From Pixels to Prints: Outtakes from Summer 2024 in Austin

Austin has its challenges — rising costs, limited parking, and an ongoing housing crisis (although some of that is changing) — but it remains a progressive haven in the midst of a conservative landscape. Despite the city’s growing pains, there’s a distinctive camaraderie here, where the creation of art has fewer guardrails than in cities that focus more on the primary market. When in Austin, be sure to explore the variety of culture that can be found in the state’s capitol. 

Here are a few events and experiences from Austin this summer that deserve the spotlight:

Tom Hück’s Electric Baloneyland at Flatbed Center for Contemporary Printmaking, July 13 – August 24, 2024

Tom Hück’s Electric Baloneyland, which showed at Flatbed Center for Contemporary Printmaking through the end of July, is a monumental chiaroscuro woodcut that boldly critiques American culture through grotesque satire. This four-panel composition depicts a chaotic rural county fair, where the focal point is the gruesome capture of a mermaid dressed as Lady Liberty. The sprawling 105.75 x 118-inch print is meticulously detailed, with layers of crosshatching that draw the viewer into a dystopian carnival of buffoonish figures and decapitated “hedz of state,” including Trump, Hitler, and Gaddafi.

Hück’s work is both a technical marvel and a biting political commentary. The stark contrasts of the duotone design — crafted from two plywood blocks, one for middle values and one for blacks — highlight the absurdity and brutality of the scene. As viewers take in the spectacle, they may find themselves questioning whether this dark humor serves as a critique of right-wing populism or merely mirrors its rise. Electric Baloneyland is a visceral reminder of the ongoing degradation of American ideals, executed with Hück’s signature blend of Renaissance-inspired craftsmanship and sharp, satirical wit. The print’s humor may offer catharsis, but its underlying message resonates with the unease of a society in turmoil. 

This work, created over two years from 2016 to 2018, during the tumultuous early years of the Trump presidency, stands as a testament to Hück’s ability to encapsulate the grotesque in American life. Whether viewed as a potent critique or a reflection of our times, Electric Baloneyland is a striking and thought-provoking addition to contemporary printmaking.

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Games Ya’ll, organized by the Museum of Human Achievement at RADIO/EAST, July 25, 2024

On a warm July evening, the eclectic crowd at RADIO/EAST, a cozy pub in Austin with food trucks parked outside, gathered for the latest installment of Games Ya’ll. This monthly indie game developer showcase, organized by the Museum of Human Achievement, brings together local and emerging talent, offering a platform for creative expression and community building.

The event, held on July 25, 2024, featured a diverse array of games, from polished projects by student teams to experimental ventures by solo developers. The atmosphere was one of camaraderie and excitement, with developers eager to share their creations and exchange ideas.

One standout was Infinite Library by a team of seven students from Texas A&M University. This puzzle adventure game invites players to step into the shoes of Alex, a librarian navigating the treacherous terrain of the Infinite Library. Armed with Books of Power, players bend the laws of physics to solve puzzles and combat a mysterious Corruption. The game, which won “Best in Game Design” at Texas A&M’s Viz-A-Gogo competition, showcased a level of polish and creativity that impressed attendees.

Luis Garcia’s Sun is Dead from Glory Game Studio offered a different kind of experience. This solo developer has been crafting his survival horror/roguelike game for ten years, and it shows. Set in a world where the sun has vanished, players navigate procedurally generated urban landscapes, battling shadow monsters with a dynamic combat system. The game’s apocalyptic atmosphere and resource management mechanics create a tense, immersive experience that captivated those who tried it.

Not all the projects were traditional games. Asha Jamila Jones presented Research Notebook, a speculative research project that blurs the line between game and interactive art. Using the project management software Notion, Jones explores the relationship between her avatar/alias and a fictional astronomer named Noor, weaving a narrative that invites participants to engage with her ongoing research. Research Notebook highlights Jones’ background in new media and her interest in how the internet shapes our understanding of images and stories.

Lemonade Time, developed by Deathcrafts, a team of four friends from various parts of the country, brought a lighter, more whimsical touch to the showcase. Described humorously by the developers as the “Dark Souls of lemonade-making,” this game challenges players to produce as much lemonade as possible within a time limit, juggling supplies in a style reminiscent of 2000s flash games. Developed in the open-source Godot engine during a self-imposed nine-day game jam, the project was a reminder of the joy of creation amidst the pressures of the industry.

Finally, Kamau Vassall of Moonlit Games brought the flair of the Caribbean to the event with Caribbean Dominoes. This reimagined version of the classic tabletop game features vibrant animations, customizable avatars, and a lively, competitive spirit. Developed in Unity with help from his cousin, who handled the art and animations, the game was a hit among attendees, who enjoyed its blend of tradition and innovation.

Games Ya’ll provides a unique space for developers to share their work, receive feedback, and connect with the community. Whether it’s a local developer debuting a new project or an international submission making its way to Austin, the event is a testament to the creativity and passion driving Austin’s indie game scene.

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Quarters residency launch at Civil Goat, August 2, 2024

Quarters, coordinated by Lindsey Schlatter, is an innovative pop-up style artist residency in Austin designed to connect local artists with venues across the city to showcase their work. This independent initiative, happening four times a year, aims to bridge the gap between artists and the resources they need, offering residencies in public spaces and partnering businesses. Showing for the inaugural cohort is work of artists Tegan Milan, Danielle Iemola-Devereux, and ZARA, on view at Hyde Park’s coffee shop and restaurant Civil Goat from August 2 to October 25, 2024. 

At the launch party, Lindsey Schlatter emphasizes that Quarters is about accessibility and inclusivity in the art world. “We recognize the exclusivity in the art industry and aim to change it. We believe it should be accessible to everyone and its creators,” Schlatter notes. The initiative provides a platform for artists who are green to exhibiting and do not have gallery representation.

Quarters also fosters a reciprocal relationship between local businesses and artists, providing a way for businesses to engage with the community and support local talent without the high costs typically associated with acquiring art. “It’s literally just putting together what resources people have and making that work,” Schlatter explains. 

Looking ahead, Quarters plans to expand its reach by participating in events like the West Austin Studio Tour and exploring collaborations with nonprofits to support diverse groups, including children’s artistry programs. Schlatter envisions a future where Quarters could secure grants to transform unused public spaces into dynamic art installations, further enriching Austin’s cultural landscape. 

For more information or to submit work, artists can visit Quarters on social media.

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William Sarradet is the Assistant Editor for Glasstire.