Art

Spanish Class

In the market for high-quality handmade Hispanic crafts? You’ll find them—and more—at Santa Fe’s famous fair.

Mammatocumulus Clouds, Hays County, 1993

Barton Springs Celebrants, Austin, 1990

Clowning Around

They crack wise while bulls charge them, and fans eat it up. A look at rodeo’s real ring leaders.

Entrance of the Zapatista Army into San Cristobal, 1994

A Fan’s Notes

For sixty years, Austinite Raymond Daum befriended Hollywood’s biggest stars. Now he’s selling off his memories.

Cattle Auction, San Angelo, 1940

In no other state were the turbulent thirties documented as exhaustively as in Texas, where Farm Secirity Administration photographers such as Dorothea Lange and Russell Lee took more than five thousand pictures of Depression and pre-war life . When the agency became the Office of War Information, some of its

Moving Pictures

A Bloody Game

Nanci Griffifth and Guitar, 1994

Santa Clara Corn Dancer, 1994

Brush With Fame

As a curator and in his own work as a painter, Jerry Bywaters left a lasting legacy of Texas art.

Bernardo Zuchil and Pontiac, Lajitas Trading Post, 1994

Black and White World

Life as it really was in Texas’ African American community, as seen through the eyes of almost forgotten photographers.

Texas Blind Salamander, 1992

Rick Brettell

The arts impresario of Dallas.

Turtle in Church, Alice, Texas, 1993

War Paint

Fifty years after the bloody battle of Peleliu, Tom Lea’s paintings still prove war is hell.

Beverly Raub and Duke, Galveston, 1993

His Own Private Marfa

In the wide-open spaces of Marfa, late sculptor Donald Judd’s immense legacy beckons West Texas travelers.

Three Cab Drivers, Juarez, 1990

Earache Treatment, 1989

Dominoes, Walls Unit, Huntsville

Margie Rubio, El Paso, 1993

Gussie Nell Davis, Cotton Bowl Parade, 1990

A Man and His Dog, 1993

Southern Methodist University Legend Doak Walker, Circa 1948

When Worlds Collide

A Houston art exhibit juxtaposes spirit and science with family photos, Tylenol caplets, and gigantic blood cells.

Porky and Friends, Fort Worth, 1981

Frozen Apples, Tesuque, New Mexico, November 21, 1966

All American

The Dallas Museum of Art spent $55 million on a splendid new wing—and redefined itself in the process.

State of the Art

Hoof in Mouth

The biggest brouhaha in Dallas isn’t about taxes, potholes, or garbage collection. It’s about seventy bronze steers.

Robert Townsend with Texas Flag, 1993

Anemone Fish, Red Sea, 1990

Lyndon Baines Johnson, 1953

Moving Pictures

A provocative San Antonio exhibit captures the flash and fervor of the Chicano movement in art and politics.

Liquid Light at Barton Springs, 1988

Gina with a flip-flop, 1990

Roadrunner in Mid-glide, 1991

At Galveston’s Mardi Gras Parade

Brother J.H. Lewis and His Church

Shooting Stars

With wit and grit, Amarillo-born photographer Mark Seliger persuades reluctant celebrities to show their true selves.

Petrouchka Discovers the Ballerina with the Moor

The Cowboy Boot Book

This fall, photographer Jim Arndt and Western props supplier Tyler Beard visited the annual event in Burnet to chew the fat with many of the craftsmen featured in The Cowboy Boot Book (Peregrine Smith Books), their pictorial guide to fancy footgear. Arndt and Beard have dressed Western

Dead Again

Get your masks on; put on your dancing shoes. It’s time for Mexico’s Day of the Dead, one of the liveliest celebrations around.

Raw Visions

A Houston show introduces new black Texas artists in works that range from personal vision to political agitprop.

Stagecoach Alpine

ON A HILLTOP NEAR THE INTERSECTION of U.S. highways 67 and 90, just east of Alpine, a plywood stagecoach and four horses seem to be hightailing it into town. “A local artist-character built the stagecoach,” says Rick Sohl, who owns the hilltop. “He used it in parades but was looking

Bull Snake on a Sofa

When James H. Evans moved to Marathon in 1988, he was struck by its abundant wildlife. “Anything unattended will be overrun with animals,” says the photographer. Evans takes up that theme in his “Lucille” series, focusing on a house vacated by the death of an elderly friend of that name.

Rodeo Reliquary, 1991

After a visit abroad in 1987, Sean Earley transformed his art. He returned steeped in Italy’s ubiquitous religious imagery, eager to paint the icons of his home state’s country and western myths (see “Earley Texas,” TM, December 1990). In this memorial scene, the Rodeo Queen presides over ascending contestants. Set