Opening Reception July 13^th, 7-9:30 pm.

FRONT: Benjamin Gardner

            BACK: Ana Villagomez and Miguel Martinez

            WINDOW: Monica Foote

            UPSTAIRS: Jonathan Leach and John Sebastian Boncy

SEPTEMBER 7TH -OCTOBER 12^TH, 2013

Opening Reception September 7^th, 7-9:30 pm.

FRONT and BACK: Curated by Sapphire Williams. Including Logan Sebastian Beck, Harry Dearing III, Sebastian Forray, Jorge Galvan, Geneva Gordon, Matthew Gorgol, Jordan Johnson, Lillie Monstrum, Darcy Rosenberger

            WINDOW: Angela Machionno

            UPSTAIRS: Regina Agu 

OCTOBER 19^TH, 2013

Boxtoberfest, including a one float parade through the East End. 2-5pm.

NOVEMBER 2ND DECEMBER 7^TH, 2013

Opening Reception November 2^nd, 7-9:30 pm.

FRONT:Paul Middendorf

            BACK: Andy Mattern, Leigh Merrill, Pavel Romaniko

            WINDOW: Jake Wells

            UPSTAIRS: Edward Morin

JANUARY 11 – FEBRUARY 15^TH, 2014

Opening Reception January 11^th, 7-9:30pm.

ALL GALLERIES: Sketch Klubb including Seth Alverson, Rene Cruz, Russell Etchen, Sebastian Forray, Lane Hagood, Michael Harwell, Cody Ledvina, Nick Meriwether, Patrick Phipps, J. Michael Stovall, and David Wang

FEBRUARY 15^TH, 2014: Panel discussion to go along with exhibition of Sketch Klubb, 2pm.

MARCH 8TH – APRIL 12^TH, 2014

Opening Reception March 8^th, 7-9:30 pm.

FRONT: Grant Cox

            BACK: Scott Eastwood

            WINDOW: Katy Wynne

            UPSTAIRS: Michael Stovall

MAY 17TH – JUNE 21^ST, 2014

Opening Reception May 17^th, 7-9:30 pm.

FRONT: Curated by Sarah Schultz. Including Michelle Chen-Dubose, Kate Kendall, Carrie Marie Schneider

            BACK: Mark Ponder, Alex Rosa, Chris Bogia, Erik Hanson, Jonathan Armistead, Igor Siddiqui, Colby Keller, Brian Guidry, Eric Johnston

            WINDOW: Diana Baumbach

            UPSTAIRS: Colleen Ludwig

EXHIBITIONS ON VIEW January 12, 2013 – February 16, 2013

DISTURBANCE OF DISTANCE Curated by Kimberly Aubuchon of San Antonio in all four BOX Spaces

Box 13 ArtSpace is pleased to present four exhibitions opening May 18, 2013, 7-9:30 PM.  In the Downstairs Front BOX, Darcy Rosenberger and Guillame Gelot‘s festivities of love fill the space while Kerry Adams‘ Reality of Memories installs a floating garden of wildflowers in our Downstairs Back BOX. Ann Wood‘s Pyre, a fantasy world of animals and candy drops, will be on view in the Upstairs BOX, contrasting the large scale drawings of dead cockroaches with Shelby Shadwell‘s, A Universal Picture, in the Window Box. The exhibitions continue through June 22, 2013. An opening reception will be held on Saturday, May 18 from 7 – 9:30 PM at BOX 13 ArtSpace, 6700 Harrisburg, Houston, TX 77011.

D+G | Darcy Rosenberger & Guillame Gelot
Downstairs Front BOX

Darcy Rosenberger and Guillaume Gelot present a body of work created out of a period of time taken over by the phenomena of love. A time spent practicing their craft, and saying things without words. The “chase” was prolonged and reignited as new actions were taken, and new pieces created. Having an artistic partner was very beneficial and stimulating to their work; this “duo” approach allowed Rosenberger and Gelot to push each other and instigate friendly competition; these motivators were amplified by the fact that each of the artists were acting in part for the one they were closest to, held dearest, loved the most, and knew the best.

Guillame Gelot has traveled around the world and speaks French, Spanish, English and Portuguese. He seeks beauty, surprise and a strong joie de vivre.

Darcy Rosenberger lives and works in Houston, Texas. She holds a Bachelor of Fine Arts in Sculpture from the University of Houston. Her work has been exhibited at the Contemporary Arts Museum of Houston, Lawndale Arts Center, The Joanna, Domy Books, Skydive Art Space, The Foundry, Blaffer Art Museum, and the Matchbox Gallery at Rice University.

An online preview will be made available to the public on Monday, April 29. Early bidding will run from April 29 to May 4; please email us at box13artspace@gmail.com if you’d like to make a bid!

The silent auction includes works from past and present members of BOX 13 ArtSpace, as well as artists from across the nation.

The Poor Man’s Raffle ($5) allows one to enter the raffle at a low cost and win a prime work of art by a current BOX 13 artist.

Entering the Mystery BOX ($25) guarantees a piece of art.

Save the date now and stay tuned for more updates and early bidding! Donating artists to The Empty Box 2013: Year of the BOX! include:

Kelly Alison, Sterling Allen, Kimberly Aubuchon, Debra Barrera, Daniel Bertalot, Elaine Bradford, Karen Braiser-Young, Tim Brown, Erika Buentello, Michelle Chen-Dubose, Thedra Cullar-Ledford, Paige Davidson, Anthony Day, Jeremy DePrez, Sasha Dela, Kent Dorn, Monica Foote, Tim Gonzales, Nathan Green, Casey Arguelles Gregory, Tommy Gregory, Quinn Hagood, Dennis Harper, Michael Henderson, Janine Hughes, Kathy Kelley, Kate Kendall, Jonathan Leach, Cody Ledvina, Emily Link, David McClain, Jennifer McNichols, Mauricio Menjivar, Rahul Mitra, Tudor Mitroi, Seth Mittag, Rex Mohammad, Kia Neill, Gissette Padilla, JoAnn Park, Justin Parr, Emily Peacock, Kristy Peet, Kristy Perez, Mark Ponder, Ariane Roesch, Jenny Schlief, Hana Shoup, Alyssa Stephens, J. Michael Stovall, Annie Strader, Alonso Tapia, Ben Terry, Sandy Tramel, Mike Venable, Monica Vidal, Ann Wood, and many more!

A special thanks goes out to our friends at Saint Arnold Brewing Company and El Tiempo Cantina.

National Council on Education for Ceramic Arts (NCECA) Conference
Opening Reception Saturday, March 9th, 7-9:30 PM

Inheritance | The Bridge Club
Downstairs Front BOX

Personal Landscapes | Christa Mares, Marianne McGrath, Teruko Nimura
Downstairs Back BOX & Upstairs BOX

BOX 13 is now the host of a world record. a gods eye OUTPOST by KATE KENDALL- in the Installation BOX now holds theWorld Record for WORLD’S LARGEST GOD’S EYE! Check it out on www.recordsetter.com!

Exhibition on view January 12 – February 16, 2013
Opening reception Saturday January 12, 2013, 7-9:30 PM
Curatorial statement + artist talks February 16, 2013, 3:00 PM

Disturbance of Distance 3 is the third in a continuing series of juried exhibitions connecting Houston to the surrounding arts communities. This round of Disturbance of Distance brings together artists from the Houston and San Antonio areas, curated by Kimberly Aubuchon, Director of Unit B (Gallery) in San Antonio.

Curatorial statement: When choosing the artists for Disturbance of Distance 3 there was no running theme in mind. The only objective was to use my gut and create a visual dialogue between two somewhat distant art communities.  However, as a curator who generally works with a theme, I couldn’t help contemplate the annual show title Disturbance of Distance, and “distance” as a curatorial problem to investigate.  During studio visits and conversations with the artist’s, connections and references to “distance” were evident — the distance between, distance from, separation in time, spatial remoteness, emotional separation, psychological separation, and aesthetic distance.  While not all of these notions may be obvious, you’ll note subtle references throughout the exhibition.

Disturbance of Distance 3 features work by Holly & Bryson Brooks (SAT), Christina Carfora (HOU), Nate Cassie (SAT), Monica Foote (HOU), Janine Hughes (HOU), Nyssa Juneau (HOU), Melinda Laszczynski (HOU), Más Rudas Collective (SAT), Kia Neill (HOU), Justin Parr (SAT), Kristy Perez (SAT), David Politzer (HOU), Preetika Rajgariah (HOU), Jeremiah Teutsch (SAT), Ethel Shipton (SAT), Gary Sweeney (SAT).

Visit modernhouston.net to view the entire post.

Click here to view the whole post!

Come meditate in soft spiritual ecstasy in  a gods eye OUTPOST by resident artist Kate Kendall.   Kate invites you to breathe in the high desert air, take in the scenery, warm your hands by the fire, rest your legs and stare into a giant glowing gods eye.   Sticks, yarn and gods eye directions are available to create your own gods eye to take home as a memento of your journey.   The gods eye was created by fellow art enthusiasts at BOX 13 in July 2012.

See more pictures here.

****UPDATE**** BOX13 now hosts a world record for WORLD’S LARGEST GOD’S EYE! Check it out here: www.recordsetter.com

BOX13 ArtSpace is currently accepting proposals for 2013/2014 for exhibitions in its two Downstairs Galleries, the Window BOX gallery, and the Upstairs Gallery. Artists and curators are invited to submit recent (or proposed) experimental works not previously shown in Houston.

Exhibition and performance proposals will be reviewed and selected by a committee of BOX 13 resident artist members; any number of guest curators may be involved in the review process as well. We will inform you of our decision by January 31st, 2013.

BOX 13 ArtSpace accepts proposals annually to make programming decisions for roughly 18 months beyond the proposal due date. Our next submission deadline is Monday, December 31st, 2012, before 11:59 PM CST.

All proposals must be submitted in digital format. No snail mail please. Send us your proposal(s) and images via email to box13artspace@gmail.com no later than the deadline listed above. Alternatively, all requested material can be posted to a single page on a website, and a link may be submitted.

Submission Criteria:

All proposals must include the following:

1. Letter of intent or exhibition proposal in a Word document or PDF file, 500 words or less. Please be sure to include:
o Contact information (email and phone of all artists involved)
o Title, description, concept and physical details
o Requested gallery space and any requests for equipment or special installation requirements*
o Any budgetary concerns*

2. Resume(s) or CV(s) for all proposed participating artists, each as its own Word document or PDF file.

3. NO MORE THAN 15 digital images in jpg format. Numbers should be used in the file names beginning with 01.jpg. Each image must be 1MB or SMALLER. Any files not meeting these requirements may not be viewed when considering your proposal.
o Videos must be ready to play on a computer using Windows Media Player or QuickTime; a link to Vimeo or Youtube in the body of your email would also suffice.

4. Corresponding numbered list of submitted images and/or videos in a Word document or PDF file.

5. Email subject must read “2013-2014 Exhibition Proposal.” If you are submitting more than one proposal, please send separate emails to box13artspace@gmail.com.

*BOX 13 does not have a budget for assisting artists with expenses at this time but will help when possible in searching out alternative funding and/or installation methods.

For more information or to make an appointment to view the galleries, please feel free to contact us in advance. Gallery hours are Saturdays, 1-5 PM or by appointment.

Where: Embassy Suites by the Convention Center

When: October 18-21, 2012

Read Houston Press’ blog post about the event here!

Orna Feinstein (above)
Ariane Roesch
Radu Runcanu
Emily Sloan

radioactive Pal? – Pal, radioactive | Bill Conger & Adam Farcus
Downstairs Front BOX

Transitory Spaces | Gissette Padilla & H. Jennings Sheffield
Downstairs Back BOX

Goodnight Theory | Trish Ramsay
Window BOX

Oleo | David McClain
Upstairs BOX

Houston, Texas – BOX 13 ArtSpace is pleased to present four exhibitions opening November 3rd, 2012, 7 – 9:30PM. In the Downstairs Front BOX, Bill Conger and Adam Farcus share familiarity through the use of readymades and poems in radioactive Pal? Pal, radioactive.  Gissette Padilla and H. Jennings Sheffield’s Transitory Spaces builds a psychological space with fabric and projections in the Downstairs Back BOX.  The Window BOX holds the installation of Trish Ramsay’s dreamy formal investigations in Goodnight Theory, and the Upstairs BOX displays David McClain’s new paintings of Oleo.

The exhibitions continue through December 15th, 2012.
An opening reception will be held on Saturday, November 3rd, from 7 – 9:30PM at BOX 13 ArtSpace, 6700 Harrisburg, Houston, TX 77011.

Taken as an exchange between two people, radioactive Pal? -Pal, radioactive proposes a simple question, “Are you afflicted?” and a delicate response, “My friend, I am.” The repetition and symmetry of this line delineates how a poetic structure can emphasize the complex cultural functions intrinsic to words and signs. In poetry, the goal is to present a large amount of affect in the most simple manner. This dialog, borrowed from John Berryman’s Dream Song #51, sets up a structure for the conversation in and between the work of Bill Conger and Adam Farcus.

The Dream Songs, which loosely adapt the structure of minstrel shows, use the vehicles of the interlocutor and end man as dual psychological composites for Berryman himself. Their relationship in this debased early American art form was for the end man through punctuating interaction to add comic relief to the interlocutor’s situation. Within Conger and Farcus’ individual works, and in relationship to each other, they often employ simplicity and playfulness, which counter and re-emphasize their ecstatic aspirations. Conger and Farcus do not support the racist origins which Dream Songs were produced out of, but rather are interested in how Berryman’s character, Henry, marries emotional strife to seemingly simple language. In analogous associative moves, Conger and Farcus utilize familiar objects to attend to the person and majestic. In these pieces, rigid structures like abstraction, geometry and repetition isolate the hidden romanticism, inherently present in everyday materials.

Bill Conger is an artist who uses a myriad of readymade materials to assist in the production of his work. He describes himself as a frustrated synthesis of painter, sculptor and poet. Conger’s work has been exhibited throughout the US as well as in Poland, Ireland, Germany, New Zealand, and Austria. His work deftly engaged in strategies of collection, appropriation and curation, all the while paying quiet homage to the Duchampian Readymade and Proustian notions of memory.

Adam Farcus carries at least one lucky penny in his left pocket at all times. It might not actually bring him luck but, as a site of potential energy, it does make him feel better. The art he creates in his creative practice are equally imbued with an internal power. He currently lives and works in Baltimore, MD, where he co-directs an alternative art space named 500.500.100. His work has been exhibited at the Gallery 400, Chicago; University Galleries,
Normal, IL; Hyde Part Arts Center, Chicago; Columbia College’s A+D Gallery, Chicago; The Urban Institute for Contemporary Art, Grand Rapids; and the Miami Bridge Art Fair, Miami. He has also lectured on his work at numerous venues, including The School of the Art Institute of Chicago and the Performance Studies International 16 conference. Adam received his MFA from the University of Illinois at Chicago, BFA from Illinois State University, and AA from Joliet Junior College.

Transitory Spaces: The collaborative work of Gissette Padilla and H. Jennings Sheffield investigates the idea of time and physical and psychological space through light and projections.  Their work explores different facets of perceived spaces and layered images.  Padilla creates the physical space utilizing vertical strips of translucent fabric that hang from the ceiling and screen prints layered images and patterns onto the fabric.  These patterns represent the noise and static that is created in the mind as if to fill in the gaps of a memory.  Sheffield then projects videos and sound of re-contextualized personal memories and appropriated family imagery onto the fabrics.  The multiple projections of imagery and sound overlap and distort the visual space.  The projected imagery begins to fill in the missing information and characters in Padilla’s created spaces and joint moments in time are created.  Upon entering the space, the viewer is encompassed by the projections and asked to walk around and explore the space. As the viewer interacts with the created space and characters, they too become part of the memory.

Gissette Padilla was born in Coro, Falcon, Venezuela. She moved to Houston, Texas, at the age of 8. She received her BFA from The University of Houston in 2008 and her MFA from the University of Texas at San Antonio in 2011. Her works consist of a combination of drawing, painting, and various printmaking techniques. Her work has been exhibited in a number of juried and group exhibitions in Houston, San Antonio, Boston, Kentucky, Sequin, and Austria.

H. Jennings Sheffield received her BFA from the Atlanta College of Art in 1996 and her MFA from the University of Texas at San Antonio in 2011. She is an international artist with her latest work exhibiting in the following shows: Houston Fine Art Fair, Houston Texas; Pride, Protest and Plains, Red Arrow Contemporary, Dallas Texas; The Billboard Art Project, Atlanta, Georgia; Intimacy & Voyeurism: 2012 SPE Women’s Caucus, The A R T S at C I I S, San Francisco, California; Luminaria, San Antonio, Texas; Red Dot, Blue Star Contemporary Art Center, San Antonio, Texas; Breaking Boundaries II, Pingyao International Photography Festival, Pingyao, China; Rust Fest, McDonough Museum of Art, Youngstown, Ohio; and What Do You Really Need?, Medien Kultur Haus Wels, Austria.

Goodnight Theory is an installation generated from blind contour drawings Trish Ramsay began during an artist’s residency in Finland.  Ramsay likens her process to automatic writing. Working with empty cups, jars, and plastic containers as subjects, she creates loose and spontaneous forms. Paired down to contoured and implied volumes, then sewn onto Mylar, these drawn objects become something entirely new, defying organization and creating a wilderness of form. Ramsay uses pliant materials such as thread, wire, plastic and wool to explore spatial tension between flat and dimensional, drawn and constructed, playing upon how the works read as image, drawing, object or environment.

Trish Ramsay teaches Metals and Jewelry at Lone Star College in Montgomery, TX. From 2002-2008, she was Assistant Professor of Art and coordinator of the Metals area at Columbus State University in Columbus, Georgia. Her artistic research has led her to work in Kiryu, Japan as a visiting artist and in Fiskars, Finland, where, during a two month residency, she studied Finnish Design and Feltmaking near the arctic circle. Ramsay’s work has been exhibited nationally and internationally, and is part of the Georgia World Congress Center Collection in Atlanta, GA. Her work is included in “We Knit Graffiti” and in “100 Felt Objects”, both forthcoming from Lark Books. Ramsay received her BFA from University of the Arts in Philadelphia, PA, and MFA from Syracuse University.

Oleo is a generic term for any margarine or spread marketed as a butter substitute.  In its natural state oleo is a white or near-white emulsion but yellow food coloring can be added to make it more palatable (the term margarine comes from the ancient Greek — a loose translation of “pearl”).

In the United States, oleomargarine was widely marketed as an affordable, “progressive” alternative to butter. Oleo remains inextricably tied in my mind to its class connotations.  Advertisements from the mid-sixties (when my mother was shopping for our family of 12) made it clear that oleomargarine was “every bit as good” as butter, but only a fraction of the price. I have only one distinct memory of shopping with my mother at a supermarket when I was about six years old.  I remember seeing the pure, rich butter on the shelves, next to the lighter oleomargarine we always bought.  I asked if we could try butter instead, and my normally docile mother gave me a sharp look.  We were an Oleo family.  Butter was luxury and we were a space age family on a budget. Oleo is where it all started to go wrong for me.

David McClain is a Houston-based artist whose work has been exhibited in Texas, New Mexico and Illinois and published in art and literary journals in the United States and Germany. He holds his BA from Rice University, and MFA from the School of Art Institute of Chicago and a JD from the University of Houston.  McClain is currently the artist in residence at the Houston Community College Southeast.

Mark’s work will be seen in the VIP lounge of the Houston Fine Art Fair, opening September 13-16. Rottet Studio is in charge of designing the space and will hang large prints of his drawings from the “Cope, Not Hope” series. http://houstonfineartfair.com/designer-of-the-vip-lounge-and-collectors-lounge-at-hfaf/#more-694

Exhibition on view September 4-27, 2012 at the College of the Mainland Art Gallery.

Claim your Cave! Closing/Deconstruction Party September 22, 2012 1-4pm

The magical, mesmerizing and beloved “cave” series of installations is coming to an end. The “cave” series taken on multiple forms throughout many exhibitions: starting at Diverseworks Art Space, reinventing itself at Lawndale Art Center and BOX 13 ArtSpace in Houston, and Women & Their Work Gallery in Austin. Come celebrate the final moments of “Boulder”, the last of the cave series, in all its sparkly glory as we break it open! Eye protection recommended.

Whether you are able to attend the Saturday breaking or not, please reserve your piece of the cave via PayPal. There are probably no more than 30 sections available, so reserve yours today! Saturday, Kia will be selling sections of the cave as well as other memoirs of the work. Cash, check or charge. General pricing:

• Basic cave tile (approx. 2′x3′): $50
• Larger cave tile (approx. 2′x3′x3′): $100
• Christmas lights: $2
• 12×18 digital photo prints: $25
• Various CD crystal sculptures will be available at event.

Please inquire about larger custom installations, such as a large cave section to fill the ceiling of your foyer or dining room.

A Pop-UP show @ 4411 Montrose 

Opening Reception Friday, September 7, 2012 6:30 – 8:30 pm

on view September 7, 2012 – September 14, 2012

_________________________________________________________________________  

Join us for a one week BOX13 excursion to the downstairs space at 4411 Montrose Blvd. Opening reception Friday September 7, 2012, 6:30-8:30 pm.  Showing work by:

Elaine Bradford
Karen Brasier-Young
Michelle Chen-Dubose
Monica Foote
Michael Henderson
Janine Hughes
Kate Kendall
Jonathan Leach
David McClain
Jennifer McNichols
Tudor Mitroi
Kia Neill
Emily Peacock
Kristy Peet
Mark Ponder
J. Michael Stovall

To see images of some of the SHIPPED work click here.  Exhibition runs through September 14, 2012.

1 Way, Then Another - Karl Erickson & Andrew Falkowski
Downstairs Front BOX

Systematic Life - Kristy Peet & Christopher Tuttoilmondo-Holmes
Downstairs Back BOX

A Proverbial Supercluster - Karen Brasier-Young
Window BOX

Note to Self - Benjamin Terry
Upstairs BOX

Houston, Texas – BOX 13 ArtSpace is pleased to present four exhibitions opening September 8th, 2012, 7 – 9:30PM. In the Downstairs Front BOX 1 Way, Then Another showcases Karl Erickson’s & Andrew Falkowski’s existential and psychedelic works. Kristy Peet & Christopher Tuttoilmondo-Holmes present their collaborative photographs in the Downstairs Back BOX. Karen Brasier-Young outfits the Window BOX with an eclectic installation in A Proverbial Supercluster. In the Upstairs BOX, Benjamin Terry shows a series of paintings in Note to Self.

The exhibitions continue through October 13th, 2012.
An opening reception will be held on Saturday, September 8th from 7 – 9:30PM
at BOX 13 ArtSpace, 6700 Harrisburg, Houston, TX 77011.

Benjamin Terry’s work in Note to Self escapes the confines of naturalism and flirts with ideas of abstraction. Working with memory, fantasy, dreams and time, duplicated figures create narrative sequences that reflect on internal conflict, self-doubt, ulterior motives and emotional trauma. The complexity of relationships with loved ones serves as a constant resource for narrative content. Like a memory or dream, parts of those stories become blurred or fragmented, and the original thought is always transformed. Each painting’s evolution, whether through multiplicity, incompleteness or obliteration implies that the subjects are odd fragments of a half-forgotten memory.

Benjamin Terry is an artist working in Denton, TX. He is currently completing his MFA in Drawing and Painting at the University of North Texas. Terry received his BFA from UNT in 2010. His work has been shown in group and solo exhibitions throughout Texas. He has been featured in New American Paintings and recently received the Arch and Anne Giles Kimbrough Grant from the Dallas Museum Award. He is currently working as a Teaching Fellow at the University of North Texas, teaching beginning drawing and figure drawing classes.

A Proverbial Supercluster is a site-specific installation consisting of hanging conglomerations of familiar found objects-showing a curatorial favoritism toward light fixtures. The parameters of this project are the polar locations of an iconic, vernacular, storefront display context (the Window Box) and the abstracted, scientific definition of a supercluster (a group of galaxies thought to be held together by gravitational pull). In marrying the mysterious intellectual qualities of astronomy with the mundane realities of tangled, messy, very present physical stuff in the detritus of the artist’s life, this installation manifests in woven wires, wrapped cords, suffocated toys-an almost dangerous web of light that hints to the loss and hope of a failed inventor.

Karen Brasier-Young is an interdisciplinary artist based in Houston, TX. She holds a masters degree in architecture from the University of Cincinnati and has also pursued graduate studies in sculpture at the San Francisco Art Institute. Fueled by an interest in the conundrums of the built environment, Brasier-Young’s work indirectly explores issues of space, place, interaction, and assemblage from the safe, detached perspective of abstract sculptural practice. She is a resident artist at BOX 13 ArtSpace, loves teaching art as an adjunct instructor at Houston Community College, and pays the bills by day as an architectural and interior designer.

Systematic Life is a photographic series that explores physical, bodily systems. There are so many components within the human body and time is never taken to appreciate the microscopic clockwork of the many systems that contribute to life. Kristy Peet and Christopher Tuttiolmondo-Holmes attempt to dissect the framework of life in hopes of instigating an acknowledgment for the mystery of each system of the body. Stylized use of light is employed to mimic the wonder and complexity of these unnoticed, everyday processes.

Kristy Peet and Christopher Tuttoilmondo-Holmes are artists living and working in Houston, Texas.  Peet completed her undergraduate work at Austin College and graduated with an MFA in photography from Savannah College of Art and Design, and Tuttoilmondo-Holmes is currently pursuing an undergraduate degree in natural science followed by a masters degree in astronomy. Their photographic work deals primarily with psychological issues that stem from personal experiences.  Peet is currently teaching photography at College of the Mainland and is a resident artist at BOX 13 ArtSpace.

1 Way, Then Another is about the limits of normal vision, the confusion that comes from having expected sight thwarted and the need to embrace visionary paths for future survival. Karl Erickson and Andrew Falkowski have created a series of works that explore the visual and existential impact of op art, psychedelia and early military camouflage. The works include hard-edge abstract paintings, collages, t-shirts, and latch-hook pillows. The exhibition is the zone between the kinetic and entropic, vision and hallucination.

Karl Erickson is an artist whose interests include psychedelia, language, transcendental experiences, and counter-cultures throughout the ages. His primary media are video, posters, collage and latch-hook rugs and pillows. Currently his work is taking the form of an invocation of the potential for motivational sloganeering to effect real transformation and possibly even transcendence in the form of a hyper-kinetic combination of references.

Andrew Falkowski received a BA from the University of California at Santa Cruz in 1995, an MA from the University of Wisconsin in Madison, Wisconsin, in 1999, and an MFA from the California Institute of the Arts in Valencia, California, in 2003. Selected solo shows include Remain in Light  at Illinois State University in Norma, Illinois, and New Paintings at Rosamund Felsen Gallery in Santa Monica, California. Andrew Falkowski lives and works in Chicago.

Deadline: September 21^st, 2012

Disturbance of Distance is a continuing series of juried exhibitions connecting Houston to the surrounding arts communities. Disturbance of Distance 2013, curated by Kimberly Aubuchon, brings together artists from the Houston and San Antonio areas. The exhibition will take place at Box 13 Art Space in Houston in January. Finalists will be contacted the week of September 24^th and studio visits with the curator will be scheduled during the month of October.

Houston area artists are encouraged to submit their work for consideration.  Please email the curator at realniceart@yahoo.com with the following:

• Name
• Physical address
• Email address
• Phone number
• Brief artist statement/ bio
• Up to 10 images in jpg format, not to exceed 2 MBs. For video’s please send a link to Vimeo or Youtube

Saturday, August 11, 2:00 PM @ the BOX

The Houston Chronicle published a great article about Orna Feinstein and her installation Multi-librium in the Star section of the Houston Chronicle on July 24, 2012.  If you missed in the printed article, the text is quoted below.  Congratulations Orna!

Seed of an idea grew into ‘Multi-librium’

by Molly Glentzer

Orna Feinstein hasn’t spent as much time in her Bellaire yard as she’d like in the four years since she earned a degree in sculpture from the University of Houston.  Every spare moment has gone toward cultivating a garden of recycled art-gallery invitations – about 10,000 of them, sewn into organic shapes and combined so they mimic flowers, leaves, trees and even a fountain.

“Multi-librium” is in full bloom now at BOX13 ArtSpace in Houston’s East End.

The seed for Feinstein’s site-specific installation sprouted after her first solo show at the Museum of Printing History was postponed by Hurricane Ike in 2008.  The invitations already were printed, and 2,000 of them sat in boxes, ready for the trash.

Feinstein, a practical women who is married to a tech inventor and has two grown children, didn’t want such pretty material to go to waste.  She taped a few of the invitations together in shapes she love, naturalistic forms that balance the organic and the geometric, and displaed them on the floor of her show when it finally opened, in a work that was about 4 by 8 feet.

But the see of that idea grew, and she collected unused inviations from galleries and museums.  They’re typically large postcards, colorful on one side, with black and white type on the back.

“I always knew I wanted to do something big with them but the materials weren’s suitable for commercial galleries, ” Feinstein said this week, giving a tour.  (She exhibits through Anya Tish Gallery; and a show of her monoprints, some of which are 30d on Plexiglass forms, is on veiw at Williams Tower Gallery through July 27.)

At BOX 13, a space run by artists, she got a gallery 50 by 23 feet.

Feinstein said she doesn;t sew in the traditional sense, but she bought a sewing machine so she could stitch the ends of the invitations together to form each petal or leaf.  Serendipitously, the thread added a new material: She leaves the ends long so they dangle a but, suggesting the small spider webs one might find in the grass on a dewy morning.

The swirling forms of the installation, viewed from above, also mimic images you might see of plant cells under a microscope.  ”There’s duality here,” Feinstein suggested.

It doesn’t jump at you, but she also designed the installation to balance straight lines with curves.  The “garden” ebbs and flows around the path that provides the negative space for visitors to walk, but its edges hug the straight lines of the walls. “That was deliberate,” Feinstein said. “I could have pulled it away from the wall.”

She left other pathways so visitors could get to BOX 13′s other galleries. “I’m not like Richard Serra, who would have put a wall here for you to go around,” she said. “I want to balance everything.”

“Do you want to know the biggest challenge?” she asked, quickly answering herself. “it was determining how many forms to make. It took a week to install. I did calculations and architectural drawings, but, boy, when I came here, this space swallowed up the pieces like a hungry bear.  I finally finished it at 8 p.m. the night before the opening.”

“Mulit-librium” is on view through Aug 18 at BOX 13 ArtSpace, 6700 Harrisburg; 713-533-8692; www.box13artspace.com.

Also on view: installations by Joshua Goode, Julia Barbosa Landois and Kate Kendall. Open 1-5 p.m. Saturdays or by appointment.

 

BOX 13 ArtSpace is pleased to present four exhibitions opening July 14th, 2012, 7 – 9:30PM. In the Downstairs Front BOX, Orna Feinstein’s installation takes over the floor of the gallery and investigates the relationship between art and science inMulti-librium. The Downstairs Back BOX features Joshua Goode’s sculpture The Frog Queen. A Window BOX installation by Julia Barbosa Landois, titled The more you honor Me, the more will I bless you, addresses ideas of ritual. Kate Kendall invites the public to participate in a spiritual act building a gods eye in the Upstairs BOX.

The exhibitions continue through August 18th, 2012. An opening reception will be held on Saturday, July 14th from 7 – 9:30PM at BOX 13 ArtSpace, 6700 Harrisburg, Houston, TX 77011.

Multi-librium - Orna Feinstein Downstairs Front BOXFour years in the making, Multi-librium is an installation made of thousands of reused art invitations. It seeks to challenge preconceived notions of the traditional gallery space, delivering an engaging contemporary installation, where the use of space is limited only to the floor. The installation will examine and illustrate the concept of equilibrium in which all biological systems co-exist, survive and function. This concept operates both on a cellular and exterior level. The installation compares, contrasts, and balances art and science, and creates soft tension between the organic and geometric.Special thanks to all who donated the cards for this installation: Anya Tish Gallery, Houston Arts Alliance, the Museum of Geometric and Madi Art Dallas, and the Museum of Printing History Houston. This exhibition is courtesy of Anya Tish Gallery.Orna Feinstein was born is Jerusalem, Israel, and moved to the USA in 1984. In 2008, the artist received a BFA majoring in sculpture from the University of Houston Suma cum laude. Feinstein is represented by Anya Tish Gallery in Houston, and Craighead Green Gallery in Dallas. This year she is scheduled for solo shows at Anya Tish Gallery, Craighead Green Gallery, Box13 Houston, and Williams Tower Gallery, as well as numerous group and juried shows including International Print Center NY.  IMAGES _______________________________________________________________________

Featuring:

SILENT AUCTION with work by the following artists and local businesses:

The Alley Theater, Sterling Allen, Debra Barrerra, Aimee Beaubien, Chris Bott, Anne Brasier, Tim Brown, Brittney Connelly, Contour Interior Design, Carrie Cook, Rene Cruz, Megan Daly, Steve Daly, Sasha Dela, Jeremy Deprez, Shannon Duncan, Carter Ernst, Karl Erickson, Georgie Flood, Lauren Moya Ford, Galveston Arts Center, Tony Garbarini, Carol Garcia, Dixie Friend Gay, Guillaume Gelot, Robin Germany, Vanessa Godden, Camillo Gonzalez, David Graeve, Mark Greenwalt, Shirley Hazlett, Christopher Holmes, Holt Publishing, Houston Center for Photography, Jessica L Hyatt, Alexandra Irvine, Carrie Keasler, Sara Kellner, Paul Kittleson, Anna Krachey, Monica Kressman, Emily Link, Jennifer McCormick, Tina McPherson, Ian Mellor-Crummey, Candice Moore, Carrie Nation, Patrick Palmer, Jo Ann Park, Brian Piana, Tara Ratliff, Courtney Reed, Lindsay Reed, Darcy Rosenberber, Francesco Siquieros, Hana Shoup, Emily Sloan, Xochi Solis, Annie Strader, Mary Mikel Stump, M’kina Tapscott, Texas Art Asylum, Jennifer Towner, Charles Arthur Turner, Bob Warren, Matthew Weedman, Lisa Wildermuth, Will Witte, June Woest, Ann Wood, Katie Wynne, Chris Young, Paul Ziegler, and more!

POOR MAN’S RAFFLE where for $5 you can throw your name in the hat for a prime work of art by a BOX13 artist.

$1 a swing PINATAS

The infamous MYSTERY BOX, where for $25 you always walk away with art.

The photographers in Domestica Dentata, operating separately in Chicago but with roots in Russia, Israel and Serbia, explore the domestication of the toothed vagina, the domestication of the castration anxiety Freud found so pervasive, and the domesticity of the terrible.

Anna Shteynshleyger’s MFA is from Yale and she recently won a Guggenheim Fellowship and currently teaches at the School of the Art Institute of Chicago. The MFAH currently has one of her photos on display and the New York Times recently gave her a very favorable write-up.

Daniel Bauer received his MFA from Columbia University and has exhibited widely, including at Kunst Werke, Berlin; Malmo Konsthaal; Witte de With, Rotterdam; Israel Museum, Jerusalem; Storefront for Art and Architecture, NY; Tokyo Wonder Site; Andrea Meislin Gallery, NY.

Irena Knezevic is a Serbian artist whose one person projects and performances have taken place at the Museum of Contemporary Art, Chicago, ThreeWalls, Chicago; White Columns, New York; MIT; Harvard University; Northwestern University; University of Pennsylvania; Wellesley College; Jan Van Eyck Academie, Netherlands and Illinois State Galleries. Collaborations have occurred at Blum and Poe, Los Angeles; Whitney Museum of American Art, New York. She has a MFA from the University of Illinois, Chicago and her last show was reviewed in ArtForum (ARTFORUM review of Here Comes The Darkness by Claudine Ise, December 2011).

A curatorial talk led by Annie Strader and Matthew C. Weedman will be held Saturday, February 18th at 3pm.

Luminous
Kristen Beal, Tobias Fike, Chris Lavery, Stephen V. Martonis, Rick Silva, Annie Strader and Matthew C. Weedman
Curated by Annie Strader and Matthew C. Weedman
Downstairs Front, Back, Window and Upstairs BOXes

Light is the original technology. Light simultaneously reveals the history of the universe, while prompting the question, what is this thing we call history? Light’s material qualities can be shaped to fit our aesthetic needs and desires while unwaveringly feeding the very biological essence of life itself.

Artists require two things at all times, inspiration and tools, light consistently fulfills both of these necessities. From Vermeer’s bending of light through lenses to pull never before seen exactness from his subjects, to Monet’s obsessive use of light’s direct retinal stimulation in order to capture never before seen colors of the “moment” specific, to ManRay’s burning of light on paper showing a new sense of form and volume, to Bruce Nauman’s exploitation of video and neon tubes proclaiming the “now” of art itself. Throughout history and in contemporary practice light remains a consistent source for artistic inspiration.

Kristin Beal received her MFA from Virginia Commonwealth University in 2002. She is represented by ADA Gallery in Richmond, VA and Mulherin Pollard Projects in NYC. Kristin is a founding member and principle player of Hack Art Lab, a collaborative group of artists and engineers based in Wichita, KS.  She was recognized by the Virginia Museum of Fine Arts in 2006 with their Professional Artist Fellowship Award, and most recently by the Kansas Arts Commission when she was awarded their individual Artist Innovation Grant in 2010.  Recent and scheduled exhibitions include; Ness, Reynolds Gallery, Univ. Of the Pacific, Stockton, CA(Oct); Mix Masters(HAL), 427 Artspace, Greensburg, KS; Indigenous Territory, ADA Gallery; Dream Come True, Mulherin Pollard Projects, NYC; You Complete Me(HAL), Paragraph Gallery c/o Charlotte Street Foundation, KCMO; Inland Systems, River City Biennale, Wichita, KS.

Tobias Fike was born in Lincoln, Nebraska in 1975. He spent the first 10 years of life there and then moved to a suburb of Kansas City, Kansas, where he lived until college. He then went back to Lincoln to attend the University of Nebraska where he earned a Bachelor of Fine Arts degree in 2000 and his MFA in Sculpture from The University of Colorado; Boudler, CO. He exhibits nationally with exhibits at Limner Gallery, NY, NY, Maxhausen Gallery of Art, Concordia University, Seward, Nebraska, Boulder Museum of Contemporary Art, Boulder, Colorado and The Denver Art Museum, Denver, Colorado. Tobias Fike lives and works in Arvada, Colorado.

Christopher M. Lavery is an Assistant Professor of Art at the University of Maine, Farmington where he teaches sculpture, installation, sound art and physical computing.  He attended the University of Colorado at Boulder for his graduate degree and has exhibited his art both nationally and internationally.  Currently, Lavery has just completed a large-scale public art project titled Cloudscape for Denver International Airport (2009-2011).  He is also performing and recording with his noise-based, electro-acoustic band, Noise Furniture which incorporates sounds that range from the recorded/documented, traditional musical instruments to circuit bent toys, electronics and homemade synthesizers.  Lavery’s sculptural work develops in a broad range of media including sound, video, electronics, fabrics, wood, found object and drawing.  

Originally from Silver Creek, NY, Stephen V. Martonis received his BFA in Painting from the State University of New York at Fredonia and his MFA in Sculpture from West Virginia University. He currently works from his studio, where he resides, in Longmont, CO. He is employed in Boulder, CO as the Exhibitions Manager for the CU Art Museum and as a Lecturer in the Department of Art & Art History at the University of Colorado. Stephen has exhibited nationally in galleries, museums and many alternative venues.

Rick Silva‘s artwork combines video, animation, sound, and performance to explore the intersections of nature and technology, perception and place, subculture and the avant-garde. His art and research has been supported through grants and commissions from places such as Turbulence, Rhizome at the New Museum, and The Whitney Museum of American Art. He has shown in exhibitions and festivals worldwide, including Transmediale (Germany), Futuresonic (U.K.), and Sonar (Spain). He has performed live multimedia works in London at E:VENT Gallery, Tokyo at The Machida City Museum of Graphic Arts, and throughout North America including the Software Cinema Festival in Houston Texas. Media outlets such as The New York Times, The Guardian UK, Liberation, El Pais, and The CBS Evening News have all recognized his art. Most recently, the author of the book Transmission Arts: Artists and Airwaves regarded him as “a recognized pioneer in New Media Art” (PAJ Publications: 2011).He was previously a Visiting Assistant Professor of Digital Media at the University of Georgia-Athens, and is now Permanent Instructor at the Alberta College of Art and Design. Rick was born in Brazil and lives in Calgary, Canada.  

Annie Strader is an interdisciplinary artist who utilizes sculptural, digital and video processes to create objects, installations and performances. She has had solo exhibitions at The Sculpture Center in Cleveland Ohio; The Hartnett Gallery in Rochester, NY; and The Roy G Biv Gallery in Columbus, OH.  Her work has also been shown at The Urban Institute for Contemporary Art in Grand Rapids Michigan; The Athens Institute for Contemporary Art in Athens, Georgia; The Boulder Museum of Contemporary Art in Boulder, Colorado; and The DAAP Gallery at The University of Cincinnati in Ohio.  In addition to her individual studio practice Strader is also a member of The Bridge Club Art and Performance Collaborative.  The Bridge Club creates site responsive performances, installations, video and digital works. Recent exhibition venues include Lawndale Art Center in Houston, Texas; SPACES gallery in Cleveland, OH and1708 Gallery in Richmond, VA.She received her MFA from The University of Colorado; Boulder, CO and her BFA from Ohio University; Athens, OH. Strader is currently an Assistant Professor of Art at Sam Houston State University in Huntsville, Texas. 

Matthew Weedman utilizes objects, sound, performance and video to explore a personal and social history of living through the cold-war/space-race era and the implications there-of. He has done solo performances at The Denver Art Museum and The Boulder Museum of Contemporary Art. His video and digital based work has been included at The Bearded Child Film Festival, Myles Reif Performing Arts, Minnesota; Cultural Signs, Instituto de Artes, Medallin, Columbia; Digital Nature, Botanical Gardens Denver Colorado; IUGTE, Bovec, Slovenia, EU, The Lexington Art League, Lexington, KY. He has been a guest lecturer at The Big Feed, Irrigation Research Farm, Yuma, CO, Concordia University, Seward, NE, and Wichita State University, Wichita, KS. Matt holds a BA in Film Studies and Studio Art and an MFA in Sculpture from The University of Colorado at Boulder, Boulder, CO.  Matt was born in Dwight, Illinois and currently resides in Huntsville, TX.

WEBSITES:

Kristen Beal

Tobias Fike

Christopher M. Lavery

Rick Silva

Annie Strader

BOX 13 ArtSpace is an artist run, non-profit, innovative environment for the creation and advancement of experimental contemporary art in Houston. BOX 13 artists create this environment through the offering of affordable workspaces for emerging and established artists, dedicating three interior spaces to the exhibition of artistic explorations, a window gallery for installations and an outdoor courtyard space. BOX 13 promotes dialogue among artists and the art community on current trends affecting the arts.

BOX13 ArtSpace is currently accepting proposals for 2012/2013 for exhibitions in its two Downstairs Galleries, the Window BOX gallery, and the Upstairs Gallery. Artists and curators are invited to submit recent (or proposed) experimental works not previously shown in Houston.

Exhibition and performance proposals will be reviewed and selections made by a committee of artist resident members of BOX 13 and potentially guest curator(s) for exhibitions/performances.

BOX 13 will accept proposals annually to discuss and make programming decisions for BOX 13 for no more than 18 months into the future from the meeting date. The next upcoming submission deadline for review is January 15, 2012.

This is not a postmark deadline – submissions must be received by 5pm at BOX13 ArtSpace, 6700 Harrisburg Blvd, Houston, Texas 77011.

BOX 13 exhibition/performance space floor plans can be viewed and downloaded here.

All proposals must be submitted in digital format on CD/DVD only. Additionally, all requested material may be posted to a single page on a website and the link may be submitted. No paper materials will be reviewed. BOX 13 is committed to the reducing our environmental impact when possible and streamlining the application and review process.

For more information, to make an appointment to view the galleries or to inquire about proposal drop off please email Emily Link, Exhibitions Coordinator, at box13artspace@gmail.com.

SUBMISSION CRITERIA

All proposals must include the following:

1. Letter of intent or exhibition proposal in a Word document or PDF file, 500 words or less. Please be sure to include:

For more information on ARTCRAWL Houston, please visit: www.artcrawlhouston.com

DOWNLOAD THE MAP HERE!

A reception for the Dutch artists will be held on Saturday, December 10, 2011
from 6 – 8PM. Panel discussion at 5PM.

Dutch invasiON
Curated by Maria Smits in collaboration with Mrs. J. Bolten-Rempt
with work by Christine Bittremieux, Anna Bolten, Hans de Bruijn, Demiak 
and Jessica Muller

Front & Back BOXes

Dutch invasiON presents the work of five artists living and working in the Netherlands. They are Christine Bittremieux, Anna Bolten, Hans de Bruijn, Demiak (Maarten Demmink) and Jessica Muller. In the variety of their artistic approach one can find one common subject: it is all about space. Every one of them appropriates space in a different way, the outside space, interior space and conceptual space translated into two or three dimensions. This preoccupation with space in and around us is typically Dutch.

With broad gestures in intense color Christine Bittremieux invokes remembered, preferably empty landscapes into atmospherically almost abstract vistas, as visual poetry: as if the after-image still glows even with closed eyes. Or she ‘crops’ just a detail, as enlarged under a magnifying glass. As a drop of gasoline spreads in a split second on the water surface, so the color jells in layers on the canvas.

For Anna Bolten, the observed landscapes or the reality surrounding her are images that become lodged in her memory, also thanks to photography. The context, like location and time of the day, the speed of the movement and the focus of the camera are all of importance. In her studio she creates free, painted collage out of the memory-pictures. As Mondrian creates a harmonious balance with horizontal and vertical planes in the primary colors, black and white, so she constructs a balance with her landscape elements, horizontal, vertical, distant and nearby.

In the mind of Hans de Bruijn, natural space takes its form through the lens of art history with a passion for the Romantic Movement. The unsurpassed knowledge of art works of the past, thanks to the countless reproductions available through the Internet, allows us to see unprejudiced, let alone to paint unbiased. For him his paintings are comments on the observations of space in art (history). He paints the landscape of art, emulating the great landscapists like Hercules Segers, William Turner, Jackson Pollock or Mark Rothko.

The outcome and consequences of nature’s violence and catastrophes are reconstructed by Demiak, pseudonym of Maarten Demmink, in models which he stages. He uses photography and painting to emphasize the natural appearance of the disastrous situation. His works are an actual and convincing “memento mori” (remember dying). The message is not resignation nor wallowing in the misery, it is more an indictment against human “superbia” (recklessness), indifference and negligence.

In the beginning the canvas was empty. Jessica Muller creates with color and paint (her handwriting) a new and visual space in which distance and nearness are synchronous. “The work starts from zero: emptiness, meaninglessness, without any preconception, nor is it a preconceived image to aim at,” Jessica explains. “The whole work is a timeless ‘being’, originated from a piling up of instantaneous actions which together are to be its opposite: timeless or limitless. The result is a view into different dimensions at the same time.”

Maria Smits was born in The Netherlands and currently lives and works in Houston, Texas. She studied fashion and monumental textile at the Royal Academy of Fine Arts, The Hague, The Netherlands.

During the first 10 years of her career she owned a fashion design studio. She designed many exclusive fashion collections, sold in Holland and Germany. After her post academic study at the V.A., University , The Hague, where she studied sculpture, etching, digital photography and video, Maria started her career as an independent artist and curator. She has curated exhibitions and exhibited work at Pulchri Studio, The Hague. Most recently her work has been included in exhibitions at Gallery New Untitled, Venlo, Gallery TH, The Hague; Art Berlin, Germany, Art Amsterdam, The Netherlands; Art Cologne, Germany, Kunst eijssen, Alkmaar, O’Quinn Gallery, Lawndale, Houston. In October 2010, her work was exhibited at Museum Kunsthalle, Osnabruck, Germany. In December 2011 she will show at Red Bud Gallery, The Heights, Houston. Her work is represented in important Dutch Collections.

Websites:
www.bittremieux.nl
www.annabolten.com
www.hansdebruijn.com 
www.demiak.nl
www.jessicamuller.nl
www.mariasmits.nl

This project is funded in part by a grant from the City of Houston’s Mayor’s City Initiative Program through the Houston Arts Alliance. 

Additional work for Dutch invasiON will be on view at the Williams Tower Gallery, December 8, 2011 – January 6, 2012. A reception will be held December 8, 2011 from 6 – 8PM.

Complementing the exhibitions, Hans de Bruijn will present a lecture on “Romanticism in Dutch Painting Revisited” at the UH Fine Arts Building on November 17, 2011.

Timothy Harding
Omitted
Window BOX

Omitted is a new work within Timothy Harding‘s on-going series of constructed drawings that explores scribbling and how it is used to omit information. Usually, the artist works in a controlled environment. The acts of concealing and revealing information are, ideally, decided upon by the artist. Whether or not the studio and process work are seen is normally at the discretion of the artist, as well. In review of the documentation of my past construction processes, Harding has become fascinated with his own inherent awkwardness. Harding has captured a number of the awkward positions and interactions that take place throughout construction. This awkwardness exists in stark contrast with the final work seen by the viewer. In a response to the highly controlled image that is normally seen, he has decided to intentionally show the awkward scenarios that are not usually desirable. However, the urge to control has become instinctive and the scribble represents Harding’s tendency to try and hide what he has already presented.

Timothy Harding received a Master of Fine Arts degree from Texas Christian University in Fort Worth, TX and a Bachelor of Fine Arts degree from Texas Woman’s University in Denton, TX. Born in Houston and raised in Irving, TX, Timothy has exhibited his work regularly since 2007 in many solo and group exhibitions, including the 2011 Texas Biennial. He was a recipient of a Kimbrough Fund Grant from the Dallas Museum of Art in 2009. Timothy is a member of 500X Gallery in Dallas; he currently lives and works in Fort Worth, TX.

www.timothyevanharding.com

Saturday, November 5, 2011,  1 – 5PM

Researching quiltmaking from a contemporary art perspective, Quilt 

Artists accepted into residence actively participate in the operation, maintenance and promotion of BOX 13. Each artist receives a workspace as part of residence/membership. Resident workspaces range from $125 to $650 per month based on square footage plus an annual contribution of artwork(s) to BOX 13.
To become a resident of BOX 13, artists must schedule an appointment for an interview with current artist residents and be prepared to bring evidence of a professional career in the visual or performing arts (slides, cd, dvd, or other visuals), plus personal references and a commitment to support the activities of BOX 13. It is imperative that you visually and mentally engage us with your application material. Most residents are people that another current resident is familar with, so it is recommended that you introduce yourself and talk to members at openings, events and other venues.

To set up an appointment to interview, meet the other residents, and come and look at the space please email Kristy Peet. Interviews are normally conducted during monthly member meetings the 15th of each month.

New residents are encouraged to jump in, bring new ideas or develop old ones and inspire the direction BOX 13 takes. If you have experience as a curator, with exhibitions, art writing, carpentry skills, grant writing, etc. please make this evident when you apply.

Please read the membership information and fill out the application to be considered for one of these studios.

1st floor studio(s) available March 1, 2013 (click to enlarge):

2nd floor studio(s) available March 1, 2013 (click to enlarge):

Monica Vidal
Temple Hive
Downstairs Front BOX

Temple Hive is the second in Monica Vidal‘s series of large scale forms whose purpose is to distort the relationship between body and sculpture.  The first, Tumor Hive, represented the enormous emotional impact of an excised lump of cells gone amok.  Temple Hive is inspired by the idiosyncrasies of Vidal’s youth as they linger into hypothetical adulthood.  She was then, as she is now, obsessed with escape, for both body and mind.

Vidal explains, “When I was young we had gold-colored, polyester curtains in our dining room.  They had a dense, abstract pattern and if you stared at them for long enough you saw rows of crouched figures, the heads tucked down and their knees brought up.  At least, if I stared at them long enough, I did.  On weekends I spent my time in a homemade tent of blankets and dining room chairs, tucked away from my rowdy brothers. I liked my space, even if it was just the mini mental vacation provided by picking out the pattern in stippled sunlight through curtains.”

Temple Hive is meant for the act of isolating yourself from the world to contemplate pattern and texture.  It is an ode to sunlight and quilts and calico and brocade, all at once.  It was built from triangles into hexagons-like the cells of honeycombs– and as they spread they also collapse. Vidal created this space for herself and to share.

Monica Vidal received her BFA from Cleveland Institute of Art and a MFA from Tyler School of Art. She has exhibited in Houston, Austin and Dallas and had a residency at Art 342 in Fort Collins, Colorado. When not making drawings, paintings and sculptures in #10 at Winter Street Studios, she is the Registrar at the University Museum at Texas Southern. In the summer of 2012 she will be showing the series of Hives at the Lawrence Art Center, Kansas.

Lisa Choinacky
Reality Is Only A Rorschach Ink-Blot, You Know
Downstairs Back BOX

All of existence can be understood as a relationship. Alan Watts posited that our physical world is a system of inseparable things where everything exists with everything else. In this system of metasystems, each relationship aggregates with many, giving form to the universe. And within this pattern, even the most seemingly disparate of elements ultimately reveal themselves to be conjoined and interwoven. Is it coincidence that the world is made up of undividable opposites? Lisa Choinacky seeks to examine how this relates to that.

In a life-sized Rorschach-esque diorama consisting of plywood and still projections Choinacky explores symmetry, opposites & relationship. Choinacky has collaged together mirror images of basketball players in motion, illustrating that when we accept that the universe runs off a blind energy, this can cause a very insular worldview. We form teams and then we form opponents. The opponents occasionally rise to meet each other in pursuit of the same goal, bifurcating and mirroring one another, each existing because of and for the other.

In layering these images/pieces in a space, Choinacky aims to work towards total awareness of connectedness and order, while demystifying the idea of the cosmic fluke. She has chosen to identify and explore sites of mirroring and convergence to highlight the relationship points that bind us, and the universe, together.

Lisa Choinacky was born in South Bend, Indiana. She received her B.F.A in painting at Ball State University in Muncie, Indiana and her M.F.A. from Ohio University in Athens, Ohio. It was in Athens where she founded the art collective, Tricycle Shop. She currently lives in Austin, TX with her husband and daughter, exhibits her work nationally and manages Women & Their Work Gallery.

Krista Birnbaum
NEW GROWTH
Window BOX

NEW GROWTH uses artificial plants to reference the forms that living plants take around the Houston area. Inspirational forms range from the manicured to the overgrown. When Krista Brinbaum moved to Houston, she was struck by the carefully shaped plants and hedges fitting neatly inside fences or trimmed to enhance a brick wall. Meanwhile, posts and buildings in neglected areas sprout wild green hair-dos.

Birnbaum’s work is motivated by a desire to understand my own relationship with nature. She finds new impetus for her work when confronted with an unfamiliar landscape. These unfamiliar encounters force her to find new explanations for her simultaneous desires to both be unified with and in control of nature.

Krista Birnbaum is an interdisciplinary artist currently residing in Houston, TX. Her images and sculptures reflect issues of control over nature. She received an MFA from Syracuse University in 2007. Current exhibitions include By myself and with my friends… at the ASU Art Museum in Tempe, AZ and the 20^th Anniversary Show at the Buffalo Art Studio, Buffalo, NY. In recent years she has shown at ROY G BIV Gallery in Columbus, OH, and 516 Arts in Albuquerque, NM. Her prints were included in the Unlimited Edition exhibit at the Arlington Arts Center, Arlington, VA and the KY7 Biennial at the Lexington Art League, Lexington, KY. Other exhibits have included a solo exhibit at the Buffalo Arts Studio, Buffalo, NY and a tribute to Nam Jun Paik at Gallery Korea, NYC.

Jed Foronda & Emily Link
False Face High
Upstairs BOX

False Face High is a series of new work from Jed Foronda and Emily Link. Through installation, sculpture and 2D works, Foronda and Link articulate shared cultural apprehensions in tandem.

Jed Foronda’s work is influenced by notions of identity through personal history and daily observations. These ideas are portrayed through an array of unconventional sources to the viewer. Emily Link works to expand upon existing myths and legends to create another dimensional layer that stems from her experiences. In these legends, she acts as Shaman; the expert of their origins. Link’s work is part of an ongoing series of works dedicated to the excavation and reinterpretation of personal narratives through the employment of soft sculpture forms and recurring characters, illustrative drawings, and hand-crafted artifacts.

Jed Foronda is a Filipino American artist born and raised in Houston,TX.  He recieved his BFA in painting from the University of Houston in 2008, and has shown in numerous exhibitions throughout the Houston area. Jed currently resides and works in Houston. 

Emily Link was born in Syracuse, NY, and raised in rural Pennsylvania. Since being transplanted to Texas, she has worked to build an enriched cultural past in an environment that exists only for the future. In 2008 she received her BFA from the University of Houston, and has exhibited work in the Houston area as well as in New Orleans, LA, Portland, OR, and Salt Lake City, UT. Emily Link is currently based in Houston, TX, working from her studio at BOX13 ArtSpace.

UH Photography: Max C. Fields, Os Galindo, Daniela Hernandez
Front BOX

Shannon Duncan, Brittney Connelly & Bryan Forrester
Back BOX

Daniel Bauer, Irena Knezevic & Anna Shteynshleyger 
Curated by David McClain
Upstairs BOX

“Our human perceptions and faculties are limited, allowing us only a partial understanding of the world around us. Many of our questions about the true nature of things cannot be answered conclusively, and yet, humans have a fantastic tradition of explaining the unknown. These explanations can offer us comfort, and can make it possible to be at ease with a world which might otherwise overwhelm us. The human tendency to mythologize is both the subject and strategy of my work-while analyzing our compulsion to create metaphysical narratives, I simultaneously weave my own.

“Our physical bodies are limited and impermanent, and in humanity I observe a universal desire to transcend these limitations, whether it is through the cultivation of metaphysical beliefs, or the modification and augmentation of the physical body. The body feels quite permanent to its owner, but it is actually a temporary material object. Each owner of a body is well acquainted with, and necessarily bound up in the physical. My interest in sculpture is connected with my acute awareness of the physicality of my existence. Sculpture provides a means for me to solidify my thoughts materially, with a broad range of motions that are often physically challenging.

“Today nearly anything created (or appropriated) in space qualifies as sculpture. This open-endedness has greatly expanded the tools at my disposal, and I construct object-based sculpture while simultaneously making installations and including performance. Whether my action is the work, or my action produces the work, all of the methods are yoked to a central body of inquiries, so each approach informs the others. Distinctions blur between my work, my life, and the larger world as they flow into a whirlwind of interplay.

“As I have investigated the human condition, it has made sense for me to research the philosopher Plato; 2400 years ago he mused about ultimate reality and the existence of the soul. Reading Plato’s dialogues, one can in effect witness him struggling to unpack the complexities of the seen and unseen world, using his own power of reason as a guide. I feel an ineffable sense of reassurance in Plato’s ponderings; although his dialogues cannot offer absolute answers to our existential inquiries, I find the poetic beauty of his questions to be almost as satisfying.

“Art both shapes and embodies its surroundings in a continuous cycle of influence. Of all the roles that the artist can assume in society, I find the role of the “visionary” to be the most compelling. Visionary artists are adept at imagining other possibilities, and through their work they propose alternatives to current understandings. For me, the most exciting aspect of being an artist is the idea that my work can bring about change in the world. Then the process of creating goes beyond shaping objects and images, and is also a means of shaping reality.”

-Joe Meiser

Joseph Meiser is a studio artist who creates sculpture, installation, and performance art.  Meiser has exhibited his artwork in numerous venues across the United States, including: Northwestern University, Jack the Pelican Presents in Brooklyn, the Athens Institute for Contemporary Art in Georgia, Western Washington University, The Waterloo Center for the Arts, The University of Wisconsin at Madison, and Columbia College in Chicago.  In his studio practice, Meiser investigates the limited and often flawed nature of our human perceptions, the manner in which our bodies direct our experience of the world, and our human compulsion to create narratives. 

Artist and writer, Noah Simblist, has offered a statement to the members of Culture Laboratory Collective: ”I am writing this (self reflexive) sentence but it is writing you.” In “Response” the artists have each taken a word from the statement and developed art, interpreting and elaborating on their fragment of the sentence.

The exhibition pinpoints the individuality of the participating artists and their localized attempts to remain part of the larger group discussion, while inversely opening the artist community to influence from an outside source.  The exhibit allows multiple interpretations and relational aesthetics, favoring the complexity of individuation and community vitality over homogenization.

A version of “Response” in collaboration with Ben Lewis of “Art Safari,” London, was held at Richland College, Dallas in early 2011. The success of the exhibit prompted another collaborative effort to further explore the discourse and relation of object to context.

 Noah Simblist is an artist, writer, curator, and associate professor at SMU in Dallas, Texas.  His work explores the relationship between politics and abstraction with an emphasis on the Palestine/Israeli conflict. Simblist has written for Artpapers, Artlies and several web publications. He has curated Abstraction/Construction at SOIL gallery in Seattle, Collecting and Collectivity at Conduit Gallery in Dallas and the 3 Propositions and a Musical Scenario in Ft Worth along with Subtext Projects.

Culture Laboratory Collective comprises a diverse group of 12 American artists working loosely around the question of social cohesion within the context of aesthetic fragmentation. The members, scattered across the nation, have developed an online community, exchanging ideas as an ongoing investigation in media interchangeability and communal dissonance.

As we drive on highways through the city, the blur of the surrounding landscape becomes streamlined and unnoticed with the exception of bold adverts and vibrant warning signs.  The signs that caution and direct us instill a confidence in us that guides us on a path as natural as if were hiking on a trail through the woods. This installation is inspired by the impulses triggered within us by these roadside patterns and colors. I exploit this vibrant visual language to guide the viewer through the work, but the way I construct the painting allows that direction to be questioned and subverted.

Jonathan Leach was born in Lexington, KY. While attending school in Chicago, he was influenced by the surrounding architecture. As a painter now living in Houston, TX, he continues to be inspired by architecture and explore the relationship we have with our environment in this city.

Nohegan East 2011 is supported in part by The Idea Fund!

• Residencies are renewable based on annual review and fulfillment of Residency Qualifications.
• Reviews will be held during regularly scheduled monthly Resident meetings. Renewed Residency shall be granted upon a majority vote of current Residents in good standing.

Our residents commit to:

• actively pursue expanding their body of work.
• actively participate in the mission and maintenance of BOX 13.
• participates on a minimum of one BOX work team.
• attend a monthly workday and resident meeting
• attend monthly resident meeting
• attend openings.
• donate a piece of artwork(s) annually with a minimum value of $1000.
• pay first and last month dues upon entry into residency.
• maintain studio space in good, clean condition and upon vacating the space, return it to its original or improved condition.
• Meet financial responsibilities of monthly dues in a timely and consistent manner.

Not Tourists intends to focus on people and places as an expression of the complexity of human experience. Gorzo’s work focuses on people as they relate to a variety of places and the artist’s relationship with them. Mitroi’s work constructs places based on maps, found geographies and imagery of both personal and historical significance, such as those of air raids over Romania during WW2.

Gorzo’s paintings focus on people: those he has seen around him (peasants from his ancient native village, or anonymous inhabitants of big cities like Bucharest, Istanbul, or New York), as well as those from the pages of Romanian art and history, old and new. Mitroi explores places in his paintings that become objects with irregular contours based on a variety of sources. They are containers that condense personal experiences into maps combining disparate locations, the randomness of the immediate environment, and personal and historical imagery.

Both artists are aware of their status: at once participants and spectators to different cultures, trapped between mainstream and periphery, past and present.

While their paths may appear different, their common ties run deeper than their perceived aesthetics. Both artists were born and raised in Romania. They also graduated from the same art school, Universitatea Nationala de Arte in Bucharest. Both live and work in the US. Inevitably, their artistic investigations are influenced by their background and experiences. Their work is an exploration and personal response to human condition and its connection to a specific cultural and geographic location.

“Over the last few years I have become interested in the dominant themes of Romanticism in the literary and visual arts, and how these themes, including nature, imagination, erotic love, and the development of self, are influenced and in many cases defined by gender. A lot of my work attempts to re-frame the historical gendering of nature as feminine. In a recent series of watercolors on paper, anthropomorphized landscapes depict intimate acts of dominance and submission, dissolving the boundaries between “male” and “female” “inside” and “outside”.

“My most recent paintings, solitary male nudes that are simultaneously obliterated and realized by their environments, pay satirical homage to the Romantic cult of individualism while introducing an eroticism usually reserved for the female body. In addition to my works on paper, I also make videos and animations, and most recently videos combing live action and animation. “Me Time” (8:27, 2010) records me passionately making out with a series of puppets, including a policeman, a firefighter, and a construction worker. In “Me Time” the object of my affection is literally an extension and projection of self, reflecting many of the highly narcissistic Romantic descriptions of erotic love, relationships often defined by woman becoming an extension of man, or the female being metaphorically subsumed into the male.

“Similarly “The Clearing”(3:20 2010), a video combining animation and live action, reverses many of the established stereotypes concerning nature and gender. In the video a Svengali-like female character plays her flute, seducing a young naked man into a forest clearing, his erratic movements seemingly controlled by her music.

“My recent work has mostly taken the form of large and small watercolors on paper, animation, and video. My process for the animations involves videotaping my subjects, breaking down the video into an image sequence, making paintings from that sequence, and finally reanimating and altering the paintings into a second video. The animations are the result of the original video footage being “filtered” through an extremely slow and subjective process that mirrors the physicality of painting, as well as the physical and psychological complexities of my subjects’ performances. The paintings and animations are often exhibited together, juxtaposing two representations of a single event: one organized spatially, and the other temporally.”

-Joey Fauerso

Joey Fauerso lives and works San Antonio with her family. Recent shows include ‘Act Natural’ at Western Exhibitions in Chicago, ‘Four Animations’ at the McNay Museum of Art, and ‘Decoy’ at Parsons School of Art Paris. Fauerso is represented by David Shelton Gallery and is an Assistant Professor of Art at Texas State University.

Jenny Schlief Stock Photography is an ongoing project where Jenny Schlief assumes the role of the identity-less models in everyday situations sold for companies to use in a variety of promotional uses. This particular series is based on a search in shutterstock and istockphoto called “fun woman.” The photos will be available on flash drive and online through these websites. Photography by Jenny Antill.

Jenny Schlief’s work consists of video, performance and installations that often confront ideas of objectification, insecurity, vulnerability and doubt. She runs RED WHITE YELLOW gallery featuring works by video, digital and technology artists. She has also worked for galleries in the Houston area and curated the exhibition New Cartoon! in 2005 which included artists from Houston and all over the country. Jenny lives with her husband and their two children in Houston.

“I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I love the Views’ ‘Hot Topics’. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition. I want the viewer to have a heightened sense of not ennui, not tedium, but the strangeness of repetition.

“Invention, movement, entertainment, sincere excitement about life, sincere confusion about meaning, and competition are major themes as well.”

- Cody Ledvina

Cody Ledvina is an artist and husband in Houston, Texas. He co-founded The Joanna, an artist run space devoted to new art practices. This is his first performance of any kind.

Houston Arts Alliance, American Association of Museums (AAM), PODS Houston and Discovery Green present the Portable On Demand Art Project (PODA). The P.O.D.A. Project is a temporary public art exhibition featuring the work of Aerosol Warfare, BOX 13 ArtSpace, Jillian Conrad, The Joanna, Lynne McCabe, Gabriel Martinez, Metalab, and Anthony Shumate. Each artist or collective of artists has uniquely transformed a PODS® container into a work of art.

Created in conjunction with the 2011 American Association of Museums (AAM) Annual Meeting & MuseumExpo™ and in partnership with PODS Houston, the City of Houston, Discovery Green and the Houston Arts Alliance, the P.O.D.A. project provides a non-traditional platform for artists to explore the cultural, ecological, political, scientific and socio-economic forces shaping Houston’s aspirations for the future, and showcases our city as a vibrant arts and cultural capital and museum mecca for locals and visitors alike.

The P.O.D.A. Project was first revealed on May 19, 2011 at Discovery Green and after six weeks at the park the containers were moved to six Neighborhood Centers, Inc. locations throughout Houston through the end of 2011. The P.O.D.A. Project is generously funded by PODS Houston and a grant from the City of Houston’s Special Initiative Grant Program through the Houston Arts Alliance and Houston Museum District Association.

For more information, please visit www.portableondemandartproject.com.

BOX of Curiosities Venues:

Discovery Green
Cleveland-Ripley Neighborhood Center
Ripley House Neighborhood Center
Friendswood Public Library
Houston Fine Art Fair
University of Houston

BOX 13 ArtSpace is proud to partner with the Texas Biennial by hosting 2011 selected artists Cassandra Emswiler, Laurie Frick, Tim Harding, Olivia Moore and Brad Tucker.

For the complete list of TX★11 artists, please visit www.texasbiennial.org

Download the full press release for information on selected artists and participating artists. Opening events in Austin will take place April 15-16, 2011. Details on these events and other programming statewide will be available February 1, 2011 at www.texasbiennnial.org.

The Texas Biennial is a project of Big Medium, an Austin-based non-profit 501(c)3 organization dedicated to promoting contemporary visual art in Texas.

This will be the fourth edition of the Texas Biennial, which was originated in 2005. The core of each Biennial to date has been a group exhibition of art works selected from submissions gathered from throughout the state. In 2005 and 2007, the Biennial was juried by a panel composed of active members of the Texas visuals arts community. In 2009, artists were selected by noted critic and Los Angeles-based independent curator, Michael Duncan. This selection process was also followed for 2011, with New-York based art historian and art lawyer Virginia Rutledge serving as Biennial curator.

Continuing the Biennial’s aim of providing “an independent survey of contemporary Texas art”, Rutledge has selected 50 artists drawn from a pool of almost 800 applicants living and working throughout the state. The artists represented include both emerging and established talents, and the exhibition will include recent works created in a range of artistic media from painting, sculpture, drawing and print, to photography, video, installation and performance.

Previously all group exhibitions have been hosted by multiple venues throughout Austin, in keeping with the project’s collaborative spirit. In 2009 the exhibition format was expanded to include solo shows by five individual artists specially invited by 2009 Curator Duncan, and a temporary exhibition of outdoor sculptures selected by Duncan with curator Risa Puleo, produced in collaboration with Austin’s Art in Public Places program.

In a further exploration of a dispersed model for exhibitions, for the first time in its history, in 2011 the Biennial will take place simultaneously in venues in three Texas cities: Austin, Houston and San Antonio. In Austin, in addition to the Biennial’s “home” gallery at Big Medium, the Biennial is proud to again be working with Women &Their Work and Pump Project Art Complex, who supported the exhibition in 2009. Also on board for 2011 is the Visual Arts Center at the University of Texas at Austin. Portions of the exhibition will also be presented in Houston, at BOX 13 ArtSpace, and in San Antonio, at Blue Star Contemporary Art Center.

And the project continues to grow, as 2011 Curator Rutledge has invited other non-profit arts venues across the state to support the Biennial with their own, independently curated exhibitions and programming, all focused on contemporary Texas art. More than 50 venues across the state, from the most established museums to the most alternative artist-run spaces, have joined the Biennial project as participating organizations. This aspect of the project is intended as a celebration not only of Texas artists, but of the creativity and dedication of Texas arts organizations. Details on the exhibitions and other programming being presented by participating organizations will be available February 1, 2011 on the TX★11 Calendar.

For more information, please visit www.texasbiennial.org.

DiverseWorks is using RED WHITE YELLOW to present two days of live internet broadcasted performances from all over the world.

April 29, 2011 from 7-10pm
April 30, 2011 from 2-5pm
See the schedule here

All performances will be recorded and on view through May 21, 2011

(Houston, TX) – DiverseWorks ArtSpace in partnership with Box13 ArtSpace are pleased to announce a special co-presentation of Low Lives 3, an international exhibition of live performance-based works transmitted over the web and projected in real-time at multiple venues around the world. Low Lives 3 will feature more than fifty live performances over two days, streamed in real-time at venues across the globe, and will include a spotlight on contemporary choreography throughout the exhibition program.

DiverseWorks and Box13 will showcase Houston artist Jenny Schlief as part of Low Lives 3. Schlief will perform The Ugliest Man and Zarathustra: an evaluation by another human in front of a live audience at RED WHITE YELLOW, Box 13’s gallery dedicated to technology-based work. The performance will also be streamed simultaneously online and for public viewing at Box 13. The full stream of the collected works that make up Low Lives 3 will be projected within the gallery on Friday, April 29 from 7-10 pm and Saturday, April 30 from 2-5 pm. Please note the live performance will be recorded and available for viewing until May 21 during gallery hours at Box13 ArtSpace. All presentations are free and open to the public.

About Low Lives:
Founded in 2009 by artist and independent curator Jorge Rojas, the annual Low Lives exhibition highlights works that critically investigate, challenge, and extend the potential of performative 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.

“Low Lives is not simply about the presentation of performative gestures at a particular place and time,” Rojas explains, “it is also about the transmission of these moments and what gets lost, conveyed, blurred, and reconfigured when utilizing this medium.”

About Low Lives 3

Low Lives 3 is co-produced by Chez Bushwick, an artist-run organization based in Brooklyn, New York. Chez Bushwick is dedicated to the advancement of interdisciplinary art and performance and places a special emphasis on new choreography.

Participating artists include: Annie Abrahams; Lukas Avendaño; Brian Balderston and Chloe Bass; Camille Baker; Tzitzi Barrantes; Rachelle Beaudoin; Black & Jones; Caroline Boileau; Catherine Cabeen and Company; Jennifer Chan; Tyrone Davies; Joseph DeLappe; dev01ded; Alfred Dong; Nancy Douthey; Eosin; Julie Fotheringham and Jarryd Lowder; Second Front; Deborah Goffe; Carlos Gonzalez; Katelena Hernandez; Ajeesh K.B., Santhosh V.S., and Hemabharathy Palani; Jayson Keeling; La La La Singers; Shaun El C. Leonardo; Anya Liftig; Kristin Lucas; James Mbunju and Company; Saul Melman; Marcello Mercado; Jui Mhatre and Jaee Joshi; Julio Morales; Irvin Morazan and Maya Jeffereis; Kendall Nordin; Molly O’Connor/Molliver; So Percussion; SaBa; Marisol Salanova; Rosa Sanchez and Alain Baumann; Byd Sarret; Jenny Schlief; Carmen Sober; Alan Sondheim; Nathan Stevens; Zornitsa Stoyanova; Channel TWo; Frans van Lent; Claude van Lingen; Ginna Vélez; Rodell Warner; Ian Warren; Dr. Heather Warren-Crow; Rebecca Weiner; and Paul Wiersbinski.

Now in its third year, Low Lives has expanded its reach to over twenty presenting partners from all corners of the world. Presenting partners include: Alice Yard, Port of Spain, Trinidad and Tobago; Aljira, A Center for Contemporary Art, Newark, New Jersey; Attakkalari Centre for Movement Arts, Bangalore, India; Center for Performance Research, Brooklyn, New York; Chez Bushwick, Brooklyn, New York; Co-lab, Austin, Texas; QMAD, Queens Media Art Development in partnership with Crossing Art Gallery, Queens, New York; Diaspora Vibe Gallery in partnership with AE District, Miami, Florida; DiverseWorks ArtSpace in partnership with Box 13, Houston, Texas; Elon University Department of Art & Art History, Elon, North Carolina; Fusebox Festival, Austin, Texas; Konic Thtr, Barcelona, Spain; La Periferia, Mérida, Yucatán, México; La Perrera in partneship with MACO, Museo de Arte Contemporáneo de Oaxaca, Oaxaca, México; Living Arts, Tulsa, Oklahoma; Mascher Space Co-op, Philadelphia, Pennsylvania; Mindpirates, Berlin, Germany; Obsidian Arts, Minneapolis, Minnesota; On the Boards, Seattle, Washington; Portland Institute for Contemporary Art, Portland, Oregon; Real Art Ways, Hartford, Connecticut; Simba Theatre Art International in partnership with Village Museum, Dar es Salaam City, Tanzania; SOMArts, San Francisco, California; the temporary space, Japan; and Utah Museum of Fine Arts, Salt Lake City, Utah.

Low Lives 3 is funded in part by The Experimental Television Funds program. The Experimental Television Center’s Presentation Funds program is supported by the New York State Council on the Arts.

For more information, please visit www.lowlives.net

About Jorge Rojas:
Jorge Rojas is the founder, producer, and curator of Low Lives. A multidisciplinary artist and independent curator, he was born in Morelos, Mexico and studied art at the University of Utah in Salt Lake City and at Bellas Artes in San Miguel de Allende, Mexico. Rojas engages in traditional, new, and performative media. His work often investigates communication systems and the effect of technology on artistic production, social structures, and communities. His artwork and curatorial projects have been exhibited in galleries and museums in the United States, Mexico, Brazil, and India. Rojas has received grants and fellowships including National Performance Network’s VAN Residency, West Chicago City Museum Artist in Residency Program, and Vermont Studio Center.

About Jenny Schlief

:
Jenny Schlief is a mixed-media artist who creates work from her personal experiences — home movies of her two kids, a video of her jumping on a hotel room bed in her skivvies and collage-centric drawing projects based on her high-school sketchbook — that usually border on her uncomfortable-to-share feelings. In Low Lives 3, the Houston-based artist will capture a live personal evaluation from a close peer that she has known for 10 years. Since the performance will happen in real time, it will be a performance of real human interaction and event. Thereʼs no way out, and all reactions are real and unrehearsed. Schlief took the title of the performance, The Ugliest Man and Zarathustra: an evaluation by another human, from a passage in a book by Neitzche, where she hopes to assume the character of The Ugliest Man, and her evaluator, Zarathustra. Schlief lives and works in Houston, TX as the co-founder of Supreme Value, a web services and design business, and runs the gallery Red White Yellow located inside Box13 ArtSpace. She received her B.F.A. from the University of Texas (Austin). Visit http://www.jennyschlief.com/ for more on Schlief and her work.

About DiverseWorks ArtSpace:
DiverseWorks is a non-profit art center in Houston, Texas dedicated to presenting new visual, performing, and literary art. DiverseWorks is a place where the process of creating art is valued and where artists can test new ideas in the public arena. By encouraging the investigation of current artistic, cultural and social issues, DiverseWorks builds, educates, and sustains audiences for contemporary art.

About Box13 ArtSpace:
BOX 13 ArtSpace is an artist run nonprofit innovative environment for the creation and advancement of experimental contemporary art in Houston. BOX 13 artists create this environment through the offering of affordable workspaces for emerging and established artists, dedicating five interior spaces to the exhibition of artistic explorations, a window gallery for installations and an outdoor courtyard space. BOX 13 promotes dialogue among artists and the art community on current trends affecting the arts. For more information go to, http://www.box13artspace.com/

About Red White Yellow

Red White Yellow is an artist run gallery located at Box13 ArtSpace in Houston, TX, started in 2010. It draws its inspiration from a multitude of outputs and technologies including video, gaming, internet, youtube, cinema, and fine art.
Box13ArtSpace is located at 6700 Harrisburg Blvd., Houston, TX, 77011
Telephone: 713-533-8692
Website: http://www.box13artspace.com/
Gallery Hours: Saturday, 1-5pm or by Appointment
Admission to the gallery is FREE

Save the date for The Empty Box, BOX 13′s annual fundraiser, Saturday, March 12, 2011, 7-9:30pm at BOX 13 Artspace, 6700 Harrisburg, Houston, TX 77011. Artist works up for raffle include BOX 13 members and friends at $50 per ticket, or or try your luck at the poor man’s raffle for $5. All proceeds benefit exhibitions and programs at BOX 13 Artspace.

In order to sustain our dream and continue to fill the BOX with new and exciting works of art, we need your help!  BOX 13 ArtSpace is a young artist-run nonprofit which provides an innovative environment for the creation and advancement of experimental contemporary art in Houston. BOX 13 cultivates this environment through affordable workspaces for emerging and established artists and the dedication of a significant portion of its building for exhibitions.  We are pleased to announce that on Saturday, March 12th  at 7pm,  BOX 13 ArtSpace will host it’s semi-annual fundraiser, The Empty Box.

BOX 13 relies on individual donors and its resident artists for funding. The resident artists work to foster creativity, appreciation and accessibility of visual art in order to further enrich the community. Please join us in supporting this endeavor. On March 12th, individuals will have the opportunity to support upcoming exhibition needs, purchase raffle tickets for artwork, or simply be our guest for an exciting evening of art, fun and libations!

For just $50, people will have the chance to win art donated by over 100 locally and nationally known artists. There will also be a $5 poor man’s raffle, and many other ways to give in order to fill our Empty Box. All donations are greatly appreciated. Visit the lounge on the second floor for all your entertainment needs and place a bid in the silent auction of past and present BOX 13 member art. The event is free and open to the public, so come out, have fun and support our fledgling East End art space!

The Empty Box Evening Schedule
7:00-8:55 pm Art raffle, poor man’s raffle & open studios
9:00 pm Silent Auction closes
9:05 pm Art raffle winners announced
9:30 pm Poor man’s raffle winner announced

ARTISTS  WORK FOR THE RAFFLE INCLUDE:

Sandeep Aiyer, Sterling Allen, Kimberly Aubochon, Heather Bause, Justin Boyd, Elaine Bradford, Michael Brimms, Brianna Carroll, Vachu Chilakamarri, Lisa Choinacky, Brittney Connelly, Cory R. Cryer, Stephanie Davidson, Pinky Diablo, Lina Dib, Dumptruck, Shannon Duncan, Vanessa Estrada, Dan Fabian, Loli Fernandez –A, Rebecca Finley, Jed Foronda, Nathan Green, Janet Hassinger, Michael Henderson, Rachel Hewlett, Hillerbrand+Magsamen, Wes Holloway, Christine Jelson West, Brian R. Jobe (Culture Laboratory Collective), Brian Jones, Erin Joyce, Kathy Kelley, Anna Krachey, Ryan Lauderdale, Jonathan Leach, Cody Ledvina, Emily Link, Jonatan Lopez, Jason Makepeace, Matt Manalo, Ken Mazzu, David McClain, Daniel McFarlane, Emily McGrew, Paul Middendorf, Seth Mittag, Lauren Moya Ford, Tobiah Mundt, Leslie Mutchler, Dennis Nance, Kia Neill, Emily Ng, Crystal Owens, JoAnn Park, Eric Pearce, Kristy Peet, Mark Ponder, Ryder Richards, Whitney Riley, Ariane Roesch, Alex Rosa, Carlos Rosales Silva, Ben Ruggerio, Mitch “Grystar” Samuels, Jenny Schlief, Abi Semtner, Zarina Shah, Jon Shapley, Jocelyn Shipley, Michael Sieben, Emily Sloan, Maria Smits, Xochi Solis, Barry Stone, Annie Strader, Ian F. Thomas, Shane Tolbert, Stephanie Toppin, Jason Urban, Rachelle Vasquez, Myke Venable , Monica Vidal, Lana Waldrep, Mat Wolff AND MORE!

Check out some of the works here:

Raffle tickets will be available for purchase at the event!

Special thanks to this year’s Empty Box Sponsors:

Anonymous, Thomas Bacon, Heather Bause, Robert Boyd, Elaine Bradford, Molly Bradford, Jereann Chaney, Ann Daughety, Amy Dinn & Jake Goldstein, Doddman Gallery, Celia Eberle, Julie Farr, Mike Farrar, Bill & Joan Ford, G Gallery, Dan & Mina Graur, Ann Harithas, Jan Arthur Harrell, Michael Henderson, Toby Kamps, Kathy Kelley, Karin & Anthony Lekas, Victoria & Marshal Lightman,  Emily Link, BethLynn Maxwell, Betty Moody, Maxwell Morgan, Dennis Nance, Candy & Jerry Schlief, Albert & Patricia Sirling, Scott Sparvero, Cecelia Thompson

………………………………………………………………………………………………………………

THANKS FOR SUPPORTING BOX 13 ARTSPACE!

Thanks to artists, sponsors and everyone who came out to offer their support for The Empty Box, BOX 13′s annual fundraiser, held on Saturday, March 12, 2011. We had a great time and hope you did too! Funds raised will help us continue our dream of offering low cost studio spaces and presenting exhibitions at BOX 13 throughout the year. If you missed the event and would like to support BOX 13 by making a tax deductible donation, please visit our sponsor page.

Also brought to you by the number 3:

Triangles, 3-D glasses, three legged races, triathlons, the rule of threes, trilogies,Three’s Company, tri-state areas, triptychs, three degrees of separation, Three Little Pigs, third base, cubism, triplets, Three Blind Mice, triple decker hamburgers, My Three Sons, tic-tac-toe, threesomes, third eyes, Three Men and a Baby, the third amendment, junior’s son of the same name, three sheets to the wind, three strikes, triple threats and 3 o’clock.

Four Artist-Run Spaces in Houston from Cosmic Light Productions on Vimeo.

Disturbance of Distance 2
Curated by Charles Dee Mitchell

MARY BENEDICTO, Dallas
VAL CURRY, Dallas
BRIAN JONES, Dallas
DANIEL MCFARLANE, Houston
BRIAN SCOTT, Dallas
SUNNY SLIGER, Dallas
BONNIE YOUNG, Houston

Exhibition on view January 15- February 19, 2011
Opening Reception January 15, 7:00-9:30pm
with a performance by Binary Sound Machine
Curator and artist’s talk February 19, 3:00pm

Disturbance of Distance 2 is the second in a continuing series of juried exhibitions connecting Houston to the surrounding arts communities. This round, Disturbance of Distance brings together artists from the Houston and Dallas areas, curated by Charles Dee Mitchell. For this exhibition, Mitchell looked for artists working in a “superabundant mode,” and this promises to be an over-the-top exhibition.

Disturbance of Distance 2 features work by Mary Benedicto, Val Curry, Brian Jones, Daniel McFarlane, Brian Scott, Sunny Sliger and Bonnie Young.

Stating he had no personal interest in a “theme show,” Mitchell selected artists he liked and would like to see together in the space at BOX 13. Working against his natural tendency to install exquisitely tasteful exhibitions, Mitchell has chosen artists who produce a great deal of work, often meant to be shown in sets of images. Mary Benedicto’s intensely patterned and vibrantly colored video paintings abstract imagery from patterned cloth as well as drawings generated on the computer. Val Curry lists as the key components of his sculpture, “a. filth, b. geometry, c. irony, d. camouflage and, e. the indefinite moment of transition between states.” Brian Jones and Brian Scott each show their individual work for the exhibition, but also show collaboratively as the team Chuck and George. They have produced drawing, prints, and murals, using images that reference 17th century French paintings, internet sex ads, and their own take on celebrity culture. Daniel McFarlane’s abstract paintings highlight the relationship between improvisation and control through poured and collaged paint combined with geometric shapes of exposed wood. Sunny Sliger works with shreds of fabric to create densely layered installations where “the chaos of the individual units…forms a unified whole, becoming comfortable with its own mess.” Bonnie Young’s paintings and drawings explore the dichotomy of class with a lively and not very well behaved cast of animal characters.

This exhibition is funded in part by the City of Houston through the Houston Arts Alliance.

Join the members of BOX 13 for an evening at Boheme Café and Wine Bar! A portion of the night’s proceeds will benefit our organization. Partake in the “Mystery Box” where BOX 13 will raffle off works by the resident artists along with offerings to satisfy your last minute shopping needs. Stop by to say hello or stay for the whole evening!

For more information, please visit:
spacetaker.org
barboheme.com

• Check out our most recent newsletter for more information on happenings at the BOX!

box13artspace@gmail.com

Gallery Hours: Saturdays 1-5PM or by appointment

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Plaza Marbella – Paseo de las Americas Association
6632 Harrisburg
Join BOX 13′s neighbors and people from all areas of Houston for Christmas in Harrisburg. Visit the neighborhood, shop from local stores and celebrate the holidays in this new tradition in the East End. The events will start with a Guadalupana Mass followed by a talent show which will culminate with the arrival of Santa Claus and portrayal of the typical Mexican Posada at night. Harrisburg Boulevard will be decorated with Christmas lights and ornaments. The events will take place at Plaza Marbella, 6632 Harrisburg, Houston, TX 77011. Donations of new, unwrapped toys are also appreciated and will be collected at Plaza Marbella.
BOX 13 galleries will be open for extra viewing hours during the events from 12 to 5PM, so stop by and see the current exhibition and meet the neighbors.

Mark Schatz: Glasstire.com Artist Profile from Eric Jarvis on Vimeo.

What We’re Up To – BOX13 Member Show

BOX13 ArtSpace is pleased to present What We’re Up To, the first ever exhibition featuring BOX 13 resident artists. Sixteen artists will fill the BOX13 gallery spaces with new pieces they have been working on in their studios. This show will give viewers a chance to catch up with long time members and get aquainted with some new faces. Participating BOX13 artists are Heather Bause, Elaine Bradford, Lauren Moya Ford, Dennis Harper, Michael Henderson, Kathy Kelley, Emily Link, David McClain, Tudor Mitroi, Dennis Nance, Kia Neill, Mark Ponder, Jenny Schlief, Emily Sloan, Maria Smits and Whitney Riley. In conjunction with ArtCrawl Houston 2010, BOX13 ArtSpace will be open Saturday November 20 from 10am to 9pm to see the exhibition and talk with the artists in their studios. The exhibition continues through December 16, 2010. An opening reception will be held on Saturday November 13, 2010 from 7:00-9:30 pm at Box13 ArtSpace, 6700 Harrisburg, Houston, TX 77011.

BOX13 Artspace will participate in the 18th Annual ARTCRAWL Houston on November 20, 2010 from 10am to 9pm. Stop by and see the BOX13 Member exhibition, What We’re Up To, and visit with artists in their studios.

Download the map here.

Join the FotoFest ARTCRAWL Bike Scramble.

I Am Immortal I Have Inside Me Blood of Kings

Carlos Rosales Silva

I Am Immortal I Have Inside Me Blood of Kings is a navigation site for an investigation into Mexican-American and Native American cultural vestiges.  The work is a result of an exploration into academic history, oral familial histories, pop cultural representations, and exploitations.

Sculpture, performance, text, painting, photographs and specific generational aesthetics all play roles in creating a visual dialogue that points the viewer to contemporary methods of cultural exchange. Formally the pieces aim to be visually inventive, humorous, beautiful, and exciting.  Much of the subject matter has to do with issues of class, race, and social structure. These ideas are nothing to laugh at, but a dose of humor helps these concepts to be confronted and delivered through an alternate method. Sometimes you have to laugh to keep from crying when talking about the histories of Mexican-Americans and Native Americans.

Carlos Rosales-Silva was born in El Paso, TX. He graduated from the University of Texas at Austin in 2010 and is a member of Okay Mountain Gallery and Collective.

A Close Distance

Rebecca Finley

Rebecca Finley’s work focuses on human experience and interaction. Photographing strangers in public settings such as fairs, festivals, and parks, Finley isolates her subjects and seeks to find order in chaotic environments. These subjects are willing collaborators. They have agreed to take a moment from their lives and form a brief connection with the photographer. Finley’s work allows the viewer to glimpse into the lives of others if only for 1/125 second.

Rebecca Finley is an artist who teaches photography at Sam Houston State University. Originally from Knoxville, Tennessee, Rebecca earned a BA in Media Arts from The University of Tennessee in 1997 and her MFA in Photography from The San Francisco Art Institute in 2000. Prior to accepting her position at SHSU in 2005, Rebecca has taught photography courses at The San Francisco Art Institute, The University of Tennessee, Carson-Newman College, and Pellissippi State. Her photographic work has been shown throughout the country.

Techno Cumbia

Debra Barrera and Lauren Moya Ford

Techno Cumbia features new work by Debra Barrera and Lauren Moya Ford.  The suites of drawings and installation center around identity, family, assimilation, humor, and word play.

Ford’s “Histories” explores the contrast between memory and history, between feelings and facts. Each piece is a narrative based around a man torn between two places, whether physical or societal. Race is the often the element that forces the point of action in the pieces. “Quartets” is a series based on word play and humor. The implications of each piece shift when read as a whole or as duets. The text in these drawings requires a different mode of viewing: reading. The interplay between expectations and incongruities that come from the experience of written material compared to purely visual material motivates both sets of work.

With sculpture and text Debra Barrera finds a way for Momento Mori to coincide with nonchalance by referencing personal history and slight humor. In Barrera’s installation “Don’t Worry, My Spanish Isn’t That Great Either” she pays tribute to her past in an extremely personal way. Including the exact replica of the Selena Memorial created by her father, Debra Barrera pays tribute to memories of both her hometown and her family. In her small text drawings, poetry finds a balance between romance and humorous detachment while dealing with the issues of growing up in an assimilated household.

Lauren Moya Ford was born in Boca Raton, Florida in 1986. She currently lives and works in Houston, Texas. In 2008 she received an MA and BFA from the University of Texas at Austin. Lauren is interested in exploring the implications of merging text with image making. Humor, memory, and semantics inform her suites of drawings and paintings that flit between ambiguity and transparency. Her work has been shown in Austin, San Antonio, and Houston at the Creative Research Laboratory, the New Gallery, The Joanna, and The Joannex.

Debra Barrera was born in Corpus Christi, Texas in 1984 and currently lives and works in Houston, Texas. She recently received a Master’s of Fine Arts in Studio Art from the University of Houston in 2010 and in 2006 she received a Bachelor’s of Fine Arts and a Bachelor’s of Liberal Arts at the University of Texas at Austin. Graduating with degrees focused in studio art and creative writing,  Debra has been working to bridge a gap between poetry and the visual arts. Her work often emphasizes the metamorphic capacity a visual object can take on in the conceptual constructs of poetics. Working in painting, drawing, and sculpture, Debra has been shown in both Houston and Austin Texas at DARKE Gallery, Sally Sprout Gallery, Rice Media Gallery, The Joannex, Diverseworks, PG Contemporary Gallery, CRL Gallery, and the Blaffer Gallery.

Exhibition and performance proposals will be reviewed and selections made by a committee of artist resident members of BOX 13 and potentially guest curator(s) for exhibitions/performances.

BOX 13 will accept proposals annually to discuss and make programming decisions for the BOX for no more than 18 months into the future from the meeting date. The next upcoming submission deadline for review is October 16, 2010. This is not a postmark date, submissions must be received by 5pm at Box 13 Artspace.

BOX exhibition/performance space floor plans can be viewed and downloaded from our website, http://www.box13artspace.com/about/gallery-floorplans/

All proposals must be submitted in digital format on CDs and DVDs only. Additionally all requested material may be posted to a single page on a website and the link may be submitted. No paper materials will be reviewed. The BOX is committed to the reducing our environmental impact when possible and streamlining the application and review process.

For more information, to make an appointment to view the galleries or to inquire about proposal drop off please email Elaine Bradford, our exhibition coordinator, at e_bradford@yahoo.com.

• Submission Criteria
• Letter of intent or exhibition proposal in a Word document or PDF file.
  In 500 words or less. Please be sure to include:
  • Contact information
  • Title and description, concept and physical details.
  • Requested gallery space and any requests for equipment or special installation requirements*
  • Any budgetary concerns*

  *BOX 13 does not have a budget for assisting artists with expenses at this time but will help when possible in searching out alternative funding and/or installation methods.

• Resumé(s) or CV(s) for all proposed participating artists each in its own Word document or PDF file.
• Images. NO MORE THAN 15 digital images in jpg format. Numbers should be used in the file names beginning with 01.jpg. Each image must be 1MB or SMALLER. Any files not meeting these requirements may not be viewed when considering your proposal.
• 4. Video. Video samples may be submitted on DVD or CD. Videos must be ready to play on a computer using Windows Media Player or Quick Time.
• Corresponding numbered list of submitted images and/or videos in a Word document or PDF file.

  Submissions may be mailed to:

  • BOX 13 ArtSpace
  • Attn. Exhibition Proposal
    6700 Harrisburg Blvd
    Houston, TX 77011

BOX 13 Artspace
Address: 6700 Harrisburg Blvd, Houston, TX 77009
Website: http://box13artspace.com/
Gallery Hours: Saturdays, 1-5pm, and by appointment

Sounds for Stairs – Lina Dib

Houston soundscapes animate the main staircase of Box13 for this interactive exhibit. Making the mundane whimsical and otherworldly, Dib’s installation defamiliarizes, and recontextualizes sounds to create a dynamic sonic postcard, orchestrated by the up and down movements of the visitors. The staircase turns the world inside out by bringing into the quiet gallery space reverberations, swishes and clatters that usually dwell outside. Blurring the boundaries between the constructed environment and nature, this intervention makes architecture pliable and responsive. Through interactions, the soundscapes are reassembled, but never repeated. When someone lingers on the steps, so do the sounds; and when visitors climb up and down, the sounds coalesce, with a few surprises along the way.

Lina Dib is a Phd candidate in Anthropology at Rice University. Her work focuses on concepts of time and memory in the design of digital recording devices. Dib’s compositions range from the ethnographic to the experimental and have been shown in Montreal, New York and Houston.

Programming by Navid Navab and JS Rousseau.

Navab is a Montreal based composer, interaction and sound designer. He studied Electroacoustics and Computational Arts at Concordia University as well as Music Technology at McGill University. Currently he is active as a sound designer and researcher at Topological Media Lab, Matralab, and IRCAM.

Rousseau is an artist-designer-programmer in the field of new media. He holds a degree in Computation Arts from Concordia University. Recently, he has been working at the Topological Media Lab, ESKI Studio and the Society for Arts and Technologies, as a researcher, affiliate programmer and designer.

For her BOX 13 exhibition, Dawn Chatoney shares her Objects of Nostalgia. The life preserver is a symbol Dawn uses to reference preparation and recovery. The surfaces of each numbered lifejacket reveals the history of their making. The pillows in Dawn’s installation Love Loss reflect impressions made by the body. She references human fragility and fortitude by using reshaped life vests and pillows to celebrate things recovered and the gift of experience.

A. Dawn Chatoney recently graduated with her Masters of Fine Arts Degree from Stephen F. Austin State University (SFASU) in May 2010. In December 2005 she received her Masters of Art with a concentration in ceramics from SFASU. Dawn began her career in art at the School of Fine Arts at McNeese State University in 1998, and received her Bachelor of Arts degree December 2002.

Jason Urban’s work for his BOX 13 exhibition, Moving the Horizon Line, focuses on a deconstruction of iconic images representing the momentous and monumental in the natural world- sunsets, sunrises and mountaintops. Taking the form of sculptural printworks, the work underscores an ambiguous relationship between three-dimensional objects and two-dimensional images. By adhering digital output to wood and cardboard units, Urban creates piles and stacks that reveal pictures when viewed in their entirety. His influences range from camouflage and op-art to minimalist sculpture and games of skill (like Jenga, Tetris, and pick-up sticks). Urban uses traditional (even cliché) motifs and reinterprets them through a series of digital filters to create images that viewers feel familiar with regardless of their actual experience (or lack thereof) with the moment itself.

Jason Urban is an artist/writer/designer/curator/teacher living and working in Austin, TX. Originally from Northeastern Pennsylvania, Urban earned his BFA from Kutztown University in Kutztown, PA and then his MA and MFA from the University of Iowa in Iowa City, IA. His prints, drawings, paintings and installations have been featured in numerous venues both nationally and internationally. Urban is also co-editor of HYPERLINK “http://printeresting.org” \t “_blank” http://printeresting.org: “the thinking person’s favorite online resource for interesting printmaking miscellany.” Currently, Urban teaches Printmaking and Foundations Drawing at the University of Texas at Austin.

Wouldn’t it be nifty if you had a vertical plastic garden that you could play with? This is exactly how the idea for Valerie Powell’s wall installation in the Window Box Gallery was created. A brightly-colored series of plastic flower forms will fill the wall, with hundreds of interchangeable mixed media magnetic components that invite viewers to play, rearrange, think and interact. In the studio, she is most concerned with the intersection between painting and sculpture as well as the magical possibilities of creating art with shrinkable plastic.

Born in Harlingen, Texas in 1977, Valerie Powell holds an MFA from Washington State University and both an MA and BFA from Stephen F. Austin State University. She currently resides in Huntsville, Texas where she teaches a wide range of studio courses at Sam Houston State University. Her work has been widely exhibited across the US, at venues that include: Blackfish Gallery (Portland, OR); Gallery 1724 (Houston, TX); Art 180 (Richmond, VA); Katherine Nash Gallery (Minneapolis, MN); Los Angeles Center for Digital Art (Los Angeles, CA) and The Ogden Museum (New Orleans, LA). To learn more about her artistic process and upcoming exhibitions, please visit valeriepowell.com.

Something to Put Something On features Martha Clippinger’s, Russ Havard’s, and Isaac Powell’s explorations involving paintings on objects or object-like forms. In their artwork, the “something” and the “something it is on” become equally important.

Havard and Powell both arrive at their creations from a painting background. Their artworks consist of paintings on elaborately constructed forms. In their writings about their artwork, both artists mention arriving at this physicality of form from physical limitations. Havard’s delicate landscapes on intimate, curved forms evolved into their current state after finding out he had an auto-immune illness, while Powell addresses the challenges of being handicapped with visual problem solving as seen in his finely rendered paintings on forms with shelves, sleeves and propped pieces.

Clippinger addresses the object first and often creates pieces to be experienced in the round. Clippinger utilizes found objects which she then paints. These objects are collected from sites all around her, often initially in the form of scraps and discarded materials which are then given a new life with colors and patterns. She links her attraction to color and pattern to an upbringing surrounded by domestic fabrics such as upholstery and her grandmother’s quilts which adorned every bed in their house.

Martha Clippinger grew up in Columbus, Georgia, and it was there that she experienced the art of regional eccentric artists. She left the South to pursue a BA in Art History at Fordham University and later received an MFA in Visual Arts from Mason Gross School of Art, Rutgers University. Since then she has worked as Coordinator of New York Semester on Contemporary Art at Drew University. Recent exhibitions include Jettison: New Ideas in Abstraction at Austin Peay State University in Tennessee and I wanna be somewhere, Daily Operation, New York. She is a recipient of the Marie Walsh Sharpe Studio Fellowship for 2010. Past awards include: the Nadine Goldsmith Artist’s Fellowship at Vermont Studio Center, University Merit Scholar Award and Teaching Fellowship at Rutgers University, and Vasari Lecturer at Fordham University. She currently lives in Ditmas Park, Brooklyn where she is the creator and organizer of the basement gallery space, The Dirty Dirty.

Based out of Lufkin, Texas, Russ Havard is represented by George Billis Gallery in New York, New York and Los Angeles, California. Havard has exhibited at The Museum of East Texas in Lufkin, Texas, the Longview Museum of Fine Art in Longview, Texas, the Art Museum of Southeast Texas in Beaumont, Texas, Blue Star Art Space in San Antonio, Texas, The Jones Center for Contemporary Art in Austin, Texas, and the Bath House Cultural Center in Dallas, Texas. Havard’s artwork has been featured twice in New American Paintings and is in the collections of Time Life Corporation, Washington, D.C., Longview Museum of Fine Art, Longview, TX, and Vector Corporation, Dallas, TX.

Isaac Powell is a recent graduate of the MFA program at Washington State University who now teaches painting and drawing at Eastern Kentucky University. Powell interweaves the themes of life, growth, reproduction, and creativity with those of his own personal history in his still life and landscape depictions. Having been born without a right hand, the flora in his work directly references the body, its appendages and digits. By addressing his own anxieties through the imagery of plant cuttings and graftings, he has developed his own vocabulary for confronting both awkwardness and beauty. Powell feels compelled to displace this physical handicap by creating highly crafted hand made supports and structures for his paintings and drawings. Powell has an additional show scheduled for Houston this September at Gallery 1724.

A quest. But first, a facet of modern society is a pathological inability to look around, to see more than what is presented, pre-consumed, for the viewer to take in. Matthew Glover’s work, as a whole, is intended to address and puncture this stance, to make the viewer more active in the “completeness” of the work. Whether it is as simple as having the viewer turn jagged edges into graceful curves, tasking their subconcious with creating forms out of the formless, causing them to find a relationship between words and a static image, or, as in this case, presenting them a wordless story, where the viewer must physically seek out each element to complete the narrative. Back to the quest. Throughout the Gallery, you will find ninjas. Some are in plain sight, and some are, as you might expect from ninjas, quite well hidden. A struggle is going on, lines have been drawn, and a secret, silent battle rages around you. All life is full of such struggles every day. Your quest; bear witness to the conflicts and turmoils of these little assassins, by finding as many as you can, and thus piece together your version of their saga.

Matthew Glover is an emerging artist working in photography, digital media and fiber arts. Originally from Austin, He has been living and working in Houston for seven years. He can be contacted at matthewcglover@gmail.com. Glover has a BA in Writing and a BS in Economics from the University of Houston.

Photos from the Empty Box can be found here.

SPECIAL THANKS TO EVERYONE WHO DONATED TO THE EMPTY BOX FUNDRAISER!

A.Dawn Chatoney
Andy Don Emmons
Anna Krachey
Annie Strader
Barry Stone
Ben Ruggiero
Bill Davenport
C.H. JoAnn Park
Carlos Rosales Silva
Carrie A. Dyer
Cheyanne Ramos
Christine Jelson West
Cody Ledvina
Cynthia Reid
Dan Fabian
Dennis Harper
Dennis Nance
Dylan Reece
Elaine Bradford
Emily Link
Emily Sloan
Fidel Ordoñez
Helen Altman
Howard Sherman
Jake Jones
Jason Kishell
Jason Reed
Jay Lizo
Jed Foronda
Jeff Forster
Jennifer Rospert
Jenny Schlief
Jeremy DePrez
Jessica Ninci
Joyce Harlow
Kathy Kelley
Kia Neill
Lauren Moya Ford
Maria Cristina Jadick
Maria Smits
Marie Weichman
Mark Aguhar
Mark Schatz
Martin Amorous
Matt Manalo
Matthew Glover
Michael Henderson
Nathan Green
Nick Meriwether
Ray Ogar
Rebecca Finley
Robert Hodge
Robin Germany
Rosemary Meza-DesPlas
Ryan Lauderdale
Samantha Wiley
Seth Alverson
Seth Mitag
Sketch Klubb
Sterling Allen
Steve Cruz
Tim Brown
Tom Sale a.k.a. Pinky Diablo
Tony Shipp
Valerie Powell
Xochi Q. Solis

Downstairs Front BOX and Window Box:
I Am Immortal I Have Inside Me Blood of Kings- Carlos Rosales Silva

Downstairs Back BOX:
A Close Distance - Rebecca Finley

Upstairs BOX:
Techno Cumbia - Debra Barrera and Lauren Moya Ford

BOX Stairwell:
Sounds for Stairs – Lina Dib

BOX 13 ArtSpace is an artist run nonprofit innovative environment for the creation and advancement of experimental contemporary art in Houston. BOX 13 artists create this environment through the offering of affordable workspaces for emerging and established artists, dedicating five interior spaces to the exhibition of artistic explorations, a window gallery for installations and an outdoor courtyard space. BOX 13 promotes dialogue among artists and the art community on current trends affecting the arts.

We take in new residents as studio spaces open up on an ongoing basis. We review new member applications as a group. We evaluate applicants both on their work and on their ability and attitude to participate within the BOX 13 community.

We are currently accepting applications for new members. See ‘opportunities’ page for details.

The founding members of BOX 13 are Elaine Bradford, Woody Golden, Michael Henderson, Young-Min Kang, Kathy Kelley, Teresa O’Connor, Whitney Riley and Mat Wolff.

BOX 13 ArtSpace is a 501(c)3 nonprofit organization.

BOX 13 ArtSpace relies on individual donors and its resident artists for funding to cultivate creation, appreciation and accessibility of contemporary experimental visual art within the community for its cultural enrichment. Please join us in this endeavor. To learn more about our donors and sponsors click here.

We are located at 6700-02 Harrisburg (77011), on the south west corner of Harrisburg and Cesar Chavez. From downtown take 45 south, exit Wayside, travel east on Wayside, turn north on Harrisburg, turn west on Cesar Chavez and park.

Los Angeles based artist Jay Lizo’s exhibition entitled And the Choir Sung On … is an eclectic installation of mixed media reflecting ideas of ecstasy, protest, celebration, and fantasy. Part of the exhibition is a series of eye catching glossy portrait paintings called A Song from My Hero Collection. These bold portraits are the artists “heroes” all in a fictitious moments of singing, yelling or moaning. Another part of the exhibition is a looped animation of the artist’s “heroes” dancing at a dancehall then leading a group to have a dance off with a group of “antiheroes” at the town square. And the Choir Sung On… is an exhibition in which the artists humorously remixes histories to ask “what if” to history and immerses it into an alternate one.

Jay Lizo received his MFA at the University of California, Santa Barbara in 2005. He has exhibited his work at The Torrance Art Museum, Los Angeles Contemporary Exhibitions, Outpost For Contemporary Art, Angel’s Gate Cultural Center, Concrete Wall Gallery, Me and You Variety Candy Gallery. He currently lives in Los Angeles, CA.

The Gathering is an ode to the great-tailed grackle. Kimberly Aubuchon acquired a fondness for birds after moving to Texas and over the past 5 years they have been very apparent in her work. Aubuchon is particularly intrigued by grackles and their odd social behaviors. Watching them gather at dusk— making their presence known with extreme chirping and chatter on top of city trees and buildings—they are really amazing creatures. Grackles are known to be a pest in various Texas cities due to their mass poopings and their innocent destructive nature, which causes damage to building surfaces and kills trees. Certain individuals have even been known to poison masses of them to eliminate the problems they cause. This has always baffled Aubuchon. Unlike those individuals, Aubuchon finds the grackles fascinating beautiful and social birds.

Inspired by childhood memories and things that make her laugh, Kimberly Aubuchon creates whimsical drawings, paintings, and hand-sewn felt installations just to pass the time. Her recent exhibitions include “Invading Spaces” at the Hilton Palacio Del Rio, San Antonio, TX (2010); “Amalgamations 25″ at Blue Star Contemporary Art Center, San Antonio, TX (2010); “Private Idaho” at Threewalls Gallery, San Antonio, TX (2009); “Multiples” at David Shelton Gallery, San Antonio, TX; and “For the Birds” at Joan Grona Gallery, San Antonio, TX (2008). She currently resides in San Antonio with her boyfriend Mark and three furry cats, and is the Director of Unit B (Gallery).
www.realniceart.com

“Boiz Club is about being queer. I have no political agenda, I do not want to enlighten anybody, I desire no approval, I just want to exist as a queer.” Mark Aguhar mines the Internet for source material, drawing from his own experience of growing up gay through the web and collecting gay images, stories and philosophies to inform his drawings and sculpture. Aguhar’s work is playful, beautiful, sexy, stupid, funny, gross and cute all at once.

“My name is Mark Aguhar and I’ve been a homo all my life. I’ve lived in Houston or Austin for almost all of my 23 years. I graduated Studio Art and Plan II Honors at the University of Texas in August 2009, and will be going back to school for my MFA Painting in the fall.” – Mark Aguhar

For more information on the Kenmore IceBox, please visit: www.the-kenmore.blogspot.com

Pay another visit to Kia Neill’s ever changing installation upstairs at Box 13. The installation Boulder fills the gallery as though a gigantic rock has plopped itself in the space. An interior chamber illuminated with crystals, mystical plants, and other obscure glittery forms lies within the boulder form. The environment will be something to visit again and again as its theatrics will evolve.

For more information on Red White Yellow, please visit: http://redwhiteyellow.com/

In conjunction with Fotofest, Panta Rei is an exhibition featuring eleven photographers from Austin, Texas who meet regularly to share and discuss images. Panta rei, translated from the Greek, means “everything flows.” Thought to be first uttered by Heraclitus, panta rei describes a worldview of things in constant flux, famously positing that one can never step in the same river twice.

Artists in the exhibition include: Ben Ruggiero, Susan Scafati Shahan, Leigh Brodie, Jason Reed, Mike Osborne, Barry Stone, Adam Schreiber, Jessica Mallios, Sarah Murphy, Anna Krachey, and Elizabeth Chiles. These artists utilize a diverse set of methodologies bound by their exploration of contemporary and historical practices of photography.  All the artists live and work in Austin.

For more information about the artists, please visit: http://charminglands.blogspot.com/2010/02/box-13-for-fotofest-2010.html

Our lives become folklore, as each time a memory is recalled, it is rewritten. Emily Link works to expand upon existing myths and legends to create another dimensional layer that stems from her life experiences. In these legends, she acts as Shaman; the expert of their origins. From the Forge is part of an ongoing series of works dedicated to the excavation and reinterpretation of personal narratives. For the Closet BOX, Link will create a diorama pertaining to one of the few items of legend that still exists readily in North American culture.

Born in Syracuse, NY, in 1985 and raised in rural Pennsylvania, Emily Link spent her youth immersed in wilderness, remnants of the Civil War and Native American legend. Since being transplanted to Texas, she has worked to build an enriched cultural past in an environment that exists only for the future. In 2008 she received her BFA from the University of Houston. Emily Link is currently based in Houston, TX, working from her studio at BOX13 ArtSpace.
http://www.flickr.com/eelink

As a child in rural Oklahoma, life consisted of very little in the form of cultural stimulus. Outside of the hallways of high-school, church and music offered opposite paths towards a cultural identity. Re-defining oneself took invention and appropriation. This resulting identity, and the intersection of religious repentance and youth rebellion, has become a central tenant in Lauderdale’s work.

For this exhibition, Lauderdale continues his self reflective archaeological vision quest through video, digital prints, and sculptures of relics and artifacts of his “sacred” juvenilia. With the current economic and political state looking progressively bleak, sorting through his naive past helps to understand and make sense of what may come to be.

http://vimeo.com/user814857

For more information, please visit: http://redwhiteyellow.com/

Michael Brims’ exhibition consists of a video of a partial portrait which appears more like a still image. Nothing changes in the portrait, except for the occasional movement of the eye. Contrast exists in the amount of detail conveyed through the use of High Definition video in comparison to the ambiguity of the portrait. The title Ink is a word game to be played with by the audience, tying into the notion of ambiguity.

http://www.michaelbrims.info/

For more information please visit: http://the-kenmore.blogspot.com/

Utilizing discarded Border Patrol uniforms, Margarita Cabrera’s soft-bodied indigenous desert plant sculptures, such as the Nopal and the Yucca, navigate within a conversation on craft, immigration, labor, and community in contemporary border politics.

Set in traditional terra cotta pots, long hand sewn threads resonant of cactus spines, Cabrera presents the dichotomy of traditional sewing practice and the mass production labor market in place today; as well as the complexity of the socio-economic issues of migrant labor and their implicit gender associations. Leaving details such as clothing labels, buttons, and zippers intact in the fabric develops a theme of camouflage in the American landscape, while the natural forms shed light on the social construction of this system.

Throughout the duration of the exhibition the space will effectively be transformed into a workshop, where laborers use both industrial capacity sewing machines and hand techniques to produce a variety of desert plants, filling the space and culminating in a landscape that conceptually mirrors the latent volatility of its actual counterpart.

Margarita Cabrera was born in Monterey, Mexico, and lives and works in Houston, Texas.  Her sculpture has been included in various exhibitions, among them Phantom Sightings: Art after the Chicano Movement, Los Angeles County Museum of Art, CA (traveling); Nexus Texas, Contemporary Arts Museum Houston, TX; Trabajo Mexicano/Mexican Work, Sun Valley Center for the Arts, Ketchum, ID and Domestic Odyssey, San Jose Museum of Art, CA. In 2008 she was a resident artist at ArtPace, San Antonio, TX and had her fourth solo exhibition at Sara Meltzer Gallery, New York, NY. Cabrera is the recipient of a Joan Mitchell Foundation Grant and was a finalist for the Texas Prize in 2007.

In GEOMORFO, Fidel Ordonez presents a graphic display based on geometric art. Ordonez uses geometry as an essential element in the creation of this work in order to transmit emotions and aesthetic pleasures.  He is in search of a common language with the audience. The exhibition will consist of a large installation built with references to geometric abstraction, and projections of lines doing simple forms. He will be playing with perspective by screening simple but interesting shapes onto a basic composition of cardboard boxes. With this, he tries to demonstrate the underlying relationships of mathematics and geometry to the arts, while referencing the history of geometric abstraction. Alongside this installation Ordonez will show some recent work in watercolor and other media.

Fidel Ordonez is a self-taught painter born in Mexico City. He began his studies of fine arts at the age of 10 in elementary school. He was immersed in the world of skateboarding for much of his youth, which was where he had his first contact with traditional graffiti, music and street culture of that time.  This all had strong influence on his lifestyle and is reflected later in his early graffiti murals.  In 2000 the project of “Lauve” in Mexico City, he began to use images by means of stencils on posters and propaganda, and this became a new avenue of expression for Fidel. He later put aside traditional graffiti to dedicate himself to this new phase of urban expression. In February 2007 he traveled to the city of Houston where he currently resides. His passion for exploring new ground in art has continued to develop into his first installations and sculptures.

For Tuff Enuff, Schlief creates new work consisting of several rim drawings and a rim sound sculpture/iPod dock. The subject matter is a collection of Houston area rap culture removed from its original context by a white female conceptual artist. The work explores themes of identity associated with certain consumer goods and consumer cultures, with a glance towards the bravado and ridiculousness this consumer culture promotes. A Cadillac rim is transformed into an iPod dock that blares a screwed and chopped version of Michael Jackson’s Thriller, and pictures of custom rims are rendered tenderly in pencil.

Jenny Schlief’s work has appeared in numerous group shows of both regional and national prominence, as well as three solo shows in Houston; Mature Milk and Beautiful Beasts in 2005 at the Deborah Colton Gallery, jennybunny bunnyjenny at Redbud Gallery in 2006 and PLUR: 2009 vs 1998 at The Joanna in 2009. Her videos, drawings and installations explore objectification, confusion of sexual roles, exploitation of sexual prowess for individual gain, insecurity, vulnerability and doubt.  In 2004, Jenny founded the Young Republic, an arts group committed to providing a venue for the performing, visual and literary arts by hosting and organizing events in alternative spaces.  Jenny lives with her husband and their two children in Houston.

Hasta La Basura Se Separa [artcrush] is an exhibition curated by the Austin-based group Los Outsiders: Salvador Castillo, Michael Anthony García and Hector Hernandez. Originally presented at the Galleria del Espacio Cultural de la Antigua Aduana in the border town of Nuevo Laredo, Tamaulipas, Mexico, Hasta La Basura Se Separa [artcrush] features the work of 13 contemporary artists from Texas, New York & Utah.

The artists in this exhibition, Robert Boland (Austin, TX), Jaime Castillo (Austin, TX), Hunter Cross (Austin, TX), Michael Anthony García (Austin, TX), Katy Heinlein (Houston, TX), Hector Hernandez (Austin, TX), William Hundley (Austin, TX), Kathy Kelley (Houston, TX), Michelle Mayer (Brooklyn, NY), Eduardo Munoz (Austin, TX), Teruko Nimura (Austin, TX), Jared Steffensen (Salt Lake City, UT) and Jade Walker (Austin, TX), consist mostly of sculptural and installation practices. With a special emphasis on found objects and the use of recycled materials these artists relate the identity of objects, whether in their present states, altered or how they are represented in images, to their individual connotations as well as their shared meanings.

Consolidating the histories of the materials, the artists, the gallery and the city itself, Hasta La Basura Se Separa [artcrush]pushes the viewer beyond what has already transpired.  Waste is no longer a discarded remnant, memories have not faded into obscurity, architecture has not been forgotten and life has not ended.  Instead of lamenting shifting realities, this group takes the products of transition and rebuilds looking toward tomorrow.  New objects, new structures and new relationships take form and renewed hope becomes possible.

For further information please visit http://bit.ly/2zxGHV

Jonathan Clark has found the realms of art and nature to be a places that have no boundaries. He believes nature evolves around a point of endless possibilities as it grows and adapts to its own environment. Art can be a direct response to nature’s wonder. The Golden Spiral is a mystical shape that is an absolute in both abstract mathematics and chaotic nature. The Golden Spiral is one of nature’s most magnificent blueprints; its geometry, with its harmonious proportions, is found in Art, Architecture, Music, Mathematics, and Science. The Phythagoreans loved this shape for they found it everywhere in nature: the Nautilus Shell, Ram’s horns, milk in coffee, the face of a Sunflower, your fingerprints, our DNA, and the shape of the Milky Way.

In the Closet Gallery: micro gallery/ wonder emporium, Clark has interpreted the fundamental characteristics of art and nature. Responding to the environment using natural materials he will attempt to create the Golden Spiral within the realm of boundaries of the closet, in order to challenge his idea of nature evolving around a point of endless possibilities.

Jonathan Clark has been an active local Houston artist for 4 years. He graduated from the University of Houston in 2007 with a Bachelor of Fine Arts. Clark has since created multiple interior and exterior environmental art installations in residential neighborhoods around Houston.

David Waddell presents his latest endeavors in stop-motion animation, which include a robotic moving species. Pulled out of a collaged world which has been pieced together from a range of magazine images, these subjects come to life by mimicking actions of living organisms found in this world. The viewer is confronted with both old and new technologies that describe cultural views of evolution, monstrosity and the unfamiliar. The images are pared down to botanical and specie studies and recontextualized with the help of slide projections of environment in combination with a wall installation.

David Waddell is currently a resident at Lawndale Art Center. He is the Director of Media Studies at the High School for the Performing and Visual Arts. He has shown his films most recently at the Aurora Picture Show and Fotofest. He has shown work in Chicago, New York, and Washington D.C

www.greenboxgallery.com

Matthew Guest’s exhibition New Solutions for Old Problems is a collection of recent drawings and paintings. These dense candy-colored compositions are collisions of iconic vernacular representationalism and abstract expressionism. Each work is formulated to diagram the mutant trinity of commodity culture, spiritual obligation and personal need. Together they serve as a cluttered catalog of visual obsessions, compulsive desires, and unrestrained phobias. A veritable junk drawer, this exhibiton has everything you never needed but cannot throw away.

Matthew Guest earned an MFA at University of South Florida. His work has been exhibited in galleries nationwide including the Contemporary Art Museum; Tampa, FL, Texas Biennial; Austin, TX; and Purdue University; West Lafayette, IN. In addition to gallery art he has comics published with Fantagraphics Books; Seattle, WA, and spent three summers drawing caricatures at Six Flags Over Texas; Dallas, TX. He currently resides in Huntsville, TX with his wife, Jennifer, and teaches at Sam Houston State University.

In the exhibition entitled ” Homemade Men and a Dog,” Glenn Downing constructs a humorous installation of sculptures made from found objects. It is a group of sculptures that Downing has been working on over the past 2 years. Some are images of the artist himself, while others represent men he has known or wished he knew. And of course every good man must have his dog.

Glenn Downing is from Waco, Texas. He grew up learning to put things together and telling stories. After getting his MFA from Virginia Commonwealth University he spent 2 years in the Peace Corps in the island nation of Tuvalu. While there he constructed things out of coconuts and created a video using a flying fish as a camera. He later roamed the USA living in L. A. and Austin, before finding his way to N.Y.C. in 1988. In NYC he met and worked for the video artist; Nam June Paik until is death in 2006. He is now back living in Waco, (if you call that living) and teaching at McLennan Community College.

“The Sky Has no Memory” is an interdisciplinary installation that manifests the inevitable rhythms of tropical cyclone activity using data from the 2004-2008 hurricane seasons of the Gulf Coast, Atlantic, and Caribbean. The installation is composed of sculptural, mixed media works, and sound maps which translate the map language of the National Hurricane Center’s seasonal archives into objects and contextualizes these intense but ephemeral events. The recycling of found urban building materials, gathered from demolitions and sites of natural entropic decay within the Houston cityscape, reinforces the cyclical pattern of the seasons and the relationship of civilization to nature. Because storm activity is presented sequentially and within seasonal/yearly groups, this installation allows a visual comparison of individual storms as well as a comparison between seasons. Seeming discrete catastrophic events can be put into the perspective of a natural order that is not evident without examining the overarching pattern of activity. Reuniting five ephemeral seasons clarifies the order within the chaos. These works illuminate the visual aesthetics of chaotic pattern and the insights of chaos theory, which include humility before nature and the need to understand the whole to understand a part.

Renata Lucia is an art making, technical writing, cancer surviving, beach loving, Texas Gulf Coast native. Lucia worked as a classically-trained professional violist in the 1980s and early 90s. After a Chondrosarcoma diagnosis in 2000, Lucia began her first art class at age 34. Although she underwent multiple surgeries culminating in radical limb reconstruction, she is now a healthy survivor.“Making art let me step outside my fear and gave me back what I had lost to cancer: peace of mind, self-esteem, joy, and community. In six crazy years, I went from reading New American Paintings in the hospital as an art-world outsider to being featured in that publication.” Lucia works as a Quality System Manager for a microwave radio company in Stafford Texas. She is a former Box13 ArtSpace Resident and 2009 Project Row Houses Summer Artist Resident.

One of the most significant constituents of the physical appearance is clothing. People choose the clothes they wear; therefore, clothes have an important social meaning. They transmit messages individuals want to send in order to create a positive reaction on others. A person chooses the most accepted image of the moment.  And this image is the product of the most popular stereotypes that guarantees the inclusion of such person into a desired social group.  Stereotypes are built by mass media, so, massive diffusion of images legitimizes behaviors, personalities and “looks”.  These ideas led Flores to create a series in which some of fashion’s features are evident: eccentricity, impracticality and ephemeral quality.  She created haute couture designs, which are perceived to have more social status. Through the manipulation of newspaper, magazine sheets and yellow pages there is a direct reference to the mass media, which institutionalizes social forms. Being made from paper emphasizes the ephemeral quality of her “constructions”.

Carmen Flores is a Mexican artist who was born in 1980 in Culiacan.   In 1998, she obtained the Mary Street Jenkins Scholarship that helped her through her college studies. Two years later she studied Art in Spain. There, she started to develop the ideas for her thesis in order to obtain in 2003 her Bachelor’s degree in Fine Arts at the Universidad de las Américas-Puebla in Mexico. In 2005, she won the Sinaloa State Fund for Culture and Arts and the Antonio López Sáenz painting award. After getting those awards, the Banco del Bajío and Mazatlan Museum of Art acquired her work. Recently she started her Master’s Degree in Arts in Painting at the Savannah College of Art and Design in 2009.  Flores now lives and works in Houston, TX.

Growing up the daughter of a doctor and working for many years for the family business, Alison Kuo learned that the intimate workings of the human body, the organs that keep us functioning, carry a certain mystique. When they are working properly they are wholly ours to do with as we please. When a glitch in the system arises they can become the business of others, experts, and we are alienated from them in the process. Her sculptures are inspired by a desire to reclaim that ownership and have a little fun with it. They are soft, fleece organs that can be touched, rearranged, and manipulated to interact with each other, and the people who play with them, in improbable ways. Her installation at Box 13 will display a tableaux of the exuberant outgrowth of these toy body parts, the creation of which began with the innocent notion that sewing would be a relaxing hobby.

Alison Kuo received her BA from Southwestern University in Georgetown, TX where she studied Ceramics and never quite completed her minor in Biology. In 2007 she traveled to China with the University of West Virginia to ride on trains, learn about ceramics production from the master craftsmen and artists of Jingdezhen, eat well, and discover her own family’s secret history of involvement in the arts. She now lives in Austin, and spends most of her time working at Domy Books and hand-stitching sculpture. She recently collaborated on an installation called Cat’s Cradle with Lauren Cardenas and Carling Hale for the Colab new media space in Austin.

The Green Box presents a series of works by Barna Kantor, a 2005 MFA graduate of the University of Texas Transmedia Program. Kantor combines video technology with other electronic gadgetry to produce projections and kinetic sculptures. The camera is one piece of equipment he does not use. The videos and moving images in this exhibition are made by a deft manipulation of the technology itself. Kantor is interested in watching our own visual process: the way we process visual data. He is searching for the fastest loop between ‘the way we see’ and ‘what we see’. His goal is to short the visual cortex through the ultimate seizure.

Barna Kantor’s work has been exhibited at Lawndale Art Center, the Austin Museum of Art, the Galveston Art Center, the Texas Biennial and at University Galleries throughout Texas. He currently resides in France.

www.greenboxgallery.com

In Enchantment, the natural landscape is reimagined by Kia Neill, Lauren Obenour, and Emily Sloan. A miniature buffalo stampede sculpted by Neill cascades from the ceiling towards a window framed by the artist’s jewel-encrusted stalactites. Obenour’s individually sewn rabbits of brightly colored paper and foil cover an entire wall surrounded by her stiched tree stumps and clouds, while Sloan shows us landscapes as memento mori snowglobes or as an extension of our domestic space with her gigantic outdoor lampshade. These and other meticulously crafted sculptures and installations in the exhibition evoke a child-like amazement that delights in fantastic storytelling, clever imitation, adornment, and ornamentation. The intelligent innocence in Enchantment thus engages our imaginations and opens us up to a sense of wonder.

Kia Neill was born and raised in the northern suburbs of Chicago, IL. She moved from Los Angeles, CA to Houston in July 2006 where she currently is a full-time faculty member at the Museum of Fine Arts Houston’s Glassell School of Art and an instructor at the Houston Center for Photography. Neill is a 2009 recipient of the Houston Art Alliance Individual Artist Grant and will be exhibiting in HAA’s 125 Gallery in September 2009. Additional future projects include a solo exhibition at Lawndale Art Center in November 2009 and at Women and Their Work in January 2010. Neill received her BFA from The Columbus College of Art and Design in Ohio, and her MFA from The University of California, San Diego. Previous residencies include the Johannstädter Kultutreff in Dresden, Germany and the Diverseworks “Real Art World” in Houston. Neill was the juror of installation for the 2008 Artist Fellowship Grant for the West Virginia Division of Culture and History.

Lauren Obenour received her BFA from the School of the Art Institute of Chicago in 1999 majoring in Fiber Arts, Artist Books, and Cultural Anthropology. From 1999 to 2001, Obenour attended the graduate program at the University of Washington in Seattle and received her MFA in Fibers, focusing mainly on representation of self and home. Her work explores the relationship of hand to thread to paper. Every stitch is a second of reflective thought and a moment marked by thread in time. Every scrap of paper is the evidence of something bigger that used to exist. Her influences are love and exploring the personal relationships she sees between the people, animals, and objects around her. She was born in Houston and currently lives in Portland, Oregon, city of roses, bridges and friendly cats.

Emily Sloan was born and raised in Diboll, Texas and currently lives and works in Houston.  Sloan has exhibited at the Target Gallery in Alexandria, Virginia, The Dallas Contemporary, Deborah Colton Gallery, and Lawndale Art Center. She created the Burning House installation on Highway 59N in Polk County, the Sabine Street Bridge Lamp at the City of Houston’s Buffalo Bayou Art Park, and To Whom it May Concern a public work created as part of her Cynthia Woods Mitchell Center for the Arts Residency.  Last fall, she had two site-specific projects featured at the Texas State Fair and a solo show at Gallery 1724 Artspace in Houston.  Earlier this year, Sloan had a residency at the Vermont Studio Center and finished her MFA in sculpture at the University of Houston where she was a teaching fellow.  She has an upcoming site-specific public art project for Hermann Park as well as a solo show at Redbud Gallery.

The exhibition will display one piece: an abstract self portrait in progress. A piece made up of smaller panels but displayed one after the other that is read left to right in the form of a timeline. An entire life is a self portrait, unbroken breath after breath that flows from one thought seamlessly to another. In the same way, each panel added to the whole may stand alone as one thought but needs the assistance of the panel that comes before and after to get an honest understanding of the entirety. A continuous ever expanding self portrait helps the viewer not quickly judge from one piece but helps them see a progression, change, and similarity. A personality. The viewer travels through all of someone.

Stephanie Toppin was born and raised on the southwest side of Houston, Texas where the wall often changed colors. She grew up in a very religious house hold with a diverse background that consisted of European and Caribbean decent. She broke away from the religion and kept the culture. She likes plants, books, riding her bike, and loves grocery stores. Toppin was the recipient of a 2008 Houston Artadia Award.

Artist Anthony Day presents an installation of sculptures and paintings featuring brightly colored totems and other objects of meditation. Day has composed these new idol figures from found polystyrene foam packaging that he has embellished with vibrant abstract expressionistic mark making. In transforming common packaging materials into colorful sculptures of playful reflection, Day underlines the modernist beauty that these readymade forms have. Day’s polystyrene totems transcend a once expendable function without loosing the connection to society’s materialistic needs and environmental burden.

Anthony Day, a native Houstonian, attended the High School for the Performing and Visual Arts and received a BFA from the School of the Museum of Fine Arts, Boston and Tufts University. He then spent two years in Queretaro, Mexico making art and concentrating on his practice. After which he returned to Somerville, MA and maintained a studio for ten years at Vernon Street Studios. In 2005, Day received a Masters in Art and Education from Harvard University. Currently, Anthony Day lives in Houston, TX where he has been teaching visual art at Regan High School. Recently, he has presented his work at the CAMH Slide Jam lecture series. In his art practice, Day is committed to the connections between art and life, depicting accidents that happen at the intersection of the personal and the social, the private and the public, the internal world of urges and memories and the uncontrollable external forces of human and natural history.

Objects of desire is a representation that is based on the most precious organ, the heart. Metaphorically man steals hearts of other people on a sentimental way, sometimes without measuring the consequences, this is the case of a lover who is devoted to collecting, but this fact away from feeding his spirit will dries his soul, “to steal hearts dry soul” and that love becomes part of a second term. Fidel Ordonez visually presents a man of action and reaction of this idea.

Fidel Ordonez was born in 1974 in Mexico City, his first contact with art was at age of 10 but his academic training was as a piping designer for petrochemical and chemical plants, he found a refuge in what was his tool of expression since 1993 with the traditional graffiti letters. There were no longer attractive after a while, giving way to other forms of expression concept: since 1999 he started the project called “Lauve” in Mexico City, street art project based on the ancient technique of stencil and propaganda. In 2004 he created the mural project LOSDELAEFE in the city of Monterrey. Today is as a visual artist in the city of Houston since 2007, currently is an artist member of box13 art space, doing projects like mural-painting and installation. His works was viewed and published on Mexico, USA, Spain, Brazil, Argentina and England.

Using ceramic materials and processes Jeff Forster creates spaces that address the fragility of our natural and urban environments.  Fragile Truth juxtaposes traditional religious beliefs against those of his own with the intent of revering the temporal paradigm of history.

Jeff Forster received his BA in Art Education at St. John’s University, and his MFA in Ceramics at Southern Illinois University. He is on the National Council for Education of the Ceramic Arts and a member of the Clay Houston Organization. He has shown across the nation, including at The Art Studio Inc, Beaumont, TX, the Gallery at the Art Institute of Phoenix, Phoenix, AR, 18 Hands Gallery in Houston, TX, and Colaciello Gallery, West Palm Beach, FL. A recent Texas transplant, he is currently teaching ceramics at North Harris College in Houston.

Measures in Human Achievement is an exhibition of photographs by St. Louis artists Cheryl Childress and Larry Robinson.  While both artists focus on different issues in today’s society, both bodies of work parallel each other, working with realms of fantasy within the present cultural landscape, both visually and conceptually.

Childress’s work is an investigation into mankind’s need for control, his substitution of fiction for reality, and the ultimate failure in one’s search for a utopian destination. By staging petty acts of accomplishment, in junction with text excerpted from newspapers and crime testimonies, her work explores realms of fantasy and delusion while questioning the difference between the two.

Larry Robinson uses pop culture and media advertisement of fast food as a vehicle to explore the environmental impact of American agricultural production.  By building fantastical sets of televisions and glowing candy colored corn in wooded areas, these media representations become fairytale-like, reflecting on the consumer daydream.

This exhibition at Box 13 Artspace is Childress and Robinson’s first exhibition together outside of the St. Louis, Mo Area.  Both recently graduated from Webster University in 2007, and have exhibited in group exhibitions in the St. Louis Area. This is Larry Robinson’s first exhibition of his work outside of the St. Louis area, while Cheryl Childress recently had her first solo exhibition of work at Cactus Bra Space in San Antonio, TX.

The photographs that constitute Trophies developed out of an exploration to identify where the energy to create and the impulse to shop intersect.  The images highlight what has become the homogeneity of craft and allude to the failure to foster creativity and originality in its simplest forms.

In 2008 Anna Krachey received her MFA from the University of Texas at Austin after receiving a Post Baccalaureate Certificate from School of the Museum of Fine Arts, Boston, MA in 2005. She attended the Book Arts workshop in 2003 at Penland School of Crafts, Asheville, NC and L’Atelier de Livre, Paris, France in 2001. Her work was recently shown at the Scope Art Fair in NY, NY as part of Okay Mountain Gallery. She was also part of Viewfinder: Emerging Texas Talent with Fotofest, at Houston Center for Photography. She has an upcoming show, with writer Daniel Boehl, at TESTSITE in Austin, TX. Anna is represented by Marty Walker Gallery in Dallas, TX.

In Tim Brown’s Generations, using the pastiche of flea markets and antique malls, the artist stocks his would-be booth with leftover relics of his childhood.  Though nothing is actually for sale in this window display, a printed guide will lead you through the shelves and tables of wares, detailing the commodity of his younger life. Outside a mournful tune plays like an ode to the past.

Tim Brown, born in Tulsa, Oklahoma, received his BFA from the University of Kansas in 1991. He currently resides in Austin, TX where he is a founding member, Curator, and Chief Financial Officer, of the artist run gallery Okay Mountain. He has recently shown at Green Papaya Art Project, Manila, The Philippines, Paragraph Gallery, Kansas City, MO, and Creative Research Laboratories, Austin, TX. In March of this year he had his first solo exhibition at Lawndale Art Center in Houston, TX.

The water series are continuous loop videos with minimal to non-events. Intended to be hypnotic, the series have a similar repetitive audio track.

Relational Dialectics is a concept from communication theory which describes the challenging and often conflicted nature of relationships. The UH Photography/Digital Media exhibition explores the relationships between artists and their work, their viewers, and the world at large. The work explores issues of femininity, environment, cultural heritage, family, fear, absence, and mediation.

Artists: Sarah J. Bircher, Lindsey Bryan, Rocio Carlon, Camilo, Gonzalez, Chuck Ivy, Shauna Martin, Victor Matsumura, Nathan Munier, Tu-Anh Pham, Christopher Pickett, Kelly Quarles, Nathalie Rodriguez, Maurice C. Saavedra and Gregory Whittaker.

The show is curated by Dr. David Jacobs.
http://www.relationaldialectics.org/

The fourteen graduating artists of the program come together at Box 13 ArtSpace, March 28th from 7-9:30 pm through April 30th. Gallery hours Saturdays from 1-5 and by appointment.

The Green Box presents “Animation from Sam,” March 28-April 30, featuring work by students in Sam Houston State University’s Computer Animation Program. The short animated films in this exhibition include narratives, abstractions, and humorous cartoons. The work includes pixar-like shorts created using high end 3D software, a re-telling of Shakespeare’s Hamlet in the style of a primitive video game, and 2D animations created by both groups and individuals.

HANA HILLEROVA, Houston
LESLIE MUTCHLER, Austin
JENNIFER PRICHARD, Austin
Skote: JILL PANGALLO, Austin and ALEX WHITE, New York
EMILY SLOAN, Houston
GABRIELA TRZEBINSKI, Houston
Curated by Eleanor L. Williams

Box 13 ArtSpace is pleased to announce the opening of Disturbance of Distance, a site-specific exhibition curated by Eleanor L. Williams, which brings together the work of Hana Hillerova, Leslie Mutchler, Jennifer Prichard, Emily Sloan, Gabriela Trzebinski, and Skote, a collaboration by Jill Pangallo and Alex White. Upon entering the exhibition visitors will be greeted with comedic “art-o-tainment” provided by Skote as a prelude to the exciting sculpture inside by Hillerova, Mutchler, Prichard, and Sloan, and a video installation by Trzebinski.  The opening reception for the exhibition will be Saturday, January 17, 2009 from 7:30pm – 9:30pm.  The exhibition will be on view from January 17, 2009 through February 19, 2009 with a curator and artists talk to be held onThursday, February 19, 2009, at 7:00pm at Box 13 ArtSpace.

In Disturbance of Distance, Hana Hillerova offers what the artist describes as a utopian city of Buckminster Fuller design built by hippies that oscillates somewhere between chaos and order. Leslie Mutchler investigates the consumer desire to purchase an organized lifestyle focusing on furniture that functions as storage that unifies an accumulation of belongings into a minimal guise of solidarity.Ceramic artist Jennifer Prichard creates wall installations made of hundreds of handcrafted porcelain pieces that resemble beautiful new forms of lichen that propagate throughout a space. Emily Sloan proposes ideas regarding containment and nostalgia in her domestic-themed, life-sized snow globes. Gabriela Trzebinskipresents a visceral and moving video installation examining the struggle against poaching in Africa. Finally, as guests arrive to and depart from the exhibition, Skote, a collaboration by Jill Pangallo and Alex White, will be staging a Live! From Pansuitland performance. Using the classic language of popular television formats — the talk show, the sitcom, and 70’s variety shows — Skote presents a comedic, art-o-tainment spin on celebrity-culture, object worship and reality TV, and at the same time exposes our own relationship to the phenomenon.

Live! from PantsuitLand: “Disturbance of Distance” at Box 13 Artspace from Skote on Vimeo.

Austin Video Bee is a multimedia video collective based in Austin, Texas that seeks to promote experimental and innovative pieces and to be an integral part of the vital Austin arts community. Seven of the members of AVB have mined the history of performance art to find works that they felt were not “alive” or available to newer generations of artists and audiences. They each “re-performed” the work of an artist they admired and created video documentation of their performances. Stringing these documentation videos together becomes analogous to a game of “telephone,” where our potential misunderstanding of what the performance originally was becomes a generative process, like covers of songs that retain the essential qualities of the original but become something new in the process.

“AVB RE-Performs” includes:

Elizabeth Abrams re-performs an excerpt from Hannah Wilke’s “Gestures”
Anna Krackey re-performs Jill Pangallo’s “Some Lady Kickboxing”
Ivan Lozano re-performs Ana Mendieta’s “Body Tracks”
Jill Pangallo re-performs Vito Acconi’s “Theme Song”
Corkey Sinks re-performs Marina Abramovic’s reperformance of Gina Pane’s “Conditioning”
Lee Webster re-performs Marina & Ulay’s “Great Wall Walk”
Jamie Wentz re-performs Phyllis Baldino

The Green Box is a space for video and media installations and is upstairs at BOX13 ArtSpace.

WRETCHED LITTLE BRITIONS present ANTI-HEROES, a group exhibition of six London based artists.

Once upon a time man looked at himself and didn’t like what he saw. Once upon a time man looked around him at his fellows and didn’t like what he saw there either. Man looked into himself and saw that his heart was weak, and was shot with fear that his fellows say the same, and was filled with reservations that theirs were as weak, as softly beating. Man had no time to think about such matters though, as he was building sepulchers and monuments and finding women to bear him sons and understanding planets and fishing and tidying things up and knocking things down. So man built himself a city and in it made people and those people began to understand one another, although there were so many of them and with such different ideas of things that they needed to share a thought, seeing as they couldn’t share a nature, and this thought would be what their world was to them, whether the real world was or not. So they saw how things worked and they made up stories and they started talking about the past until, and one way or another they all decided that this was what the world was. Samantha Walton 2008

ANTI-HEROES explores how a hero must be built for our new age through the works of seven artists whom embody a sense of depreciating innocence through the use of painting, print-making, drawing, writing and video. Featuring Chloe Head’s indulgent paintings of a Dionysian modernity reclaiming the antiquated Christian Image, combining traditions of European painting smeared with a little female hysteria,, and Jennie Nuttall’s hand drawn animations which aim to corrupt, through an unspoiled sense of childhood, society’s trials and tribulations, failures and successes.

See the original Houston Chronicle post here.

For this exhibition the artists were put together for what seemed an obvious sense of architectural ideas in their respective practices. They were then invited to exhibit with no constraints on what they may show. In turn, what is produced is a sculptural show of work dealing not only with architecture, but also heavily influenced by design, and in which all the works play with our ideas of perception.

Katy Heinlein of Houston produces new fabric draping pieces, working on a smaller and more intimate scale than her recent show at CTRL Gallery. Rebecca Ward, an artist from Austin, will be creating a site-specific tape installation in the grand stairwell of the main gallery. Jeff Williams, who recently left Houston for a yearlong residency in Rome, will be displaying two pieces that mess with the viewer’s perception. While Eric Zimmerman, another import from Austin, installs a sculptural piece, which creates a mesmerizing light show. And Bari Ziperstein, who comes to us from Los Angeles, is creating a grouping of piñatas designed after modernist lamps, giving a nod not only to design, but also to the neighborhood surrounding Box 13.

This exhibit, explores the non-distinction between virtual and actual, and how one is able to learn about and communicate with virtual worlds through the internet-that offer actual and sincere non-mediated views of our world.

Michele Monseau (San Antonio)
Matthew Steinke (New York)
Vicki Fowler (Chicago)
Phillip Schulte (Berlin)

“Drawing In Time” is an exhibition of video work by Heather Boaz in The Green Box. Heather Boaz is an artist who lives and works in Baltimore, Maryland. In her work, Boaz focuses attention on the temporal aspect of drawing by videotaping herself performing repetitive acts. Typing with her fingers dipped in charcoal, tapping out Morse code with a pencil, and blowing charcoal dust onto paper are some of the techniques she uses to make videos and drawings. The process in each drawing has a mildly ironic relationship to the content. For example, the word she repeatedly types with her charcoaled fingertips is the password to her hotmail account and the Morse code she taps out is William Burroughs famous “Language is a virus. . .” quote.
Another series of Boaz’s video work depicts the artist creating drawings using disappearing ink. The video is sped up so the drawings that disappear and are redrawn over and over become animated. Boaz manages to depict the ephemeral nature of fire, tears, the human heartbeat and martyrdom in these videos.
Heather Boaz has an MFA from the Maryland Institute College of Art. Her work has been shown at the Drawing Center in New York, and in exhibitions on the east coast, in Ireland, and Germany.

Artist, Whitney Riley, and sound designer, Doren Bernard, present “My Weltanschauung: Sentient Memory Reified, ” at BOX 13 ArtSpace. This site specific installation crates a snapshot illustrating the intangible balance of accepting and rejecting our authentic self through an endless field of memories of the the “other” defining self. These two artist attempt to make tangible the abstract nuances of the mind and the mini asylum we all have inside through this multi-sensory experience.

No Troy’s tree didn’t make it down the full lenght of the track, but it did upon stricking the floor at great speeds skid down to the finishline beating a number of vehicles.

The Sound in Motion show features sound investigations and motion graphics in response to  Andrew Murpie’s and John Potts’ Culture and Technology and Italo Calvino’s Six Memos for the Next Millennium.

Featuring work by University of Houston graphic communications graduate students:
Noora Aslalmam:  Symbiosis, and Sonic Mementos; Sura Khudairi; Tina McPherson: Sonorous Echoes and Metamorphoses; Zack Zwicky: Existential Motion, and Migration

Graduating seniors include: Jessica Childers, Elizabeth Fowler, Tim Garcia, Cameron Kolaja, Scott McCombs, Megan O’Brien, JoAnn Park, Alexandra Quevedo, Lynn Sanders, Shane Tolbert, and Emily Wetterauer

Featured artists: Ashley Aichelman, Christa Havican, Brian McCord, Joy Moore Ian Sigley, Alexander Tu, and Anh Vu.

Yum Um, a post modern corporation for a modern-day society, will have its 13th annual “Ultimate Party Bash” from 7:30 to 9:30 p.m. Friday, May 2 at Box 13, 6700 Harrisburg (at the corner of Caesar Chavez). Yum Um has brightened up the days of many Houstonians with handcrafted slogans, such as “Life. Catch It.” Yum Um has appropriated products in order to re-contextualize them and highlight Yum Um’s life-affirming messages. Yum Um is proud to open its archives of precious relics of past Yum Um events throughout history to the general public.

The Board of Directors: Lindsay Burleson, Nancy Douthey, Paul Huynh, Alex Nguyen, Christian Ochoa, Jere Pfister.

Spring 2008 will mark the fourth year of the trans-disciplinary course, Collaboration Among the Arts, offered by the Cynthia Woods Mitchell Center for the Arts in conjunction with the School of Art, Creative Writing Program, Moores School of Music, and School of Theatre & Dance.

Yum Um a prt of the Collaboration Among the Arts focuses on the process of creating art collaboratively, by challenging and exploring disciplinary boundaries. The course brings together students and faculty from the visual, performing, and literary arts for creative experimentation and project development.

This team-taught class is led by four faculty members selected from Art, Creative Writing, Music, and Theatre. Participating students are divided into small groups to create projects over the course of the semester. Project development includes an in-depth exploration of the range of disciplines practiced by visual artists, performers, and writers, followed by an exchange artistic tools, skills, techniques, and languages.