top of page

Trained in literature and entrepreneurship, Rainey is the founder of Glasstire, the online magazine of visual art in Texas and the oldest online-only art magazine in the country. In 2019, she stepped down as publisher after over 18 years at the helm.

She is currently editing a book about the Rice Gallery and writing for magazines.

Rainey has spoken or written about arts journalism at Emory University, the USC Annenberg School, the El Paso Museum of Art, the Modern Art Museum of Fort Worth, College Arts Association, the National Endowment for the Arts, and other places. She has also spoken about caregiving at Houston Methodist Hospital. She lives in Houston.

Trained in literature and entrepreneurship, Rainey is the founder of Glasstire, the online magazine of visual art in Texas and the oldest online-only art magazine in the country. In 2019, she stepped down as publisher after over 18 years at the helm.

She is currently editing a book about the Rice Gallery and writing for magazines.

Rainey has spoken or written about arts journalism at Emory University, the USC Annenberg School, the El Paso Museum of Art, the Modern Art Museum of Fort Worth, College Arts Association, the National Endowment for the Arts, and other places. She has also spoken about caregiving at Houston Methodist Hospital. She lives in Houston.

Trained in literature and entrepreneurship, Rainey is the founder of Glasstire, the online magazine of visual art in Texas and the oldest online-only art magazine in the country. In 2019, she stepped down as publisher after over 18 years at the helm.

She is currently editing a book about the Rice Gallery and writing for magazines.

Rainey has spoken or written about arts journalism at Emory University, the USC Annenberg School, the El Paso Museum of Art, the Modern Art Museum of Fort Worth, College Arts Association, the National Endowment for the Arts, and other places. She has also spoken about caregiving at Houston Methodist Hospital. She lives in Houston.

Rainey Knudson

Search

Rainey Knudson

3 hours ago1 min read

85. Simone Leigh, Satellite

Simone Leigh, Satellite, 2022. Bronze, edition 1/2, with 1 AP, approx. 288 x 120 x 91 inches.

I can’t help but chuckle at the uproar if the flattened older breasts of Satellite had appeared in front of the MFAH once upon a time, in my own youth. She is the sheltering mother out in the world, protecting us from all its troubles, and she carries the weight of our species’ ongoing project of continuation. We can stand beneath her firmly planted four legs and take shade and refuge under the mother, under the place from whence we all come. And her distinctive breasts? They’re an upside-down, heart-shaped badge of all the humanity she has nursed into being.

Read more about two Simone Leigh works in Texas here.

Bonus: a possible inspiration for Simone Leigh from the Menil Collection? Great artists steal!

To receive a weekly summary of the MFAH 100 series rather than a daily email, please subscribe on my Substack blog The Impatient Reader.

Related Posts

84. Alexander Calder, The Crab

83. Robyn O'Neil, On Sorrow

82. Grupo Mondongo, Calavera 4 (Skull 4)

IR post subscribe form

bottom of page