Opening Reception: June 11, 7-9pm
Using the landscape of The Icarian Sea and the figurative notion of demise, Brit Barton's project explores the myth of the fall of Icarus through experimental photography, installation and video.
Opening Reception: June 13
The epic crossings of an Ife head by St Louis-born, Austin-based Wura-Natasha Ogunji, for Arthouse's SCREEN Projects, is a series of silent videos projected at night on the second floor window. Ogunji's work includes performances and videos that engage her body in explorations of movement and mark-making across land, water and air. In The epic crossings of an Ife head (2009), Ogunji moves towards the camera from a distant point on the horizon in unnatural leaps and hops as if her body is not bound by the laws of gravity. As Ogunji crosses the expanse of manicured lawn and approaches the stationary camera, her movements become more dramatic and her leaps more prolonged, so that she appears to float for extended moments. The titular Ife head is a reference to the brass and copper portrait busts of the Ife, a kingdom that ruled modern southwestern Nigeria from the twelfth to fifteenth centuries. The heads depict people of status and authority and early twentieth century archeologists, who first thought the heads were evidence of Atlantis, prized them for their naturalism. Several of the Ife heads have delicate striped patterns carved into the face. Ogunji adopts these patterns, painting her face with yellow and white stripes.
Young Latino Artists 16: Thought Cloud...
Opening Reception: June 17, 7-10pm
YLA 16: Thought Cloud... shows the work of 10 Texas artists, all under the age of 35 telling stories about the human condition in the 21st century. Artists interpret real world circumstances and invent new realities through photography, video, sculpture, painting, and installation. The exhibition will be presented under five narrative-inspired themes-Romance, Crime, Autobiography, Mythology, and Labor-allowing each artist to weave tales of fictional love, political conflict, gentrification, alternative worlds and more in their work.From this idea of story emerges the thought cloud: a place where people, thoughts, and connectivity come together for only a brief amount of time. The exhibition is guest-curated by Alexander Freeman, Education Curator at Artpace San Antonio.
Opening Reception: June 18, 7-9pm
Travis Kent’s photographs function as personal photographs; he uses them to catalog his life. His images become inventory: landscapes, tableaux, flora, family, friends, events mournful and silly, objects majestic and mundane, some of them blurry or unfocused, most of them flawlessly posed or composed. The emotional and visual associations the photographs trigger are possible because Kent places all of his subjects on a single stylistic register, imbuing them with an equal capacity for signification. A patch of grass clippings conveys the same grandeur as the Grand Canyon, because the image of the grass contains immaculate and vertiginous detail, whereas the visual impact of the Grand Canyon, automatically breathtaking even in a snapshot, is slightly muted; its vastness becomes uniform when printed on such a small scale.
Opening Reception/Art Making Party: June 18th, 7-11pm
Paper Girl is a show, an urban action (the distribution of the roles of art), a bicycle workshop and a party. The show originated in Berlin with artist Aisha Ronniger and has been done in numerous other places. It is a way to surprise and delight the city by giving out free art. With the amazing bike culture and rad art being made here in Austin, it’s about time we put to action this project. There are no guidelines to who can submit and no required medium, as long as it can be rolled up! The art should be dropped off at Co-Lab the week before the show, June 11-18. We will then have an opening on the 18th where there will be tables set up to create even more works of art. Then on the 25th we will hit the town on our bikes, of course, and distribute the pieces in a newspaper like fashion to anyone and everyone.
HEIR today, gone tomorrow
Opening Reception: June 24, 7-9pm
Featuring the works of 15 artists, HEIR today, gone tomorrow has linked together the works of various artists from the States of Texas and Tennessee to Mexico and Spain exploring the complexities of inheritance, legacy and human interaction. The body of work becomes a journal, a meta-cognitive examination of who we are through our relationships, culture and heritage.
Opening Reception: July 9, 6-8pm
Beau Comeaux’s Implied Fictions are a mix of exploration and examination, existing at a point where art and science intersect. This body of work consists of large, contemporary color photographs driven by the photographer’s curiosity and imagination. Working with a digital camera, Comeaux begins his process by shooting long exposures at night, capturing an empty street, a house on the corner, a construction site, an open field. Alone in the solitude of the night he becomes the collector of raw materials, surveyor of the land and its artifacts. Post-shoot, he continues his creative process and transforms focus, light, and perspective to sculpt what his imagination envisioned. The result is a distorted reality encapsulated in an image that transcends the everyday. These surreal, dream-like scenes provoke a deeper examination of the spaces depicted, allowing the viewer to participate. The process of transforming a negative into his current realization of the scene was an early fascination to Comeaux. A switch to digital technology around 2004 led to new avenues of creativity by bringing the darkroom transformation experience to his color work.
Austin on View
Through July 3
British artist Jack Strange makes conceptual works in a wide variety of media including sculpture, photography, video, works on paper, and performance. Characterized by a cheeky wit, his work is visually engaging and frequently causes the viewer to do a double take. Strange finds beauty in the mundane and humorously celebrates the banal by appropriating everyday items and subjecting them to simple manipulation.
Through July 16
In fusing together photography and painting, Falkenberg juxtaposes familiar landscapes with ephemeral painted shapes. The photographs she makes of trees, snow, trash piles, sidewalks, and night skies are descriptions of humanity reflected in the environment. In the process of collaging together several different photographs to make up one piece, seasons, time of day, and locations collapse into a single multi-perspective image.
Through July 31
Letter on the Blind, For the Use of Those Who See is an emotionally stirring film by Venezuelan-born, New York-based Javier Téllez whose work weaves fiction and documentary in an elegant investigation of marginalized populations (such as the disabled and mentally ill). Téllez's film, which premiered at the 2008 Whitney Biennial, is based on the ancient Indian parable, "The Blind Men and the Elephant."
Through August 28
Ely Kim likes to dance. In Boombox, Kim dances in hallways, bathrooms, artists’ studios, living rooms, classrooms, garages and many other locations. With musical selections ranging from ABBA to The Smiths, Status Quo to Le Tigre, and Busta Rhymes to Whitney Houston, Kim dances his way through 100 familiar pop songs, in 100 locations, shot in 100 days, and edited to under 10 minutes.
About Face: Portraiture as Subject
Through September 4
About Face features 35 portraits in diverse mediums from antiquity to today. Drawn mostly from The Blanton’s notable collection, along with several choice loaned objects, the exhibition includes works by artists known for their probing investigations of the genre, such as Albrecht Dürer, Rembrandt van Rijn, Jean-Auguste-Dominique Ingres, John Singer Sargent, Diego Rivera, Sir Jacob Epstein, Antonio Berni, Alice Neel, Chuck Close, Robert Henri, Andy Warhol, Yasumasa Morimura, Charles Umlauf, Oscar Muñoz and Kehinde Wiley.
Through August 31
In her own words, Lauren Woods is "part historian, part archivist, part sociologist, part anthropologist." This exhibit is a collection of videographic texts that reflects her studies of culture and the human condition. In large-scale projections and multi-channel video installations, woods gleans images from Hollywood cinema, pop culture, and history to examine and comment on race, gender, and the socio-political environment. This survey of eclectic video work spanning the last five years is woods' first solo exhibition in Texas, a homecoming, after years spent in California.
Sabra Booth, Margaret Craig, Daniel Kaplan, and Leigh Anne Lester
Through June 19
Natural forms, genetic modification, flickering conversation and molecular structures are all explored in this organic show. Rock, Paper, Carbon features mixed media on paper from Sabra Booth, mixed media sculptures from Margaret Craig, paper mache sculptures from Daniel Kaplan and carbon drawings by Leigh Anne Lester.
Wimberley on View
Object of Desire
Through July 9
By taking an object out of its usual place - merely by giving it attention, or by putting it in a different location – one can begin to see that object differently. It becomes precious. Observation gives way to passion. A sugar bowl becomes a treasure, seen as it has never been seen before, a baby’s shoe becomes a talisman, a book shape-shifts. An ordinary object becomes an object of desire in photographs by Laura Pickett Calfee, repurposed books by W. Tucker, constructions by Marjorie Moore, and assemblages by Steve Wiman.
San Antonio on View
Through June 26
Readers may know multi-tasker Justin Parr as a longtime-contributing Current photographer, the owner and out-of-the-box thinker behind Fl!ght Gallery, or the hired lensman at many an art-minded party about town. Recently, Parr’s been dividing his time between a lot of things: getting serious about glass blowing (“Cups,” his show of functional glassware sold out soon after it opened at Stella Haus last September), painting curious pictures of typewriters, maintaining a vegetable garden, employing his cat Marnball as a model and muse, and listening to some of the classic country music he was raised on. “Wait at the Best Destination” references these and other seemingly unrelated activities and presents a multimedia conundrum based on personal data and reflection. In the exhibition, the photograph Just leave time alone (which references Willie Nelson’s “Pick Up the Tempo”) joins a “still video” piece made by linking 548 photographs, a study in typewriters rendered in an off-register format, an organic installation titled A gesture in homegrown onions, and a handmade wood and glass Vatican assassin warlock staff designed to vacuum up negative energy unless it lands in the hands of Charlie Sheen.
Mid reception: June 10, 6-9pm; On view through July 1
The images in this exhibition are puzzle-cut relief prints, which represent a transposition of geographic, topographic, sky, wind, river and faultline maps of specific locations at on a given date. These layers are interchanged as they are printed to produce a series of evolving images of a constantly changing landscape and atmosphere that is a metaphor for our quotidian experiences.
Cinder Block: Mixture
Opening Reception: June 11, 8-11pm
SKYDIVE is pleased to present an event and exhibition by Cinder Block. Cinder Block Collective is a group of highly engaged emerging artists. Largely originating from the University of Houston, and in association with the Museum of Fine Arts, Houston, the group seeks to engage in an interdisciplinary dialogue, cementing new forms of practice. Cinder deals in mixtures. By using a myriad of media, a network of challenging and critical ideas forms between each member. This communal dialog is further reflected in SKYDIVE’s domestic space. An opening night will be filled with backyard performances, and home movies.
Dumitru Gorzo & Tudor Mitroi
Opening Reception: June 18, 7-9:30pm
Not Tourists intends to focus on people and places as an expression of the complexity of human experience. Gorzo's work focuses on people as they relate to a variety of places and the artist's relationship with them. Mitroi's work constructs places based on maps, found geographies and imagery of both personal and historical significance, such as those of air raids over Romania during WW2.
Opening Reception: June 18, 7-9:30pm
Joey says, "Over the last few years I have become interested in the dominant themes of Romanticism in the literary and visual arts, and how these themes, including nature, imagination, erotic love, and the development of self, are influenced and in many cases defined by gender. A lot of my work attempts to re-frame the historical gendering of nature as feminine. In a recent series of watercolors on paper, anthropomorphized landscapes depict intimate acts of dominance and submission, dissolving the boundaries between "male" and "female" "inside" and "outside.""
Opening Reception: June 18, 7-9:30pm
Jenny Schlief Stock Photography is an ongoing project where Jenny Schlief assumes the role of the identity-less models in everyday situations sold for companies to use in a variety of promotional uses. This particular series is based on a search in shutterstock and istockphoto called "fun woman." The photos will be available on flash drive and online through these websites. Photography by Jenny Antill.
Opening Reception: June 18, 7-9:30pm
Cody wants "the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition."
The Big Show 2011
Opening Reception: July 1, 6:30-8:30pm
The Big Show is Lawndale Art Center's annual open-call, juried exhibition. Since the show's conception in 1984, it has become an important venue through which emerging and under-represented Houston area artists gain exposure. The Big Show was formerly the East End Show, sponsored by the East End Progress Association, at Lawndale's original location. In 2010, Lawndale received 976 submissions by 396 artists.
Houston on View
Through July 2
Nathan Green's work explores the visual language and structural qualities of abstract painting. By combining the tropes of modern abstraction with contemporary craft techniques and common construction methods, Green creates idiosyncratic works that evade categorization and blur the boundaries of their medium. Inherent in all of Green's work is a palpable sense of playfulness, experimentation, and a curiosity that becomes the guiding force on a search for the ecstatic.
Through July 2
The Grand re-opening of the newly refurbished and expanded Inman Gallery features drawings, sculpture and two wall installations by San Francisco-based artist and saxophonist Shaun O’Dell, spread across three rooms in what feels mini-museum retrospective.
Through July 2
Gendel's exhibition title comes from a turn of the century collection of vernacular stories entitled Fables in Slang, one of the most enduring works by American humorist George Ade. With scrupulous objectivity, Ade's Fables captured the everyday 'truthiness' of American vernacular in the late 1800's. In the same way that Ade adeptly reflected the tropes of American language, Gendel makes expert use of the many modes of representational and abstract painting in use today. Ade, the writer, and Gendel, the painter, are both keen observers and translators. Ade, a moralist with a feel for irony, observed and translated the lives of the people of his day, while Gendel borrows and invents people as a vehicle for observing and translating the perplexing possibilities and limitations of contemporary painting.
Through June 11
Brad Troemel's exhibit, PA, is a survey of surplus recognition or what he believes to be the most hateful comments of his detractors on the internet. To disrupt the false binary of positive or negative attention, Troemel proves their equality and offers a model of repossessed agency for those who are the subject of similar resentment. Through image appropriation, he reclaims the surplus of unfavorable judgments he had thus far publicly ignored. Think of these images’ relation to capitalism’s logic of valued scarcity. If the only thing more difficult than becoming a beloved Web 2.0 artist is to become reviled artist, then there is no Internet art as valuable as the objects Troemel exhibits here.
Through June 22
This exhibit is dedicated to showcasing the work of Houston artists in a unique and highly public setting that allows for focused two-part installation in the windows of a historic building.
Edith Baumann, Darcy Huebler, Aaron Parazette, and John Pomara
Through June 25
Skin Freak is an exhibition of abstract paintings.
Dallas on View
Through July 2
Slice is an exhibition curated by artist Cande Aguilar exploring the similarity of line, color, texture and surface of four Texas artists-– Michael Blair (Denton), Jesus De La Rosa (Kingsville), Jorge Puron (Eagle Pass) and Cande (Brownsville). Last year Cande began searching for and reaching out to artists with comparable sensibilities in an effort to share ideas, concepts, techniques, and possibly even develop a forum or peer group to identify with.
Through July 2
Kim Squaglia's meticulous and labored technique consists of multiple layers of delicately painted patterns and microscopic structures layered between coats of resin. In some cases, the resin is clear and glossy, like hard candy. In others, it's sanded and cloudy, creating a dreamier quality.
Through July 17
Campbell Bosworth uses his skills of woodworking and his formal training in painting to create narratives of life on the border of Texas. In this show there are two (Gun Bars) which demonstrate a melding and shows an incredible narrative through their over the top work. The highly carved and guild revolver bar spins to hold 6 tequila bottles is covered in carved detail of the subject and their larger than life expolits.This is only one of the incredible pieces in this show-- from carved tequila bottles, drug lord portraits, huge carved Narco Bling, rocket launcher, and a trigger finger-- all work together to tell the story of the cartel’s accumulation of status and power
Through August 21
The photographs in Man with Banana, a large-scale exhibition, will survey Juergen Teller’s oeuvre and include many new and unseen works from the last year. Blurring the distinction between his commercial and non-commercial work, Teller takes a story-telling approach to this exhibition by combining images of family and friends interwoven with known and at times abstract metaphors.
Through September 3
Jim Lambie has discussed the relationship between the tape works and the solid objects they incorporate in terms of a jazz ensemble, comparing the tape to the “baseline played by the drums and bass” and the pieces placed on top to the “guitar and vocals.
Through June 30
Xiaoze Xie is known for his realistic paintings of stacked newspapers and images of political figures from China’s recent history, such as Mao Zedong, Deng Xiaoping, and Jiang Zemin. The works in Transient Memories are rendered in graduating shades of gray, turning news photos of events and individuals into abstract, fleeting images. The works on paper are made from ink on delicate rice paper, referencing traditional Chinese ink painting.
Vernon Fischer: 1989-1999
Through June 30
On view are six monumental paintings from 1989 to 1999, ten years within Fisher’s thirty year career. The paintings were made prior to his first retrospective. Many of the works exhibited have a conceptual basis as seen throughout his oeuvre. Several of the paintings are overtly narrative and feature his experiments in fragmentary text during this time period. The text includes a visualization of revisions, typos, and strike-overs, giving the work a didactic element of a work in the editing progress. Of this experiment Fisher says, “The texts in these pieces have a halting quality as if the product of an anguished mind. This is also a moment when the relationship of text to image became more tenuous.”