Eric Zimmerman used to live in Texas, then he moved to New York. He admits from suffering from a “grass is greener” disposition, which is what made New York attractive when he lived in Houston, but it also makes Texas look rosy now that he has relocated to the Big Apple. What Texas has going for it, Zimmerman writes on Glasstire, is accessibility, potential, and the ability to make a real mark on the state’s scene:
Open a gallery, start a publication, give a lecture, or write some criticism and you’ll get support from more than your borough. . . .
While the scenes are small and have their drawbacks, that size can also be seen as a positive. Even Houston, the largest, is manageable, while remaining flexible and providing access that other cities can’t comprehend. I’ve always appreciated the inclusive nature of Texas’ art communities and the energy generated by their respective participants, this recent trip was no different. People still jockey for position, and for the fashionistas play-acting New York never goes out of style, but most Texas artists, collectors, dealers, and curators are friendly, accessible, and interested in doing good things if you’re willing to reach out. I wish I could say the same for my current place of residence.
I’ve never really figured out why Texans are seized by fits of ecstasy whenever The New York Times picks up on something from the state. The big city mythos is strong, but hell, they just discovered this crazy thing called a ‘taco,’ so I’m not sure why everyone pays them so much credence.
