Category Archives: Art Shows

Talking to K.C. Collins

Question: Tell me about “Not Yet Titled”

“Not Yet Titled” is kind of an inside joke. I have been working on this show for a little over a year and when I’m in the studio titles are the last thing on my mind. My previous solo show “Untitled” was in December 2008. Four years later I still haven’t come up with a fitting name. There’s something about a title that suggests finality, and for me painting is an on going process. With each painting influencing the next.

 

This body of work starts with the diptych “ History is hard to know”. What followed was an exploration of landscape and still life mixed with found objects and faint memories of places and things.  The ascending arrangement of the last painting in the show (Large box install) is a subtle nod to this process of work influencing work.

http://studio189.com/

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Talking “Game On”

Brooklyn, NEW YORK—The Active Space is pleased to present “Game On,” a presentation of new works by Alan and Michael Fleming, on September 14, 2012. Opening Reception: Friday, September 14, 7-10pm. Open Hours: Friday – Sunday: 1-6pm or by appointment

From 2010-2011, Alan and Michael Fleming began living apart for the first time in their history as twin brothers. Stretched between New York and Chicago, they were forced to redefine their practice and reinvent their collaboration across two different time zones. This separation came after many years of a shared embodied art practice where proximity and presence were a necessity. GAME ON features two bodies of work from Alan and Michael Fleming; one from this year of separation and the other made after reuniting in New York. While apart, the Fleming Brothers attempted to continue their practice through “psychic games”, postcards, Polaroids, calendars, and other ephemera as a record of their communication. Playing with the cliché of latent twin psychic abili­ties, their efforts became a genuine investigation of cerebral collaboration. Trying to think of the same color every day, or playing “rock, paper, scissors” over the phone and not knowing who won for months became a metaphor for a disjointed studio practice. Through these materials and objects they tried to map their distance and reflect on what their collaboration meant (or could mean) now that they were separated. The second body of work on display (made while in the same city) captures the brothers reunited in play through a variety of different media including performance for video, drawing, and sculpture. Themes of measurement, learning, and failure are made apparent in humorous artworks such as “Game Over (Tetris Drawing Series)” where the brothers made draw­ings of their losing games at Tetris, or “Who’s Bad?” a video of Alan, a trained dancer, teaching Michael, an amateur, how to dance like Michael Jackson. Like a game of street hockey interrupted by traffic, this exhibition represents a temporary hiatus of play. As the cars pass, the artists think of the potential game ahead. Eventually the players return to the studio and begin again.

Alan and Michael Fleming have shown their collaborative artwork throughout the United States and abroad. They are current fellows in the AIM (Artist in the Marketplace) Program at the Bronx Museum of the Arts and International Artists in Residence at the NARS (New York Art Residency & Studio) Founda­tion. They have performed at the Museum of Contemporary Art Chicago, the Chicago Cultural Center, the Centre for Contemporary Arts in Glasgow, and the Factory for Art and Design in Copenhagen. Their videos have been screened internationally in Copenhagen, Lviv, Ukraine, Rio de Janeiro and Berlin. Their work has appeared in TimeOut, Art Slant, Buzz Magazine, Chicago Art Magazine, and Artforum. The Fleming brothers received their MFA in 2010 from the Performance Department at the School of the Art Institute of Chicago, which they attended as a collaborative. As of 2012, they are both based in Brooklyn.

More information about the artists can be found at: http://www.spatialinterventions.com

Game On
September 14, 2012 through October 12, 2012
The Active Space
566 Johnson Avenue
Brooklyn, NY 11237
http://www.566johnsonave.com

 

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Talking “Las Noticias”, Francisco Moreno

Curbs & Stoops Presents: “Las Noticias”, Francisco Moreno Solo Exhibition
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New York, June 23 2012 – Curbs & Stoops & Rhythmology are pleased to invite you to the opening of our first pop-up exhibition. We see this collaboration as an opportunity to experiment at the interstice of art and performance. We hope to create a venue where engaging cultural conversations can happen in a social context. Because we exist outside of the traditions of the inner city art scenes, we can support experimental projects by inner city artists. We also see ourselves as a launching platform for international rising stars breaking into the New York art scene. It is in this spirit that we open with “Las Noticias,” (The news in Spanish), a solo exhibition by Mexican-American artist, Francisco Moreno. In his paintings, murals and installations Moreno explores notions of American identity and iconography. He uses a graphic language of black and white camouflage as a metaphor for assimilation into foreign environments and foreign conditions.
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Throughout his work, Moreno considers the process of assimilation for immigrants as they contemplate immersion into American culture. In one room, the “icon paintings” inccessently question, “What determines our Americaness?” Moreno depicts the Dallas cowboy flags and super heroes that he often found proudly plastered across friends “extra rooms” in Texas. In the main exhibition room we share key works from Moreno’s headline series including his RISD thesis installation “Las Noticias.” In this series of work the artist takes queues from annecdotes of his father reading the sports section of the newspaper in order to be able to participate in conversations at work. Interested in more than association, Moreno takes to the same medium to dissect American values. The artist shares, “I want to examine the images, reality, or sheer absurdity of what America considers news. A headline attempts to captures how we function in society now.” No catastrophy falls out of the realm of representation.

Opening Reception: July 20, 6:00 pm – 10:00 pm
Exhibition Dates: Friday, July 20th – September 7
Location: 361 Union Avenue Westbury, New York 11590

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Talking show and soft cover book “Fugue States”

FUGUE STATES

Collaborative works by
Hector Hernandez and William Hundley
opening reception: friday, may 11, 7-9pm
exhibition dates: may 11 – june 10, 2012

grayDUCK Gallery
608 W. Monroe St. – Suite C – Austin, TX 78704
512-826-5334 – duckduck@grayduckgallery.com

Fugue is an altered state of consciousness in which a person may move about purposely and even speak but is not fully aware. Dissociative fugue usually involves unplanned travel or wandering, and is sometimes accompanied by the establishment of a new identity.

In this exhibition, Hector Hernandez and William Hundley combine efforts in a continuation of their collaboration that began with Identity Crisis (2011, grayDUCK Gallery).

Fugue States softcover
***Check it out – pre-order a copy of the limited edition – Softcover + 32 page, full color, 8.5 x 11″ – edition of 50 – signed and numbered
Available here

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Talking to Jared Steffensen

Tell me about “Mom’s always afraid that I’m going to hurt myself…I usually do.”

I am interested in how to merge skateboarding and art making into a body of work. One that does not rely on the inherent aesthetics found in skateboard culture, i.e. skateboard graphics, company logos, etc., that are generally assumed when an artist chooses skateboarding as their subject matter. I am filtering the act of skateboarding and the objects used to facilitate its practice through the aesthetics of minimalism, video art from the 60’s and 70’s, geometric abstraction, and abstract expressionism to create objects and videos that straddle the perceived line separating skateboarding and art. This allows the works to exist in either world separately or in both simultaneously.



I am using actions, objects, and the residual marks created by the act of skateboarding, that are central to its practice, and translating them into a visual language that is specific to contemporary art. I am also incorporating an important aspect of skateboarding, the ability see the potential of objects, that serve a specific function in ordinary day to day life, to exist beyond their intended function, i.e. handrails, transitioned embankments, curbs, etc. I am further appropriating these actions, objects and marks to facilitate their existence in a gallery setting.

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Talking Fugue States

Fugue is an altered state of consciousness in which a person may move about purposely and even speak but is not fully aware. Dissociative fugue usually involves unplanned travel or wandering, and is sometimes accompanied by the establishment of a new identity.

In this exhibition, Hector Hernandez and William Hundley combine efforts in a continuation of their collaboration that began with Identity Crisis (2011, grayDUCK Gallery).

Friday, May 11, 2012   –  7-9pm

http://www.grayduckgallery.com

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Talking “Tiny Park Drawing Annual”

 2012 Drawing Annual

Opening Friday, May 4, 2012, 7pm to 11pm, at 607 ½ Genard Street. The exhibition continues through May 20 and will be available for viewing 12pm – 5pm on Saturdays and by appointment.

 The 2012l Tiny Park Drawing Annual is a group exhibition focused on drawings and the concept of drawing, in the widest terms. The show includes 3-D work that incorporates drawing; drawings made by drilling holes in paper and drywall; and photographs of line drawings made with string. As the name indicates, we hope to have a similar show once a year. This year we will present artworks by Miguel Aragon (Austin), Leah Haney (Austin), David Culpepper (Austin), Stephanie Serpick (NY) and Rob Lomblad (NY).

ABOUT THE ARTISTS:

Stephanie Serpick’s work has been exhibited at Listros Galerie (Berlin), David Weinberg Gallery (Chicago), Scope London, and Paul Kopeikin Gallery (Los Angeles). She received an MFA from the University of Chicago. A Florance Trust residency took her to London in 2004-05.

Miguel Aragon’s work has been exhibited at the International Print Center New York, OSDE Espacio de Arte (Buenos Aires), Austin Museum of Art, and Mexic-Arte Museum (Austin). He received an MFA from UT Austin. He continues a series of multimedia works that addresses the Mexican Drug Cartel Wars.

Leah Haney received a BFA from UT Austin. The first solo museum exhibition of her paintings was recently held at AMOA-Arthouse. Architecture and Outer Space dominate her visually explosive work.

David Culpepper is a member of the Austin-based artist collective, Ink Tank, which is currently showing at AMOA-Arthouse’s Art on the Green. He received his Bachelor Degree in painting and printmaking from Virginia Commonwealth University.

Rob Lomblad received an MFA from the Massachusetts College of Art and Design. His work is in the collection of the Museum of Contemporary Photography (Chicago).

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ABOUT TINY PARK: Tiny Park, an exhibition series and art space located in Austin, presents contemporary art exhibitions, readings, and film screenings by local and national artists. Functioning out of the organizers’ home located at 607 ½ Genard Street, Tiny Park also collaborates with guest curators and other galleries to present conceptually and aesthetically diverse works. Tiny Park is organized by Brian Willey and Thao Votang.

Tiny Park
607 ½ Genard Street
Austin, TX 78751

http://www.tinyparkgallery.com

http://facebook.com/tinypark

http://twitter.com/tinyparkgallery

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Talking “THEM F*CKIN’ ROBOTS”

Question tell me about “THEM F*CKIN’ ROBOTS”

“THEM F*CKIN’ ROBOTS”  is a documentary about Norman White, one of the most influential media artists in his field. He produced humorous and beautiful work, but also trained hundreds of artists at the Ontario College of Art and Design to make their own, hands-on media art from 1976 onwards. This is on of the reasons a vast number of acclaimed media artists come from Canada. However, media-art does not cover the realm of White’s work: he produced a large oeuvre, from paintings to light murals to interactive robotics. Ine Poppe and Sam Nemeth filmed White and his students: they visited him in his huge watermill in Ontario and followed him and his students at work.

It took Poppe and Nemeth 5 years to finish Them F*ckin’ Robots. This had several reasons: it was hard to obtain material of the early works of White (video was still a ‘new’ medium) but moreover was it hard to fund a film about media art. In the contemporary cultural climate in the Netherlands no art- or film fund dared to take the risk of financing a documentary about media art, also because the film is about a ‘foreign’ artist. This reflects thematically in the film. The question wheather or not media art has a place in the mainstream art world is adressed as well as why it took Norman White such a long time -he started in the 1960-ies with electronic art- to get recognition. The film contains material from the 70-ies, 80-ies, 90-ies, 00-ies and original footage of the of the White family shot in the 40-ies,50-ies and 60-ies.

The screening of “THEM F*CKIN’ ROBOTS” takes place March 23, 2012, from 7-10 PM. Email ashley@566johnsonave.com.

THEM F*CKIN’ ROBOTS
March 23, 2012
The Active Space
566 Johnson Avenue
Brooklyn, NY 11237
http://www.566johnsonave.com

RSVP on Facebook

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Talking grand opening “The Active Space”

Brooklyn, NEW YORK—The Active Space celebrates the grand opening of its new gallery space with an artist’s reception for “Dreaming Without Sleeping,” works by Criminy Johnson | QRST. February 24, 2012, 7-10 PM. Curated by Robin Grearson.

“Dreaming Without Sleeping” allows viewers to glimpse the artist’s view of our waking world: a bent, slightly pessimistic and occasionally hostile place populated by animals and people who are often reluctant to be interrupted by the viewer.

Criminy Johnson creates oil paintings depicting the strange environments and subjects he imagines, and while working out his ideas, he often makes wheatpastes that relate to these in some way. Many people are familiar with Criminy’s style but may have seen it outside of a gallery setting. And QRST fans might be discovering Criminy Johnson’s paintings for the first time. At Bushwick’s The Active Space, Johnson will have the opportunity to showcase both styles.

Dreaming Without Sleeping
February 24, 2012 through April 20, 2012
The Active Space
566 Johnson Avenue
Brooklyn, NY 11237

Good luck Ashley!

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Talking to Michael Anthony Garcia

Question: Tell me about “Bodies of Work”

Using sculpture and installation, I am exploring the limits of our corporal forms. It begins with our early realizations in childhood of what the limits of our physical experiences are; where do our bodies end and the rest of the world, begin? The other extreme deals with our certain deaths, and where do WE end? The work contains site-specific materials and themes related to exploring what we are, who we are and going back.

The title Bodies of Work plays off the idea of the retrospective, looking back where you’ve been to see how far you have come. This show is very much a homecoming for me in many ways. Not only is it a revisiting of my alma mater, and floods of memories, but also a return to a past way of working and sources of materials. Installing this show has afforded me the opportunity to work closely with Austin College staff and a group of students and as well as familiarize myself with their own artistic endeavors.


This show is very heavily tied to ideas of duality and shifts in who we are throughout life as well as death. But as everyone knows, something must end for something else to begin.

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Talking to Dameon Lester

Question: Tell me about “Ethnocentric Nature of Line”

Ethnocentric refers to the belief that one’s cultural group is centrally important, and that all other groups are measured in relation to one’s own.  The title loosely references the human race as a singular culture and it is with this mentality that we have separated ourselves from the natural environment.   This particular art show uses man-made materials to create three-dimensional line drawings in space and organic-shaped forms through intense repetitive processes. My attempts at reinventing natural or organic shapes through these processes and materials inevitably result in the beautiful failures that are my sculptures.

 

Question: Tell me about “Pattern Plan”

 is made by reusing/recycling man-made materials to create vague representations of nature that could only be produced from this second resource of unnatural materials.  These works focus on the circular form relating to one of the most basic building structures in nature and life, from blood cells to microscopic skeletal forms.  These circular units stand alone as individual forms, are shown as truncated sections, or as repeated patterns that potentially create larger environments, and relationships. I wonder to what extent this second material source can sustain human existence as we steadily deplete the earth’s resources. 

For the most part, my interest is in process and creating forms from reinventing very basic craft and art techniques using materials derived from the excess of our culture.

 

Pattern Plan

Opening reception Friday, September 30, 7-9pm

grayDuck gallery

608 W. Monroe Street, Suite C,
Austin, TX 78704 (S.1st St. & Monroe)
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Talking Identity Crisis

IDENTITY CRISIS
Carlos Donjuan, Hector Hernandez & William Hundley
opening reception: Friday, July 15, 7-9pm

This show explores the concept of identity or alter ego by using masks and costumes and questioning how we might use them to function in society. Why do we hide? Is it to protect others, ourselves, or to conceal what we may have done? Identity Crisis features mixed media, photography, painting and sculpture.

Hector Hernandez
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grayDuck gallery
608 W. Monroe Street, Suite C,
Austin, TX 78704 (S.1st St. & Monroe)
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Talking to Brett Amory

Talking about “Dark Light”

NEW YORK, NY (June 1, 2011)Jonathan LeVine Gallery is pleased to announce Dark Light, new works by California-based artist Brett Amory, in what will be his debut solo exhibition in New York.

Dark Light features a new series of oil paintings on panel, expanding upon Amory’s ongoing series of works entitled Waiting, which portray studies of urban life through fragmented cityscapes and anonymous, isolated figures. Amory began the Waiting series in 2001 with paintings depicting commuter subjects seemingly detached from their fellow passengers and surrounding environments, inspired by the introverted culture of public transit and inhabitants of the Tenderloin neighborhood of San Francisco (where the artist lived for thirteen years).

Figures and places in Amory’s work are based on photographs the artist has taken of ordinary city architecture and random people who he sees on a daily basis but never speaks to. He feels especially drawn to individuals who look lost, lonely or awkward—those who don’t appear to fit in socially. Amory’s imagery has evolved over time as the artist has reduced compositional elements of the urban environment with increasingly more negative space, placing a stronger focus on the human subjects—who have shifted from daily travelers in the mundane sense to what has become an implied spiritual passage toward transcendence. In recent works, including those in this exhibition, the negative space has become black rather than white, adding to the emotional impact of the light source as having symbolic significance within the context of the obscured landscape imagery.

As the title suggests, the Waiting series is about how we rarely experience living in the now, always awaiting what will come next or obsessed with what has already transpired. In our age of distraction, being in the present is difficult to achieve outside of meditation practice, it requires heightened cognitive awareness and clear mental space, often prevented by constant internal dialogue, preoccupation with memories of the past and/or concern for the future. Amory’s work attempts to visually represent this concept of disconnection and anticipation, conveying the idea of transient temporality that exists in most moments of our daily lives.

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Talking “HEIR today, gone tomorrow”

In HEIR today, gone tomorrow, Hector Hernandez and Michael Anthony Garcia have 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.

The Artists
HEIR today, gone tomorrow includes the work of Daniel Adame (Houston, TX), Aisen Caro Chacin (Austin, TX), Paco Castro (Guadalajara, Mexico), Gabriel Dawe (Dallas, TX), Carlos Donjuan (Dallas, TX), Santiago Forero (Austin, TX), Eduardo Xavier Garcia (Austin, TX), Sergio Garcia (Dallas, TX), William Hundley (Austin, TX), Kristy Perez (San Antonio, TX), Carlos Rosales-Silva (Austin, TX), Rubén Verdú (Barcelona, Spain), Amelia Winger-Bearskin (Nashville, Tennessee) and Los Outsider curators Michael Anthony García (Austin, TX), and Hector Hernandez (Austin, TX). The artists have produced works of photography, installation, sculpture, and painting to explore what we inherit and what we pass onto others. Some of the works have been specifically produced for the exhibition.

http://www.heirtodaygonetomorrow.com

 

 

 

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Talking to Glenn Herbert Davis

Question: Tell me abotu “Track aNd trolly”

This work was inspired by high-risk workers in foundries, mines, and on scaffolding — and further by the Russian soldiers who ran across the roof at Chernobyl. Thoughts to of the Squirt Bridge collapse in Minneapolis (and the workers who built it and the workers who rebuilt it).


More at: http://www.glennherbertdavis.net/making/about-tnt/

Question : Tell me about “West Tulsa Spent”

West Tulsa Spent, This work commingles autobiography with universals of expenditure.

West Tulsa Spent will be an installation and intermittent, 1 hour performance featuring orations, oblique gesturing, manufacture and/or de-manufacture, sounding, and tap dancing by collaborator Linda Clark. The installation might be best situated as a working space of theatrical mid-moments; as hidden dangers, sublime difficulty and discomfort mix with banality, residue, and dusty remains. What prompted the draw will not be present. Only that which can be reassembled will lay here as sign and suggestion of that which passed through.


Location: grayDUCK Gallery
608 W. Monroe St. | Suite C | Austin, Texas 78704
Time: ‎7:00PM Friday, April 8th
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Talking to Alex Gross

Question: Tell me about “Signals”

About signals…i don’t usually like to talk specifically about pieces having said that, I will simply say that ‘signals’ deals with relationship issues, as do many of my paintings. There’s always lots of issues between two people about things like communication, and baggage from past relationships that can be hard to overcome.

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Talking to Brett Amory

Question: What’s you favorite beer?

I quit drinking three years ago but when I did drink I loved Stella Red Stripe and Budweiser.

Question: When you’re painting, what kind (if any) music do you listen to?

I listen to all kinds of music when I paint. I like music without lyrics so I probably listen to electronic and jazz the most.


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Talking to Daydreaming With….James Lavelle

Question: What is Daydreaming?
Inspired by the desire to marry music and visual art, DAYDREAMING…WITH JAMES LAVELLE is a unique and visceral new exhibition experience, bringing together some of the most high profile and acclaimed creative names working in music, art, film, fashion and design. Each artist will create a brand new artwork inspired by new music composed for the project by UNKLE. Inspired by a lifetime of work and musical collaborations, (UNKLE) takes the role of the Curator for this unprecedented pop-up exhibition at HAUNCH OF VENISON gallery which takes place in Mayfair, London, over the summer. Each track has been assigned to a major contemporary creative, who will in turn respond to the track using his or her own visual language to create a unique experience for the viewer. Working with artists representing a wide range of disciplines, these experiences will be combined under one roof to create the ultimate multi-sensory environment.

2007 Turner Prize nominee, Nathan Coley

Return to the wild, Kai and Sunny


Talking to Heyd Fontenot

Question: Tell me about “It’s a Nude, Nude, Nude, Nude, Nude, Nude World”

It’s a solo show at Inman Gallery. I’ve been represented by Inman for the last 7 years or so. This is my second solo show with them. My artwork usually features my circle of friends, (I photograph them nude and make drawings and paintings, using the photos as resource material). Kerry Inman and Patrick Reynolds who run the gallery thought it would be a fun idea to have the Houston art scene be a part of my work – so, last year I did a few weeks of photo sessions in Houston. I photographed other artists – some of whom I show with at Inman, gallery staff, curators and directors of some of Houston’s museums, writers/journalist/bloggers, collectors…. 35 individuals, total. And so the subject matter of “It’s a Nude, Nude, Nude, Nude, Nude, Nude World” is a whole bunch of Houstonians.
I’m expecting it to be a really fun opening, where every other person at the show is probably also up on the walls, in their birthday suit…!

Also, the title is a take-off on the old movie title, “It’s a Mad, Mad, Mad, Mad, Mad, Mad World” – which has an incredible cast of actors, and was a favorite of mine as a kid.

“Hana Twice, and Dana” 2010

 

“Two Yets, One with a Knife” 2010

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Talking to Kristy Perez

Question: Tell about  “If at first you dont succeed…”

The piece is titled “If at first you dont succeed…” and comes out of a collection of sculptures I did with a grant I received from the Artist Foundation of San Antonio in 2007. (Chez Bernard grant for underrepresented artists).

It is comprised of a salvaged/restored chair, a hand carved wooden dowel, metal hardware, and 23K gold leaf. The title is based on an idea I came up with as I was looking at the chair in my studio right after I pulled it from trash pile on the east side of San Antonio.

It was broken in three pieces. I put it back together and it was missing a leg in the back. I then noticed that on the upholstered seat of the chair there was a scenario of a young man seemingly trying to have his way with a young girl who seemed to be playing hard to get? I was charmed at that idea and the story seemed to work somehow with this broken down partially restored object I had in front of me. The title then hit me and instead of calling it “If at first you don’t succeed try, try, again” I decided to leave the “try, try, again” off so that the viewer is left to consider what in the end happens when one finds themselves in a hopeless state (i.e. in Love- which btw happened to be the theme for the series of sculptures I was working on for the grant)? The dowel/dagger that goes through the chair cushion becomes a metaphor for penetration/death. But….in the end this dagger ends up being the very thing that keeps the chair up! So there becomes this question (I hope) that we ask
ourselves “If at first you don’t succeed…” is it really the end? or can there be a moment of salvation that is not yet realized?? Must we first suffer through our
pain and heal from our wounds etc.,etc.??

Anyways, I know this was a bit narrative and lengthy but maybe it helps some in making sense of the piece beyond its visual impact.

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Talking Shows Reviews

War Story

Can an army make war on a concept? Tyler Hicks’ photography exhibit Histories Are Mirrors: The Path of Conflict Through Afghanistan and Iraq, currently on display at Vanderbilt University Fine Arts Gallery, doesn’t offer any answers where the contradictions of the War on Terror are concerned, but his images chronicle the soldiers and civilians who’ve been cast in the almost-decade-long tragedy. Hicks’ vivid photos show markets and massacres, heroes and hostages, every image taking its place in a sweeping drama presided over by a smiling villain: Saddam Hussein.

In Histories Are Mirrors, Hicks, a Pulitzer-winning New York Times staff photographer, documents the wreckage of the World Trade Center and the early years of the Iraq and Afghanistan wars, through 2004. Many of the wall labels offer only dates and locations, but the exhibit isn’t merely a timeline. Hicks’ best photographs capture the eternal features that crop up in the emotional landscape of wars everywhere: fear, pain, pride, rage, hubris, hope and hopelessness.

In one image, an Afghan soldier dressed in modern camouflage gives orders to his men while wielding what looks like a medieval sword with a curved blade. Afghanistan’s geographic location has made it a region in conflict since antiquity, and Hicks’ photo implies that the country’s young men will be eternal soldiers.

By Joe Nolan – ArtCzar Nashville Correspondent

www.joenolan.com/blog

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Top 10 finalist

Soporte Papel, 8/18/2010

I made the top ten.

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Talking about “Something Good”

“Something Good”

Curated by Chloe Gallagher and Jeffrey Pena

The show includes pieces in a variety of media from a wide range of the world’s brightest rising talents including: Aaron Nagel, Ashley Zelinskie, Carlos Donjuan, Chor Boogie, Hector Hernandez, Jeffrey Pena, Korakrit, Lapiztola, Pep Williams, and UR New York. The show will serve as a visual manifestation of the publication’s  curbs and stoops goal to provide exposure to stellar talents.

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William Hundley at work

Today’s Headlines Wrap Tomorrow’s Fish

A recycled goods installation by William Hundley
TONIGHT
Closing Reception: Saturday, July 24, 7-11 PM
Please contact Co-Lab or visit www.colabspace.org for further information.

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Talking to Kathryn Kelley

Talking about “Treading where no one hears the echo of her foot fall”

I breathe

I could no longer stay

Self sequestered there

In the tower of my making

There is no good way to destroy

One’s own tower

While remaining inside

There is no good why to get down

Without help

No one came

I crumbled the tower

Of my making

From within

And now

I wipe the dust from my face

And I stand in the rubble

Of this crumbled tower

I see my feet are on the ground

I reach down

Brush aside the rubble there

I am searching

Searching for my path

I breath and

I am grateful for that breath

Yet I am so grieved

That they need to tell me

I would be and will be destroyed

My breath catches deep within

“Remnant inner tubes” metal & wood, 2010

Now open through April 15 @ Women and Their Work

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Talking to Rhonda Dee

Question: Tell me about Second Nature”
I am interested in the body as a site of transformation.
‘Second Nature’ is from a series of large scale paintings on suspended sheets of Mylar film. The hybrid image suggests we are all migrants continually traversing not only the spatial boundaries of continents and
culture, but also the subcutaneous, internal, geographies of body, emotion, and psyche.
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Talking about Cheat Codes

Cheat Codes: lessons in love
A video art show curated by Amelia Winger-Bearskin

Opening Friday January 8, 2010 from 6pm – 10pm
January 8 – February 6

A lesson in love [or, a cheat code] is a key sequence, password, or series of steps to be entered within a video art work that will provide the player some object, ability, or access to a level or location within the game that is secret, hidden, or that would have otherwise been unobtainable or unavailable to the viewer [player] [12]

Featuring work by:
Joanna Bovay
Jennie H. Bringaker
Eunjung Hwang
David Horvitz
Basim Magdy
Jason Martin
Jay Schleidt
Robert Spees
Brent Stewart
Amber Hawk Swanson
Joseph Whitt
Grant Worth

Also this month’s Project Wall Space: Darina Mineva

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