Falling Hard For a Japanese Painter (But Not the One You Think)
Japan was in full-blown post-nuclear Godzilla mode during these years, and while Motonaga is more subtle than that, these paintings aren’t sweet.
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I LIKE TO WATCH TV
I asked Robert Earl Keen, who first saw Being There at a theater in Austin nearly 35 years ago, why he loves the movie so much. He immediately cited its understatement. “So much is left to the audience’s imagination. It allows one to feel like a participant.” -
Art Imitates Life: an Interview with Jeff Weiss of Weisslink
Artist Jeff Weiss doesn’t want you on his list for Weisslink, the “nightly art / email mashup” that he’s sent out every night for the past thirteen years to a steadily growing legion of subscribers. -
“Soft Wax” by Adam Crosson at Pump Project Gallery
Walking through the show is a distinctive physical experience. One has to move around treacherous-looking sculpture and be buzzed out by the odd and inescapable lighting. -
Arts Practice Research: From the Art Room
When I joined the faculty at Texas Tech in 2001 as a tenure-track professor, the idea of merging my studio art, which consisted of paintings of daisies and powder boxes on colorful backgrounds, with the word research taunted me.
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Top Five: Feb. 26, 2015
Watch Christina Rees and Bill Davenport speculate on the week’s best art events at Texas museums, universities, galleries and storage lockers, or just read the […]
I LIKE TO WATCH TV
I asked Robert Earl Keen, who first saw Being There at a theater in Austin nearly 35 years ago, why he loves the movie so much. He immediately cited its understatement. “So much is left to the audience’s imagination. It allows one to feel like a participant.”
Public Communication: Performing Knowledge of the Body
Whether the work is silent or screaming, it is clear that co-curators Max Fields and Joe Joe Orangias want us to engage with performance from women.
Vincent Falsetta’s Agendas
Through this snapshot of his oeuvre to date, Falsetta’s trajectory feels much like his paintings: a mixture of planned and spontaneous moves.
Art Imitates Life: an Interview with Jeff Weiss of Weisslink
Artist Jeff Weiss doesn’t want you on his list for Weisslink, the “nightly art / email mashup” that he’s sent out every night for the past thirteen years to a steadily growing legion of subscribers.
“Soft Wax” by Adam Crosson at Pump Project Gallery
Walking through the show is a distinctive physical experience. One has to move around treacherous-looking sculpture and be buzzed out by the odd and inescapable lighting.
2015 TX Sculpture Symposium: Part I
It was those congenial moments between near strangers that intensified the scope of our small, yet potent symposium here in the middle of the Plains.
No Signal: Bontrager Installation Gets Only Two Bars.
Signals is an interactive video installation where you send messages to the artist via Morse code. I was tempted to just call him.
Arts Practice Research: From the Art Room
When I joined the faculty at Texas Tech in 2001 as a tenure-track professor, the idea of merging my studio art, which consisted of paintings of daisies and powder boxes on colorful backgrounds, with the word research taunted me.
Emily Peacock: Soft Diet
A quirky set of domestic snapshots blotted out with Jello, goo, fat, or baby teeth. These tactile, psychological fillers could merely be humorous play, but tend to read as potentially profound and personal.
Jonathan Ryan Storm’s MineralTechno at Farewell Books
Storm has a distinct visual language with which he interprets his misery. His sense of ironic martyrdom helps things along.
Jennifer Ling Datchuk’s Search for Double Happiness
The daughter of a Chinese mother and a Russian-Irish father, Datchuk has faced the complexities of otherness for her entire life.
Bradley Kerl: Blind Arcade
Full of painterly witticisms, Kerl's work demonstrates the hallmarks of good painting: an acknowledgement of its history and a formal playfulness.
Talking About Web-Based Video Art: Carolyn Sortor’s ‘Seismic Hive’
Sortor becomes a producer of meaning instead of just a passive consumer. Her work here shows the pleasure of improvisation.
Steven Tomlinson: Notebooks at Fluent~Collaborative
Tomlinson carries a notebook with him at all times to capture the “cognitive dandruff” and “exfoliations” of his mind, a humble and lyrical way of describing the permutations of an active and prolific thinker.
John Tennison’s “Unconscious Collective” at ATM Gallery
After the closing of so many art spaces in Austin in the last couple of years, perhaps it’s a sign of health that shows like Tennison’s can exist at a place like ATM.
