Between the Walls: Where Art Finds a Home in Galveston

 In Galveston, creativity doesn’t just hang in galleries—it lives in the studios, classrooms, and community spaces that make the island a haven for working artists. From the structured support of the Galveston Artist Residency to the community-driven programs at the Galveston Arts Center and the lived-in legacy of the National Artists Lofts, these spaces reflect a shared commitment to art as both practice and public good. This piece explores the people and places shaping Galveston’s cultural landscape—where art isn’t just displayed, but lived.

Galveston Artist Residency

On a quiet street in Galveston, Texas, a historic building houses one of the region’s most dynamic artistic incubators. The Galveston Artist Residency (GAR), now in its 14th year, offers something increasingly rare in the American art world: space, time, and support for artists to focus on their work, without distraction.

We sat down with Eric Schnell, Executive Director of GAR, and Sallie Barbee, Program Manager, to learn more about the mission behind this Gulf Coast gem, how it operates, and why it’s become a creative anchor for both emerging and established artists. “Artists apply from all over the country to come to Galveston and focus on their work for 10 months,” explains Schnell. “It’s a gift of time, really. Most stay nearly a year. Some go back home, but others relocate nearby—in Galveston, Houston, or elsewhere.”

GAR only selects three residents each year through a highly competitive open call, which launches in January with a March deadline. “It’s free to apply,” Barbee notes, “and we select just three people. The program is fully funded: we provide housing, studio space, utilities, and a monthly stipend of $1,100.”

While the stipend is modest—especially in today’s economy—it gives artists a crucial foothold. “Some artists take on side gigs like teaching, freelancing, or selling work. Others stretch the stipend as far as they can,” says Barbee. “We’ve even had single parents and families. It’s different for everyone.”

This year’s residents are Janaye Brown, Anna Meyer, and Stephanie Conception Ramirez. Their works—diverse in medium and message—will be showcased in GAR’s annual Residents Exhibition, opening June 14. “It’s a great chance for the public to see what they’ve been working on all year,” Schnell says. “We just took down a group show, and the gallery is being prepped now for the new one.”

GAR isn’t just a studio and exhibition space—it’s a cultural hub. “We like to think of GAR as a hybrid,” says Schnell. “It’s a contemporary art gallery, a residency program, and a kind of community arts center. We host music, film screenings, lectures, and poetry readings.”

Past events have included a courtyard concert by folk artist David Dondero, experimental film screenings curated by former residents, and a coral reef lecture connected to a multimedia installation about marine ecosystems in the Gulf of Mexico.

“We keep everything free or very low cost,” adds Barbee. “That Dondero show was just a $5 suggested donation—and included a drink.” GAR is open Tuesday through Saturday from 11 AM to 4 PM, and admission is always free. “We get a lot of visitors from the community, as well as people who drive in from Houston or other parts of Texas,” says Schnell.

Despite its growing reputation, GAR keeps a low profile. “A lot of organizations in Galveston have ‘art’ in their names,” Schnell admits with a smile. “We often get confused with others. Most people call us GAR, and that helps.” They also partner regularly with local and regional arts groups, including QFest, Houston’s queer film festival. GAR’s programming frequently extends beyond the visual arts, emphasizing curiosity, critical thinking, and collaboration.

GAR operates as a nonprofit and relies on a mix of private donors, local family foundations, and occasional grant funding. “We’ve applied to the Texas Commission on the Arts and have gotten support from the Moody Foundation,” says Schnell. “But we don’t get much, if any, federal funding.” Staying sustainable means being nimble and community-driven. “We also keep people updated through our email list and Instagram,” says Barbee. “Those are the best ways to stay in the loop.”

For Schnell and Barbee, GAR is about more than just providing space. “We’re trying to keep the energy of creativity, investigation, and curiosity alive in Galveston,” says Schnell. “We’ve had residents who’ve gone on to major opportunities, and many who’ve stayed connected to the community.” Even though GAR doesn’t operate as a commercial gallery, many artists leave with relationships that lead to sales and exhibitions elsewhere. “We don’t sell for them, but people do buy their work. Sometimes they even leave us a little something behind,” says Barbee.

Don’t miss the Residents Exhibition opening June 14, which coincides with the city’s next ArtWalk. Expect great art, engaging conversation, and yes, even tamales and drinks. For updates, sign up for GAR’s mailing list or follow them on Instagram. And if you’re an artist looking for a year of focused time to grow, keep an eye out for their next open call in January.

Galveston Arts Center

Upstairs and downstairs, the Galveston Arts Center (GAC) is full of surprises.

Many visitors don’t realize there’s not just one gallery, but a second upstairs—along with a large classroom space where the GAC hosts its wide range of classes and workshops. “We bring in artists from all over the Gulf Coast region—mainly Texas and Louisiana,” says Teresa Potter, Executive Director of GAC. “Most are on the cusp of a major step in their careers. After showing with us, many go on to larger galleries, sometimes even out of state.”

One recent example? An artist from last summer’s program is about to open a similar version of her GAC exhibition in Miami. Another artist moved directly from GAC to a renowned gallery in New York. Dennis Nance, GAC’s curator, plays a critical role in developing relationships with these artists. “While they’re here, they’re essentially part of our family. They spend days with us installing their exhibition, and we continue to support them as they take their next steps—often promoting their future shows,” Potter explains.

At GAC, the team avoids using the term “exposure.” As Potter notes: “People die of exposure. We focus on awareness and accessibility.” Education is central to GAC’s mission. Their programs range from weekly art clubs to seasonal camps for kids, teens, and adults. Summer camps are especially popular, with different themes each week. “Some kids come all summer, others just attend the weeks that match their interests,” Potter says. “They’re here from 9 AM to 4 PM, bring their own lunch, and just need to be potty-trained.”

Another highlight? Caregivers Night Out, which coincides with Galveston’s ArtWalk. Parents can drop off their kids for four hours of fun—complete with an art project, a movie, and snacks—while they enjoy a night out on the Strand. Throughout the year, GAC also offers adult classes in watercolor, sketching, weaving, and even sewing. They rotate offerings intentionally: “We don’t want to repeat the same classes every season. That way, people can try something new and specific to their interests.”

Workshops take place on weekends or weekday evenings, depending on demand. Flexibility is key. Most of GAC’s instructors are Galveston-based artists or educators. “We encourage artists to teach and teachers to make art,” says Potter. “We want people to come to us with ideas, and we’ll help shape the curriculum, source supplies, and make it happen.” Some instructors, like artist Catherine Stroud, need little guidance. Others are newer educators exploring their potential. “We don’t expect anyone to walk in and do it all. We support them wherever they are in their journey.”

One standout initiative is Art for All, the center’s biggest outreach effort. Through this program, teaching artists visit health and human services facilities around the island, bringing art activities to people who may not be able to come to the gallery. “These are often scheduled sessions during the day, which can make staffing tricky,” says Potter. “We always need more artists available to teach—and yes, it’s a paid position, just like our camp and class instructors. It’s not a lot, but we prioritize paying our artists.”

Potter also shared concerns about future funding. “Due to changes at the federal level, we lost a grant this year. We’ve found temporary supplemental funding, but future years are uncertain. And we don’t know if that federal stream will return.” They’re not alone—many arts nonprofits face similar challenges. “The arts are often the first to be cut, yet they’re essential for mental health and community wellbeing, especially during times of turmoil,” she adds.

GAC is actively seeking additional support and encourages donors and foundations to help sustain their mission. On a brighter note, GAC is enthusiastic about its monthly ArtWalk schedule, which has expanded engagement across the island.

“In the past, ArtWalk happened every 6–8 weeks, which made it hard for people to remember dates. If you missed one, you missed a whole season,” Potter explains. “Now that it’s monthly, there’s always something new. And if you miss a month, no big deal—you can catch the next one.” GAC continues to schedule exhibitions every 6–8 weeks, and the extra ArtWalk dates give them room to experiment. In May, they hosted a mini market. In December, they’re planning a larger Holiday Market.

“We’ve encouraged other locations to use the monthly schedule as a chance to try something they were hesitant to do before. If it doesn’t work, you’ve only lost one month—not one of eight.” The team is currently exploring new possibilities for their downstairs space, which has previously served as a store with varying degrees of success. They hope to find someone passionate to reimagine the space and bring a fresh energy to it. “We’re trying to get people excited about what that space could become,” says Potter.

National Hotel Artist Lofts

Tucked above the Proletariat on Market Street, the National Artists Lofts aren’t just apartments—they’re a beating heart of Galveston’s creative scene. For over two decades, these walls have held more than drywall and old brick. They've held ideas, experiments, parties, paintings, and lives-in-progress. And at the center of it all is Becky Major—artist, community builder, and unofficial historian of this unconventional space. “This building has stories,” Becky says. “Not just about the people who lived here, but about what it meant to be an artist in Galveston. It’s always been a little chaotic, a little magical.”

Becky Major has lived at the Lofts since 2008, and over the years, her role has shifted from resident artist to organizer, caretaker, and fierce advocate for its creative spirit. She's known for helping anchor the Misfits Krewe, a colorful, eclectic collective of artists who marched in parades, threw wildly inventive art parties, and made sure that joy was always part of the equation.

Originally developed as affordable housing for artists, the National Artists Lofts were always meant to be more than just a place to sleep. The building houses dozens of units, each designed with working artists in mind—big windows, flexible studio spaces, and a location right in the center of Galveston’s historic downtown arts district.

Over the years, sculptors, painters, musicians, performance artists, and makers of all kinds have passed through. “It’s a mix of artists and the artist-adjacent,” Becky laughs. “People who maybe don’t call themselves artists, but who live creatively. Thinkers. Tinkerers. Community weirdos. My favorite kind.”

The hallways have been host to spontaneous pop-up shows, potluck dinners, political meetings, and drag rehearsals. One hallway even served as a makeshift gallery during ArtWalk when residents opened their doors and invited the public to peek inside their lives and their work.

Now, Becky is focused on documenting the building’s long and layered history. “A lot of people have come through here. Some stayed for years, some only for a season. But all of them left something behind—an idea, a memory, a painting, a party.”

She’s collecting photographs, stories, and oral histories from past and present residents. The goal is to create a living archive—something that preserves the unique cultural impact of the Lofts and the people who made them what they were. Her vision isn’t just about nostalgia—it’s about recognition. “Spaces like this are rare. And when they disappear, we lose not just housing, but a whole culture. I want people to know this place mattered.”

The Misfits Krewe, one of Becky’s most beloved projects, embodied everything the Lofts stood for: creativity, irreverence, community. Known for their DIY costumes, oddball floats, and joyous, punk rock approach to parading, the Misfits became a staple of local Mardi Gras celebrations and ArtWalk afterparties. “We didn’t have a lot of money, but we had a lot of imagination,” she says. “If someone had a crazy idea, we made it happen.”

The Krewe’s ethos—joyful, inclusive, a little wild—mirrors the Lofts themselves. For Becky, that energy is what makes the building special. “It is about making art in whatever way you can and sharing it with whoever shows up.” “There’s value in this place—not just economic value, but cultural value. The kind you can’t put a price on.”

With a mix of grit, care, and community memory, Becky Major is working to ensure that the spirit of the Lofts—scrappy, vibrant, defiantly creative—lives on, no matter what comes next.