Long Road Ahead in the Fight for Resale Royalties for Artists

Mel Bochner, Mel Bochner, "Complain," 2010, oil on velvet, 160 x 119.4 x 4.4 cm

Mel Bochner, Mel Bochner, “Complain,” 2010, oil on velvet, 160 x 119.4 x 4.4 cm

The debate continues of whether or not the US will instate droit de suite, or artists royalties, for artwork resold at public auction. A bevy of high-powered lawyers from various auction houses alighted upon Capital Hill recently, The New York Times reports, in an effort to begin lobbying against a bill, proposed by Democratic Representative Jerrold Nadler from New York, called the American Royalties Too Act (with the clever acronym ART). The bill has been altered slightly from a previous 2011 version to meet some of the auction houses’ criticisms of that document: now only 5 percent instead of 7 percent of an artwork’s resale price would go to the artist and the total royalty on any one sale would be capped at $35,000.

Several things have changed since the 2011 debate over artists royalties that have the auction houses in the current tither. As the Times reports:

“One is that Mr. Nadler is now the ranking Democrat on the courts, intellectual property and Internet subcommittee of the House Judiciary Committee, which has jurisdiction. A second is that the United States Copyright Office issued a report in December that backed off its longtime opposition to the idea of resale royalties. The report noted that in the past 20 years, dozens of countries around the world have introduced some version of resale royalties, known by the French phrase droit de suite.”

Nadler says of the latest legislative droit de suite efforts: “To me, the bill is a question of fundamental fairness,” but admits that getting it passed will take a great deal of work.

New Gallery with a Scientific Bent to Open in Austin

Landry McMeans, Mountains, cardboard relief with acrylic, 2012

Landry McMeans, Mountains, cardboard relief with acrylic, 2012

Art.Science.Gallery, one of the nation’s first art galleries to feature exclusively science-related artworks, will open in Austin on April 12 with its first exhibition. Called Geo_____ , the show will explore themes of geology, geography and geometry, featuring the work of four artists: Annell Livingston (Taos, NM), Landry McMeans (Austin, TX), Laura Moriarty (Kingston, NY) and Ruthie Powers (Austin, TX).

The space is run by J. Hayley Gillespie–conservation biologist, educator, natural historian, artist, and science writer–so the gallery is also equal parts laboratory and classroom, offering a number of workshops and courses that explore the fertile cross-pollinating between art and science.

An Open Letter to the Art World from the Prada Marfa Vandal

Joseph Magnano

Joseph Magnano

Joseph Magnano, the Waco artist behind the recent Prada Marfa vandalism, a project he calls TOMS Marfa, has released an open letter to the art world. In it, Magnano speaks about his motivations for the project, the ensuing media blitz after its discovery and his subsequent arrest, the news of which Glasstire broke on Wednesday.

We run the letter here in its entire in hopes of shedding some light on the thinking behind the project, because whatever your opinion on the validity of art-vandalism as Art, Magnano has certainly found a very provocative way to open the discussion in regards to this particular site.

Hello My name is Joseph Magnano. I am sending out an email in regards to the incident at Prada Marfa. I recently took it upon myself to exhibit an art installation, using Prada Marfa as my canvas to install TOMS Marfa. The project was a calculated calling, an invention and idea of sorts to create a public dialog relevant to 2014. Interpreting the intended mission statement of Prada Marda, and utilizing the current legal status of the structure, being deemed as illegal roadside advertisement by the Texas Department of Transportation I took an opportunistic moment to make the structure a canvas, not in any way to destroy Prada Marfa, nor vandalize but install a piece of public art relevant to contemporary culture within our current time frame, both globally and in America.

Knowing the power of art, I was very upset to see the insisted reactions by Ballroom Marfa, to readapt their rules and bylaws towards public engagement/involvement with the piece. Art is iconoclastic. Art is representation of time and progression. Art builds the future. Art is the voice of the people; and when that dialog is censored, controlled and limited, a bigger issue becomes at hand which leads to questioning the health of the art world. Is the art world strictly becoming an environment based on idolism, faction and culture identity based on only the powers that be; so know longer individuality, transparency and progression can evolve with a new breed of artists, especially in America; because that is where the project is located. I was very upset to see the local community come to arms in quick removal of the installation, as if they wanted to hide something, protect something, keep in pristine condition; this Prada Marfa that was intended to be a piece reflecting time.

Its been brought up by Elmgreen that the act was cowardly vanity. There was nothing cowardly about it. Doing that piece was out of my comfort zone, but it needed to happen. Like I said, it was calculated. Of course I knew the installation would attract mass hype. Vanity…Whats vanity? I am an artist in 2014 dealing with many elements of our social compact. It takes a lot of hardwork and thinking outside the box “to make it”. Of course I am influenced by all the great artists of time. Of course I am influenced by public demonstrators, street artists. A part of becoming a “real” artist is to get your work to the public, and that is what I did.

The work wasn’t a PR stunt, it wasn’t smashing someone else’s work. And it wasn’t done bad. The work created at TOMS Marfa was all hand made, done in the rain and wind, and if it wasn’t for the natural elements, the whole building would have been blue. It got washed off. I wanted the work to look even more ‘apocalyptic’. I was called out on bullshit in regards to social inequality. I don’t think we need to debate that. It exists.  Inequality exists on many levels, including the art world.

Elmgreen brought up that Prada Marfa had become a place for people to meet, families, lovers, etc. Prada Marfa has also become a place for social critique, consumerism and branding. It has also become a place with some people in America that don’t want to be labeled with such a piece of art, that is meant to stay in a degree of pristine and preservation, but only on the front and sides; because the back is worked over with graffiti and street tags. Perhaps if a real open dialog was left open with Prada Marfa, I would have never chose it as a site specific installation; because others would have challenged and commented the dysfunctions of the times before me.

The local authorities really put it to me in regards to my warrant. When I first was arrested it said I had an arson charge, endangering others and criminal mischievous. I was pointed out to all these charges by the high patrol officer on his computer. He and I saw them first hand on his laptop in the squad car. After I was caught, it changed to just criminal mischievous, and the county in which Prada Marfa was located suggested the maximum amount of bail, which was 20,000.

I am not a wealthy person. I work for free where I am located because the person is offering me a place to paint. Sort of a residency. In return I apply  my business and art skills to the business. I set up art and clothing departments and paint custom crafts. Luckily I have someone that cares about me deeply and believes in me as an artist. But, I did get to experience jail, which opened a whole other subject for me to explore.

If you have not been in jail, never wish jail on someone. Incarceration is interesting and inhumane subject matter; and to think, around this world, all the people that are incarcerated, born into incarceration and will always be incarcerated.  I think as citizens of advanced nations its our responsibility  to give intelligence and life to the world, because we are free to do so, versus consuming and branding the globe, which leads to why I chose TOMS. One for One. One shoe store for another.

TOMS became the focal point because I have first hand experience with the brand known for its giving. The project is full of exaggerated satire, sarcasm, comedy (depending on your sense of humor) and factual reality. I questioned the outsourcing of TOMS to China. I questioned TOMS relationship to evangelical groups. I questioned helping others through consumerism. I questioned the ideas of advanced and developing nations. I questioned neocapitalism. I questioned colonization. I questioned celebritism. I questioned; How about helping America?

I chose glitter shoes as the spring line. Because glitter makes everything better, right. All the kids that I painted and put on the front had glitter feet. Because sifting through garbage makes it much happier with glitter shoes. Or sitting on a worn tire with your starving baby brother makes it not so painful with glitter shoes. Or a kid slaving away at a cocoa plantation with glitter shoes makes the low pay worth while. These were some of the images I painted. These subjects are nothing new to me. I have made video work in regards to these types of subjects. Its what I do.

What is coincidental, is that Blake the owners of TOMS was giving a speech on Altruism and announced that he was getting into the coffee business, “Your daily ritual can help change everyday life”….. One pound of coffee gives one week worth of clean drink water. I just to think to myself, “Globally, aren’t we all facing loss of resource and ecocide.” Californians losing water… People in the Northeast having undrinkable water due to fracking, drilling operations and spills. And yet, another cash crop is being developed for further deforestation so Western consumers can feed their addictions, not ritual, and believe they are helping someone in the process.

The store where I operate from, we hand paint TOMS and are known for it. We just received the TOMS catalog and it seems TOMS is style biting and selling reproduced hand painted shoes, originally sourced from Haitians.

I believe if there is going to believe corporate governing, one percent control, inequalities, exploitation of “developing nations”, destruction of nature,,,,, there needs to be art of equal power and that art needs to be protected, and supported, because art is everything and it challenges the fabric of time.

Well, y’all can learn more about the project and me at:

Thanks for your time.

Joseph Magnano

Boo-YEAH! A night of movie mash-up madness in Houston


You know that thing where you stay up late drinking with friends and you find yourselves getting funnier and funnier as the night wears on? And you know how sometimes you come up with ideas, art ideas, that strike the group as genius, and you swear that, come first thing tomorrow, you’ll start making those genius ideas happen? Well, I suspect that just such an evening led to the greatness that is this idea from the good folks at BooTown: the Arnold Schwarzenegger movie Last Action Hero converted into a Japanese Benshi play, complete with maxed-out gore, amped-up comedy and a narrative that’s almost nothing like its antecedent, called “My Last Action Feeling.” Now that’s an idea that has some shelf life, even after the hangover.

Also, expect a showing of Japanese TV commercials that Schwarzenegger did around the time of Last Action Hero and a pre-show show by Hearts of Animals!! This craziness goes down TONIGHT at The Orange Show.

Pre-sale tickets are $15 and $20 at the door.
Doors open at 6pm, with Hearts of Animals going on 7:45/8

BooTown goes on at 9pm.

Dallas Museum of Art’s Islamic Art advisor, Sabiha Al Khemir, in Limelight for Upcoming Exhibition

Sabiha Al Khemir, organizer of an Islamic art exhibition at the Dallas Museum of Art. Credit Karsten Moran for The New York Times

Sabiha Al Khemir, organizer of an Islamic art exhibition at the Dallas Museum of Art. Credit Karsten Moran for The New York Times

The New York Times recently highlighted the finesse and acumen of the Dallas Museum of Art’s Islamic Art advisor, Sabiha Al Khemir, on the cusp of the upcoming exhibition she has curated for the DMA called Nur: Light in Art and Science from the Islamic World, which opens on March 30 after traveling from Focus-Abengoa Foundation in Seville, Spain.

Al Khemir, who came on as a senior advisor at the museum in November 2012, has been a leading force in the promotion and exhibition of Islamic art and artifacts, in Dallas and elsewhere, championing the rich histories, traditions and beauty of the ancient culture. Already, in her short tenure at the DMA, she has helped push the DMA to the forefront of the dialogue surrounding the display of Islamic art, helping that museum secure, for the next 15 years, the covetable collection of Edmund de Unger, which contains some 2,000 Islamic art objects.

For the exhibition Nur (which is the Arabic word for metaphysical light), Al Khemir was able to secure all of the art objects she requested, some of which have never been seen in the United States. This required that the curator travel to some of the most war-torn places on the planet to retrieve them: “There are days when I wonder why I do this, and then I see it in the eyes of people looking — sight becoming insight,” she told the Times, adding, “These pieces have a huge world inside.”

The El Paso Public Art Program Needs Your Advice

Two of the public art installations planned for the Triple-A stadium include a piece on the clock tower (first image) and another along a fence. (City of El Paso)

Two of the public art installations planned for the Triple-A stadium include a piece on the clock tower (first image) and another along a fence. (City of El Paso)

There has been a good deal of conversation lately on the role of public art in cities and the ways and means that city governments commission works and then maintain them for posterity. The City of Dallas’ Office of Cultural Affairs, for example, is in the hot seat for failing to maintain aging artworks, much to the outrage of the arts community.

Savvy to the public’s role in shaping public space (for better or worse), The El Paso Public Art Program wants your input on how best to hash out some long-term strategies for the artwork it commissions through the city’s transportation and Quality of Life bonds. The City of El Paso is conducting an online survey to gather information related to the placement of works, the building of community and the enrichment of pride in El Paso through projects. The survey will help inform the El Paso Public Art Master Plan which is slated to be completed this year.

Austin Center for Photography to Close

© Laura Letinsky, Untitled, #54, Hardly More Than Ever series, 2002

© Laura Letinsky, Untitled, #54, Hardly More Than Ever series, 2002

After five years in business, the Austin Center for Photography has decided to close, citing insufficient funding as the main reason for the shuttering. “Over the past year we attempted creative, collaborative, and sustainable ways to continue our mission, but unfortunately, these efforts ultimately proved unsuccessful.  In the end, we have made the extremely difficult but responsible choice to close,” the ACP board of trustees released in a statement.

The ACP will continue through its scheduled programming for the remainder of the season, including their impressive lecture series ”Icons of Photography,” which has included the likes of Elliott Erwitt and Alec Soth. This final “Icons” lecture will feature famed British photographer Martin Parr on June 24 at the Blanton Auditorium.

Artist Scott Burns Arrested on Charges of Child Pornography


A 45-year-old Alvin High School art teacher, Houston artist Scott Burns, was arrested yesterday on charges of possession of child pornography, KTRK-TV reports. His arrest followed his removal from the Alvin campus on Tuesday after accusations surfaced of his using former students as models for risqué paintings and drawings. The investigation determined that all former students that Burns used as models were adults at the time they posed, however the alleged discovery of child pornography in his home led to his arrest.

Scott Burns is a well-known artist in the Houston area, and his work has been reviewed in Houston Press, ARTLIES and Art in America.

Waco Artist Arrested in Connection With Prada Marfa Vandalism

9271977Waco artist Joe Magnano was arrested by the Texas Department of Public Safety yesterday on charges of criminal mischief in connection with the recent Tom’s Marfa/Prada Marfa vandalism incident near Valentine, TX. Magnano, a graduate of the San Francisco Art Institute has been revealed as “9271977,” the author of the most recent unauthorized alterations to oft-targeted popular landmark. In a January article in the Waco Tribune, Alicia Hart, owner of Harts N Crafts, a shop in Waco where Mr. Magnano lives and helps out, said of Magnano, “He has an eye to reorient things.”

Magnano is expected to be released on bail this afternoon.

prada marfa vandalism




San Antonio Wants to Keep Arts Village “Authentic”

la villita2

Some of the artists who work in the small historic arts village of La Villita, which is located in downtown San Antonio, have been there for decades. A new city initiative to revive the area, however, may push them out, Texas Public Radio reports.

City of San Antonio staff recently recommended plan that would force tenants in La Villita to re-apply for their spaces in the village. City staff says they want to preserve the village’s authenticity, and they believe the village has lost its way, with many of the artisans producing crafts that can be found at any common retail chain. But artisans in the community claim it is just an effort to push the authentic artists out of the community:

“The city is very arbitrarily saying, ‘Oh no, this building is not that kind of use, it’s this kind of use over here. So because you’re the tenant, you don’t qualify so you have to leave,’ ” said one La Villita tenant Jack knight . “That’s drawing a line in the sand in what I’m calling the slaughter of these tenants who are actually the lifeblood of La Villita.”

The proposal is only a city staff recommendation, which means it is only the beginning of the conversation. But with stakes as high as determining the authenticity of any given artisanal trade at hand, this conversation is likely to heat up.

It’s Complicated: “Prada Marfa Explainer” on Why it’s OK to Maintain Artwork

James Evans, "Prada Marfa," 2005, Digital photograph, 40 x 50 inches

James Evans, “Prada Marfa,” 2005, Digital photograph, 40 x 50 inches

After last week’s media blitz about the most recent defacing/art-application (up to you!) to Prada Marfa by an artist/vandal (also, up to you!) called 9271977, Ballroom Marfa, the art organization tasked with looking after the remote fake storefront, has updated the “Prada Marfa Explainer,” Ballroom Marfa’s place for answering some of the tangled conceptual FAQs about the artwork and its site. The updates are in response to the sweeping criticisms that Prada Marfa is, by nature, an entropic art object, made to deteriorate and suffer abuse, both environmental and artistic/vandalistic. As one Glasstire reader, citing Wikipedia, pointed out last week in this space: “The act of protecting and repairing this art work is vandalism. Prada Marfa ‘was intended to never be repaired, so it might slowly degrade back into the natural landscape.’ People are natural things and vandalism is a byproduct of nature, so repairing a work that is supposed to be degraded by nature is vandalism.”

Glasstire’s anonymous comment, albeit twisted with a funny logic, was not singular, as the “Prada Marfa Explainer” implies with this new FAQ, underscoring, perhaps, the sometimes entropic nature of conceptual intentions, as well:

Why is there any maintenance of Prada Marfa? Isn’t it supposed to become a ruin?

When Elmgreen & Dragset erected Prada Marfa in 2005, they, along with the producers Art Production Fund and Ballroom Marfa, proposed that the public art project would exist at the mercy of the elements and visitors. As Art Production Fund’s Yvonne Force Villareal told the New York Times before its opening, “We loved the idea of the piece being born on Oct. 1 and that it will never again be maintained. If someone spray-paints graffiti or a cowboy decides to use it as target practice or maybe a mouse or a muskrat makes a home in it, 50 years from now it will be a ruin that is a reflection of the time it was made.”

The reality of leaving Prada Marfa completely untouched is a complicated and multifaceted issue. The site is far from pristine, as visitors will already know; however, all parties realized that if the structure were allowed to fully decay, it would become both a hazard and an eyesore. With the blessing of Elmgreen & Dragset, the work’s original plan was modified shortly after it was constructed in 2005. Since it is a public installation, Art Production Fund and Ballroom Marfa are required by law to perform a certain level of repairs in the interest of safety. And out of respect to the residents of Valentine, we paint over graffiti and clean up trash at the site as needed. Performing this minimal maintenance remains true to the spirit of Elmgreen & Dragset’s original proposal, and it also allows us to keep the installation accessible to the public.



Much-contested Removal of Public Artwork Now Up for Public Debate

Frances Bagley and Tom Orr, "White Rock Lake Water Theater," 2001

Frances Bagley and Tom Orr, “White Rock Lake Wildlife Water Theater,” 2001

Dallas’ Office of Cultural Affairs has announced that it will hold two public meetings in order to discuss the proposed removal of the White Rock Lake Wildlife Water Theater, a public artwork by Frances Bagley and Tom Orr that was installed in lake as a bird watching “theater” in 2001. In January, the city determined that the piece had deteriorated past the point of salvaging and so should be decommissioned. But after a tremendous show of support for the piece and the artists’, the City of Dallas tabled the decision in order to pursue other options for the artwork, including a full $250,000 restoration of the piece.  That price is a steep hill for the city to climb, as removal of the piece would cost only $25,000. However, since maintenance of the White Rock Lake Wildlife Water Theater was cut in 2009, blame for the detoriation of the work falls on the city, supporters of the Bagley and Orr will likely argue.

The Office of Cultural Affairs’ two public meetings to guage the community’s perspective on the artwork will both take place at the Bath House Cultural Center; the first is at 10 a.m. Saturday, March 22, and the second at 7 p.m. Monday, March 24.

Dallas Arboretum Seeks Artist-in-Residence

Alison Jardine, "Abundance, Noon," oil on canvas.

Alison Jardine, “Abundance, Noon,” 2013, oil on canvas, 46″ x 60″.

Last year, artist Alison Jardine founded The Dallas Arboretum’s Artists’ Garden Artist-in-Residency program and served as the program’s first candidate. The aim of the residency is to help strengthen the bond between people and nature, and between the community and the Arboretum, by finding new ways to connect nature with people’s everyday lives, through art. The selected artist will work in the gardens for two months, creating new work based on this time in the gardens, culminating in an exhibit and community activities, such as talks, tours or a similar outreach program. The available exhibition space requires that work be in the main limited to artists who wish to create two-dimensional works, but a creative approach to interpreting and reacting to the Arboretum’s natural environment is encouraged. Applicants may be emerging or established artists living and working in the DFW area.”This is a much-needed opportunity for an artist whose work is within the context of the natural world to develop their work,” says Jardine, “and receive considerable publicity and contacts within the Dallas art community.”

Leadership in the Arts Summit at University of Houston


The University of Houston’s Center for Arts Leadership will host a arts summit designed to grow and sustain the energy of Houston’s arts scene, helping ensure that it have a robust future. The Leadership in the Arts Summit will ask the question: “What does it take to be a 21st Century arts community?” Addressing the topic will be a number of featured speakers that bring a wide swath of community arts experience, including arts-researcher Ann Markusen, art-activist Maria Rosario Jackson, and arts-scholar Paul Bonin-Rodriquez, as well as various local presenters.

SMU curatorial fellow Sally Frater takes issue with “The Black Letter”

The "Black Letter"

The Black Letter’s satirical list of art ideas for black artists

Last August, Glasstire writer Darryl Ratcliff penned a piece about the mysterious letter, dubbed “The Black Letter,” that showed up at various Dallas galleries and private addresses last summer. The letter is essentially a satirical look at the place of African-American men within the art world, which amounts to very little.  It caused a tremor of discomfort among the art scene. Ratcliff said that “The greatest success of The Black Letter is channeling this emotional reality into a physical object and confronting a gallery world, which in terms of race, prefers the polite over the provocative.”

It came on our radar that a response to Ratcliff’s analysis of The Black Letter and its message was posted on Art21’s blog last month by SMU’s curatorial fellow Sally Frater; in light of Ratcliffe’s most recent look at race in the art world, this time a take-down of Dallas’ Contemporary Art Dealers (CADD), Frater’s perspective on whether or not “satire is an effective way to dislodge racism” is worth a look. “His satirical letter flattens the experience of being black into little more than incidents of degradation,” Frater says. “And although draws attention to issues of race in the art world, it does not do enough to move art audiences forward and beyond complacency.”

In other news, Darby English was just hired by the Museum of Modern Art to act as consulting curator in the department of painting and sculpture, specifically to help increase that institution’s holdings in art by black artists.

Don’t Get Screwed: Tax Help for Artists

Ed Ruscha, "Pay Nothing Until April," 2003, acrylic on canvas.

Ed Ruscha, “Pay Nothing Until April,” 2003, acrylic on canvas.

Today marks the one month countdown to Tax Day, so it’s time for all the tricky strangeness that defines the income of artists and writers–grants, honorariums, scholarships, and untaxed payments for sales or services rendered–to come to a head. Why not get some help sorting out all that unaccountable vaguery with a team of professional money-counters, accountants!

If you’re in the Houston area, you’re in luck because this Wednesday, March 19, Fresh Arts will host a tax workshop for artists, helping you determine if you can, in fact, write-off your home office or studio if it is also your guest room (you can’t, FYI).

WORKSHOP: Tax Preparation for Artists
Presented by Kathy Ploch and hosted by Fresh Arts
Wednesday, March 19, 2014
2101 Winter St., Studio #B11
Houston, TX 77007

New Media Gallery Geared to Launch in Dallas

satallite zhulong

A new art space called Zhulong Gallery is slated to open in Dallas’ Design District next month. The gallery, founded by artist Chris Lattanzio and directed by Aja Martin, will focus on New Media art, promising to be a “high-tech platform for contemporary art,” complete with a 17’ x 10’ screen façade on which images may be projected. Fittingly, the name of the gallery is the Chinese word for “torch dragon.”

For it’s inaugural show, Zhulong will present a show called Satellite, which will feature the work of eleven New Media artists who explore ideas of travel, data, time and culture.

Zhulong Gallery, 1302 Dragon Street, Dallas, TX 75207
Satellite, April 4 – May 10, 2014.

Mark Flood Ranks #1 in Art Market Full Monty

Mark Flood UPDATE YOUR RESUME / BURGER KING, 2009  Spray paint on metal sign  48 x 60 inches  121.9 x 152.4 cm, Courtesy Zach Feuer Gallery

Mark Flood, UPDATE YOUR RESUME / BURGER KING, 2009, Spray paint on metal sign, 48 x 60 inches, Courtesy Zach Feuer Gallery

When a mysterious website called SellYouLater, which quickly changed to the less gauche ArtRank, hit the interwebs last month, it caused a flurry of anxiety in the art world, rendering people both disgusted and confused. ArtRank does just what it sounds like: it ranks the market value of contemporary artists according to their stats–things like web presence, major collector and museum support, gallery representation and auction results. It basically “turns the art world into a horse race,” as one commentator put it. Who could be behind this art market full monty? A young dealer named Carlos A. Rivera. He and some friends that are good at math put together the site to tell new collectors “what we think they should be doing.”

On top of the list of artists to BUY NOW at <$100,000, is Houston-based Mark Flood, who, with some serious guile and punk antics, has rocketed himself into the upper eschelons of art object desire. As evidence, Flood has a show up at London’s Modern Art  through March 22, a show which highlights the fact that, as one critic remarks, “Flood’s most interesting artworks have always been challenges to the way the art world functions. . . subtle thought-provoking jibes, playing with the art world but also playing along with it.”

Also of note, Dallas native and Marfa-based Jeff Elrod is also on the ArtRank list–#9 on SELL NOW. The algorithm behind the curtain says his market is peaking.

San Antonio Looks to Liven Downtown With Storefront Art


Shorelines, by Taeg Nishimoto

In Dallas, using art to activate empty storefronts is something that has managed to get developers, artists, museums, and city boosters all excited about art. There was the Dallas Contemporary’s Neiman Marcus Pop-up a few years ago, and current Deep Ellum Windows

Now San Antonio has gotten in on the game. The University of Texas San Antonio and Public Art San Antonio have teamed-up to take over vacant San Antonio storefronts with art installations, in a project called “X Marks the Art,” Texas Public Radio reports.

“We’re bringing art out of the museums and galleries from local artists,” [Public Art San Antonio's Marissa] Laubscher explained, “and we’re placing them into the streets. So people who might not necessarily go to a museum or go to a gallery can experience local artists just by walking downtown.” The entire program is funded through the city’s hotel/motel tax.

The the first installation, called Shorelines, is by UTSA Architecture Professor and artist Taeg Nishimoto.

Austin’s Mexic-Arte Museum to Host Proletariat Day

Jesus Barraza, "Hayward Day Labor Center." Barraza is one of the artists included in Mexic-Arte's latest exhibition "Illustrating Anarchy and Revolution."

Jesus Barraza, “Hayward Day Labor Center.” Barraza is one of the artists included in Mexic-Arte’s latest exhibition “Illustrating Anarchy and Revolution.”

Due to the Prada Marfa vandalism that occurred earlier this week, there has been a lot of talk lately about art’s role in bettering society, what with the vandal’s mission to “bring greater inspiration to consumer Americans to give all they have to developing nations that suffer disease starvation and corruption.” As if on cue, Mexic-Arte Museum in Austin has announced it will host Proletariat Day & Workers Reception next month, a concerted effort to bring people together, in community, “under the banner of free art and entertainment,” to consider meaningful ways to both honor and aid the worker. A number of social justice groups will be on hand to dialogue with guests, with each group taking the stage during a Soap Box Hour wherein they may present their respective mission.

Proletariat Day will take place alongside a reception for Mexic-Arte’s latest exhibition, Illustrating Anarchy and Revolution.

Proletariat Day & Workers Reception
April 5th, 2014
4:00 PM-9:00 PM

419 Congress Ave. Austin, Texas 78701
Free admission
10+ social justice organizations
Interactive stop animation by
The Edge of Imagination Station
Live Screen Printing
Performance by Kalua
Catering Provided by El Sol y La Luna

Participating organizations include:
ADAPT of Texas
Austin tan Cerca de la Frontera
Campaign to End the Death Penalty
Education Austin
International Socialist Organization
MonkeyWrench Bookstore
Mujeres en Medio
People Organized in Defense of the Earth
and her Resources (PODER)
Resistencia Bookstore
The Peoples Task Force
Workers Defense Project