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L END ER S TO THE E X H I BI T I ON

FOREWORD

ACA Galleries, New York

Honor Fraser, Los Angeles

Michel Muylle, Houston

Alexander Gray Associates, New York

Hudgins Family, New York

The Nasher Museum of Art at Duke University

American Contemporary, New York Andrew Kreps Gallery, New York Art Palace, Houston Barbara Davis Gallery, Houston Estate of Nanette Bearden beta pictoris gallery / Maus Contemporary, Birmingham, Alabama Suzanne Deal Booth and David G. Booth, Austin Bortolami Gallery, New York Melva Bucksbaum and Raymond Learsy, Sharon, Connecticut Cheim & Read, New York Churner and Churner, New York

Scott J. Hunter, Chicago Inman Gallery, Houston Invisible-Exports, New York Jack Shainman Gallery, New York James Cohan Gallery, New York Jeff Bailey Gallery, New York Johannes Vogt Gallery, New York June Kelly Gallery, New York Kavi Gupta Gallery, Chicago Demetrio and Gianna Kerrison, Santa Ana, California Khanna Family Collection, Kutch, Gujarat, India The Ko Collection, New York Koenig & Clinton, New York

Conduit Gallery, Dallas

Dillon Kyle and Sam Lasseter, Houston

CRG Gallery, New York

Michael Ladd, Waka, Texas

Gila and Paul B. Daitz, New York

Maccarone, New York

David Shelton Gallery, Houston

David Madee, Summit, New Jersey

DC Moore Gallery, New York

Marc Straus, New York

Devin Borden Gallery, Houston

Marianne Boesky Gallery, New York

Dieu Donné, New York DODGEgallery, New York 47 Canal, New York Honor Fraser and Stavros Merjos, Los Angeles Galerie Gisela Capitain, Cologne Gallery Diet, Miami Gallery Sonja Roesch, Houston Garth Greenan Gallery, New York Gavlak Gallery, Palm Beach, Florida Cheryl Gold, New York 6

Alex Marshall, New York Frank Masi and Donna Kolb, Los Angeles Guido and Magali Maus, Birmingham, Alabama

Jill Nelson, New York Paula Cooper Gallery, New York Jesse Penridge, Brooklyn Petzel, New York Lois Plehn, New York Private collection, Houston Private collections, New York Ramiken Crucible, New York The Romanelli Collection, Los Angeles Salon 94 Bowery, New York Samsøn, Boston Carole Server and Oliver Frankel, New York Sikkema Jenkins & Co., New York Silberkuppe, Berlin Evan Snyderman and Zesty Meyers, New York Andrew Stearn The Studio Museum in Harlem, New York Susanne Vielmetter Los Angeles Projects, Culver City, California Talley Dunn Gallery, Dallas Team Gallery, New York Texas Gallery, Houston Thomas Erben Gallery, New York

McClain Gallery, Houston

Tilton Gallery, New York

Miguel Abreu Gallery, New York

Vito Schnabel, New York

Miller Yezerski Gallery, Boston

Wade Wilson Gallery, Houston

Minus Space, New York

Zach Feuer Gallery, New York

Shelly and Neil Mitchell, New York

Zadok Gallery, Miami

Mitchell-Innes & Nash, New York

T

he Contemporary Arts Museum Houston derives a significant aspect of its identity from being a noncollecting institution. In a city with two of the greatest museum collections on the planet, we have the freedom to perfect the art of the temporary exhibition. We are one of only a handful of major American museums dedicated to exhibition making as our primary mission. We were also among the first museums to employ the term contemporary in the institution’s name, keeping the focus on the now—along with imminent futures—and letting other museums present the glories of the past. As one of the longest-lasting “C” museums—be they ICAs, MCAs, MOCAs, or CAMs— we are not at our most comfortable in a retrospective mode. As we set out to mark our sixty-fifth anniversary, it was a given that we could not pull objects out of storage that the audience might remember—the “play it again, Sam” style of institutional nostalgia. And we already have three marvelous books documenting the great things that have happened at CAMH in the past, so another would be premature. It was clear that a different strategy to celebrate this significant anniversary was needed. We informally asked our supporters in the community what they love most about CAMH, and we heard that it was our great curating, with the components of scholarship, research, and scouting that allow us to identify and present the artists of tomorrow, today. We are well known in the field for being super plugged in to a diverse community of artists, many in the early stages of their careers, who are dreaming up the future, generating new ideas in art, and bringing them to the attention of the larger art world. The problem we set out to solve was how to use that strength to speak also about our illustrious history. But the only way great curating manifests itself is by causing reactions, which is what CAMH’s sixty-five years of groundbreaking shows have done in the city of Houston. It’s like the subatomic particle quarks, which cannot be seen except in the effects they leave behind when they pass through a field. So we came up with a solution that would showcase our curatorial strengths: Outside the Lines, a six-part exhibition conceived as an evolving dialogue on contemporary abstraction. From recent paintings embracing more traditional definitions of abstraction to three-dimensional works that challenge such notions, the exhibition showcases CAMH’s commitment to chronicling shifts in contemporary art practice by presenting some of the most compelling works being made today while revisiting the historical foundations on which they rest. I worked with the museum’s two curators, Valerie Cassel Oliver and Dean Daderko, and each of us organized two exhibitions. These six complete visions were mounted in two rounds. Outside the Lines was installed in both the Brown Foundation and the Zilkha Galleries, uniting the whole museum in a single thematic 7

Outside the Lines  

Presented on the occasion of the Contemporary Arts Museum Houston's 65th anniversary, Outside the Lines is a six-part exhibition series conc...

Outside the Lines  

Presented on the occasion of the Contemporary Arts Museum Houston's 65th anniversary, Outside the Lines is a six-part exhibition series conc...

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