Opening Reception: Saturday, November 7, 6 - 8 PM
Utilizing twenty art monographs from artists such as Damien Hirst, Andy Warhol and Tom Friedman, Ambe has meticulously cut hundreds of varying shapes and lines into each page of each book, creating intricately controlled biomorphic and sculptural fissures. Immersing herself in the body of work encompassed by each monograph, Ambe evaluated the nature of her connection with each artist and specific works – this aided in her decision of what to subtract and what to reveal.
Opening Reception: Saturday, November 7, 7-10pm
booksmart, a group exhibition featuring works by Joshua Callaghan, Gareth Long, Neva Elliott, Heman Chong, Anthony Romero, William Hundley and Erick Michaud, deals with artistic outputs that re-order, deconstruct, or alter the book as a cultural system, either for critique, humor, formal investigation, or all three.
My Wicked Twisted Sense of Love
Opening Reception: November 19, 2009 6-8pm
In My Wicked Twisted Sense of Love, artists explore the nuances of personal relationships, from communication to solitude, the fear of dying alone and emotional indifference. The work in the show is an exaggeration of normal human desires projected into the quest for love and companionship. The artists are living and working in countries across the globe, including Mexico, the United States and Scotland.
Pablo Vargas Lugo
Opening November 14, 2009
Pablo Vargas Lugo's WorkSpace project, Eclipses for Austin, explores solar eclipses as important collective rituals. Total eclipses of the sun provoke astonishment, anxiety, hope, joy, and fear and compel those who witness them to question their place in the world. For Vargas Lugo's WorkSpace project, 350 people gathered in the stands of UT 's Darrel K. Royal Texas Memorial Stadium to stage ten solar eclipses that will occur in Texas over the course of the next 340 years.
Opening November 14
Tony Fitzpatrick's prints and drawing collages, accompanied by his own witty commentary.
Austin on View
Through January 3, 2010
Contemporary American artist Teresita Fernández is widely known for her immersive installations and evocative large-scale sculptures that explore the cultural fabrication of nature. Characterized by her deft ability to transform common materials like steel, graphite and glass into forms and images reminiscent of the natural world, Fernández' works bring idea and experience into poetic tension. Meticulous, subtle, and always surprising, her sculptural scenarios offer viewers unique opportunities for contemplation and discovery.
Drawn Toward Light
Through January 3, 2010
Light is an essential element of visual experience and the means by which we see and begin to perceive the world around us. A special complement to Teresita Fernández: Blind Landscape, Drawn Toward Light is an exhibition of works from the Blanton's holdings and local collections that use light as a medium. Having no materiality in itself, light is used is used in sculptural ways and given physical presence by artists Stephen Antonakos, Paul Chan, James Turrell and Leo Villarreal.
San Antonio Opening
Opening November 6, 2009
Gary Sweeney is a conceptual artist with a taste for pop imagery. Known for his humorous installation pieces created and inspired by re used signs, poke fun at everything from politics to local idiosyncrasies.
International Artists in Residency: New Works: 09.3
Opening November 19, 2009
Native Los Angelino Mario Ybarra, Jr. creates artworks that can be considered historical and anthropological in nature. Adriana Lara is a Mexico City-based artist and co-founder of the curatorial collective Perros Negros. Her practice de-emphasizes object making in favor of a conceptual reimagining of artistic production and the exhibition space. El Paso artist Adrian Esparza produces artworks from low-cost and recycled materials such as t-shirts, serapes, posters and ceramic figurines.
San Antonio on View
Artpace: Hudson ShowRoom
Through January 3, 2010
Jeffrey Wisniweski's work has posed something of a challenge to critics and audiences since he first began showing publicly at the beginning of the 1990s. Indeed, how are we to account for someone whose work has ranged in scope from a suburban tract house run through a wood chipper and re-deployed as a pile of rubble to large-scale objects concocted from high-tech camping gear and electronic devices? In an effort to reconcile these seemingly disparate projects, Wisniewski's art has been rationalized as an extension of the conceptual strategies of 1970s artists like Robert Smithson, Walter DeMaria, and Gordon Matta-Clark, while also being read as dystopic visions of socio-cultural evolution. history, memory, and the transience of existence.