Arts 1399:Market Square Park 1210:The Art Car Parade 799:Midtown Art Center 520:Media Center, the 443:Dominique de Ménil 256:The Beer Can House 2267:978-1-933619-19-4 2208:978-0-936080-09-3 2155:Houston Chronicle 2039:experimentation. 1864:Show Us Your Zits 1712:Eldorado Ballroom 1708:Bert L. Long, Jr. 1615:Revolution Summer 1511:Huntsville, Texas 1453:Arena Productions 1442:Michael Kimmelman 1358:Favela in Houston 1286:True Artist Tales 1247:Begun by artists 1243:Rubber–An Art Mob 1039:Jean Michel Jarre 898:Firehouse Gallery 734:initiated by the 582:Houston Chronicle 356:U.S. Constitution 135: 134: 127: 76: 75: 68: 2332: 2186: 2185: 2183: 2182: 2172: 2166: 2165: 2163: 2161: 2146: 2140: 2139: 2128: 2122: 2121: 2114: 2108: 2107: 2100: 2083: 2079: 2073: 2065: 1841:Billboard Series 1811:Workshop Houston 1789:Whitney Biennial 1674:Pop-Up Sculpture 1420:ARTCRAWL Houston 1368:Tadashi Kawamata 1347:West End Gallery 1171:Watermelon Flats 1075:On Waugh Gallery 1054:New Music Parade 1035:Sesquicentennial 926:MotherDogStudios 771:appeared at the 720:radio-controlled 451:Howard Barnstone 207:The Orange Show; 130: 123: 119: 116: 110: 86: 85: 78: 71: 64: 60: 57: 51: 46:this article by 37:inline citations 24: 23: 16: 2340: 2339: 2335: 2334: 2333: 2331: 2330: 2329: 2325:Arts in Houston 2310: 2309: 2274:Finders Keepers 2195: 2190: 2189: 2180: 2178: 2174: 2173: 2169: 2159: 2157: 2148: 2147: 2143: 2130: 2129: 2125: 2116: 2115: 2111: 2102: 2101: 2097: 2092: 2087: 2086: 2080: 2076: 2066: 2062: 2057: 1982:BOX 13 Artspace 1703:Field of Vision 1697: 1390:I Love You Baby 1321:Project Houston 1315: 1292:The Public News 1264:Aerosol Warfare 1155:Guerrilla Girls 1130:Michelle Barnes 1033:As part of the 1017:The Fourth Ward 958:NAAO Conference 850:Rice University 780:The Orange Show 742:Dark Continence 642: 518:Rice University 427:in their home. 416:Hossein Oskouie 320: 296:Julian Schnabel 214:The Orange Show 170: 131: 120: 114: 111: 100: 87: 83: 72: 61: 55: 52: 42:Please help to 41: 25: 21: 12: 11: 5: 2338: 2336: 2328: 2327: 2322: 2312: 2311: 2308: 2307: 2292: 2285: 2270: 2255: 2240: 2226: 2211: 2194: 2191: 2188: 2187: 2167: 2141: 2123: 2109: 2094: 2093: 2091: 2088: 2085: 2084: 2074: 2059: 2058: 2056: 2053: 2045: 2044: 2032: 2031: 2023: 2022: 2019: 2012: 2011: 2003: 2002: 1994: 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NBC News. 2021:Sunday Soup 1969:Hello Lucky 1862:(2007) and 1781:Jamal Cyrus 1718:Itchy Acres 1503:Sam Houston 1001:Fresh Paint 918:Fruitmobile 698:The Fan Man 616:James Surls 459:Renzo Piano 412:Ian Glennie 306:In 1968 in 168:Before 1970 48:introducing 2314:Categories 2181:2024-08-21 2090:References 2030:labotanica 1951:the joanna 1470:oversized 1113:Tar Babies 1095:The Artery 782:Re-Opening 749:Culturcide 704:Third Ward 677:3221 Milam 659:Culturcide 648:Studio One 589:Square One 425:Joan Jonas 382:Re:Vision 277:Lee Benner 97:to readers 31:references 1882:Inversion 663:Kurt Kren 630:microfilm 455:grisaille 283:Coca-Cola 264:pull tabs 115:June 2024 2136:NBC News 2049:art blog 1866:(2009). 1200:Painter 1060:Tom Cora 892:FotoFest 880:FotoFest 875:FotoFest 654:Mel Chin 474:Mel Chin 302:Ant Farm 229:Jim Love 145:for the 2072:(CAMH). 2034:Artist 2001:Skydive 1632:Artist 1606:notsuoH 1563:tip jar 1556:O House 947:Gallery 632:at the 478:See Saw 468:See Saw 360:Braille 198:curator 162:Houston 93:may be 44:improve 2302: 2280: 2265: 2250: 2236: 2221: 2206: 2082:Grove. 2010:Quitta 1594:ARTPIX 1517:Pigdom 723:robots 437:Campus 414:, and 219:stucco 33:, but 2055:Notes 1695:2000s 1650:SUITS 1313:1990s 640:1980s 512:SWAMP 318:1970s 2300:ISBN 2278:ISBN 2263:ISBN 2248:ISBN 2234:ISBN 2219:ISBN 2204:ISBN 2162:2011 2018:2009 1978:2008 1931:2007 1910:2006 1850:2005 1829:2004 1795:2003 1763:2002 1727:2001 1700:2000 1683:1999 1623:1998 1603:1997 1582:1996 1535:1995 1462:1994 1417:1993 1387:1992 1355:1991 1318:1990 1220:1989 1184:1988 1092:1987 1010:1986 955:1985 906:1984 886:and 830:1983 763:1982 711:1981 645:1980 560:1979 528:1978 496:The 489:1977 465:1976 431:1975 395:1974 379:1973 323:1972 274:1969 252:1968 244:and 225:1963 204:1956 185:1949 173:1930 137:The 1444:of 480:in 358:in 2316:: 2153:. 2134:. 1791:. 1714:. 1374:. 751:. 665:, 636:. 410:, 391:. 270:. 248:. 2306:. 2284:. 2269:. 2254:. 2225:. 2210:. 2184:. 2164:. 2120:. 2106:. 1574:( 128:) 122:( 117:) 113:( 109:. 99:. 69:) 63:( 58:) 54:( 40:.

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