from the editor
Continuing its pedagogical journey, in this issue, ...might be good brings you teachers in a museum and a museum in a teacher's office: a review of Substitute Teacher curated by Stuart Horodner and Regine Basha at The Atlanta Contemporary and an interview with artist Michael Corris, who recently opened the Free Museum of Dallas in the Office of the Chair at Southern Methodist University. Horodner and Basha's exhibition poses the question, "if a museum is an educational space, what kind of substitute teacher is an artist?" while Corris's Free Museum asks, "how can a museum inside the academy (and I mean really inside, not just kind of) affect the space of education?"
Michael David Murphy's review of Substitute Teacher is also interesting in relationship to John Kelly's thoughts on drag in this issue. Whereas Murphy wrangles with the lack contained within the idea of substitution, Kelly's discussion of shape-shifting speaks to the possibilities that the substitute may embody. I haven't completely wrapped my head around this one yet, but the idea of the substitute as a productive persona is certainly worth chewing on.
Claire Ruud is Associate Director of Fluent~Collaborative.
Michael Corris: On the Free Museum of Dallas
By Claire Ruud
...might be good [mbg]: What kind of art is possible in the Office of the Chair?
Michael Corris [MC]: The question of possibility leads quickly to the question of permission. The Office of the Chair is the site of administration, a place where permissions are granted or denied. It is a site of dialogue, of negotiation. So one response might be to say: the kind of art which is possible is simply a subset of the kind of activities, ideas, procedures, policies, et cetera, which may be sanctioned by the Office. However, the Free Museum of Dallas is about denying the warrant that traditionally accrues to the Office of the Chair. It is the seat of administrative authority, but also something else. This something else is not just a supplemental field of practice over which the Office of the Chair holds dominion; rather, it is a counter-practice or counter-sociality that registers a kind of contempt for the entire notion of a seat of administrative authority. So, the Free Museum of Dallas aims to free the Office of the Chair from itself. This is not to say that the business of the Chair is necessarily prevented by the coincidence of the Free Museum of Dallas. But if something of the authority of the Office of the Chair is not changed in some way—that is, if something is not lost and gained at the same time—then the Free Museum of Dallas is nothing but a bit of decorative frippery. I suppose the kind of art that I would like to see as being possible in the Office of the Chair would be that art which might warm the cockles of Friedrich Nietzsche’s heart.
mbg: And equally importantly, what kind of art isn’t possible?
MC: This reminds me of Ad Reinhardt's inventory of negation; what art is not is easier to define than what art is. The kind of art that isn't possible in the Free Museum of Dallas is the kind of art that doesn't find the bi-stable duck-rabbit amusing and profound at the same time.
mbg: Before the Free Museum, what kind of work did you do in your office?
MC: Everything necessary to prepare as quickly as possible for the transformation of the Office of the Chair into the Free Museum of Dallas.
mbg: Now that you’ve turned the Office into the Museum, what kind of work will you do in the office?
MC: Everything necessary to ensure the continuation of the Office of the Chair as the Free Museum of Dallas. Beyond that, everything necessary to secure further spaces (physical and conceptual) throughout the building and Dallas as the Free Museum of Dallas
mbg: How many square feet is the Museum, anyway?
MC: To paraphrase Norbert Wiener, how could one ever hope to count the number of clouds in the sky? How many square feet is a relationship? Can a social project be a commodity?
Claire Ruud is Associate Director of Fluent~Collaborative.
John Kelly: On portraiture & "drag"
By Claire Ruud
John Kelly, Fruit Boy 2 from the series Cara Viaggio, 2006 - 2008. Courtesy the artist.
Next weekend, artist John Kelly will perform Paved Paradise Redux, a widely acclaimed piece in which he inhabits the persona of Joni Mitchell in concert, as part of Fusebox 2010. Over the course of his career, Kelly has performed everywhere from La MaMa to the Whitney and explored such characters as Egon Schiele and Jean Cocteau. In anticipation of his Austin appearances, …might be good caught up with him by email to ask about portraiture, drag, Joni Mitchell and his current and future projects.
...might be good [mbg]: Last year in your solo show at Alexander Gray Associates, you filled the gallery floor to ceiling with self portraits—often portraits of yourself as another person—from the past three decades. The show gave the impression that self portraiture has been a staple of your practice as an artist. Can you tell me a little bit about how self portraits fit into your larger practice, both practically and conceptually?
John Kelly [JK]: My work has generally stemmed from observations of myself as myself, or consideration of some character, whether real or imagined. I think this initially occurred as I realized I had the ability to alter how I looked, both from augmentation—makeup, costume—but also from the inside—shifting my DNA, in a way, through intention. A projection of the self into another self; what actors do all the time, and what I have done intuitively.
So, conceptually, I free myself up by shape shifting and record the process. Practically, I then take this possibility to the next place: how would I—or a particular "character"—move, sound and register through dance, song and some combination of dramatic spectacle.
mbg: How do you understand the relationship between self portraiture and your performances, many of which rely on inhabiting the persona—in some sense, creating a portrait—of someone else?
JK: In a self portrait I have generally recorded my image as I have observed it in a mirror or interpreted it by studying a photographic reproduction. But I have also at times merged these two notions by thrusting my mirror-recorded image into interpretations of photographic reproductions of other "realities"—self portraits as Dürer, as La Gioconda, as Bellini’s Portrait of a Man; the goal is the image of my body in their garb assuming their pose in that particular setting. The self co-exists with the idea—or reality—of another.
In performance, I can function as myself, i.e., John Kelly steps in front of an audience and does something. But as I have generally preferred to flourish within role-playing, I wind up co-existing with the idea—or reality—of some other "self" in the form of a "character." The idea provides the shape, but remains an inert idea, like a photograph. My persona and an idea can exist separately, but when they join, something happens. My energy breathes life into an idea.
mbg: You told The New Yorker that when you started doing drag in the 80s, “it was the most fucked up thing you could think of,” and it was, in part, a way to express rage. Between now and then, the place of drag has shifted in the mass media. I’m thinking of To Wong Foo and Priscilla, Queen of the Desert in the 90s and “RuPaul’s Drag Race” on TV today. In your view, how have the meanings of drag changed since you started doing it?
JK: It’s not so much that the meanings have changed; it’s just that the possibilities that have always been there, usually "underground" or "outsider," have been marketed to, noticed and embraced by a broader public on its very predictable (and in my mind limited) terms. I was hopeful that "Drag" could now be acknowledged as meaning many things, but I’m not so sure it can. The problem is that most people, when faced with a gender leap, whatever its quality, pedigree or uniqueness, tend to relegate it to "impersonation," "drag performer," "transvestite." Though these may in fact be accurate monikers on some basic level, they can corrupt the capacity to accept art. All manifestations of "drag" are lumped together and then loaded with assumptions, phobias, condescension, fears and prejudices. These reactions say more about the viewer than the performer. However, the curiosity, wonder, glee and celebration of the genre can also occur. Gender blurring can still function as a potentially useful and powerful tool. But it also remains a slightly suspect endeavor, and the artist who messes with people’s rigid gender assumptions risks shallow and dismissive branding.
When Drag came out of the closet, it also got watered down for menace-free mass public consumption. Either heterosexual men compelled to use drag as a tool to get closer to an amorous crush or his kids (Tootsie, Mrs. Doubtfire), or sensational clown drag (the films you mentioned), which is more about the artifice and not particularly sensual, where the idea is layered on to the point that the person underneath, the potential source of humanity, nuance and poetry—recedes. Generally, the man portrays the powerful woman; the vulnerability of a man is not meant to penetrate the veneer of the woman. For me, vulnerability is a crucial component of a complete, fleshed-out and interesting character.
Menace and unpredictable human possibility, even if coupled with glamour, is more interesting to me than makeup worked up into some deafening din. "Beauty" can be surface and safe; it can also be deep and poetic.
mbg: You’ve been doing Paved Paradise Redux, the performance you’re bringing to Fusebox, since 2007. I’ve seen you say that it’s your “Bolero”—a popular piece that has enabled you to pay your bills. Are there other reasons you want to keep performing this piece?
JK: Well, it’s been a mixed bag for me. It’s an insane technical tour-de-force, sixteen songs sung in three vocal registers, conversational speeches, complicated guitar tunings and fingerings and a dulcimer (that Joni gave me). I love diving into its challenge, and I am very proud of it, and see it as a major accomplishment.
But it often gets stuck in the "drag" discussion. I cannot tell you the number of articles or reviews that have included the phrases "not a drag," or "phony Joni." These are not necessarily negatives, but they do relegate the work into the "doing drag," "doing Joni" or "who else do you do," box. There is too much focus on the wig, the dress. For me it’s acting, singing, role-playing and conjuring. When Cate Blanchett played Bob Dylan in Todd Haynes film I’m Not There, it wasn’t called "drag," it was considered acting. I also think the notion of portraying Joni Mitchell, singing her songs while playing her legendary guitar tunings, is in itself incredibly audacious and conceptually quite Dada-esque. The fact that I performed for her—and made her cry—blows me away and remains a highlight of my life.
mbg: As I understand it, you became friends with Joni Mitchell through Paved Paradise Redux. How has your relationship with her changed the performance?
JK: It definitely has. It has made me feel more responsible, as Joni is not an abstraction—she is a friend who I care about deeply. I also admire her work, and like any great work, it can be revisited and experienced—by both performer and audience—as new, always hearing something different, or noticing something as if for the first time.
mbg: Right now, you’re working on a performance entitled The Escape Artist inspired by Caravaggio’s life, but if I have it right, you won’t actually be performing as Caravaggio. How did this performance evolve?
JK: In the past I have made works that trace the life of an artist like Egon Schiele, whose life read like an unimaginable screenplay, and I also looked a bit like him. I was moved to travel through his experience both as a man (by choreographing his carbon footprint), and as an artist (by concocting various ways of replicating the process of painting and drawing live onstage).
I had considered portraying Caravaggio, but I decided that I probably look nothing like him—he was short and dark, I am tall and Anglo-Saxon—though I could pull it off. But the other concern I had is that there is so little known about his personal life aside from the court transcripts, the scandal and the myth. The most we can know about him is through his paintings, and what better source? So I decided to bring to life the figures that populate his paintings.
While I was a Fellow at the American Academy in Rome three years ago, I embarked on a different visual art practice, attempting to reconcile ephemeral performance and a tangible practice. I set up a video camera in my studio and improvised video vignettes in which I played with figures from Caravaggio’s paintings. Initially, I did this in order to get photographic images, but realized I was developing a separate body of video work on its own. Since then, I have been writing songs and pairing them with the video. But I was searching for a dramatic context with which to include these video/song pairings. I decided to use my experience of a broken neck from a trapeze accident (in 2002) as the bedrock for these flights of imagination, art history and out of body travel. So my inhabitations of Caravaggio’s characters—Bacchus, Matthew, John the Baptist, Magdalene—will be experienced by a man in a neck brace on a gurney in a hospital emergency room at 3 a.m. on a Friday night.
mbg: What else are you working on right now?
JK: I am currently an Armory Artist in Residence at the Park Avenue Armory in New York. I have a beautiful room called Company K, which is also called the "millionaires room" because it was home to a company of rich soldiers and is lined with 120-year-old wooden lockers inscribed with their names and rank. As this is still a functioning regiment—they just returned from a tour of duty in Iraq—and as I am an artist working out of this reality, I decided to create something site specific. So I plan to make a series of fifty black and white, ink on panel portraits of soldiers that have been discharged as a result of the "Don’t Ask, Don’t Tell" policy. On each of the portraits I will include both their enlistment and discharge dates. Funny, with this policy it’s not a dishonorable discharge unless you dispute it. But it is an enforced discharge. The irony is that part of the military "code of honor" is to tell the truth.
I am also planning a revival of my Egon Schiele work Pass The Blutwurst, Bitte at La MaMa this December. It is the piece that put me on the cultural radar screen in the late 1980s, and Ellen Stewart talked me into reviving it. It freaks me out a bit, as Schiele died when he was 28, and I am now 50. But I think I can pull it off—it’s a dance theatre work for five performers, with a lot of movement and only one song. Sarah Bernhardt played Joan of Arc when she was 54. Oh yeah—she also "did drag"—Hamlet and Pierrot.
Claire Ruud is Associate Director of Fluent~Collaborative.
Sina Najafi: On Cabinet magazine, critical writing & ethics
By Claire Ruud
Atlanta Contemporary Art Center, Atlanta
Through May 16, 2010
By Michael David Murphy
Andrea Fraser, Little Frank and His Carp, 2001, Video, 6:00 minutes. Courtesy of the artist and Friedrich Petzel Gallery, New York.
By their very nature, substitutes are poor approximations. Like Sweet-N-Low, or a hair metal cover band, substitute teachers are among the most maligned dopplegangers, offering the thin promise of a good time, a fleeting pleasure in the absence of Old Familiar.
Substitute Teacher at the Atlanta Contemporary Art Center is exactly the kind of show you want to see at the end of winter, when your thinking process (and low expectations for another group show) could use a good cranial power wash.
A group show of twenty artists curated by Regine Basha and Stuart Horodner, Substitute Teacher portends an effortless learning, a study somewhere between playing hooky and hiring your own personal test taker. The included artworks combine to create a new "new," a pedagogy in which letters might be signs and signifiers, but they also just might be letters, too, arranged into the perfection of a prisoner's last words, or a visual pun on the spine of a paperback book.
Brody Condon's Without Sun (2008) video, an aggregation of online clips in which psychedelic trip participants attempt to recount their experience while under the influence, succeeds as beautifully as its participants fail into speechlessness. Condon's video, which has also been performed live, by actors, might be a kind of Rosetta Stone for human learning—Here Is The Mystical Amazement, Let Me Tell You. Humans created language for some reason, right? Experiencing the other worldly (and describing it) has to rank right up there with avoiding Mr. Sabre Tooth on reasons why humans learned to speak and yell.
Eroticizing the everyday (if your everyday includes an audio tour of Guggenheim Bilbao) Andrea Fraser's Little Frank and His Carp (2001), just might become the most memorable museum tour you've ever witnessed. Pound-for-pound, Fraser's "audio erotic" amble through Bilbao's architectural splendor might be a true contender to Gehry's titanium-clad CAD fish fantasy.
As you might expect, a show about learning is also one of the best collections of text art I've ever seen in one location. Glenn Ligon's Condition Report (I AM A MAN) (2000), a dual reproduction of a classic placard from the Civil Rights Movement, looks at the inconsistencies and imperfections of its own recreation. On the left of the diptych is a reproduction of the sign, and on the right, a self-critical analysis of the sign's fault-lines, fissures and "hairline cracks." Ligon's diptych shows us that the flaws that complete the work, are the flaws that make the work work, that let the man be a man.
Paul Ramirez Jonas's Album Fifty State Summits (2002) crests one wall of the gallery, a compilation of highs completely unlike Condon's. A grand visual documentation of bagged peaks, Ramirez Jonas's effort yields a work-in-process that's as much about the process of getting there as it is about what it means to stand atop. The album's empty spaces (Brasstown Bald in Georgia is apparently on the schedule) are evidence of intent, the inclusion of omission.
Paul Ramírez Jonas, Album Fifty State Summits, Kansas, 2002, C-print, 20 1/2 x 16 3/4 inches. Courtesy of Alexander Gray Associates, New York.
You could say "Substitute Teacher Makes the Grade" but to conclude with cliché would undercut the strength of the exhibition's effort. From the smallness of Brian Dettmer's "power fragments" in his painstakingly altered books, to the "I love doodle bug, too" in Luis Camnitzer's massive set of Last Words (2008) from death row prisoners, Basha and Horodner have created one of the most valuable kind of art-going experiences, the kind when you come away knowing more than when you started, yet not knowing how, exactly, it happened.
Michael David Murphy is a writer and photographer in Atlanta, Georgia. Michael's essays and photographs have been published worldwide in People Magazine, The Los Angeles Times, The New York Times, San Francisco Magazine, The National (Abu Dhabi), MSNBC, USA Today, BBC2, 8, & Wired.
D. Berman Gallery, Austin
Through May 15, 2010
By Katie Geha
Opening Reception: Saturday, May 1, 7-9pm
"These are drawings based on year-book photos of various students from my high school. I grew up and attended school in the same town throughout my life and went from daycare to graduation with many of the same kids from this farming town. Despite the access FaceBook offers, I have no idea where most of these people are today." – Jenny Hart
Opening Reception: Sunday, April 25th, 6-9pm
Low Lives 2
Opening Reception: Friday, April 30, 7-10PM
In partnership with the 2010 FUSEBOX FESTIVAL and New York City based artist/curator Jorge Rojas Co-Lab presents Low Lives 2 featuring: A 2010 Streaming Class Portrait, a performance by Mike Smith and his students, and Low Lives, a one-night exhibition of live performance-based works transmitted via the internet and projected in real time at numerous venues throughout the U.S. For more info, click here.
Austin on View
Women and Their Work
Through May 27
Using vivid animation, Marina Zurkow creates a colorful cast of characters who inhabit a drowned world. In the carnivalesque Slurb ( a word that collapses "slum" and "suburb") Zurkow designs a haunting ode to the rise of slime, a watery future in which jellyfish have dominion. Conflating time, this work refers not only to a future apocalypse but to the present world where extreme weather events occur regularly, ocean temperatures are rising, and the seas are increasingly acidic and hostile to most sea life. Few but the indomitable jellyfish are currently flourishing. And as New Orleans reminds us, the deluge is already upon us.
D Berman Gallery
Through May 15
d berman gallery is pleased to present Lance Letscher’s The Perfect Machine, an exhibition of new collages and collaged objects by this internationally-celebrated artist, in conjunction with the publication of his uniquely imaginative children’s book of the same name. Works from The Perfect Machine explore notions of locomotion, technology, and the creative impulse at the heart of human nature through intricately composed collages. Book signing with Lance Letscher on Saturday, April 24 at 1pm.
Lora Reynolds Gallery
Through May 15
Lora Reynolds Gallery is pleased to announce their second solo exhibition of new sculptures and photography by Seattle-based artist, Roy McMakin. For this exhibition, In and On, Roy McMakin conceived four pieces that meticulously intermingle elements of sculpture and furniture. Each work imbues the artists distinctly minimalist tradition. Two pieces espouse found furniture with McMakin's own sculptures, a more prevalent practice by the artist in recent years. His photographic series, Net Making, also included in the exhibition, skillfully illustrates McMakins relentless attention to detail.
Austin Museum of Art
Through May 9
AMOA's New Works exhibition series introduces fresh contemporary art by innovative Austin artists. The upcoming show will feature installation artist, Luke Savisky, who uses light and projection to explores ideas of perception, exposure, surveillance, and perspective. Click here for a video of a previous installation in downtown Austin.
Dallas on View
Barry Whistler Gallery
Through May 29
The Barry Whistler Gallery in Dallas presents Andrea Rosenberg's: The Printed Image. The show includes etchings, lithographs, monoprints, and spit bites.
Emilie Halpern & Eric Zimmerman
Opening Reception: Saturday, May 8, 6-8pm
Art Palace is pleased to present new work by Los Angeles based artist Emilie Halpern and Austin artist Eric Zimmerman in their first two-person exhibition of their work. Entitled Cosmos, the exhibition pairs Halpern's striking photographs and sculpture with Zimmerman's painstakingly rendered graphite drawings, etchings, and sculpture. A collaborative work utilizes each of the artist's voices as they read from Carl Sagan's text Pale Blue Dot. The alternating sentences loop endlessly through a pair of Califone tape recorders placed side by side on a circular gold foil blanket. (From the press release)
Opening Reception: Saturday, May 1, 6-8pm
Moody Gallery is pleased to present Headlands, an exhibition of recent paintings and drawings by Dan Sutherland. In this work Sutherland builds and dismantles imaginary structures that evoke architecture, landscape, and still life, creating complex (and often impossible) spaces replete with allusions to painting's history. Headlands marks Sutherland's second one-person exhibition at Moody Gallery. He has exhibited in the Bay Area, Los Angeles, New York, Chicago, Philadelphia, and extensively in Texas since 1991. Sutherland lives and works in Austin and is an Associate Professor in the Department of Art and Art History at the University of Texas at Austin.(From the press release)
Houston Center for Photography
Through April 25
HCP´s Main Gallery features Anthony Goicolea´s Related, a web of personal narratives about the Cuban-American´s familial, religious, and cultural heritage. The artist strings together a complex series of dialectics denoting his experience of cultural dislocation, assimilation, and desire to maintain ancestral histories.
Rice University Art Gallery
Through August 8
For her installation Sometimes in My Dreams I Fly, Andrea Dezsö will expand upon a technique she uses to make her distinctive “tunnel books.” Small, handmade books that reveal three-dimensional scenes, tunnel books are created from layers of paper that are individually drawn, cut out, and painted. Each layer is then stacked one in front of another in a collapsible case to create a miniature world with depth and detail that draw in the viewer. At Rice Gallery, Dezsö’s tunnel books will become life-size, with tunnels as wide as six feet. The individual “tunnels” will be placed just behind Rice Gallery’s large front glass wall, creating portals a viewer can peer into but enter only with their imagination. The human scale will be a departure point to another reality. Explains Dezsö, “I want to transport the viewer, as when you pass by a house and look into a window and see a different world from your own.”
Leslie Hall and Laurel Nakadate
Art League Houston
Through April 25
Art League Houston and the FotoFest 2010 Biennial are pleased to partner in presenting Medianation: Performing for the Screen, curated by Gilbert Vicario, and featuring the work of media and performance artists Leslie Hall and Laurel Nakadate.
Road to Nowhere?
Winter Street Studios
Through April 25
Natasha Egan’s selections explore the United States at the close of the “American Century” as the nation negotiates its transition from Cold War superpower to an embattled, economically fragile nation. Ms. Egan says, “The artists in this exhibition address a repertoire of diverse but related themes including politics, surveillance, race, war, and economic insecurity. While the work is oftentimes critical, a quintessentially American optimism is evident.” Ms. Egan’s selections include: Sheila Pree Bright, Jeff Brouws, Tim Davis, Myra Greene, Eirik Johnson, Jason Lazarus, An-My Le, Nic Nicosia, David Oresick, Trevor Paglen, Greta Pratt, Michael Robinson, Jason Salavon, Victoria Sambunaris, Christina Seely, Paul Shambroom, Greg Stimac, and Brian Ulrich.
Marfa on View
Marfa Book Company
Through May 16th
The Marfa Book Company will host an opening reception for "Ballad of Chalino Sanchez," an exhibition of works by Camp Bosworth. "Ballad of Chalino Sanchez" is a continuation of Bosworth's work, representational sculpture and relief in a variety of woods, in a style that fits, uniquely, somewhere between fine and folk art. The works represent a significant and thematically unified response to the culture, mythic and historical, of the Border, specifically the culture of narco-trafficking and agriculture.
San Antonio on View
Lawrence Markey Gallery
Through May 21
Psychedelic: Optical and Visionary Art Since the 1960s
San Antonio Museum of Art
Through August 1
San Antonio Museum of Art mounts an exhibit of psychedelic art from the Op Art of the early 1960s to the abstract and visionary works of today. Curator David Rubin takes the lead in what he calls the first-ever look at the development of a “psychedelic sensibility” in contemporary art of the last 40 years.
Sustainable Architecture in Vorarlberg: Slide Show and Talk with Ulrich Dangel
Thursday, May 6, 6-8pm
Vorarlberg’s successful combination of a simple, yet sophisticated regional building style with sustainable construction methods has culminated in a model for architecture worldwide.This book presents particularly successful projects of various typologies from recent years and portrays their development from design idea to built detail.
Lance Letscher Talk and Book Signing
d berman gallery
Saturday, April 24, 1pm
Lance Letscher’s The Perfect Machine is an exhibition of new collages and collaged objects by this internationally-celebrated artist, in conjunction with the publication of his uniquely imaginative children’s book of the same name. Works from The Perfect Machine explore notions of locomotion, technology, and the creative impulse at the heart of human nature through intricately composed collages. Meticulously mining his vast trove of cast-off paper ephemera, such as book pages, scribbles, old magazines, and record covers, Letscher deconstructs and recombines these elements into dizzying works of colorful geometry.
Avant Cinema 3.8: Caroline Koebel
Austin Film Society
Screening: Thursday, April 29, 7pm
Admission: $4 AFS Members / $6 General Admission
Perhaps best known to the Austin audience as “Booboo” in Spectres of the Spectrum (1999, Dir: Craig Baldwin, DP: Bill Daniel), Caroline Koebel—a recent transplant from Brooklyn—has been exhibiting her experimental films and video art internationally since the early 1990s. Informed by conceptual art, film theory and feminism, her work provokes new modes of aesthetic and critical engagement with such subjects as early cinema, commodity culture, and the maternal eye.The event will take place at Austin Studios Screening Room, 1901 E 51st St (use Gate 2 under the giant water tower). Click here for details.
Cloud Eye Control: Under Polaris
Salvage Vanguard Theater
April 29, 30, and May 1, 7pm
Admission: $12-20, available online and at the door
3 performances at the Salvage Vanguard Theater by Cloud Eye Control, presented by Women & Their Work & the Fusebox Festival. In their latest mix of projected animation, theater and live electronic music, Cloud Eye Control charts an epic journey across a vast arctic expanse-a sublime icebound landscape illuminated under the ethereal lights of the Northern sky. A woman disguises herself as animals to help her survive the elements, and in the process, learns about the delicate interdependence between humankind and nature. Cloud Eye Control is a Los Angeles-based performance collective comprised of Miwa Matreyek, Anna Oxygen and Chi-wang Yang. Music by THE NEED (Radio Sloan & Rachel Carns). Click here to see a clip of their performance.
Call for Artists
Extremely Shorts Film Festival
Aurora Picture Show
Early Deadline: April 30, Late Deadline: May 10
Houston's Aurora Picture Show invites artists to submit video shorts. Extremely Shorts is a juried festival that features films under 3 minutes long. Audience awards cash prizes. Entry is free and with and Aurora membership, you receive a voucher for one free entry for Extremely Shorts. All videos are 3 minutes or less-- click here for submission guidelines and entry form or here for the voucher.
Dallas Contemporary Executive Director
Joan Davidow, Executive Director of Dallas Contemporary, is retiring after nine years in her current position. She will assume the title of Director Emeritus upon her retirement and continue in a consulting role until the end of 2010. Education and Experience: 10+ years in arts organization, 3-5 years leadership role including capital campaign or major gift funding, national and international arts and industry relationship access and network, masters degree preferred in Fine Art, Art History or Museum Management. Please email email@example.com for more information on the position.