The Empty Box 2012
The Empty Box Ole!, BOX 13′s annual fundraiser, will take place Saturday, May 5, 2012, 7-9:30pm at BOX 13 ArtSpace, 6700 Harrisburg, Houston, TX 77011.
Preview scheduled for 1-5 pm May 5th.
BOX 13 ArtSpace announces its 2012 fundraiser, The Empty Box Ole!. The event takes place on Saturday May 5th and will celebrate Cinco de Mayo at its building on the East Side. The Empty Box offers collectors and art lovers an opportunity to acquire amazing art donated by local, national and international artists to help support Box 13.
The event will feature a silent auction, a raffle, swings at custom-made piñatas, and the infamous mystery box. These opportunities come at a variety of price points starting at $1 so everyone will have a chance to walk away with amazing art. Conjunto and Tejano music will set the mood while margaritas, beer, and Mexican food will provide nourishment.
The event will take place at the BOX 13 building at 6700 Harrisburg in Houston’s East Side from 7-9:30 pm. The Silent Auction begins promptly at 7pm and will end at 9pm. There will be a preview of the silent auction from 1-5 pm prior to the main event.
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.
March 17 – April 21 2012 – FOTOFEST
On view March 17 – April 21, 2012 – FOTOFEST
Opening reception March 17, 7-9:30pm
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Participating in the Fotofest 2012 Biennial
Exit Strategy
Max C. Fields, Os Galindo, Daniela Hernandez, & Melissa Tran
Front BOX
Exit Strategy is a group of exhibition that serves as a bridge between the artist’s undergraduate research in photography and their entrance into the wider world of contemporary art. Similarities in aesthetic and practice are revealed through their work’s solemn undertones and common vernacular.
Daniela Hernandez is a Texas artist working with photography and video. She will graduate with a BFA degree from the University of Houston’s School of Art in May, 2012, with a major concentration in photography/digital media. In her work she re-photographs slides of her Colombian family taken by her Grandfather, who has since developed Alzheimer’s. By working closely with the slides and deliberately inserting herself into their scenarios, she hopes to gain resolution and understanding about her family history, and a culture that has shaped her upbringing despite being largely disconnected from it.
Melissa Tran is a Houston-based visual artist who works primarily with lens-based processes, including the use of the scanner as a camera, and performance-based video. She will graduate with a BFA degree from the University of Houston’s School of Art, May 2012, with a major concentration in photography/digital media. Tran’s work has been exhibited at local spaces including the Blaffer Art Museum, the Jung Center of Houston and SkyDive Artspace, and screened at DiverseWorks Artspace and in Aurora Picture Show’s 14th Annual Extremely Shorts Film Festival.
Max Fields is a Texas based artist working in photography, video, and interactive installation mediums. His work’s aesthetic spans from dark grain-filled photographs to bright multicolored noise laiden projections. Recognized by the Craighead Green gallery as ‘New Texas Talent’ in 2011, Fields has exhibited most recently in a solo exhibition at ‘A Space Gallery’ in Commerce, TX, and at the Progressive Arts Fair in Santa Fe, NM. His current series Memory Stalking is a collection of videos and photographs that explore the fallacy of memories.
Os Galindo’s ongoing project, Memoria, depicts an unsettling family history. In his work, he creates tension between his own nostalgic personal history, and the impersonal language of the television screen. The subjects are appropriated from old family photographs, and then restated within the neo-Euclidian space of the television. In this exploration, Galindo situates his own identity between a nearly forgotten past, and an uncertain, mediated future. Born to Guatemalan parents, Os Galindo explores western notions of cultural and personal identity as they are affected by television and broadcast media.
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Identified and Objectified: A Study of the Ephemeral
Shannon Duncan, Brittney Connelly & Bryan Forrester
Back BOX
Utilizing photographic media, these three artists depict the effect of objects on identity. Each artist explores different types of personal relationships in an attempt to find a true self, make connections with others, or gain closure with the past.
Through physically straining performances, Brittney Connelly challenges the notion of self. More acutely, her work portrays intimate relationships as they connect to temporal forms of media and commoditized objects.
Asking her peers to excavate objects that are embedded with memory, Shannon Duncan seeks deeper, more personal companionships. Her work is presented as a collection, identifying connectivity that exists within social networks.
Through the confrontation of objects left behind in a black duffle bag, Bryan Forrester attempts to be acquainted his late mother. Actual objects from her bag are presented in conjunction with imagined vignettes, chronicling a posthumous relationship.
Brittney Connelly is a performance-based artist currently pursuing her BFA at the University of Houston. She works in a variety of mediums including video, sculpture, and installation. She aims to reactivate objects and speak about ideas of shared commonplace. Most recently, Connelly has received artistic recognition in Houston, Texas. In the summer of 2011, she was awarded a residency at Project Row House’s Summer Studio Program. She also received a Summer Undergraduate Research Fellowship from the University of Houston. In 2010, Connelly participated in the annual Artist Dialogue at Houston Center for Photography. She was also featured in Gratitude, Fotofest exhibition at Bosque Gallery.
Shannon Duncan is a location-specific photographer with an interest in social documentary. Duncan received her BA in Studio Art and Sociology at Wesleyan College and her MFA at the University of Houston. In early work, she created a five-year documentary project of Little Five Points, Atlanta. Once in Houston, the focus of her lens moved past individuals to the objects they discard. Duncan is currently an instructor of Photography/ Digital Media at the University of Houston and Houston Community College. She has been exhibited in Houston, Texas at Houston Center for Photography, Lawndale Art Center, Caroline Collective and Community Artists’ Collective.
Bryan Forrester is a lens-based media artist from Seattle, Washington. He received his A.S. in Documentary Filmmaking from the University of Washington and is currently pursuing his BFA in Photography/Digtal Media at the University of Houston. He enjoys the organic nature of medium/large format film and uses cinematic language to create his work. His work deals with family identity and the state of the modern American family. He has shown in Houston at the Lawndale Art Center, the G Gallery, Domy Books Houston, Caroline Collective, and the Avera Gallery. His influences include Charlie White, Albert Watson, Maya Deren, and Sophie Calle.
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Domestica Dentata
Daniel Bauer, Irena Knezevic & Anna Shteynshleyger
Curated by David McClain
Upstairs BOX
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).
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lorraine
Stephanie Martz
Window Box
Interested in the poetry and aesthetics of the interiors of abandoned houses, Stephanie Martz will be doing a site specific installation in the Window Box. Her statement about the work is in the form of a poem entitled “In The Middle of a Work of Art,” in which she metaphorically relates personal experiences to the disintegration of these deserted interiors.
In The Middle of a Work of Art
Ink will bleed
with disembodied hands
and fingertips now swollen
in a resistance to loss.
Linear readings deprive
images of intimacy,
like the house as an eye
with its uncanny sensations
of faint mauve tones
and no aspirin to be found.
The house that wrinkles
makes the body materialize,
and unexpected surfaces
arise from its shifting ground.
Then there are the broken, forgotten margins
with the penciled-in notes
that the walls are exploding
and the windows
have become telescopes.
Destroying redness
is the basic architecture of human beings,
like misshapen feet
lead a sculptor to consider
a tactile mistake.
Stephanie Martz received her BFA from Art Center College of Design in Pasadena, CA, and her MFA from California Institute of the Arts in Valencia, CA. She attended the MFAH artist residency, The Core Program in 2002 – 2004. She currently teaches at the Glassell School of Art.
Luminous
On view January 21 – February 25, 2012
Opening reception January 21, 7-9:30pm
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.
19th Annual ARTCRAWL Houston – November 19, 2011
BOX13 Artspace will participate in the 19th Annual ARTCRAWL Houston on November 19, 2011 from 10am to 9pm. Stop by and visit with our resident artists or come late and enjoy the opening of two new exhibitions.
For more information on ARTCRAWL Houston, please visit: www.artcrawlhouston.com
Dutch invasiON
November 19, 2011 – January 7, 2012
Opening reception November 19, 7-9:30pm (during Art Crawl)
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.
Timothy Harding – Omitted
November 19, 2011 – January 7, 2012
Opening reception October 1, 2011, 7-9:30pm
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.
Eliza Fernand – Quilt Stories
Saturday, November 5, 2011, 1 – 5PM
Researching quiltmaking from a contemporary art perspective, Quilt
Stories is an interactive performance and temporary installation that is traveling across the country. Viewers are invited to visit Eliza inside of a tent quilted of reclaimed fabrics and share their stories and anecdotes about quilts. A collaborative quilt, pieced in a white circle, creates a space for people to gather and contribute their own stitches in this ritual of skill.This summer the piece has traveled from the Northwest, through the Western Plains, to the Midwest; the tour extended to the East Coast this fall. Eliza is visiting community gathering places, quilt museums, sewing communities, contemporary art spaces, scenic American landscapes, and other adventurous destinations. As she and her project are introduced into new communities, the aspects of the project materialize differently in each place. This project is funded in part by Kickstarter and a grant from the Idaho Commission on the Arts and the National Endowment for the Arts.
Monica Vidal – Temple Hive
October 1 – November 5, 2011
Opening reception October 1, 2011, 7-9:30pm
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.
Lisa Choinacky – Reality Is Only A Rorschach Ink-Blot, You Know
October 1 – November 5, 2011
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.
Krista Birnbaum – NEW GROWTH
October 1 – November 5, 2011
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.