Arts+Culture Texas: SHOW UP: Harold Mendez

Full Article by Laura A.L. Wellen

When we meet for coffee, Harold Mendez has just returned to Houston from the Rauschenberg Residency at Captiva Island (FL) via Chicago, where he opened a solo exhibition at Patron Gallery.  His installation at Project Row Houses for Round 45: Local Impact runs Oct. 22 – Feb. 12, 2017. Somehow, he appears rested and revitalized by his travels. We talk about a sense of optimism that he is finding in the studio, and about the deep influence Houston has had on his newest sculptural work, both conceptually and materially.

Arts+Culture TX: Project Row Houses: Shattering the Concrete: Artists, Activists and Instigators

Full article by Laura A. L. Wellen

In each of the seven installations, a certain type of work is happening – what de Anda describes as “creative resistance.” We see the social problem, and we see organizers using visual data to connect with a community and to advocate for change. Where this round really shines, though, is in the contrast between two installations: The Natural History Museum, presented in a collaboration between New York-based Not an Alternative and T.E.J.A.S., and the installation KARANKAWA CARANCAHUA CARANCAGUA KARANKAWAY by Nura Montiel and John Pluecker. Both ask for a deeper engagement and careful looking at a specific place–Houston–over time. And both pose significant questions about museum and community, politics and organizing, spaces between things and people, and how change happens. Most importantly, they consider how Houston’s own history is based on making certain peoples, histories, and things invisible.