Austin Art Exhibitions



Patrick Puckett: Daydreamers

Host: Wally Workman Gallery, 1202 West 6th Street

Dates: May 7th through May29th 2022

Puckett’s paintings are known for their bold colors and languid figures, executed with confident interaction between paint application, shape, color and texture. In this new body of work, the artist plays with patterns to push and pull on the picture plane particularly in the foliage, the interior and the subjects’ dress. This use of pattern competes for attention and adds an active element to the otherwise passive pose of the sitter — emanating a sense of dynamism to postures of leisure.


Established in 1980 and located in a 100 year old historic house in Austin’s art district, the Wally Workman Gallery specializes in emerging and collected talent.

Send inquiries to Rachel H. Stephens at or call 512.472.7428




Burner: A Group Exhibition of International Street Artists Comes to Austin

Host: Ao5 Gallery

Dates: May 7th – June 10th, 2022

Opening Party: Saturday May 7th, 7-10PM

Ao5 Gallery presents Burner: A Group Exhibition of International Street Artists. Works from globally renowned street artists Banksy, Zero Gradient, Harry Bunce, KEF! Dalek, Pure Evil and other renowned Urban Artists will be on exhibition and available for acquisition at the gallery from Saturday, May 7, through Friday June 10, 2022.  A DO NOT MISS opening party is planned for Saturday, May 7 from 7 to 10 pm. Join us for cocktails, DJ spins, and dope art. The reception and exhibition are complimentary and open to the public with RSVP’s requested.  Artist Zero Gradient will appear live via satellite from London on May 7 at 8 pm and renowned artist KEF! will appear live from Berlin at 9 pm virtually.   The exhibition presents during all events as well as regular gallery hours.

For more information, please visit or call the gallery at 512-481-1111. Click HERE to RSVP.

LOCATION: Arboretum, Austin TX, 10000 Research Blvd, Austin, TX 78759


Christopher Cascio, “Untitled (Large Fluorescent Red and Blue Portal)”, 2022 Acrylic on Canvas, 72 x 58 inches

Ascent | New Paintings by Christopher Cascio

Host: Ivester Contemporary

Dates: April 23 – May 28th, 2022
Opening Reception: April 23rd, from 7pm – 9pm

Ivester Contemporary is excited to present Ascent, a solo exhibition of new paintings by Houston-based artist Christopher Cascio. The artist describes the work featured as hard-edge abstract painting, inspired by traditional quilting designs, and infused with positive energy. These paintings, which Cascio views as a devotional exercise in mental self-care, are made exclusively with the use of masking tape and aerosol acrylic paint. The paintings come from a spiritual place and serve as a fount of positive energy for those who take the time to look deeply.

Christopher Cascio was born in New Orleans, and lives and works in Houston. He got his BFA at the San Francisco Art Institute in 1999 and an MFA University of Houston in 2013. Now, Cascio teaches painting and drawing at the Sam Houston State University School of Art and occasionally at the High School for the Performing and Visual Arts, his alma mater in Houston.


Restoration, 27.5 x 27.5 in


Host: Davis Gallery

Dates: April 23rd – May 28th, 2022

Opening Reception: April 23rd, 4-7pm

Making marks. One after another, after another, after another. The brush is quiet, but I feel the swish and the beginning of a dance as the watercolor marks slowly appear. Repetitive. Calming. Introspective.  Seeking peace and renewal. My focus the past five years has been how line, color, and form can alter our sense of well-being. The new work inspired by living with my daughter during her cancer treatment  in California, and my morning walks on the beach that were my tranquil refuge. Seeking peace. Now. I am slowly healing, learning more about art therapy, grief, and its importance on this journey. Repetitive marks, spheres, color, and rhythmic lines, lifting the spirit, and hopefully communicating a tranquil place.

“Today I’m flying low and I’m not saying a word. I’m letting all the voodoos of ambition sleep. The world goes on as it must, the bees in the garden rumbling a little, the fish leaping, the gnats getting eaten. And so forth. But I’m taking the day off. Quiet as a feather. I hardly move though really I’m traveling a terrific distance. Stillness. One of the doors into the temple”.

 ― Mary Oliver  

Marooned in Blue | New Work by Ariel René Jackson

Host: Ivester Contemporary

Dates: April 16th – May 28th

Opening Reception: May 21st

Ivester Contemporary is proud to present Marooned in Blue, a solo exhibition of new work by Austin-based artist Ariel René Jackson. This project space exhibition will feature a video and mixed media work that mine issues of identity and inheritance by considering the nature of what is passed down from previous generations and exploring the stories embedded in the places we call home. Jackson raises questions about the role that land can play in holding traces of a community’s past suffering–which continue to haunt the present, buried but not forgotten–possibly excavated to constitute alternative archives. The intimacy of the work, however, also hints at a glimpse of hope: that perhaps through an acknowledgement and interrogation of this distressing past lies a form of consolation, a possible release from the paralysis of perpetual pain.

Ariel René Jackson (b. 1991) is a Black anti-disciplinary artist (a term coined by Kearra Amaya Gopee) whose practice considers land and landscape as sites of internal representation. Themes of transformation are embedded in their interest and application of repurposed imagery and objects, video, sound and performance. Jackson’s work is heavily influenced by their Afro-Creole Louisiana heritage and Black American cultural language. Jackson is an alum of University of Texas at Austin (’19), Skowhegan School of Painting and Sculpture (’19), Royal College of Art Exchange Program (’18), and The Cooper Union (’13). Their work has been shown in the United States at various galleries and institutions such as Artpace: San Antonio (’22); Women & Their Work, Texas (’22); Big Medium, Texas(’21); Dallas Contemporary (’21); Jacob Lawrence Gallery, Seattle (’21); Contemporary Art Center, New Orleans (’18); Depaul Art Museum, Chicago (’18); Rhode Island School of Design Museum (’17); and Studio Museum in Harlem (’16).

(Words by Kendyll Gross, Curator & Education and Visitor Services Coordinator, Art Galleries at Black Studies at The University of Texas at Austin and Amin Alsaden, Curator & Educator, Digital Arts Resource Centre, Ottawa, CN)


Mexic-Arte Museum presents Chicano/a Art Movimiento Y Más en Austen, Tejas 1960s to 1980s

Host: Mexic-Arte Museum, 419 Congress Ave, Austin TX, 78701

Date: April 8 – June 19, 2022

Opening Reception: Friday, April 8, 2022, 6:00pm – 9:00pm

Chicano/a Art, Movimiento y Más 1960s to 1980s highlights Chicano and Chicana artists in Austin, Texas during “El Movimiento” (The Chicano Civil Rights Movement). This exhibition serves as a primer on the rich and understudied Chicano art movement in Austin, presenting a variety of mediums, themes, and artists. Artwork by prolific artists of the area paired with documentary ephemera creates the context for those turbulent times. This exhibition highlights the challenges these artists faced as they learned about their history, dealt with systemic injustice, sought a unique Chicano/a art voice, and found or created a place for themselves.

The exhibition brings together revolutionary artwork with abstract, conceptual, and commercial art, showing the breadth of creativity that these artists achieved in this time in a variety of forms including visual art, music by the band Conjunto Aztlán and others, photography, dance, music, poetry, literature, film, and other forms.

Prominent visual artists in the exhibition include Tito Aguirre, Mary Ann Ambray Gonzales, Alicia Arredondo, Alicia Barraza, Santa Barraza, Sam Coronado, Nora  Gonzáles Dodson, Carolina Flores, Rey Gaytan, Carmen Lomas Garza, Mary Jane Garza, Marsha Gomez, Luis Guerra, Juan Pablo Gutierrez, Luis Gutierrez, Luis Guerra, Bruce Harnett, Bill Leissner, Pedro Meyer, Sylvia Orozco, Janis Palma, Amado Peña, Alan Pogue, Pio Pulido, Manuel “Chaca” Ramirez, Vicente “Chente” Rodriguez, Marta Sanchez, José Treviño, Modesta Treviño, and Raul Valdez; murals by the next generation master muralist Amado Castillo IV with student assistants.

Enjoy this exhibition of original artwork, documents, live performances, and scholarly lectures that tell the story of a defining time and place for the Chicano movement and for Chicano and Chicana artists.


Entropy | Mery Godigna Collet 

Host: Emma S. Barrientos Mexican American Cultural Center
Dates: April 9th – June 22nd, 2022

Opening Reception: Saturday, April 9th 5PM – 7PM

Entropy is an exhibition of recent works by Venezuelan artist Mery Godigna Collet. Across four decades, Mery Godigna Collet has been revealing the artist’s ability to transform deep research into profoundly moving works of art. Godigna Collet uses art as a tool to confront complex social issues, which she then synthesizes into concepts for the viewers. Her works of art utilize a multitude of diverse materials and she works in different media from installations, paintings, sculptures, photography, and video. She challenges her viewers by consistently modifying and utilizing new techniques and unconventional materials so one can confront the ways humans survive, cope, and deal violence or by inviting one to deeper contemplation and self-introspection.
Address: 600 River Street, Austin, Texas 78701
Phone: 512-974-3772

Alexandra Robinson | Delimitation: words to live by

Host: Women & Their Work

Dates: April 12th – June 2nd, 2022

Opening Reception: Saturday April 30th, 6-8PM

Delimitation /dəˌliməˈtāSH(ə)n/ (n): the marking or describing of the limits of something. Often the term is used as boundary delimitation, as in the drawing of boundaries.

Through the use of the flag form, flag semaphore, and Morse code, Alexandra Robinson appropriates symbols of identity and culture. By abstracting these recognizable forms and systems, she confounds easy interpretation and exposes how these codes can simultaneously include and exclude: establishing boundaries, edges—a place of borders.

Born of Mexican and Jewish heritages and raised in the military moving all over the world, Robinson’s work is deeply personal and grounded in a longing for place and meaning. Her exhibition investigates her own complex experience of inheriting language and emblems that confuse perceptions of self and belonging. Dividing lines highlighted in the exhibition are woven together, blurred, or left stark to reflect how generations of her family internalized what it means to be American. Robinson is especially interested in exploring an American ideology that was never meant for everyone, even if multiplicity is the American experience. Delimitation: words to live by, seeks to embrace hybridity, while acknowledging the challenge that this presents.


Artists: Erin Cunningham, Andrea De Leon, Mai Gutierrez, Deanna Pastel

Host: ICOSA Collective Gallery, 916 Springdale Rd. Bldg. 2, #102, Austin, TX 78702

Dates: April 15 – May 14, 2022

Opening reception: Friday April 15th 7-10pm

Four Women–Four Approaches: Steel and Glass. Iron and Silver. Stone and Steel Paintings. Coppersmithing and Found Objects.

Each artist brings complexity to their work that balances both strength and fragility of their process within the physical constraints of their individual chosen materials. Through the applications of pressure, force, heat, and sculpting, each work has transformed an existing object into something new. In this process, they conjure their own realm where actions imbue aesthetics representing natural behavior through unnatural forms.

Erin Cunningham (b. 1979 Honolulu, HI) is an artist living and working in Austin, Texas. She received her BFA from The School of the Art Institute of Chicago in 2003 and an MFA in studio art from The University of Texas at Austin in 2007. With a focus in sculpture, her work utilizes material combinations, such as cast metals, and the female figure to explore dualities of masculine and feminine, disposable and precious, fragility and strength. She has shown both nationally and internationally, including at The Metropolitan Art Museum in Tokyo and at Mönchskirche Salzwedel, in Salzwedel, Germany. Artist residencies include BAER Art Center in Hofsos, Iceland as well as Atelierhaus Residency Hilmsen in Hilmsen, Germany. Cunningham is one of the founding members of the ICOSA Collective, an artist-run exhibition space in Austin TX. She currently holds a position as an Assistant Professor of Practice in the Department of Art and Art History at The University of Texas at Austin.

Andrea De Leon is a Mexican-American artist based in Austin, Texas. She obtained her BFA in Studio Arts from the University of Texas and has received multiple awards, some of which include residencies at Ox Bow School of Art and Penland School of Crafts. She has worked and exhibited internationally and currently teaches metalsmithing in several institutions in Texas. Andrea was a founding member of ICOSA Collective and continues to evolve her sculptural practice.

Mai Gutierrez (1987, Monterrey, MX) is a multi-disciplinary architectural designer and artist living in Austin, TX. She earned her BFA and Masters in Architecture from the Savannah College of Art and Design. Born and raised in Monterrey, Mexico, she sources her inspiration from nature by using natural elements in her work such as stone, wood and metal labored to display an architectural aesthetic. Her work has been exhibited in the United States and Mexico. Gutierrez’ current practice consists of architectural and interior design services, as well as sculpture and public art.

Deanna Pastel was born and raised in Cleveland, Ohio. In 2010 she received her BFA in Jewelry/Metals at Kent State University. For two years after college, she worked for Heather B. Moore Inc. in Cleveland, OH fine-tuning her skills in soldering gold, setting stones and hand stamping. She landed in Austin, TX in 2012, and began her career as a main teacher and Studio Manager at Creative Side Jewelry Academy where she has spent five years developing core curriculum, while working closely with other master artists and her students. She continues to teach at multiple establishments around Austin and San Antonio, and has been continuing to develop her craft at her home studio for production and commission work that is sold around the greater Austin area.

Gallery Hours: Fridays and Saturdays, 12-6 pm

For private appointments email:

Image: (clockwise from top left) Deanna Pastel, Erin Cunningham, Mai Gutierrez, Andrea De Leon

APERTURA: Pepe Coronado

Host: Flatbed Center for Contemporary Printmaking, 3701 Drossett Drive, Ste. 190

Dates: April 16 – May 21, 2022

Artist Reception: MAY 7, 2022  6PM – 8PM

Flatbed is pleased to present “APERTURA,” an exhibition of large, abstract monotypes created by Pepe Coronado at Flatbed Press.

Pepe Coronado was born and raised in the Dominican Republic and currently resides between New York City and Austin, Texas. Coronado is a founding member of the print collective Dominican York Proyecto GRAFICA, and founder of Coronado Print Studio. He teaches printmaking at St. Edwards University in Austin, and has taught at Purchase College School of Art and Design, SUNY; at the Corcoran College of Art; Georgetown University; and at the Maryland Institute College of Art in Baltimore, where he earned the Master of Fine Arts. Coronado was a master printer for Pyramid Atlantic in Silver Spring, Maryland; the Hand Print Workshop International in Alexandria, Virginia; and the Serie Print Project in Austin, Texas. He was a resident teaching artist at the Hudson River Museum in New York, and visiting artist at Self Help Graphics in Los Angeles. He also serves as the board of PrintAustin.

Apertura, curated by Katherine Brimberry, is Coronado’s most recent solo exhibition. Other solo exhibitions include Interactions: Borders, Boundaries and Historical Relations of the US/DR, Curated by Oshun Lane, Prizm Art Fair, Rush Philanthropic Arts Foundation, Miami.; Projects Photo / Prints, Gallery 410 GooDBuddY, Washington, DC; Construcciones – Obstrucciones 2005 – 10, Casa de Teatro Santo Domingo DR for the Photo Imagen Biennial, curated by Sara Hermann, and at the Center for the Digital Arts, Westchester Community College, NY, curated by Lise Prown; Boundaries, curated by Margaret Moulton, The Hastings Village Arts Commission Gallery, Hastings on Hudson, NY.; Obstrucciones, Gallery 101, Georgetown University, Washington DC and Amos Eno Gallery, Brooklyn, NY.

APERTURA features Coronado’s recent dramatic, large monotypes created at Flatbed Press in December of 2021.  The concept of aperture as it relates to obstruction, position and revelation are the guiding principles for Coronado’s abstractions.  Using a direct application of ink with a large printmaking roller, Coronado created large ribbon and plate-like shapes. He has systematically added more shapes with overprinting and the result is an accumulation of active shapes of gradating values. Coronado’s APERTURA abstractions explore square and rectangular formats, some as large as 60” x 42.”

The following is a quote from Coronado:
“I’m exploring spaces whose definition is transitory and evolving.  This series of montypes are stark black and white with shifting plates and openings that fracture expansive fields of space, creating dynamic interaction between forms and vivid tension that struggles to break through, fighting for position, each finally establishing its own presence.”


Women and the Making of Joyce’s Ulysses

Host: The Harry Ransom Center, 

Dates: March 4, 2022 – July 17, 2022

James Joyce’s Ulysses, considered a landmark work of literary modernism, was first published on February 2, 1922. This exhibition at the Harry Ransom Center, curated by Clare Hutton of Loughborough University, marks the 100th anniversary of the book’s publication and investigates the important and largely unacknowledged role of women in realization of his famed masterpiece.

Objects from the Ransom Center’s James Joyce Collection tell the story of the formative role of his family members and, in particular, of four women—Margaret Anderson, Jane Heap, Harriet Shaw Weaver, and Sylvia Beach, who were associated with innovative literary experimentation of the period—all of whom helped Joyce’s novel gain widespread notoriety and success.

In the United States, Joyce’s novel was a source of controversy and the subject of an obscenity trial in 1921. Margaret Anderson and Jane Heap’s serial publication of Ulysses in their American magazine The Little Review between March 1918 and December 1920 led to seizure of the edition by the New York Society for the Suppression of Vice. This led to legal proceedings and the obscenity conviction handed down before Joyce had even completed the work.

In the United Kingdom, Harriet Shaw Weaver committed to substantial, and initially anonymous, financial support of Joyce, and published excerpts of Ulysses in The Egoist. Within days of arriving to live in Paris in July 1920, Joyce had enlisted the help of yet another tireless female helper. Sylvia Beach played a pivotal role in bringing the full novel to print under the imprint of her bookshop and lending library Shakespeare and Company, and helped the novel reach a broad audience in print.

See more than 150 rare objects that tell this story, including a first edition of Ulysses, page proofs for its first printing, original copies of The Little Review, manuscripts in Joyce’s hand, rare books, printed ephemera, and photographs.


Host: Art Galleries at Black Studies, University of Texas at Austin

Dates: February 3 – May 21, 2022

Curated by Simone Browne, Associate Professor, Department of African and African Diaspora Studies, the University of Texas at Austin

“Not only will I stare. I want my look to change reality.”  — bell hooks

Surveillance is nothing new to Black folks. It is a fact of anti-Blackness.

Not Only Will I Stare draws attention to the interventions made by artists whose works explore the surveillance of Black life. From policing and incarceration to profiling and algorithmic racism, surveillance permeates Black worlds and undermines Black resistance. Exemplary of this history is the FBI’s Counterintelligence Program (COINTELPRO), which ran from 1956 to 1971 and sought to disrupt, discredit, and destroy individuals, activists, and political organizations it deemed subversive, like the Black Panther Party for Self-Defense, Angela Davis, and Malcolm X.

When it comes to troubling surveillance and its various methodologies, these five artists—American Artist, Sadie Barnette, Kameelah Janan Rasheed, Sable Elyse Smith, and Ricky Weaver—employ strategies of invention, disruption, refusal, and care. Whether through sculpture, etched Plexiglas, Xerox-based collage, archival portraiture, video, or powdered graphite drawings, the works in this exhibition distill the productive possibilities of creative innovation and of imagining Black life beyond the surveillance state.

This exhibition’s title is borrowed from a line in the essay “The Oppositional Gaze” by the late poet, professor, and Black feminist writer bell hooks, from her 1992 book Black Looks: Race and Representation. In that essay, hooks examines the role of Black spectatorship, the violent ways in which Black people are denied the right to look, the meaningfulness of counter-memory, and the critical practice of Black women’s rebellious gazes as “a way to know the present and invent the future.”

— Dr. Simone Browne, Curator



Oscar Muñoz: Invisibilia

Host: Blanton Museum of Art, 200 E Martin Luther King Jr. Blvd

Dates: February 20 – June 5, 2022

Artist Talk: Wednesday, April 13, 2022, 12 noon,  (Free online event)

Online Synopsium: Friday, June 3, 2022, time TBD, (Free online event)

Oscar Muñoz: Invisibilia is the first retrospective of this Colombian artist’s work in the United States. Since the late 1980s, Muñoz has sought to reinvent the medium of photography, creating hybrid works that splice photographic processes with drawing, painting, printmaking, installation, video, and sculpture, as well as interactive works. He turns photographic processes inside out to underscore the intrinsic fragility and transient nature of the image. Beginning with his early charcoal drawings from the late 1970s, the retrospective includes approximately 40 evocative artworks in diverse media that Muñoz has created over the last five decades. This long-overdue exhibition showcases works rarely seen outside of Colombia and also debuts new works created between 2019 and 2021.


Fantastically French! Design and Architecture in 16th- to 18th-Century Prints

Host: Blanton Museum of Art, 200 E Martin Luther King Jr. Blvd

Dates: March 5 – August 14, 2022

Public Programs: Thursday, April 7, 2022, 6 pm,  Fantastic Fromage! A cheese and art tasting with Antonelli’s Cheese Shop.

Wednesday, June TBD 2022, 12 noon, Fantastically French!, a free online event as part of the Blanton’s Curated Conversations series.

Fantastically French! Design and Architecture in 16th- to 18th-Century Prints: From arabesques to grotesques and from sphinxes to snails, French printmakers combined ancient decorative motifs with newly invented ones to create designs for everything from jewelry to architectural façades. Beginning in the mid-sixteenth century with ornamentation for the royal hunting lodge of Fontainebleau, through garden designs at the palace of Versailles, to patterns for eighteenth-century home furnishings, prints were important sites of invention and served as vehicles for the proliferation of decorative motifs across a variety of media. Drawing primarily from the Blanton’s extensive holdings of French prints, this exhibition invites visitors to look closely at exquisite details, marvel at fantastic forms, and take delight in ornate embellishments that celebrate the creativity of artistic imagination across three centuries.

Man playing a keyboard and microphone seen from behind in front of video projection of desert road.

Terry Allen: MemWars

Host: The Blanton Museum, 200 E. Martin Luther King Jr. Blvd.

Dates: December 18 – July 10, 2022

For his upcoming Contemporary Project exhibition, Terry Allen will present a three-channel video installation and a related group of drawings, all part of the same series titled MemWars. The video presents Allen, with his wife and frequent collaborator, artist and actress Jo Harvey Allen, performing autobiographical dialogues to introduce related songs. Allen then performs the song, accompanying himself on keyboards, in front of a changing landscape image. There are nine songs in total. The exhibition reflects the artist’s interest in short, evocative theatre pieces called sintesi (synthesis), associated with the Futurist movement. He sees them as “little stabs of memory,” and scripts some of his own in several of the drawings, which have cues specifically for theatrical staging. Other drawings have collaged texts telling stories inspired by incidents in Allen’s own life, with related imagery. Mythology, lore and metamorphosis are strong undercurrents. The punning title for the series suggests the slippery nature of memory itself: one might set out to write a memoir, but if memory is at war, what form would that take?


MULTI curated by Coka Trevino

Host: Emma S Barrientos Mexican American Cultural Center

Dates: Ongoing, Virtual Exhibition Here

MULTI is a virtual exhibit curated by The Projecto’s Coka Treviño which will be featured in The ESB MACC’s annual La Mujer celebration. MULTI tries to express a few of the many dream-states that our life as Mexican and Mexican American women have internalized in and outside of contemporary colonialism, and how we’re collectively trying to unlearn and find our own, authentic voices.

The artists of MULTI are: Poet and writer Ariana Brown; Photographer and Designer Patricia Carrington; Performer and Video artist Fina Ferrara; Contemporary artist and visual activist Irene Antonia Diane Reece; and experimental video and sound artist Natalia Rocafuerte provide us with different views of Mexicanidad and the Latinx experience.

Multidisciplinary, Multifaceted, Multicultural; Resilient Artists that have grown, reached, and accomplished trusting their own strengths, and resources. Womxn that have dared to dream a different life.



Host: The Contemporary Austin-Laguna Gloria, 3809 West 35th Street

Dates: Ongoing

The Contemporary Austin’s Betty and Edward Marcus Sculpture Park at Laguna Gloria is named in honor of a founding grant by the Edward and Betty Marcus Foundation. This contemporary art destination presents exhibitions and permanent outdoor art installations on a site of great natural beauty on Lake Austin.

A complement to the Jones Center, The Contemporary Austin’s downtown location, the Betty and Edward Marcus Sculpture Park at Laguna Gloria is committed to a vibrant, engaging program of exhibitions alongside thoughtful land stewardship. The Edward and Betty Marcus Foundation’s gift allows for the commissioning, exhibition, and acquisition of new works of art by leading international contemporary artists as well as the preservation of the works and Laguna Gloria grounds. The gift celebrates Betty Marcus’s great passion and vision for the arts, especially in outdoor settings.

With diverse ecology—including woodlands, meadows, gardens, and waterfront and a rich array of flora and fauna—Austin’s historic Laguna Gloria is a precious reserve of natural beauty, and a welcoming art-in-nature site, in the heart of the city.



Jen Garrido

Host: Wally Workman Gallery 

Dates; June 4th – July 2nd, 2022

On Saturday, June 4th, Wally Workman Gallery is pleased to open their 4th show with San Francisco based painter Jen Garrido. The power of color is Garrido’s central focus for this body of work. Her shapes form emotive vessels of pigment built upon one another, filled with love, sadness, passion, exhaustion, grief, joy and even magic. Representative of the human emotional state, Garrido’s works communicate an ever-changing internal and external growth.

Established in 1980 and located in a 100 year old historic house in Austin’s art district, the Wally Workman Gallery specializes in emerging and collected talent.

Send inquiries to Rachel H. Stephens at or call 512.472.7428

1202 West 6th Street · Austin 78703 · 512.472.7428 ·


Painted Cloth: Fashion and Ritual in Colonial Latin America

Host: Blanton Museum of Art, 200 E Martin Luther King Jr. Blvd

Dates:  August 14, 2022 – January 8, 2023

Painted Cloth: Fashion and Ritual in Colonial Latin America addresses the social roles of textiles and their visual representations in different media produced in Bolivia, Mexico, Peru, and Venezuela during the 1600s and 1700s. Beyond emphasizing how aesthetic traditions of European and Indigenous origin were woven together during this period, the exhibition showcases the production, use, and meaning of garments as well as the ways they were experienced both in civil and religious settings. A culmination of many years of collaborative research among scholars in Mexico, Peru, and the U.S., Painted Cloth is the first major exhibition developed by the Blanton to explore art and material culture of the Spanish Americas.

The exhibition will be accompanied by a catalogue and public programs, including a Curated Conversation, symposium, and performances of Casta, written by Adrienne Dawes and performed by Salvage Vanguard Theater.


Ellsworth Kelly: Postcards

Host: Blanton Museum of Art, 200 E Martin Luther King Jr. Blvd

Dates:  August 27, 2022 – November 27, 2022

Ellsworth Kelly (1923–2015), whose monumental last work, Austin, is in the Blanton’s collection, is one of the most important artists of the 20th century. His abstract paintings, sculptures, and prints are masterworks in the exploration of line, form, and color. In a lesser-known part of his practice, Kelly made over 400 collaged postcards over the course of more than fifty years. Some were exploratory musings, while others served as preparation for larger works in other media. They show a playful, unbounded space of creative freedom for the artist and provide an important insight into the way Kelly saw, experienced, and translated the world in his art. Ellsworth Kelly: Postcards will present a survey of Kelly’s lifelong practice of collaged postcards.

The exhibition will be accompanied by a catalogue featuring newly commissioned writings and never-before published images.


Day Jobs

Host: Blanton Museum of Art, 200 E Martin Luther King Jr. Blvd

Dates:  February 19 – July 23, 2023

The first major exhibition to examine the overlooked impact of day jobs on the visual arts, Day Jobs is dedicated to demystifying artistic production and upending the stubborn myth of the artist sequestered in their studio, waiting for inspiration to strike. The exhibition will make clear that much of what has determined the course of modern and contemporary art history are unexpected moments spurred by pragmatic choices rather than dramatic epiphanies. Conceived as a corrective to the field of art history, the exhibition also encourages us to more openly acknowledge the precarious and generative ways that economic and creative pursuits are intertwined. Day Jobs includes approximately 75 works in a broad range of media by emerging and established artists such as Emma Amos, Larry Bell, Mark Bradford, Jeffrey Gibson, Tishan Hsu, Ragen Moss, Howardena Pindell, Chuck Ramirez, Robert Ryman, and Fred Wilson, among many others.

Day Jobs will be accompanied by a catalogue featuring artist essays as well as a podcast.


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