The Contemporary Austin will showcase a mural by artist Manik Raj Nakra on the Jones Center’s downtown building on 7th and Congress.
The Contemporary Austin unveils a new outdoor installation by artist Jim Hodges for The Moody Rooftop at the Jones Center.
The Contemporary Austin’s Museum Without Walls program brings art beyond the walls of the museum and out into the community in new ways and in diverse venues.
Jiab Prachakul: Sweet Solitude comprises a selection of paintings from the past five years, presented in a sequence that loosely mirrors Prachakul’s own journey as an artist. Having lived in Europe for much of her adult life, her paintings are often inflected with her desire for connection amidst a feeling of displacement, a sense of romantic longing pervading throughout.
Raven Halfmoon’s (b. 1991, Caddo Nation; lives and works in Norman, Oklahoma) touring solo exhibition will span both of The Contemporary Austin’s sites with an indoor exhibition at the Jones Center and an outdoor sculpture, Flagbearer, which will be installed at the museum’s Laguna Gloria location in mid-February.
HOST: Tenant of Culture presents newly commissioned works by Hendrickje Schimmel alongside a selection of recent works in an installation that explores the tension between seductive, consumer-facing displays and spaces less visible in the fashion industry, such as production factories and fulfillment centers.
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.
Nature Never Loses surveys six decades of the prescient, genre-defying work of artist Carl Cheng (b. 1942, San Francisco; lives and works in Santa Monica). Having studied both fine art and industrial design, Cheng first developed his art practice in Southern California in the 1960s, amid political unrest, an interdisciplinary art scene, a booming post-war aerospace industry, and rapid development of the landscape. His ever-evolving body of work, incorporating a variety of materials and media, engages with environmental change, the relevance of art institutions to their publics, and the role of technology in society—topics with urgent contemporary relevance.
Ten years ago, when Katarina Janečková Walshe moved from her hometown of Bratislava, Slovakia to Corpus Christi, Texas, she was prompted to examine how those aspects of experience manifest in American and Texan culture. In this installation, titled Mother Land, the artist extends her inquiry to contemplate the transformative potential that applying a mother’s love and care universally might unleash.
Mariposa Relámpago is the artist’s largest sculpture to date and is part of the artist’s Disease Throwers series—sculptures that incorporate natural materials, handmade objects, and items collected by the artist while retracing his migratory route to become shrines and healing instruments.