Issue #195
Hold the Phones! July 27, 2012

Liz Glynn
III
2010
Courtesy of the artist and Redling Fine Art, Los Angeles
Photo: Calvin Lee

From the Editor

Everyone deserves a little break now and again. We here at ...might be good are no exception. This issue marks our last issue of the summer as we take a hiatus throughout the month of August. Don’t fret! We’ll be back on September 14 with our bi-monthly compendium of exhibition reviews, interviews, essays, artists' words, project spaces and recommendations from around Texas and the globe. Risking a little tooting of our own horn, we’ve been particularly excited about the quality and diversity of our content over the past seven months and invite you to peruse our archives to catch up on some of the great pieces of writing waiting for you there. But don’t be too hasty, we’ve got a substantial current issue for you to dive into first.

Austin is waiting patiently for the fall when Louis Grachos begins his tenure as Executive Director at AMOA-Arthouse. Writer Claire Ruud conducts a roadside interview with Grachos and deftly teases out just the sort of director he might turn out to be. A nod to Dave Hickey—a darling of the Austin art world from a bygone era—certainly helps him cement some of that Texas street cred. With new chairman Jack Risley finding his seat in The University of Texas at Austin’s Art Department, it looks to be an interesting few months on Austin’s horizon. Just up the road, Berlin-based artist Omer Fast currently has a project at the Dallas Museum of Art and artist and writer Noah Simblist catches up with him for an engaging conversation that ranges from his current projects to U.S. Israeli politics via drones and the current Documenta. In between these two excellent and substantial interviews, we recommend Los Angeles-based artist and writer Travis Diehl’s exceptional Long Read on the work of Liz Glynn and two of her recent projects in Los Angeles, III and Black Box. Diehl’s vantage point, as participant and spectator, provides him with a solid foundation on which to think about the party as a a form of art and the sense of ambivalence that pervades it.

Reviews are one of our cornerstones here at ...might be good and this issue is no different. From Dallas, University of Dallas Assistant Professor Catherine Caesar looks at artist and U.T. Austin faculty member Bogdan Perzyński’s current exhibition at Kirk Hopper Fine Art, I Will Have Gold. Perzyński’s video project and photographic diptych offers a powerful and ultimately seductive look into hostile language and identity. The moving image is also the subject of Austin-based filmmaker and writer Caroline Koebel’s review of Direct-er’s Cuts a 16mm film program that screened as part of the New Media Art and Sound Summit (NMASS) at Salvage Vanguard Theater this past June. Finally, staying put in Austin, writer Brian Fee reviews Christopher Eamon’s exhibition, Manscape, curated for Lora Reynolds Gallery. Our exhibiting partner here under the Fluent~Collaborative umbrella, testsite, is currently host to a stunning collaboration between Reynolds (who curated) and sound artist Stephen Vitiello. We certainly recommend a visit to the exhibition, extended through the end of August, and have put together a small list of sound art inspired books for you—just in time to get that summer reading in—that we find particularly exciting.

Like the broken record it is, we’d like to extend our ongoing invitation for your feedback. Email us at: askus@fluentcollab.org with what you’re reading, listening to, an idea for an interview or simply what’s gracing the grates of your grill. Don’t forget to follow us on Twitter @mbgEtc and Facebook, where we’ll still be active in spite of being on holiday. See you soon. 

Eric Zimmerman is an artist and Editor of ...might be good.

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