Art Notes

Exploding Scene (Literally): It%26rsquo;s the most sizzling June on record, in terms of the mercury and art, beginning with University of Texas at Dallas grad Carlo Zinzi%26rsquo;s explosive UltraChrome photographs, in which he lights firecrackers in fast food, artfully staged in his homegrown garden vignette. Zinzi is a bright star in Cris Worley Fine Arts%26rsquo; %26ldquo;Dioscuri,%26rdquo; a group show of a memorable octet of mostly Texas talents that also includes light lady Adela Andea, bronze meister Harry Geffert, high-voltage painter Howard Sherman, dizzying photographer Rusty Scruby and Charlotte Smith of the lush, surface-encrusted canvases (through June 25) ... Next-door neighbor Galleri Urbane mounts the canvases of former Paris, now Beaumont painter Emilie Duval, who depicts massive moose heads in stylized abstracted landscapes with accompanying trophies. Duval studied at the %26Eacute;cole du Louvre, so we%26rsquo;re looking forward to investigating her oeuvre (through July 2).

Twenty-Five Candles: Deep Ellum denizen Barry Whistler Gallery celebrates a quarter century in %26ldquo;XXV,%26rdquo; which surveys Whistler%26rsquo;s remarkable stable via 25 artists %26mdash; some looking forward, some gazing back. Don%26rsquo;t miss Allison V. Smith%26rsquo;s recent image of a State Fair Princess (through June 18).

Nymphs Have Their Way: We also love Holly Johnson Gallery%26rsquo;s solo for a California painter with Texas ties, Kim Squaglia, in %26ldquo;Nymphaeum.%26rdquo; Her surfaces bear seductive abstractions bisected by loopy lines (through July 2).

Texans Save the Day: Blocks away, Photographs Do Not Bend presents four iconic Texas lensmen in %26ldquo;Eyes of Texas%26rdquo; %26mdash; Peter Brown, Keith Carter, Earlie Hudnall Jr. and George Krause %26mdash; which is about as good as you can get, anywhere (through July 2).

The Mighty Kincaid: Another Design District stop, Marty Walker Gallery, unveils new photo-based works by Ted Kincaid that recall the rich, silver-laden printing techniques of the 19th century, steeped in time and velvety surfaces, but are not what they appear to be (through June 11).

Veritas in Vernon: Vernon Fisher, one of the first Texans to achieve national renown, remains a force to be reckoned with. His visionary painting moves beyond mere Pop to complex narratives with unfolding story lines that are cinematic in their multiple viewpoints and powerful enigmas. See canvases from his pivotal decade, 1989 to 1999, where he honed his unique syntax, at Dunn and Brown Contemporary (through June 30).

The Daring Dal%26iacute;: Before Warhol, there was Salvador Dal%26iacute;, whose interweaving of art, commerce and fame paved the way for the Factory superstar. Now, Dal%26iacute; works collected by respected collaborator, publisher and pal Pierre Argillet shine at recent arrival Wisby-Smith Fine Art at The Crescent, starring watercolors, etchings, drawings and tapestries (through June 5). Speaking of Spain: The Meadows Museum rolls out a one-person show for under-known master Esteban Vicente (1903 %26ndash; 2001), who excelled at limpid pools of color, shared a studio with de Kooning and was highly regarded by scholar/critics Clement Greenberg and scholar Meyer Shapiro. Collages and sculptures are highlighted in %26ldquo;Concrete Improvisations%26rdquo; (through July 31).

Picasso Versus Braque: At the Kimbell Art Museum, the heavyweights of modernism weigh in. %26ldquo;Picasso and Braque: The Cubist Experiment, 1910 %26ndash; 1912%26rdquo; is a scholarly, riveting yet intimately scaled exhibition %26mdash; 15 paintings, 20 works on paper %26mdash; that packs a punch in its revealing look at the birth of modern art, co-organized by the Kimbell and the Santa Barbara Museum of Art (through August 21). Secure your tickets now.

Image: Carlo Zinzi%26rsquo;s Festival, 2011, at Cris Worley Fine Arts.

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