Rex Hausmann

Rex Hausmann b. 1983

Hunting Blind #2 (The Duck Blind): Fort Lauderdail, Florida | The Remington House |, 2022
Acrylic on Canvas
72 x 48 x 2.50 in
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The Hunting Blind 2: details. I’m building this blind with my father and my grandfather in mind. My father built things with his hands and did my grandfather. Trying to pay attention to the little details, like adding these brass flat washers to give the detail and care. Constructing with time and the enjoyment of taking the time to make it right. In this hunting blind #2 im further refining the process of the blind itself.

Notes on the Florida Sun (The hunting blind): amongst the meriod of conversations we spoke about travel, France: Aix, Paris, Menton, Monoco. Spain:Madrid, Barcelona, Bilbao, New York, Kansas and The Middle East. On life … spoke about education, perusing higher degrees and amongst other things gardening! We spoke of Flagler and “integrated systems” (the man who’s name sake is on a prominent museum and home in Palm Beach), we spoke of a grave yard started in 1914 and how “good spirits” attract good spirits and how the past and honoring the past is important as our families, and about how our loved ones memories are with us as we go about our daily life’s. We spoke of Van Gogh and of flowers and the meaning behind Yellow in his works as found in his letter in “Dear Theo” and of southern France and the light. It was a good day in “The Hunting Blind” … now on to day 2! “The Hunting Blind: The Park and Lisa’s Ducks” (2022) Fort Lauderdail. Thanks Wasam, Tenis, Gabe and Lisa, Mom + Dad … today is another great day to paint....

August 2022

The Duck Blind & Lisa’s Ducks
The Remington Home
Ft Lauderdail, Florida

The duck blind is most like any of my other works. The work being a rambling autobiography likened to Jack Carowacks “On The Open Road” or perhaps my personal favorite of Old Man and The Sea or Huckleberry Finn. I wonder what Hemmingway would have thought had he known that a work of art was completed on the grounds that a family that owned the name Remington would have enjoyed. Even the concept of the work being completed on Remington land is Poetic.

When I think of The Duck Blind or any of The Hunting blinds for that matter I think of my home in Texas. I think of wide open skys of Texas vistas and sunsets and sun rises that go on forever. I remember my grandfathers study and the smell of gun oil. I remember his old gun latle. I remember ammunition boxes and bullets lined up in descending manner and the books…So many books. Books on world history. Books on WWII and him, my grandfather, trying to figure out his place in that greatest of conflicts. The Carbine I own and the Samuri sword were his. One passed down to me by uncle and the other given as a gift from my family. These objects for me carieing a very personal soul and spirit. The same as every time I look through the view finder of a “hunting blind” to paint. I myself do not take part in the process of hunting. Although I respect the sport and its linniage in my family I myself would rather have the animal as a pet than shoot it. Unless that process of ending a life is for food or is part of managing the land, as in Uvaldie Texas and managing the hog population or any such thing. That to me is managing the land, and for that we must be good stuarts.

Every time I look through that viewfinder, This time perfected by my father gene in the building of “The Blind” for Fort Lauderdail. I think of family and of history. Of Jose Arpa from Spain or The Onderdonk family painting thier landscapes and capturing the images of the land we so admire. I think of the audacity of painting amongst Comanchi’s and the land in Fredericksburg, Texas. The only long standing agreement with The Native Americans that remains unbroken to this day. I think of Paul Cezzane and his mountain in Mount Saint Victor in Aix en Provance and Vincent Van Gogh and his paintings in his color yellow and his search for God in The Sunflowers and The Yellow I think of the personal letters, much like this one, and the life experiences presend through experience in color and place. Ken Echols our longtime family friend (of over 25 years) and him saying “You must see for us all Rex, you see the world in a different way…teach us to see again…” Ken being a Master Michanic for The Ford Motor Company and who advises me on the meriod of old cars I try to keep running with Dr. Homer and Al Cavases and Kevin The Michanic. 

These are the things I think about when painting France and the past years time. Texas and The open skys, The adventure and my pick-up truck The trees and generations of families. The respect and comradery amongst friends. Time passing with each day and the views we find.

Some details about
the painting

1914- This date is the oldest gravestone in the cemetery located near the home where the blind was painted. Some souls are resting in that place and it is a place of honor and piece. 

Flagler- This is one of the original titans of lndustry. His whiehall reminded me of the home in St-Jean-Cap-Ferrat on the Riviera of Villa Ephrussi de Rothschild. He was responsible for digging the riverlett that the ducks enjoy so much today.

Wissam- This is letteraly Wasam when we were working on The painting a gust of wind like the ones in Kandas (le Mistrall) as they say in France blew up and almost tipped over the painting Wasam threw up a hand and saved the painting! 

Tanis’s Roots – Tanis is the owner of the house and property A young gentleman interested in history and persuing at this time in his life a MFA/ masters in history He, Tanism was so delightful host whom was wonderful to chat with. We sheared many descussions on history on Europe and on many a delightful subject. Tenis is a young gentleman whom I have no dought still be successful in life. Thoughtful, mild manared and enjoyable as a person. The “roots” themself are metaphorical as we spoke about family and closeness, to family roots and literally because of the banyon tree roots that are next to the water.

There is a small embeleshment from Caroline that she was delighted to make and the colors are an extension of “In Search of The Color Yellow”

The structure itself was constructed by my father Gene Hausmann and put together masterfully 
I remember when Eliott Van Otteren and I were joking in 2010, St. Simons / Sea Island “Wouldn’t it be funny one day if you could just show up and paint.” Well Eliott, here we go (Hunting Blind – St. Simon / Sea Island.)“ 

Rex Hausmann 2022


Rex Hausmann

Contemporary artist Rex Hausmann is a San Antonian, who started his art education at UTSA (University of Texas San Antonio), graduating from Savannah College of Art and Design (SCAD) on scholarship with a BFA in painting (2006) and an MFA in painting (2016).  


He has shown his artwork at the 53rd Venice Biennale, The Smithsonian in Washington DC, The McNay Museum, The Spencer Museum of Art, The Sheen Center NYC, The Institute of Texan Cultures, Neiman Marcus, The Lawrence Art Center, among others. Rex has also lectured nationally and internationally, appearing in many speaking functions including the renowned TED Talks with the TEDx San Antonio at Trinity University, McNay Museum of Art, The San Antonio Museum of Art, and The University of Texas at San Antonio as well as The Spencer Museum of Art. He has spoken on National Public Radio many times across the United States discussing his unique approach to art, his community, and his own genre of Meta-Modernism. 


Hausmann is most inspired by Mark Twain, Ernest Hemingway, Akira Kurosawa, George Melies, Antoni Gaudi, Tom Sachs, and Daniel Buren. These literary, cinematic, and visual artists are all storytellers, like the artist who bases most of his thematical concepts in American, French, and Chinese theory.  Personal memories and conversations are the basis of his art—the synthesis of art and life. 


Hausmann’s art is colorful, accessible, and autobiographical, as he tries to speak not only the language of the art world, but to everyday people as well. Highly influential in Hausmann’s artwork is the underlying trauma of two near death experiences from being shot in the leg at point blank range during a senseless gang initiation in Savannah. Georgia. The artist suffers from PTSD from this horrific experience, however his use of neon colors and heightened sense of hues for his signature palettes are directly derived from this life-altering experience. 


“Rex Hausmann champions work in a wide range of styles… …which appeared in the 53rd Venice Biennale Detournement in 2009. …once-intrinsic parts of the community have become caricatures, mere pictures of the past…Hausmann has, with bent, misspelled text, laced Cavafy’s poem into his paintings, and formed the fragments to the styles of the signage and logos that fill his memories. Blended throughout all the highly colorful (in all meanings of the word) paintings is a layer of reference that slips neatly between company logos and family history memories together. Multi-layered, containing personal expression and reams of disappearing public experience, Hausmann has constructed a map to traverse decades of Bexar County life, a true San Antonio Codex.” – Scott Andrews, Art Critic | Based in Los Angeles. 


Select Exhibitions include: “Rex Hausmann: The Prayer,” Sheen Center NYC, New York, New York ; 2019 “Stations,” Sheen Center NYC, New York, New York; “New Works,” Perkins & Will New York: New York, New York; “Play,” The San Antonio Children's Museum, San Antonio, Texas;  “Conversation on the Constitution,” The San Antonio Library Foundation, San Antonio, Texas; “Dannon Art Project,” The Lawrence Art Center, Lawrence, Kansas; “Universal Language,” Cara & Cabezas Contemporary, Kansas City, Kansas; “6 Artists Celebrate The McNay's 60th,” McNay Art Museum, San Antonio, Texas;  “Rex Hausmann’s Ithica,” The Institute of Texan Cultures, San Antonio, Texas; “Blood and Fire,” All Things Project, New York, New York; “Introducing Introduction," Blue Star Contemporary Art Museum, San Antonio, Texas; “Revisitation,” Blue Star Contemporary Art Museum, San Antonio, Texas; “A Seat for Social Justice,” The Smithsonian, Washington DC; “Selected Works,” The Waterfall Mansion and Gallery, New York New York;  “Light House,” The Waterfall Mansion and Gallery, New York, New York; “Spin It Your Way: Art on Vinal,” McNay Art Museum, San Antonio, Texas;  “Art in National Parks,” The United States Department of The Interior Atlanta, Hatsfield-Jackson , Atlanta International Airport, Atlanta, Georgia;  “A Response: The Hispanic Society of America NYC,” Hausmann Millworks, San Antonio, Texas; “Texas Contemporary Artist Series,” The Institute of Texan Cultures, San Antonio, Texas; “The Print Project: Robert Indiana,” The McNay Museum of Art, San Antonio, Texas; “ “Détournement Venice 2009 (14),” The Venice Biennial, New York, New York / Venice, Italy 2009.


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822 E Las Olas Blvd
Fort Lauderdale, FL 33301
822 E Las Olas Blvd
Fort Lauderdale, FL 33301
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