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Texas Abstract: Modern / Contemporary examines the development, establishment, and continued presence of abstraction in the art scene in Texas. Texas Abstract begins with a section that discusses the context of modernist abstraction and its place in the history of Texas art. The state's first abstract painters appeared in the late 1930s and into the 1940s. By the 1950s and 1960s, abstraction had been accepted by many of the most significant Texas artists working at that time. The book also includes a series of chapters devoted to individual contemporary abstractionists currently active in Texas. These artists have embraced in their efforts the wide range of cutting-edge abstract styles of our time. These contemporary abstractions are more international in their outlook than were those of earlier Texas artists, and thus Texas is today an important place for contemporary abstraction.
This catalogue is published on the occasion of the exhibition Texas Women: A New History of Abstract Art, organized by the San Antonio Museum of Art and on view February 7 through May 3, 2020.
Offering a fresh perspective on the influence of the American southwest--and particularly West Texas--on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a "decentered" modernism--demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century.