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.
Opening Reception: Saturday, June 2nd, 2012, 7-11PM "Think Like a Bird” workshop: Sunday, June 3rd, 2-3:30PM On view by appointment only through June 9th, 2012
I am interested in synanthropes- animals that thrive due to mankind’s impact on biodiversity. Urbanization has been detrimental to many species, but it has also accelerated adaptations and successful symbiosis in some animals living amongst humans. I celebrate the creative effects of our influence on nature in addition to concerning myself with the negative. Synanthrope Stations are sculptural installations equipped to accommodate the seasonal needs of urban dwelling birds. Trash infused bird nests are a common sight in cities and suburban areas, and some researches say that birds benefit from the longevity of synthetic over natural. I will process and organize various man-made materials, taken from litter, and weave it through sculptural steel and ceramic supply stations for birds. By removing trash from a site and transforming it for animal use, I am hoping to initiate other ways of looking at refuse and our responsibility to nature.
On Sunday, June 3rd, 2-3:30PM, families and bird lovers are welcome to “Think Like a Bird” with the visiting artist. Kamin will guide visitors through a quick walk to collect litter for building their own trash nests. The workshop will also include conversations about the artist’s work, bird architecture, and identifying different species that thrive in the city. The artist will also present participants with a small gift for their nest. No materials or fees necessary just bring a curiosity for nature!
Calder Kamin (born Austin, TX) is an artist and art administrator in Kansas City, MO. Kamin’s fabricated ceramic fauna illustrate an investigation into our benevolence towards certain species and cultural constructions of nature. Before completing her BFA, for ceramics and art history from the Kansas City Art Institute in 2009, she curated for Red Star Studios, the Kansas City Art Institute’s Ferguson Teaching Collection and off campus galleries. Kamin is a 2011-2012 Charlotte Street Foundation’s Urban Culture Project resident artist, and has returned to KCAI, as staff in Career Services, responsible for the development of the Professional Practice programing. She has shown nationally, and is in several notable collections in Kansas City.
The Synanthrope Station was made possible with design assistance from K. Flecksing Studios, and funds from the ArtsKC Inspiration Grant.
Open hours during the West Austin Studio Tour May 19th and 20th, 11AM-6PM On view by appointment May 21st-July 14th, 2012
N Space at Nelsen Partners 905 Congress Ave. Austin, TX 78701
"In these works I invade the viewers space with fragmented conversations. The lost paragraphs meanings find their way to the surface through similar relationships between letters, drawings, color and texture. I try to observe events, human interactions, and personal perspectives to become more conscious of my own emotional responses and to find metaphors for experience. My findings become the phrases used in my work that are journalistic in nature and describe a universal struggle of reflection." -Mark Johnson
Mark Johnson paints, draws, and creates multimedia work out of a studio in the east side art megaplex, Pump Project. Much of his work involves text and letters - sometimes with direct messages, others that are harder to decipher. He moved to Austin in 2008 from Brooklyn and has exhibited during the East Austin Studio Tours, “Fifth Business” a joint show with Debra Broz and Michael Merck at Pump Project, and a solo show at Art Project in 2009. He currently works as Operations Manager/Preparator at AMOA/Arthouse.
Newly rebranded nonprofit Co-Lab Projects has entered into a unique partnership with downtown architecture firm Nelsen Partners to provide an additional exhibition site called N Space—a new testing ground for a rotating selection of contemporary art meant to complement work customarily exhibited at Co-Lab’s Project Space in East Austin.
Co-Lab Projects will now serve the artistic community by providing multiple venues in which to exhibit, learn, and teach. Co-Lab Projects aims to cultivate a new collectorship for up and coming artists.
Opening Reception: Saturday, May 19th, 2012, 7-11PM On view by appointment only through May 26th, 2012
“All_Over” is a contemporary iteration of an ancient form, the grotto. Ambiguous in its definition owing to various uses, both artificial and manmade grottos are caves that have served as oracle temples and garden decorations. Generally, manmade grottos are created to represent their natural counterpart, sculpted environments that are embellished with statuary and artificial geological formations. The famous Buontalenti Grotto in Boboli Garden outside Florence houses a sculpted pastoral scene, encrusted with stalactites, along with Michaelangelo’s Prisoners, and landscape frescoes that provide a space for contemplation of the numinous.
The site-specific installation “All_Over”, takes as a departure point, the often-overlooked grotto-like domestic spaces of the attic and basement crawlspaces. These liminal spaces that insulate and buffer everyday living spaces from the exterior world, often serve as repositories of little-used items of storage, or house the mechanical systems that regulate the flow of air and water through the structure. These spaces often sit dark and forgotten for extended periods until either some problem with our environmental regulation system presents itself, or some occurrence outside of the daily flow of life creates the need for us to enact a retrieval operation. If a building and a body were metaphorically mapped into each other, the attic and the basement would represent the space of memory and the subconscious, respectively. This grotto presents a collapse of these two separate zones, where blown insulation will become the geologic accretions over the stored remnants of sculptures as psychological contents.
"Not Free, Not Dead: The Psychedelic End" : Nightmare City, May 5th, 2012
Nightmare City Presents "Not Free, Not Dead: The Psychedelic End" a touring program of recent San Francisco Bay Area shorts
Outdoor Screening: Saturday, May 5th, 2012, 8:30PM Runs concurrently with “TEENAGE WASTELAND” in the gallery
San Francisco, CA – Nightmare City is pleased to announce the upcoming tour of Not Free, Not Dead: The Psychedelic End, a video program of recent Bay Area shorts.
Harkening back to the tripped out psychedelic lightshows of San Francisco’s 1960s counter culture as well as early Beat Generation experiments in stop motion animation, the artists included in Not Free, Not Dead pay homage to the Bay Area’s rich relationship with the moving image while simultaneously transcribing their fragmented technological experience onto these varied strategies and materials.
Ranging from narrative to music video to experimental – these mixed shorts are united by a visual vernacular specific to California. Cobbled together from internet search words, these kaleidoscopic fragments are informed equally by subculture, the Bay Area’s rich underground film and video history as well as Hollywood’s cult classics and formulaic genres.
These hazy dreamlike states are populated by rock-and-roll devil horns, hang-loose hands and smiley faces floating freely alongside processed clips appropriated from major motion pictures. The darker side, a bad trip, emerges as surreal worlds give way to surreal worlds in a narrative buddy film and a horror flick, twisted from the mirrored, rainbow static of California’s once frontier landscape.
Featuring recent work by Caitlin Denny, Gregory Kaplowitz, Jen Kirsten, Alex S. Lukas, Jessica Miller, Dan Olsen, Skye Thorstenson, Virtual Pubes, and Nightmare City.
ABOUT Since the 1940s the existence of institutions in the San Francisco Bay dedicated to the screening, distribution, and discussion of alternative film and video art fostered an environment that facilitated and supported the thriving experimental scene. Not Free, Not Dead: The Psychedelic End explores the extension of this trajectory in which a new crop of video artists are claiming the San Francisco Bay Area’s video landscape. Their performative, processed, hyper-color, animated worlds of skewed, sometimes non-existent narrative are united by an aesthetic of trippiness, the values of punk cinema, and seemingly abject notions of form, notions that are disembodied by the camera, computer or projector’s consumption.
Caitlin Denny is an independent curator, writer and artist based in San Francisco. In 2009 she founded JstChillin.org, an online exhibition platform, with Parker Ito. Through videos, interactive works, installations, essays, and various fabricated ephemera, the site generated a sense of community that reflected JstChillin’s interest in collapsing the relationship between curatorial pursuit and artistic practice. Rhizome at The New Museum is currently undertaking a complete archival of the project. Denny recently spoke in a panel discussion on The Digital Museum at The Creator’s Project and has done projects at Xth Lyon Biennale, The Dependent Art Fair (New York), 319 Scholes (Brooklyn), Reference Gallery (Richmond), School 33 Art Center (Baltimore), Roots and Culture (Chicago), The LAB (SF), NOMA Gallery (SF) La Mama (NYC) and many other locations in the net. She currently is directing and choreographing an evening of interactive and performative installations referencing the negative reflexivity of “being-online”. Body Manipulations will occur in June 2012 at San Francisco’s The LAB located in The Mission. She graduated from California College of the Arts in 2009 with a BFA in Media Arts.
Gregory Kaplowitz uses the mediums of photography and video to create painterly abstractions that result in unique photographs, editioned prints, and installations. He graduated from the California College of the Arts in 2007 with a dual BFA in photography and graphic design. Since then, he has participated in group exhibitions in New York and the Bay Area; and in 2009, he collaborated with Inbred Hybrid Collective for a solo show at the Christopher Henry Gallery in New York. Gregory Kaplowitz has also had his videos screened in programs presented in Hamburg, Berlin, Montreal, Chicago, and San Francisco. Currently, Gregory Kaplowitz is in the process of co-curating the exhibition, The Body is Missing, which has also received a 2011 Alternative Exposure Grant.
Jen Kirsten is an Oakland, CA based film and video artist whose work is informed by the Bay Area’s punk and LGBT community. By juxtaposing different formats, such as 16mm and VHS, and using lo-fi editing techniques like rescanning, Kirsten playfully examines the layering of identity and socially prescribed gender roles, while creating formally striking works.
Alex S. Lukas has been active as an experimental musician and practicing sound & video artist since his teenage years, performing regularly and showing nationally and internationally. Alex attended the MFA program of the California College of the Arts in Media Arts and holds a BFA in Film / Video / Performance. His video work focuses on temporal manipulation and illusion, predominately on analog formats.
Jessica Miller is an artist and designer living in San Francisco. Much of her work revolves around the subconscious symbology of color and form, and how those visual cues operate within social structures and cultural tropes. She received her MFA from California College of the Arts in 2008, graduating with both the Toby Devan Lewis Award and the Cadogan Award. She held the 3 x 3 Residency at the Exploratorium, and has exhibited at The San Jose Institute for Contemporary Art, the San Francisco Arts Commission, Intersection for the Arts, SomArts gallery, and other Bay Area arts institutions. She currently works as Design Manager at Pivotal Labs, a software development agency where she specializes in Interaction Design for web and mobile applications. Her design work has been recognized at SXSW, where she was part of a team that won the Best in Mobile award in 2010.
Dan Olsen is the founding member of the ILuvMaryHartman YOUTUBE CHANNEL Fan Club. His collages, drawings and videos pull, twist and distort the pop cultural visual landscape. He has shown at S.H.E.D. Projects, The LAB, Shelf Gallery, Chop Chop Gallery, and The Toledo Art Museum, and his work will be on view at Adobe Books Backroom Gallery in the show 4 Dimensional Hollywood, opening March 31 2012.
Skye Thorstenson is an interdisciplinary artist who moonlights as a music video director, notably directing the video for Myles Cooper’s “Gonna Find Boyfriends Today”. He has exhibited at several galleries including Yerba Buena Center for the Arts, David Cunningham Projects, Fringe Exhibitions, and Current Gallery. He co-curated Channel Drift, a program of animated shorts in The San Francisco International Animation Festival and was recently awarded a grant from the San Francisco Arts Commission.
Virtual Pubes is guided by the delirious visions of Eric Svedas and Sam Wohl. Svedas and Whol both grew up in Southern California and share an interest the behind-the-scenes gritty, grimy magic of fabrication and special effects in big budget movie production. Their collaborative endeavors explore the space in which fine art, performance, video and entertainment meet while dispersing authorship by expanding their collaborative net. They often work with Sarah Bernat, producer extraordinaire, Josh Self, cinematographer and filmmaker, and Rob Spector, accomplished musician and front man of Bronze.
Nightmare City IS/WAS/WILL BE an interdisciplinary collaborative project renowned for their video art and installation works such as “Daisies,” “Welcome to Art School,” and “The Pixie Troll Witch Hour: Into the 3AM Void with Carol Anne & Keturah”. According to Nightmare City, We live in the present; which is simply to say we live in a version of the future past.
Opening Reception: Saturday, May 5th, 2012, 7-11PM On view by appointment only through May 12th, 2012 Opening Reception: Saturday, May 12th, 2012, 7-11PM
All the angst, all the conviction, all the confusion, all the hook-ups and the horror: experience it all again. Teenage Wasteland brings together a collection of work by Austin artists created during their most formative years. This compendium of teenage creative output spans genres from painting and drawing to zines, voodoo dolls and skate videos.
Join us May 5th for opening party and May 12th for closing party and bonfire of teenage dreams in which all unwanted works will be burnt.
Julia Hungerford, Lee Webster, Sean Gaulager, Pat Snow, Jeremy Burks, Debra Broz, Sandy Carson, Joshua Saunders, Patrick Bresnan, Michelle Devereux, Caroline Wright, Rebecca Marino, Matthew John Winters, Amanda Mullee, Mark P Hensel, Glade Hensel, Lauren Klotzman, Jill Catherine Pangallo, Billy Beasty, Katie Geha, Olivia Pepper, Michelle Marchesseault, Jess Williamson, Travis Kent, Cheyenne Weaver, Ivete Lucas, Zach McDonald, Sam Sanford, Magali Pijpers, Linda Heathers, Katie Rose Pipkin, Bridget Mouton, Sally Bergom, Linda Wandt, Mikaylah Bowman
Co-Lab Projects and Fusebox Festival are pleased to announce their participation in Low Lives 4, an international exhibition of live performance-based works transmitted over the web and projected in real-time at multiple venues around the world.
Co-Lab Projects and Fusebox Festival will host a live performance by Alyssa Taylor Wendt as part of Low Lives 4. Alyssa’s performance, along with more than 50 others taking place around the globe, will be streamed online and screened for public viewing at The Fusebox Festival Hub, located at 1100 E. 5th St in the old Tops Used Furniture building. Low Lives 4 will take place at the the Fusebox Festival Hub on Friday, April 27 from 7:30-10:30PM and at Co-Lab Project Space on Saturday, April 28 from 2-5PM. Alyssa will only perform on Friday, April 27th from 9-9:30PM.
Fusebox champions innovative works of art across a variety of different mediums. The festival acts as a catalyst for new ideas, new artistic models, and approaches to help us engage with the issues and questions that define contemporary life.
Co-Lab Projects is an artist-run non-profit organization dedicated to facilitating public projects and exhibiting contemporary works of art, installation, and performance. By operating on an ambitious programming schedule, the organization provides exposure and opportunities for local and national artists to create new and experimental bodies of work on a frequent and flexible basis. Through collaboration, education, and engagement, Co-Lab encourages artistic exploration and dialogue within the community.
About Low Lives Founded in 2009 by artist and independent curator Jorge Rojas, the annual Low Lives festival highlights works that critically investigate, challenge, and extend the potential of networked performance practices. The project celebrates the transmission of ideas beyond geographical and cultural borders, offering global audiences the opportunity to consider live performance in both physical and virtual space.
By organizing performances at numerous venues and then broadcasting them via online networks, Low Lives provides a new model for efficiently presenting, viewing, and archiving live performance-based art. The annual exhibition embraces low-tech aesthetics, such as low pixel images and muddled sound quality, to emphasize the raw, inquisitive quality of the broadcast and reception of the works.
“Over the past four years Low Lives has developed a platform that invites and enables artists, audiences, and presenting venues to “plug in and participate” from anywhere an internet connection exists,” Rojas explains. “Low Lives is not simply about the presentation of performance art at a particular place and time, it is also about exploring the potential of live streaming networks as a medium to connect performance artists with audiences around the world.”
Low Lives has found new momentum after presenting Low Lives Occupy! in New York City on March 3, 2012. Low Lives partnered with Occupy with Art and The Hemispheric Institute of Performance and Politics at NYU to present a one-night-only festival of simulcast performances by 36 artists and collectives committed to the Occupy Wall Street movement. The well-received Low Lives Occupy! program offered new perspectives on the Occupy protests and expanded the reach of the movement by broadcasting to an international community.
Now in its fourth year, Low Lives 4 will feature more than 50 live performances over two days, streamed in real-time at 25 venues across the globe. The exhibition will begin on Friday, April 27 from 7:30-10:30PM and continue on Saturday, April 28 from 2-5PM. Low Lives 4 is co-produced by the Brooklyn-based arts organizations Chez Bushwick (www.chezbushwick.net) and SPREAD ART (www.spreadart.org), and by Colombian artist, Juan Obando (www.juanobando.com). Low Lives curator Jorge Rojas will conduct the 2012 festival from the Utah Museum of Fine Arts in Salt Lake City, Utah.
Participating Artists Austin Adkins | Regina Agu | Lindsey Allgood + Amy Luznicky | Emma Alonze | Mauricio Ancalmo | Angela Bartram + Mary O’Neill | Mariane Bourcheix-Laporte | Ruth Vigueras Bravo | Caryana Castillo | Khalil Charif | Matthew Thomas Cianfrani | Gina Cuntstruct | Elwin Cotman | Dance Troupe Practice + Luciana D’Anunciação | Ian Deleon + Kara Stokowski | Stephanie Diamond | Bados Earthling + The Wild Audio Society | Michelle Ellsworth | Ursula Endlicher | Tim Eriksen | Francesca Fini | Les Filles Föllen | Marcel William Foster + Dunstan Matungwa | Future Death Toll | Lawrence Graham-Brown | Alejandro Guzmán | Matt Hawthorn | Joseph Herring | Kanene Holder | James Holland + Alycia Bright Holland | Linda Hutchins | Rima Najdi | Samantha Jones | Igor Josifov | Nathaniel Katz + Valentina Curandi | Elizabeth Leister | Jonathan Lemieux | Gideonsson/Londré | Jonatan Lopez | Tina Mariane Krogh Madsen | Soukei Matsuo | MoTA - Museum of Transitory Art | Nataliya Petkova | Blatta Orientalis | Alexandre Pombo-Mendes | prOphecy sun | Stefan Riebel | Tara Raye Russo | Nuria Guiu Sagarra | Maximiliano Siñani | Jonathan Sutton | Étienne Tremblay-Tardif | Elinor Thompson | Robert Tyree + Andra Rotaru | Marcus Vinícius | A.G. Viva | Alyssa Taylor Wendt | Amelia Winger-Bearskin | Martin Zet |
Presenting Partners Aljira, A Center for Contemporary Art (Newark, New Jersey); Center for Performance Research (CPR) (Brooklyn, New York); Chez Bushwick (Brooklyn, New York); Co-Lab (Austin, Texas); Diaspora Vibe Gallery (Miami, Florida); Fusebox Festival (Austin, Texas); Grace Exhibition Space (Brooklyn, New York); Legion Arts (Cedar Rapids, Iowa); Little Berlin (Philadelphia, Pennsylvania); Living Arts (Tulsa, Oklahoma); Mascher Space Co-op (Philadelphia, Pennsylvania); Portland Institute for Contemporary Art (PICA) (Portland, Oregon); Real Art Ways (Harford, Connecticut); SOMArts (San Francisco, California); Space One Eleven (Birmingham, Alabama): Spread Art (Brooklyn, New York); Utah Museum of Fine Arts (UMFA) (Salt Lake City, Utah); Alice Yard (Port of Spain, Trinidad & Tobago); the temporary space (USA/Japan); Yamaguchi Institute of Contemporary Arts (YICA) (Yamaguchi, Japan); Dimanche Rouge (Paris, France); La Maison des Artistes (Paris, France); Museo de Arte Contemporáneo de Bogotá (MAC) (Colombia); At The Vanishing Point (Sydney, Australia); Small Projects (Tromsø, Norway); Ateliers ‘89, Contemporary Art Institute (Aruba)
About Low Lives Founding Director Jorge Rojas Jorge Rojas is a multidisciplinary artist and curator. He uses traditional and new media, as well as performative elements to investigate communication systems and the effect of technology on artistic production, social structures and communities. Rojas’ work and curatorial projects have been exhibited internationally. In 2009, Rojas founded Low Lives, where he currently serves as director, producer, and curator.
A. T. Wendt was born in 1969 in New York City. She has performed on record, in films, on stage and as art in San Francisco and beyond. Miss Wendt has returned to the fold to earn her MFA from Bard College, recently exhibiting both nationally in New York, Philadelphia and Austin and abroad. She is also published, has performed at festivals and openings, collaborated with an array of talented artists and completed two art residencies in Norway and Iceland. Residing and working in Brooklyn, she is currently conjuring multimedia pieces that reference legacy through ritual and composites, using video, large format staged photography, sculpture, sound landscapes and performance.
"Famous by Association - the artist and me series" : J Haley, April 28th, 2012
"Famous by Association - the artist and me series" : J Haley
Performance/Installation: Saturday, April 28th, 2012, 7-11PM One Night Only
The Project “Famous by Association - the artist and me series” consists of images picturing J. Haley alongside another artist. These photos began conglomerating in 2003, culminated in 2009 as online social network content, and continues to grow to the day.
This content and its online existence has found search engine recognition and it has become clear that the project must create new and relevant content, links, and posts in order to maintain viability.
By utilizing this moniker - ‘Famous by Association’…it is the primary goal of the project to make clear to the public that, indeed, these are associations worthy of fame.
Tell your friends.
On Saturday April, 28th at Co-Lab. Over 100 Artists featured in a performance based installation scheduled and designed to further the propagation and documentation of the project. Featuring an exposé on the “Famous by Association - the artist and me series”, informational handouts, historical evidence of artistry, artist interviews, and a series of information booth performances, J.Haley will give you the ‘in’ on the artists he’s met.
The list of artists represented is ever growing. We invite you to arrive before the presentations, staying after to soak it all in. You never know which of the artists will make an appearance, and/or which one is on the verge of becoming world renowned.
The presentations will feature live “informationals” illustrating a few different artists that have associated with J.Haley and whose work he believes to be phenomenal. These presentations will, in turn, become posting fodder for the likes of YouTube, Facebook, and the Tweet-Plerp-Bot-Systems of the Internets… Propagating further steps of famous associative behaviors.
J. Haley, began promoting other artists while simultaneously promoting himself via social networks, blog writing, and online linking. It was his intention to document the process with the process itself, and in doing so, historically associate himself with the great artists of his time. His thought… “As they become more and more famous, so will I. And as I become more famous, so will they…”
"magnus retwined" : Alyssa Taylor Wendt, April 27th, 2012
"magnus retwined" : Alyssa Taylor Wendt
Performance: Friday, April 27th, 2012, 9-9:30PM At The Fusebox Festival Hub, located at 1100 E. 5th St in the old Tops Used Furniture building. Plenty of free parking is available in adjacent lots and on area streets.
As part of the Low Lives showcase presented by Co-Lab Projects and the Fusebox Festival, Alyssa Taylor Wendt has designed an interactive performance that elicits response by combining planes of energy. Dressed in character, this New York based artist will bind the audience together in a frenetic slapstick string ritual dating back to her childhood. Manning her own live soundtrack, she will be judged by a live panel of nihilists, and ciphers to great amusement for all. Prepare to participate and be united.
"Hirsute Drosscapes and Cenotaphs: (Finem Respice)" : Alyssa Taylor Wendt, April 19th-21st, 2012
"Hirsute Drosscapes and Cenotaphs: (Finem Respice)" : Alyssa Taylor Wendt
LIVE hair performance and open hours for installation: Thursday, Friday and Saturday, April 19th-21st, 2012, 3-6PM
Closing Reception with the artist and viewing of both the installation and the finished piece: Saturday, April 21st, 2012, 7-11PM
Please join us for any and all of the showtimes and be a part of future history.
Ruin enthusiasm runs rampant through artistic communities. Our artists, after all, hold a proud tradition and responsibility for pioneering unwanted lands and forging new territories and vistas into otherwise discarded cultural architecture. The magic that modern culture uses to bring structure back from the dead hovers in a careful purgatory, serving both as reminders of the past and projecting us into the future. At what point do ruins become monuments and vice-versa?
In her new installation and participatory performance, Alyssa Taylor Wendt revisits tropes of urban decay, monument and mourning with a multimedia installation in the main space, using a variety of materials, including horsehair. Building large forms that need to be negotiated with, she asks us to consider the materials at hand and question their place as signifiers of both ruin and rebirth. Hairwork has been used to remind us of both the mortality within the very matter of its dead follicles, and the magical living essence of the natural world it hails from and celebrates.
The viewer will have the opportunity to participate in a live ongoing afternoon performance, in which the artist, on leave from her native New York City, will be working on a community hair wreath in the outdoor space at Co-Lab Projects. One can leave a sample clipping of his or her hair in a baggie, with the option to write something personal on a scrap of paper. The artist will use the donated hair pieces and paper to construct a living memorial wreath of hair, binding together strangers on the common grounds that they have an interest in conceptual art. The finished piece will be added to the installation and on view in its final form during the Saturday closing reception.
"Sacred Land Grab" : Rebecca Jane Rodriguez & Dustin Kilgore, April 12th, 2012
"Sacred Land Grab" : Rebecca Jane Rodriguez & Dustin Kilgore
Super 8, video, and slides of the American West Screening / Two-channel installation: Thursday, April 12th, 2012, 8-10PM
"I take a walk in the country. Everything is as it should be: nature at its best. Birds, sun, soft grass, a view through the trees of the mountains, nobody around, no radio, no smell of gasoline. Then the path turns and ends on the highway. I am back among the billboards, service stations, motels, and roadhouses. I was in a National Park, and I now know that this was not reality. It was a “reservation,” something that is being preserved like a species dying out. If it were not for the government, the billboards, hot dog stands, and motels would long since have invaded that piece of Nature. I am grateful to the government; we have it much better than before…”
Artist Reception: Saturday, April 7th, 2012, 7-11PM Occupational Art School Sessions: Artist available for demonstrations, teach-ins, meet-ups, consultations, clarifications, interviews, or more formal presentations and expositions until Tuesday April 10th. Call for more information 512.300.8217
Since late September, 2011, I have been co-organizer of Occupy with Art, an affinity group of the Arts & Culture Working Group of the New York General Assembly for Occupy Wall Street. The Occupational Art School is emerging from this scenario, as a collective and individual proposition, a shared imaginary, a hyper-real construct for a 99% art world, or maybe even a 100% liberation of art, for all and from all. Its appearances are momentary, like a ghost or a shade of a memory. Fortunately, we have mobile devices with powerful still- and moving-image cameras built-in, now, and other networked “capture” devices that can virtually prove the existence of such non-things, as simulations, as they happen. If we piece enough such events together, we can build a true story that exists beyond fact and fiction, as a becoming that is also a teaching about the impossible being made possible, as art and occupation. The medium is dimensional. Time is the only Object, and everything else is the Subject. This art is for humans, and it is free. We have nothing to lose, except either/or.
SUBTEXT IN RE-PRESENTATION [Flux BETA: these premises are continuously modified (see project tumblr)]  In the End, the Hydra Kills Hercules [and the Other One] (“I Love You, Monster”)  Nothing Is Transparent, Really & It Is OK [Mountain = Painted Mountain] (Matterhorn Project)  Main Street Has No Dead End (Concentricity Projects)  West Virginia, Blood & Bone (The Orphanage of a Refugee’s Home)
Program: The Artist will work on one image [potentially objective], creating multiple iterations, while ex-positioning or coursing amongst multiple seams of related immaterial, IRL, IRT, for the purposes of generating a documentation for digital environments. This is not a performance, nor is it installation.
Paul McLean is an artist who works in both new media and traditional fine art. His research interests include media philosophy, specifically pertaining to time and systems; arts management, art, and cultural economics; and the convergence of 4-D methodologies among military, political, business, and social sectors. His web site is artforhumans[dot]com. McLean is also a co-organizer of Occupy with Art [www.occupywithart.com].