Issue #198
Power Play October 12, 2012

Emily Roysdon
Installation view of Pause, Pose, Discompose
Photo Credit: Sandy Carson

From the Editor

Another art fair is on the horizon here in Houston as well as on the other side of the Atlantic. (Hot on the heels of Frieze New York, Frieze London opens to the public this weekend.) While Houston’s fairs haven’t reached the fever pitch of say, Miami circa 2006, there’s still a palpable excitement in the air and the Texas Contemporary looks to capitalize on that buzz when it opens on October 18. Fluent~Collaborative is proud to be a cultural sponsor of the event and we hope to see you there wandering the aisles of the George R. Brown Convention Center. Aside from the standard fair fodder—commerce in-action, over-priced Turkey sandwiches, discussions and tours—Artadia will use the event to announce the winners of its sixth cycle of grants to Houston artists. Our congratulations go out to all of the finalists and we’re looking forward to seeing their work in Artadia’s booth.

Elsewhere in Texas its the time of year for shrimping—a season that runs from May through November—and Austin-based writer Dan Boehl recently took a voyage with the crew of the F/V Discovery, otherwise known as the Shrimp Boat Projects. A conceptual project by artists Eric Leshinsky and Zach Moser, Shrimp Boat Projects will take you out for a day of shrimping in the Galveston Bay. Boehl recounts his experience at sea while delving into the issues that lie at the core of the endeavor. From San Antonio, writer Wendy Atwell reviews Shahzia Sikander’s project The Last Post at The Linda Pace Foundation. A metaphor for society and cultures ever-changing status Atwell finds Sikander’s work both mesmerizing and apocalyptic. Look for an interview with Sikander in an upcoming issue.

where is the power at Forth Worth Contemporary Arts, our Recommends from Issue #196, is the subject of U.T. Arlington Assistant Professor Benjamin Lima’s thoughtful review. In it he parses the complexities that are an inherent part of the exhibition, anchoring them firmly in the objects contained therein. As the current election season lumbers towards a close ‘power’ is an especially relevant topic—the exhibition and Lima’s review are good places to begin thinking about its intricacies. Bundled up with notions of power are often issues of gender, sexuality and identity. Two other exhibitions up in Texas right now tackle these issues head on. At the CAMH in Houston an exhibition of photographer Alvin Baltrop entitled Dreams Into Glass is the topic of writer Sally Frater’s review. The works included in the exhibition span a thirty-five year period from the mid-60’s to early 2000’s and capture sex-workers, pivotal societal moments and the denizens of New York City’s pier district in the mid-70’s and early 80’s. In Austin, Stockholm and New York-based artist Emily Roysdon’s exhibition Pause, Pose, Discompose at U.T.’s Visual Art Center is a beautiful and rigorous examination of politics, gender and sexuality through a wide range of materials and actions. DiverseWorks Assistant Curator and writer Rachel Cook has made Roysdon’s exhibition the topic of her attentive review.

Whether you’re out shrimping this weekend or wandering the halls at the Texas Contemporary drop us a line and let us know how we’re doing. Email us at: askus@fluentcollab.org or post a comment directly on the site.

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

+ 0 Comments

Add Your Comment:

      Send comments to the editors:

        Email this article to a friend: