"Maze Boy" : A mural by Cody Ledvina, March 8th - April 30th, 2014
Reception: Saturday, March 8th, 7-11PM
@ Project Space (613 Allen)
Cody Ledvina will create a mind puzzle on the side of the CoLab exhibition space. It will be white and black. It will be functional. Only your eyes are allowed to wonder through this fabulous design world.
As an interdisciplinary artist, my work looks at moments, time, place, and people within their environment. In this exhibition I look at an issue which has become untouchable. We react to it the moment it happens, but in 2, or 3, or 7 days we forget it again. It returns again and again in massive disasters, but we never take action about it. How can we build a life out of fear? Every day on the radio, on the television, in the newspapers, someone somewhere receives the call of last breath without notice. When parents drop their kids to school, they don’t know if that goodbye kiss is the last one. When husbands, wives, dads, and mums say bye in the morning, who knows if that is the last time you will set your eyes on and feel the heart beat of your loved ones again. We are all living in fear when our loved ones do not return at the usual time he/ she gets back from work. The statistics say 30,000 souls die and 60,000 are injured from guns every year in our America. How many have heard the last call through a gun shot in the world, and yet we continue to say GUNS DON’T KILL!!! Should we say it is the BULLETS that kill? Or is it people? Are we ourselves our own enemy? We invent these weapons of destruction. Some of us have the power to stop it, but we do not because this is the source of our wealth. The authorities we give our votes to in order to protect us refuse to enforce law on the spreading of GUNS in every corner of our nation and world.
Join me as I explore the side effects of GUNS in this solo exhibition installation and performance, and sign the petition with me.
Olaniyi Rasheed Akindiya a.k.a. Akirash was born in Lagos- Nigeria. He now lives in Austin TX. Olaniyi has received several Awards, fellowships, grants and residencies including the Commonwealth Foundation Award UK, Pollock K. Foundation grants, Triangle Art Association NY, Vytlacil Campus of the Art Student League NY, Vermont Studio Center, Nafasi Art Space Tanzania, Thami Mnyele Foundation Netherlands, Bluesky Project Chicago. Olaniyi exhibits his work nationally and internationally.
Sponsored by Tito’s Vodka, Hotel San Jose, Cine Las Americas, Big Green House Presents, and Dos Equis
Fade Grid is Carlos Rosales-Silva’s first Texas exhibition of new work since relocating to New York City. Spanning several mediums, Rosales-Silva’s brightly colored, darkly humorous work is representative of the larger cultural and social structures Americans occupy in both the physical and digital realm. Different art historical modes are leveraged and instilled with new relevancy when filtered through the exchanges, histories, and visual cues of urban communities.
Carlos Rosales-Silva is an artist living and working in New York, NY. Rosales-Silva attended the University of Texas at Austin where he received his BFA in Studio Art in 2010. In 2008 he became a member of the Okay Mountain Collective and Gallery. Most recently he mounted a year long solo project at the Utah Museum of Contemporary Art. His favorite activity is watching the sunset. His favorite biome is the desert.
Beverly Penn and Barry Stone examine how we picture nature. Through digital and mechanical manipulations, Penn and Stone alter otherwise faithful representations of the natural world. Reprocessing their works either by rearranging the digital code in Stone’s photographs or performing a type of reverse-engineering to Penn’s sculptural works via 3-D modeling or casting, the traditional schema of what we perceive as natural or artificial is put into question.
Beverly Penn was born in Baltimore and now lives and works in Austin. She is the recipient of numerous fellowships including a Rockefeller Foundation residency in Bellagio, Italy; a Connemara Conservancy Artist Grant; grants from the Texas Commission on the Arts and a Fulbright Fellowship in Barcelona. Her work is represented in many private, corporate and public collections, most notably the Cooper Hewitt in New York, the Philadelphia Museum of Art, the Racine Art Museum, and the Austin Museum of Art.
Barry Stone was born in Lubbock, Texas, and earned an MFA in Photography from the University of Texas at Austin (2001) and founded the lens based artists collective, Lakes Were Rivers. His work is represented by Klaus von Nichtssagend Gallery in New York and Art Palace Gallery in Houston. Stone lives in Austin, with his wife and two daughters and is an Assistant Professor and the Coordinator of the Department of Photography in the School of Art and Design at Texas State University-San Marcos.
The Cell Phone Photo Gallery is a conceptually focused exhibition which aims to utilize cell phone photography as a means to playfully undermine the officious value systems that judge what art is, by confronting viewers with the shameless suppositions of what art typically is not.
In broader context, The CPPG project means to document, explore, and question the rising sense of sociocultural awareness that is occurring in part from the universal accessibility of simple technological mediums such as the Camera Phone. Not since the advent of pens and pencils has an entire generation suddenly had almost universal access to such a simple and effective new tool for documenting their experiences and expressing their thoughts at any given moment. The CPPG means not to champion or challenge the debatable worth of this technological shift, as much as it does to instigate a dynamic new conversation about its implications.
Because the camera phone has become so readily accessible to so many people, the cell phone photograph in itself tends to be dismissed artistically as a shoddy comment upon “real” photography. The CPPG refutes this notion ardently by organizing and assembling large scale, city-specific, cell phone photo exhibitions that call upon the every day citizen for their own unique interpretation of art, photography, and meaning. The massive collection of cell phone photos are gathered through direct, alternative, and above all, creatively-focused submission strategies, and are then anonymously displayed in a spectacular arrangement within the space.
The final product amounts to a gallery space transformed by several hundred cell phone photos that when viewed as a whole, compellingly reveal a truly magnanimous image.
Over the course of 2013, The Sketchbook Project Tour will visit 8 cities on a cross-country journey that begins in New York at the Brooklyn Art Library, our storefront exhibition space and home to our permanent collection of more than 22,000 sketchbooks. This exhibition is the start of a unique, interactive installation that draws thousands of participants. We invite people of all backgrounds to explore and participate in the world’s largest library of sketchbooks, generating a groundswell of creative energy in communities around the world and among more than a million visitors online.
The Sketchbook Project is an interactive mobile library of artist’s sketchbooks contributed by creative people from across the globe. We encourage artists from diverse backgrounds, whether they are working artists, full-time parents, busy professionals, children or students to share their process with each other and our creative community. Participants sign up in person or online to receive a blank sketchbook, then fill it with their most amazing, inspired ideas and mail it back. The books are then cataloged in the Brooklyn Art Library’s permanent collection and exhibited at venues around the country in our Mobile Library, a custom fitted art exhibition on wheels.
Further tour stops: Atlanta, Toronto, Chicago, Portland (OR), San Francisco, and Los Angeles. See more details here: www.sketchbookproject.com
About Art House Co-op Art House is an independent, Brooklyn-based company that organizes global, collaborative art projects. Our flagship endeavor is the Sketchbook Project: an evolving library that features more than 22,000 artists’ books contributed by creative people from over 130 countries. We operate the Brooklyn Art Library, our storefront exhibition space in the heart of Williamsburg, as a home for all of our projects.
Art House began in 2006 in Atlanta, GA and moved to New York City in 2009. Since that time, our small organization has grown into a worldwide community of more than 70,000 artists. By focusing on the intersection of hands-on art making and new technology, Art House nurtures community- supported art projects that harness the power of the virtual world to share inspiration in the real world.
Hand Painting hair creates lines to form something new. Holloway uses collage elements to paint something not seen in nature.
Optical illusion, double imagery, pattern, surrealism, and hair are major influences Holloway uses in this series of collage and the hand painted mural at Co-Lab.
About Chris Holloway: Chris Holloway received his fine arts degree from Texas State University, San Marcos. Born and raised in San Antonio, Texas, he has been a proud resident of Austin since 1998 and has been an active member of the artistic community. His work has been shown in numerous local galleries and featured in the annual East Austin Studio Tour for the past 7 years. Working under Muralist/Artist Doug Jaques in the year 2000 encouraged Holloway to keep painting large scale murals. Starting while in college in 2003, Holloway worked for a special events company (painting scenic backdrops, faux finishing and fabricating props) and continued working there until 2009. Between 2006 and 2011 Holloway has been creating art and showing in galleries in Austin. Also in 2011 Holloway created Fuzzy Popsycle- a hand made media company specializing in hand painted murals, signs, ads, screen printing and custom furnishings. Fuzzy Popsycle is the Samsung Beautification Winner of 2012 presented by Keep Austin Beautiful.
Etymology—Wikipedia The term heresy is from Greek Œ±·ºµœÅŒµœÉŒπœÇ originally meant “choice” or “thing chosen”, but it came to mean the “party or school of a man’s choice” and also referred to that process whereby a young person would examine various philosophies to determine how to live. The word “heresy” is usually used within a Christian, Jewish, or Islamic context, and implies slightly different meanings in each. The founder or leader of a heretical movement is called a heresiarch, while individuals who espouse heresy or commit heresy are known as heretics. Heresiology is the study of heresy.
"FOR AN ABSTRACTION" : Christopher Culver & Jeff Williams, February 16th - March 2nd, 2013
"FOR AN ABSTRACTION" : Christopher Culver & Jeff Williams An exhibition in two parts
@Project Space Reception: Saturday, February 16th, 7-11PM On view by appointment only February 17th - March 2nd Sponsored by Balcones Distillery and Black Star Co-op
@N Space February 24th - April 19th On view during open hours every Wednesday 5:30-8PM and by appointment
In presenting “for an abstraction,” Culver and Williams are interested in positioning their work within the same space to alter its meaning. The exhibition itself will function as a generative act, taking the separate practices and pairing them into a new work. Both artists investigate the relationships between materiality, abstraction and their relationship to language. Culver and Williams incorporate similar dialectics within their work, between structure and experience, distance and proximity, form and formlessness, all connected through underlying structures, whether the physical support for a canvas or the gallery architecture itself. In addition, there is a correlation in their work in regards to time and memory where the familiar becomes obscured.
Culver was born in Miami, Florida 1985; he received his BFA from the San Francisco Art Institute and is an MFA candidate at The University of Texas at Austin. He has exhibited at the Night Club in Miami, Queens Nails Annex in San Francisco, and Yautepec Gallery in Mexico City, among others. This will be his first show in Texas.
Williams was born in Cambridge, Massachusetts in 1976. He now splits his time between Austin, TX and Brooklyn, NY. Williams has received several fellowships and residencies including The American Academy in Rome, The Core Program, Artpace, and currently at Socrates Sculpture Park. Williams exhibits his work nationally and internationally.
Come one. Come all. We are opening up the gates to a zoo filled with wild metaphors and white collar crime. Prepare yourself for this once in a lifetime opportunity to have an up close and personal visit with the animals that feed on greed. They know what you had for breakfast and they will sell it to you for dinner. What a wonderful way to spend Groundhog’s Day… pointing and laughing at creatures who lurk in the shadows of giant buildings.
"Armageddon Outta Here" : Ink Tank, December 21st-29th, 2012
"Armageddon Outta Here" : Ink Tank An End of the World/Winter Solstice/Galactic Convergence Party and Food Drive
Sponsored by Tito’s Handmade Vodka and Circle Brewing
@ Project Space (613 Allen St)
December 21st, 7PM-?
It is here. It is over. The end. And there are only two ways out; together or alone. Come comets, come catastrophes, come cats and dogs, come hell or high water. Our calendar has finally been exhausted, the Long Count has run its course. Mere anarchy will be loosed upon the world. The center cannot hold and there are only two ways out.
You can hide away, solitary and despairing, doomsday’s rumor your only companion. But we, Ink Tank, choose each other.
We will band together, tune our radios, stockpile, set our jaws and square our shoulders, build our bunks, and welcome the community into our protective fold.
On December 21st, 2012, Co-Lab will be fortified and buttressed, made a haven and a refuge; a new Arc. We will be gathering resources to ride out the end. Any canned or non-perishable food items or supplies you bring that night be added into our community cache and will grant you entry into our safe zone, replete with hope, shelter, and a last supper. But should this foretold end not come to pass and we do survive, our vigilance and efforts will not go to waste; any and all goods received will be donated to local food banks in time for a fresh start, a new beginning, 2013.
Guest soundscape performances by Zac Traeger and Henna Chou
"Conspectus : Two Thousand Twelve" + "East Austin Studio Tour", November 10th - December 1st, 2012
"Conspectus : Two Thousand Twelve" + "East Austin Studio Tour"
Kick-off Party/Opening Reception: November 10th, 2012, 7-11PM E.A.S.T. Hours: November 10th, 11th, 17th, 18th 11AM-6PM 2012 Catalog/DVD Release Party: December 1st, 2012, 7-11PM
con·spec·tus noun \kən-ˈspek-təs\ 1: a usually brief survey or summary (as of an extensive subject) often providing an overall view 2: outline, synopsis
A comprehensive look back at our 2012 programming year. Each artist or group of artists had the opportunity to transform our space utilizing it to express their ideas, now smaller components from each of these projects will be shown together illustrating the breadth and diversity of art we witnessed this year.
Featured Artists: Lisa Choinacky, Michael Abelman, Robert Jackson Harrington, Loring Baker, Jamie Panzer, Eric Timothy Carlson, Shawn Camp, Kollin Baker, Daniel Kliewer, Paul McLean, Alyssa Taylor Wendt, J Haley, Julia Hungerford and Lee Webster, Ben Brandt, Mark Johnson, Russell Etchen, Justin Balleza, Drew Liverman, Jules Buck Jones and Morgan Coy, Andrea Hyland, and Judy Rushin
"The Secret Social Life of Painting" : Judy Rushin, October 13th-November 24th, 2012
"The Secret Social Life of Painting" : Judy Rushin
@ N Space (905 Congress Ave) October 13th - November 24th, 2012 Also on view during open hours Wednesdays 5:30-8PM and by appointment
@ Project Space (613 Allen St) October 20th - 27th, 2012 Opening Reception: Saturday, October 20th, 2012, 7-11PM Also on view by appointment
The Secret Social Life of Painting is an exhibition of works in two parts by Judy Rushin and is simultaneously on view at Co-Lab and N Space. The works at Co-Lab hang on and lean against the walls and stand freely in open spaces, creating an experiential environment that Rushin sees as an extension of themes developed in the 60s by artists like Blinky Palermo, Imi Knoebel, and Helio Oiticica. Like her forerunners, Rushin allows her creative process to be intuitive and her post-creation analyses to be equally fluid. Essentially though, she reduces the elements of discourse to their most basic components to establish a space for larger and more mysterious concepts to emerge. Hanging limp or connected to one another, the paintings look for new ways to be paintings… and that’s it. No neon signs, no climaxes, no imagery, no limelight. The work exists quietly, proceeds at a slow pace, and waits patiently for your attention. While the works on view at Co-Lab create a group dynamic, the works on view at N Space focus on individual pieces. Their statements are understated – they’re about the rigor of simplicity, not virtuosity for its own sake — but stripped of the anonymity of the group setting, they reveal an ability to speak confidently in their own right.
Opening Reception: Saturday, October 6th, 2012, 7-11PM On view by appointment through October 13th
The idea for the show started with a conversation about the road of life; inviting the possibility of choosing your own adventure. As humans we are obsessed with figuring out what the right path may be and as a society infatuated with time we begin to question ourselves when faced with crossroads; what am I doing? Where am I going? Am I doing the right thing? However when presented with options and enticed by distractions our paths tend to change. Through an interactive/ performance I will constructs an abstract environment and create a metaphorical experience that explores the idiosyncrasies of our decision making while offering simple explanations to understand the world in its complexity.
Opening Reception: Saturday, September 22nd, 7-11PM On view by appointment only through September 29th Beverages Provided by Tito’s Vodka
This body of work combines performance, photography, drawing, animation, projectors, costumes, and sculpture to illustrate transformations of humans and animals into and out of each other. The work is a collaborative effort by Jules Buck Jones and Morgan Coy, both interested in ideas of transformation, and hybridization and the mythological, scientific, and spiritual bases of such actions and occurrences.
The Co-Lab mural is an extension and pseudo-promotion for an ongoing drawing series called BWR (Black/White/Reddish). While the mural will be largely improvisational/automatic to keep with the spirit of the drawings, certain visual elements/characters will be included to create a sort of graphic synthesis of the series so far.
Drew Liverman is an artist and designer residing in Austin, TX. Since receiving his BFA in painting and printmaking from Virginia Commonwealth University in 2002, Drew’s drawing, painting, screen-printing, video/animation, and installation work has been featured in Beautiful Decay Magazine and shown in The Centre for Contemporary Arts Glasgow, Scotland; Atelier als Supermedium Artists Space for Contemporary Art Den Haag/Rijswijk, The Netherlands; and the Lawndale Art Center in Houston, Texas. In addition to his personal work, Drew contributes to the Austin, TX based art collective, Boozefox and is a staff member of MASS Gallery in Austin, TX.
ERC ATX, in collaboration with Co-Lab Projects, is proud to present our first show dedicated to local moving image artists. In conjunction to our mission of bringing classical and contemporary experimental cinema to Austin, ERC ATX aims to showcase the rich work that is happening within our midst, while further fostering a community around an other cinema.
Featuring work by Lyndsay Bloom, Jason Cortlund & Julia Halperin, Nathan Duncan, Jarrett Hayman, Caroline Koebel, Metrah Pashaee, Ekrem Serdar, Scott Stark and Rachel Stuckey.
Open Hours: September 12th - 15th, 4-8PM and September 16th, 2-6PM
The 2012 Sketchbook Project World Tour kicked off April 14th at the Brooklyn Art Library, featuring thousands of sketchbooks contributed by artists from more than 100 countries.
Over the course of 2012, the Sketchbook Project Tour will visit 15 cities in four countries, bringing handmade artists’ books to art spaces around the world. Each interactive installation of the traveling library will draw thousands of patrons to explore the world’s largest library of sketchbooks, generating a groundswell of creative energy in communities from Chicago to Australia and among more than a million visitors online.
The Sketchbook Project is a mobile library of artists’ sketchbooks contributed by thousands of creative people from across the globe. The Project encourages artists from diverse backgrounds ― working artists, full-time parents, busy professionals, students ― to share their process with each other and the public. Participants sign up online to receive a blank sketchbook, then fill it with artwork and mail it back. The results are cataloged in the Brooklyn Art Library’s permanent collection, displayed online in the Digital Library, and exhibited at museums and arts festivals from coast to coast. The Project demonstrates the power of collaboration: When 10,000 people get together with a common purpose, we can create something uniquely awesome.
Art House is an independent, Brooklyn-based company that organizes global, collaborative art projects. Our flagship endeavor is the Sketchbook Project: an evolving library that features more than 18,000 artists’ books contributed by creative people from 130+ countries. We also operate the Brooklyn Art Library, our storefront exhibition space in the heart of Williamsburg, as a home for all of our projects.
Art House began in 2006 in Atlanta, GA and moved to New York City in 2009. Since that time, our small organization has grown into a worldwide community of more than 60,000 artists. By focusing on the intersection of hands-on art making and new technology, Art House nurtures community-supported art projects that harness the power of the virtual world to share inspiration in the real world.
On view during open hours (Wednesdays 5:30-8PM) and by appointment only.
My work deals with animals. The depiction of animals through drawing and lore is as ancient as the imagination. The impressions and ideas they provoke range from symbolism to science. I make large scale, 2-dimensioal drawings, sometimes bizarre and fantastic, other times simple and subtle. All of this stems from a long interest in the natural sciences. The work grows from thoughts and research on biological and ecological concerns as well as along narrative and mythical dimensions.
I depict my animals in various ways. I use techniques inspired by the clear careful illustrations of field guides, through a range of expressive and abstract artists. A lot of my work bumps representation up against its limits. Abstraction comes into play in many ways. At times an animal, drawn in larger than life scale will melt away into aggressive strokes of color and marks, robbing the animal of its form. Other times I assemble animals into geometric formations, or I’ll attempt to merge scientific diagrams with the myths that precede them.
My work is very much about drawing itself. The line plays a crucial role in the development of my subject matter. I draw with a quick, gestural, playful delivery, which I believe gives the subject a liveliness that often eludes a slower, more meticulous, depiction. I use a variety of media from all sorts of drawing tools, such as graphite, charcoal, and wax, to different water-based pigments as inks, acrylic, watercolor, and gouache. I team lines with washes to build or negate my subjects. I strictly work on paper, preferably larger than a person. To me, drawing has more of a romantic relationship to paper than to other surfaces, like wood or canvas. The paper allows my pencils to glide when they move and embraces my washes in some symbiotic manner. The grand scale creates a 1 to 1 ratio between work and viewer. Conceptually I think this is interesting and intrinsic to the dialogue between man and nature. The scale is also conducive to the loose descriptions and allows a greater arena to suggest the infinite details nature provides.
I revel in the idea of continuing the long inscription of drawing, painting, sculpting and believing in animals. I draw inspiration from prehistoric cave paintings, totemic symbols, the great artist/naturalists like Seba, Haeckel, Audobon, and a contemporary art world increasingly more aware and intrigued with issues of the natural world. Fact and fiction, past, present and the future, all play a role in my work. I aim to express and conjure the flesh and magic of evolution, classification, environment, bio-diversity, mutation, and extinction.
Jules Buck Jones is a practicing artist living and working in Austin, TX. Jules was born in Northampton MA but grew up in Northern and Central VA. He got his BFA from VCU in Richmond, VA in 2005 and received his MFA from UT Austin in 2008. Over the years Jules has developed a body of work dealing primarily with animal imagery and thoughts on biology, ecology, mythology, and transformation. He participated in the Austin Museum of Art’s “20 to Watch” show in the spring of 2008 and was the Artist in Residence in Everglades National Park in May and June of 2009. He has also completed 3 residencies in 2011 at the Vermont Studio Center in VT, the Skowhegan School for Painting and Sculpture in ME, and Buoy Gallery, ME. Jules shows extensively throughout TX with solo shows in Dallas, Austin, and Houston. Jules is also part of several collaborative teams practicing large scale installations and collage and is president of the non-profit project space, MASS Gallery.
"Divine Comedy: 3 Realms" : Justin Balleza, July 7th-14th, 2012
"Divine Comedy: 3 Realms" : Justin Balleza
Reception: Saturday, July 7th, 2012, 7-11PM On view by appointment only through July 14th, 2012
The show is loosely based on Dante’s Divine Comedy using the classic work of literature as a launching point. The main themes are Heaven and Hell, with Dante representing humanity in the middle, or Purgatory. My thought is that these places or states of being are constructs of the human mind. For centuries humans have grappled with understanding the forces at work behind the world we can physically see. If there is injustice, pain and suffering in the world there must be a cause. This reason must be a combination of forces inside and outside our mortal control. We make decisions, but they are constrained by factors around us. Our environment, actions and other people’s actions combine to force what we can do for ourselves. Whether supernatural or not, scientifically explainable or not, we are caught in struggles of chaos and order, good and evil. These tendencies, however you might imagine or define them, are innate in the Universe and all life. It is the way of things - without darkness there is no light.
The show is composed of a pair of wall murals that attempt to describe these opposing forces as well as a drawing of Dante in the middle representing humanity caught somewhere between. On the one side chaos or hell is shown in a literal sense as explosions. On the other side of the gallery is order, calm and transcendence seen as a field of Lotus flowers. These visions of heaven and hell are shown through images of nature - the frightening reality of Samsara and the calm realm of Nirvana most of us visit rarely if ever.
Over the past year I have studied naturalistic drawing at the Atelier Charles Cecil Studios in Florence Italy. There we draw figures and portraits from nature using a naturalistic process of drawing called, “sight-size”. The cast drawing of Dante in the show is done using this method of drawing.
"Survey/Surveil" : Jason Reed and Bethany Delahunt, June 16th-23rd, 2012
"Survey/Surveil" : Jason Reed and Bethany Delahunt
Opening Reception: Saturday, June 16th, 2012, 7-11PM On view by appointment only through June 23rd
Survey/Surveil explores the visual rhetoric and psychogeography of the U.S./Mexico border through video, interactive sculpture, photography, and appropriated imagery. We have worked independent of each other, except for a few conversations, and our nature of creating and reference of experience are quite different. However, we are intrigued by and have made work in response to similar issues, in particular the construction of border identity by the public and media, notions of otherness, the land as a surveyed/surveilled space, and the game of us vs. them that is played out daily along the line.
With an understanding that vision facilitates each of these issues and functions as the chief method of control in this environment, we have built an installation that shifts the context of looking and invites reflection on what is being seen and by whom. Within the space, we also invite interaction within real and constructed situations, illuminating how seductive it is to engage in the game of watching.
Ultimately this exhibition reflects our collective effort to use art as a means to pose significant social questions about borders, ways of looking, immigration, smuggling, and modes of representation. Rather than using the work to make a value judgment, we are most interested in the installation serving as a catalyst for critical inquiry and contemplation. And through participation we work to provide viewers an opportunity to explore multiple perspectives — to watch and to be watched.