Current #bitres Artist: Eric Manche
to Oct 31

Current #bitres Artist: Eric Manche

Eric Manche

Eric Manche is a comedy filmmaker, animator and creative director that lives in Austin, Texas. His first feature length film, Slimed, was released by cult film company Troma Entertainment in 2018. He is a member of Basic Cable Television, a video comedy collective that formed while he was a student at the Rhode Island School of Design.

Instagram: @lilmanchie

About #bitres:
As a means of expanding Co-Lab Project's programming into the digital realm, artist/curator Vladimir Mejia selects artists to participate in an Instagram hosted month-long residency. Artists are given full control of the @colabprojectsbitres Instagram account, and all images posted by the artist are categorized by hashtags representing the artist name in residency. Original concept by Sean Ripple.

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“A Land with No Name” :  Sara Madandar
to Oct 26

“A Land with No Name” : Sara Madandar

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A Land with No Name
Sara Madandar
October 5th-26th, 2019

Co-Lab Projects @ Springdale General
1023 Springdale Road, Suite 1B, Austin, TX 78721
Open Hours: Tuesday-Saturday, 12-6pm

Opening Reception: Saturday, October 5th, 7-11pm

A Land with No Name is a series that takes its inspiration from Persian history–in particular, how complex notions of gender and national identity changed in Iran between the 19th and 20th centuries. Afsaneh Najmabadi’s book Women with Mustaches and Men without Beards explores how, during the 19th centuries Qajar dynasty, Iran’s national identity was ambiguously gendered. This was a time in which women with mustaches were considered attractive and the emblem on the nation’s flag was a female lion. As the nation “modernized” into the 20th century, many of its symbols of national identity transitioned to more masculine forms–even the flag’s lioness was changed to a lion.

Exploring these historical transitions, A Land with No Name uses paintings to break down and reconfigure how we think of place, nation, identity, and gender. In this series, these transformations are represented by breaking down the canvas. In some paintings it is shredded and cut, in others burned and etched with a laser cutter. The destruction and remaking of materials have long been a key component of my artistic practice. The hand-made paper in this series is recycled from 2017 editions of the New York Times featuring headlines about Trump’s “Muslim ban.” Literally dissolving the news through this papermaking process reflects our current political reality—each new day brings dramatic news, however, the impact of these profound political events is quickly forgotten, making way for the next wave of increasingly shocking news.

Having moved from Iran to Texas for graduate school then again to New Orleans, my life has been one of major cultural transitions. Navigating through these cultures has caused me to reflect on the identity of place and ask how do we define a land? What do its borders mean? How do we change as we migrate across them? Recent geopolitical events have had a direct effect on my ability to move between cultures and has caused me to consider these questions. For instance—due to the Trump administration’s “Muslim ban” and withdrawal from the Iran nuclear deal my family is no longer able to visit me. From within this turmoil of these questions and circumstances I started imagining a free land, one with no names, borders, or flags. The land I imagine takes the shape of a woman’s body, my body, becoming my homeland. I imagined myself saying "I am from my own body, it is A Land with No Name.”

Sara Madandar is an Iranian multi-disciplinary artist based in the United States. She received her MFA from the University of Texas at Austin and her BA in painting from the Azad University of Art and Architecture in Tehran. Through a range of media such as painting, video, installation, and performance—Madandar explores migration and the human experience of living in between cultures. Her work uses the aesthetics of language, clothing, and bodies to study the complexities of cross-cultural experiences from a unique perspective. Madandar’s most recent accolades include an award from the Texas Visual Artists Association (TVAA) and an award from the Southeastern College Art Conference (SECAC) for an exhibition curated by Jessica Beck of the Andy Warhol museum. Sara’s work has been featured at Co-Lab Projects, Elga Wimmer PCC, New Orleans Museum of Art, Austin City Hall, New Orleans Contemporary Art Center, Elisabeth Ney Museum, Mom Gallery, Courtyard Gallery, and the Asian American Resource Center.

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"That’s not going anywhere." : Dave Culpepper
to Sep 28

"That’s not going anywhere." : Dave Culpepper

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That’s not going anywhere.
Dave Culpepper
September 7th - 28th, 2019

Co-Lab Projects @ Springdale General
1023 Springdale Road, Suite 1B, Austin, TX 78721
Open Hours: Tuesday-Saturday, 12-6pm

Soft Closing at The Front Page: Saturday, September 28th, 5-7PM

A maquette is a tool used for siting where an object will eventually be installed. It is a simplified version of what it is representing, commonly made very cheaply. Maquettes are usually constructed at full scale in order to show how the final object will relate with its surroundings. They are a tool that allows you to see what potential an object has without putting the object at risk. Maquettes serve a purpose and then are abandoned/become useless after their job is finished.

Models are often made to a scale that is much smaller than actual size. Models can be used for planning spaces, creating object relationships, and studying different viewpoints. Models are like maquettes, in that they represent objects, except they need to maintain relevant aspects or important details of the original. Models are used over and again, waiting to be a vessel for ideas.

Scale is a mechanism used to help orient objects in a space. It is also used to help simplify too large of spaces, ideas, or systems (railroads, solar system, city planning). All of these are tools to help realize a concept. Most of the time they are used in conjunction with one another. These three tools help with efficiency with spatial planning.

David Culpepper was born in Alexandria, Virginia. In 2010 he received a BFA in Painting and Printmaking from Virginia Commonwealth University. David has been living in Austin for the last 9 years and is a founding member of Ink Tank Collective, Free Beer Podcast, and Fancy Fancy Studios and Gallery. His most recent projects have been exhibited at Grayduck Gallery, MASS Gallery, and Pump Project. David received the Austin Critics Table Award for his solo exhibition Wake Me When It's Quittin' Time at Co-Lab Projects in 2014-2015.

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"Highs and Lo-Fi's" : Adrian Armstrong
to Aug 31

"Highs and Lo-Fi's" : Adrian Armstrong

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Highs and Lo-Fi's
Adrian Armstrong
August 3rd - 31st, 2019

Co-Lab Projects @ Springdale General
1023 Springdale Road, Suite 1B, 78721
Open Hours: Tuesday-Saturday, 12-6pm

Artist Talk: Wednesday, August 21st, 6pm
American Cheese Fondue featuring Adrian Armstrong: Saturday, August 31st, 3-7pm

We encourage visitors to bring an internet-capable device and headphones to listen to the musical components of the exhibition. Free Wi-Fi is available onsite.

Highs and Lo-Fi’s is a multisensory exhibition which explores the topic of mental health in African American culture. It is partly an exploration of Armstrong’s own personal struggles and a discussion about why mental health is often a taboo topic in the culture he was raised in. Many minorities suffer from depression in one form or another but it is often dismissed, ignored, or misdiagnosed. The show will focus specifically on mental health issues in the African American community with the intent of fostering an open and inclusive dialogue.

By pairing music and art, Armstrong aims to fully convey the highs and lows of mental health issues. Not only exploring what mental health issues such as depression are but also how they manifest in ones day to day life.

The show consists of a series of figurative paintings and drawings (including excerpts from the “We Can’t Breathe” series) depicting different scenarios and feelings associated with depression as experienced by Armstrong and other people who have engaged him in conversations about their personal experiences with mental health issues. Accompanying these paintings will also be an EP of self-produced songs created in tandem with the visual elements.

Adrian Armstrong is a creative from Omaha, NE now living and working out of Austin, TX. Armstrong received his BFA from the University of Nebraska - Lincoln in 2014. Through portrait and figurative practices, Armstrong’s work explores identity and what it means to be a black person living in modern America. His work touches on topics such as depression within the black community, systematic oppression, and police brutality; but on the other side of the spectrum explores fashion, love, success and growth.

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Permanent.Collection and Co-Lab Projects present: Sarah.Canright / Kaveri.Raina
to Jul 27

Permanent.Collection and Co-Lab Projects present: Sarah.Canright / Kaveri.Raina

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When life sends pictures you can’t digest quickly enough you
convert them to a cartoon mechanism so that the colors become
very hard and strong. Very clear so you can abide them. Think of
the work of Rainer Werner Fassbinder. Heavy shit. Same deal.
Always each image leans on the other held abreast by wefts and
warps so the shock of reality really gets caught. Held.
—Eileen Myles, Afterglow (a dog memoir) (2017)

Permanent.Collection and Co-Lab Projects present:
Sarah.Canright / Kaveri.Raina
July 6th - 27th, 2019

Opening Reception: July 6th, 7-11pm
Open Hours: Tuesday-Saturday 12-6pm

An ongoing exploration of self manifests in the paintings of Sarah.Canright and Kaveri.Raina. Here, portraiture in a shimmering space of fugitive color and light predominates. Employing techniques of abstraction, both artists are attentive to the memory of figurative forms, a landscape rooted in personal history, and a lifelong, almost-diaristic dedication to similar subject matter, including four-legged creatures, shadowy silhouettes, and irregular patterns.

The subjects of Sarah.Canright’s recent paintings hide, peek, layer, and weave appendages under and over one another. With direct line work, Canright’s oil paintings offer up a surface-level read of highly skilled realism, yet their pale subtlety in color and tone insist on another perspective, one seen through an abstract lens. Her oils evade accurate reproduction, in person offering an array of retina-confusing, vibrating color that seems to shimmer like a mirage under heat and light. In Canright’s watercolors, the figures are shaped by a bold, confident, and nuanced brush—bare-bones, essential information all conveyed by the most minimally painted mark, one that constrains but doesn’t bind. Light and color are captured within the lines like a bead of water: dependent and contained, yet able to scatter, disperse, and cascade at any moment.

Canright returns regularly to the portrait, often in profile, as the most reductive essence of her elegant subjects. These characters are emotionally expressive and full of life, folding themselves into the frame. Some also serve as a memento mori, a document of sickness and death created from photographs and memories of mourning. Somber, measured, haunting, and altogether loving, Canright’s use of companion iconography highlights an aspect of life that both tethers us and allows us to be free.

It’s hard not to deal with stark realism here in central Texas, faced with such intense heat, light, and humidity. The blue of sky, the white of the air, the red-brown earth. The staggering expanse of landscape, both lush and harsh. On most days there is a brilliant, fractal mirroring of light. To view Canright’s paintings is to become the light source, emitting and exuding an aura, an energy onto the canvas. A silhouette cast from white light, bleached out, like bones that have lived outside in the hot desert sand. And in all that light the image fades into the lost blink of memory.

In contrast, Kaveri.Raina’s paintings, often on the rough, utilitarian warp and weft of raw burlap, are punctuated by constrained glyphs and icons: bright color circumnavigated by a circling, obscuring haze of graphite. For Raina, a multiplicity of landscapes and identities collide to inform her work, from the frenetic urban sprawl of India’s capital city to the staid, wide plains of central Ohio. She regularly paints on both sides of the fabric, a scumbled thicket of pigment pushing from the back toward the surface, evoking a kind of suspension between two worlds. Raina’s subjects, translated and repeated until they are distilled and reduced in form, appear as shadowy silhouettes of indeterminate origin, blocked and blocking one another as they jockey for predominance on the surface.

Haunting, noir, these shadows tell a story. At one point a hat, perhaps an umbrella in the rain, two legs in a burlesque kick, a cow’s head, or maybe a dog running, a vase, a woman’s hair picked up by the wind. Here the light source seems to come from the background, from behind the silhouettes. A lantern cast from backstage, these shadow puppets dance behind the curtain, acting out a play we cannot hear. We are blocked, blinded, seeking out the outlines of an oncoming car through its high beams late at night on a small and winding rural road. Raina’s repetition of concentric circles could be the surrounding hazy glow from a bright light seen through rain—or perhaps her repeated marks cast a spell on the surrounding scene, a force field of energy unwinding the narrative, pulling characters together or holding them suspended, hovering, apart.

* * *

This exhibition is curated by Permanent.Collection and presented in collaboration with Co-Lab Projects. Text by Julia V. Hendrickson.

* * *


Born = Chicago, Illinois (1941)

Raised = Chicago, Illinois & Winter Park, Florida

Lives = Austin, Texas

BFA = School of the Art Institute of Chicago (1964)

Work = Associate Professor of Practice, Studio Art (Painting & Drawing), The University of Texas at Austin (1982 – present)

See More =


Born = New Delhi, India (1990)

Raised = New Delhi, India & Columbus, Ohio

Lives = Brooklyn, New York

BFA = Maryland Institute College of Art (2011)

MFA = School of the Art Institute of Chicago (2016)

See More =

* * *

Permanent.Collection is: archive of simultaneity. experimental exhibition space with a heart in Chicago, Illinois, a home in Austin, Texas, and a future in Los Angeles, California.

X.a curatorial project of Julia V. Hendrickson and Anthony B. Creeden.

More information at

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"every day sugars" : Siera Hyte and Diamond Stingily
to Jul 13

"every day sugars" : Siera Hyte and Diamond Stingily

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every day sugars
Siera Hyte and Diamond Stingily
June 22nd - July 12th, 2019

Closing BBQ: Saturday, July 13th, 6:30-8:30pm
On view by appointment, contact us to set up visitation

Partial Shade and Co-Lab Projects are pleased to present every day sugars, a multi-media exhibition by Siera Hyte and Diamond Stingily in response to A Platform with a reading during the opening reception programmed by August Huerta.

This project with Partial Shade will be Hyte and Stingily’s third exhibition working together. They will present a collaborative sound work, as well as printed matter, that draw on the dynamics of interpersonal relationships and ordinary actions.

Additionally, Hyte will present a new body of related work to be installed on and around the platform. August Huerta, an Austin-based poet, will organize a program of readings in conjunction with the exhibition’s opening night.

Diamond Stingily (b. 1990, Chicago) lives and works in New York. She has presented solo exhibitions at CCA Wattis Institute for Contemporary Arts, San Francisco; Institute of Contemporary Art, Miami; and a forthcoming exhibition at Kunstverein München, Munich. Group exhibitions include Schinkel Pavillon, Berlin and the surveys 2018 Triennial: Songs of Sabotage and Trigger: Gender As A Tool and a Weapon at the New Museum, New York.

Siera Hyte (b. 1990, Santa Ana) lives and works in Austin. She has presented solo exhibitions at Cordova, Barcelona; Musclebeach, Portland; Queer Thoughts, New York; and Egg, Chicago. Group exhibitions include Liste, Basel and Essex Street, New York, as well as a previous exhibition with Partial Shade, Austin. This fall, she has a forthcoming exhibition at Fresh Bread, Chicago.

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A Platform is a series of events and art installations organized by Partial Shade and Co-Lab Projects, centered around a physical platform built in an empty lot in East Austin. A Platform will provide a literal and conceptual space for emerging artists to share work and experiences and will provide artists and visitors an opportunity to experiment with new modes of relating to each other and their surroundings.

The structure for A Platform takes the form of a ramp gradually rising to a flat platform 2ft off the ground; this incline makes the platform more accessible to viewers and acts to undermine the established hierarchical relationship between performer and audience. This blurring of boundaries by an unusual, structural site from which to make and view art will encourage all involved to renegotiate their relationship with the physical and social space they are navigating.

PARTIAL SHADE is a nomadic curatorial project focused on organizing visual art exhibitions in non-traditional spaces, with work that is responsive to, considerate of, and affected by its environment. Untethered to one specific piece of real estate, Partial Shade operates as a model for a sustainable, alternative exhibition platform, and offers artists the opportunity to experiment with work that wouldn’t otherwise fit comfortably in a conventional gallery space. Partial Shade is organized by Rachael Starbuck, Michael Muelhaupt, and Jesse Cline.

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"Ebony Reprinted" : Dana Robinson
to Jun 29

"Ebony Reprinted" : Dana Robinson

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Ebony Reprinted
Dana Robinson
June 1st - 29th, 2019
Open Hours: Tuesday-Saturday, 12-6pm

”My monoprints present the healing possibilities of abstraction. Using images that circulated in printed advertisements I remove traces of exploitative white dominated capitalist visual language allow the individuals in these images to regain their agency in the world. As the images are translated into paint, and that paint is intently smeared, pressed, and textured, the human beings at the center of these manipulative images become at once more abstract and exponentially more present.

The creation of the monoprints toes the line between careless fun and deep consideration. By reproducing the vintage Ebony magazine ads and editorial images in this way, I am constantly making rules just to break them in the next print. The visual results and the feelings they invoke are unpredictable and there is no reliable formula for their creation. As I oscillate between casual experimentation, and wanting strict control over this unruly process, I ultimately discover I am not interested in finding perfection and choose to maintain a sense of curiosity about the results.” - Dana Robinson

Dana Robinson was born in Brooklyn, grew up in Florida, and received a BFA in Design from Florida State University in 2012. Robinson is a multidisciplinary artist who combines, reproduces and deconstructs, vintage materials, found objects, and paint to address the topics of youth, black female identity, ownership and nostalgia. Robinson has exhibited her work in the US and abroad, most recently in No Place Like, a group show at Field Projects Gallery in NY, a solo show at 621 Gallery in Tallahassee, and The Art of Sharing show in the Saint-Paul de Mausole- Saint-Remy de Provence of France. Robinson’s work has been written about in VICE, Queen Mobs Teahouse, Kolaj Magazine, and Sarah Lawrence College’s Lumina Journal to name a few. Robinson is currently living in Brooklyn and pursuing her MFA in Fine Art at the School of Visual Arts.

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"Preludes" : Alicia Link and Stephanie Concepcion Ramirez
to May 31

"Preludes" : Alicia Link and Stephanie Concepcion Ramirez

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Partial Shade and Co-Lab Projects present:

Alicia Link and Stephanie Concepcion Ramirez
May 11th - May 31st, 2019

Screening/Closing Reception: Tuesday, May 28th 8:30pm
On view by appointment, please contact us for a tour

Partial Shade and Co-Lab Projects are pleased to present Preludes, a multi-media installation by Alicia Link and Stephanie Concepcion Ramirez in response to A Platform.

In their installation Preludes, Alicia Link and Stephanie Concepcion Ramirez imagine a place where their mothers meet for the first time. Fixed to Partial Shade’s Platform two “upholstered” pillars support a swath of material that will feature video(s) during designated viewing times. The screen doubles as a sail alluding to past histories of both women. Surrounding the platform woven scraps of fabric sparkle, sprawl, soften, and contrast the inherent flux of the landscape. Objects in the space serve as props and prompts presenting a give and take with the audience acting as a witness to this exchange. In mimicking the actions of their mothers, Link and Ramirez attempt to carefully understand the complexities of motherhood while carving a space for those nuances to take form. Preludes acknowledges the profound impact the artists’ mothers have on their work and examines how one of the most fundamental relationships can grow or wither with time.

ALICIA LINK was born in New Jersey in a suburb of Philadelphia. She earned a BFA in Painting from Boston University in 2012 and an MFA in Studio Art from The University of Texas at Austin in 2017. Link has exhibited her work in Boston, Austin, and Brooklyn. She’s been the recipient of a full fellowship to the Vermont Studio Center and a Capacity Building Award from the City of Austin Cultural Arts Division. Her paintings and installations feature characters and narratives that invite empathy while serving as proxies for anxiety and personal desire. Link currently lives and works in Austin.

STEPHANIE CONCEPCION RAMIREZ is a Salvadoran-American artist from Prince George’s County, Maryland. She received her BFA at Old Dominion University in Norfolk, VA and her MFA at the University of Texas at Austin. Her work is based on notions of memory, personal and historical amnesia that trace the veins of the Central American diaspora. In an attempt to reconcile with her personal and cultural histories and memories, she combines images, installations and text that validate truth, false memories, filtered history and fantasy. Ramirez currently works and lives in the Greater Houston area.

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A Platform is a series of events and art installations organized by Partial Shade and Co-Lab Projects, centered around a physical platform built in an empty lot in East Austin. A Platform will provide a literal and conceptual space for emerging artists to share work and experiences and will provide artists and visitors an opportunity to experiment with new modes of relating to each other and their surroundings.

The structure for A Platform takes the form of a ramp gradually rising to a flat platform 2ft off the ground; this incline makes the platform more accessible to viewers and acts to undermine the established hierarchical relationship between performer and audience. This blurring of boundaries by an unusual, structural site from which to make and view art will encourage all involved to renegotiate their relationship with the physical and social space they are navigating.

PARTIAL SHADE is a nomadic curatorial project focused on organizing visual art exhibitions in non-traditional spaces, with work that is responsive to, considerate of, and affected by its environment. Untethered to one specific piece of real estate, Partial Shade operates as a model for a sustainable, alternative exhibition platform, and offers artists the opportunity to experiment with work that wouldn’t otherwise fit comfortably in a conventional gallery space. Partial Shade is organized by Rachael Starbuck, Michael Muelhaupt, and Jesse Cline.

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to May 25

"M*A*S*H" : Alexis Mabry and Steef Crombach

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Alexis Mabry and Steef Crombach
May 4th - 25th, 2019

Opening Reception: Saturday, May 4th, 7-11pm
Open Hours: Tuesday-Saturday, 12-6pm

Co-Lab Projects presents M*A*S*H, featuring the collaborative work of Alexis Mabry and Steef Crombach. Alexis and Steef have a strong sensibility towards the “do it yourself” practice of traditional women’s crafts and techniques. Their unique approach towards soft sculpture, found fabric, quilt and tapestry elements, unscrews the existing perception of these traditionally “crafty” media. Through mimesis the work questions themes of gender positioning, colloquialisms, and visual expression of popular culture. The MASH between Steef’s delicate and methodical process and Alexis’s organized chaos, bring their kindred works into new engrossing dimensions.

Alexis E. Mabry (b. 1985) grew up in up in Dallas, Texas. Mabry moved back to Texas after studying at the University of the Arts in Philadelphia  (2011) and Virginia Commonwealth University in Richmond (2013). She is a 2019 candidate for her B.F.A from Texas State University this year. Alexis explores social stereotypes in identity through observation, anecdote, and personal introspection. Finding the idea of a person more compelling when it lives in the popular imagination, with a tenuous connection to lived reality. Her work pulls from both personal experiences here and those imagined identities. Being a female BMX rider, she explores feminine roles in male-dominated activities. The work draws from the languages of painting, soft sculpture, and craft. Mabry has shown in solo and group shows regionally throughout in Texas, Richmond, California, and Kentucky.

Steef Crombach (b. 1992) was raised in Maastricht in the South of the Netherlands. She lives and works in Austin as an artist, curator, and teacher at The Contemporary Art School at Laguna Gloria. Crombach earned her B.F.A from the Royal Academy of the Arts in The Hague in 2014. Crombach has a very speculative approach to the world and her direct environment, it’s patterns, objects, colloquialisms, and concrete manifestations. She seeks out and unscrews aspects of our present time that will eventually become part of our collective memory. She is currently investigating the universal interpretation of the themes in her work by changing the environment, and the culture, she and her work belong to. She has been visiting Austin for extended periods of time to curate, exhibit, and research since 2014 and has recently relocated to Austin permanently. In 2017, Crombach organized and curated the nine-artist exhibition Expedition Batikback at Co-Lab Projects. Her work Piet is on exhibition at the Royal Palace in Amsterdam and she is a recipient of the Emerging Artist grant from Mondriaan Fund.

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“Lossy Process” : Sean Ripple
to Apr 27

“Lossy Process” : Sean Ripple

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Lossy Process
Sean Ripple
April 6th - 27th, 2019

Opening Reception: Saturday, April 6th, 7-11pm
Performances during Fusebox Festival: April 17th, 18th, 19th, and 20th, 2-2:30pm
Open Hours: Tuesday-Saturday, 12-6pm

Read On Sean Ripple’s Lossy Process an essay by Anna Gallagher-Ross

Lossy Process is an exhibition that features approximately two hundred six-second video collages that have been created over the course of three years using mobile app video editing suites. These video collages, which were originally created to be streamed on social media sites, will undergo a transcoding of sorts in IRL viewing space through a simple act of recontextualization. In addition to the collages, there will be a number of recently completed video essays by the artist and a series of performances that are intended to function like advertising for the video content on display.

Sean Ripple is an artist, writer, and curator based in Austin, TX. His projects are often improvisational and interventionist in nature and rely heavily on social media and the Internet to frame the outcomes of a feverish dedication to an idea. Recent projects have explored a perceived lack of commitment to interactivity and participation across a number of digital platforms as well as the destabilization of meaning that seems to trail technological innovation and advancement. His work has been featured in regional publications including …might be good, Glasstire, Austin American Statesman, and Conflict of Interest.

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"Grounded in Culver" : Anika Cartterfield
to Apr 29

"Grounded in Culver" : Anika Cartterfield

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Partial Shade and Co-Lab Projects present:
Grounded In Culver
Anika Cartterfield
March 30th - May 4th, 2019

Opening Reception: March 30th, 5-9pm
Open Hours: Self-guided visitation available during daylight hours or contact us for a guided visit

In the work Grounded in Culver, Anika Cartterfield creates a space on Partial Shade’s Platform that expands and contorts the original structure. As viewers, we are invited to engage with the screened architectural space, entering the “indoors” to better observe the outdoors. The circular motion through the work does not offer a culminating moment, but instead focuses us on a series of changing viewpoints organized by the space. In this shifting visual and physical experience we are encouraged to consider more than what we are looking at, to reflect on how we see, how we connect and make meaning of separate and contrasting views. Using the barrier of screen, Cartterfield asks: how do we make meaning across contrasting visual, auditory, and physical information? How does this process relate to methods of understanding “other,” specifically the western construct of wild, both in terms of its natural and social constructs? How do our own biases shape this process, succeeding and falling short of genuine seeing?

Anika Cartterfield is a sculptor, experience-based researcher, and conservation activist. Her process begins with understanding the specifics of her site; she investigates the hard and soft history of a place, drawing from geology, archeology, and sociology. She then translates this content into work that articulates how the culture and landscape of the space interact. Her current work explores Texas’ culture and policy around land ownership and how such constructs relate to the human longing for wild. Cartterfield has created site-specific installations in the US and abroad and exhibited in galleries in Vermont, Boston, Maryland, and Austin. She completed her B.F.A. at the Massachusetts College of Art and Design ‘15. She was the 2015 recipient of the prestigious Godine Travel Award to support a two-month material research trip in Mexico. She has participated in residencies at Salem Art Works in NY, Monson Arts Center and Haystack School of Craft and Design in ME, and Arquetopia in Puebla MX. Cartterfield has worked extensively as a leader in conservation nonprofits and as a resident coordinator at Salem Art Works. She is currently making work in Austin TX as an MFA candidate at University of Texas at Austin.

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"Soft Opening" featuring Adrien Sun Hall, Erica Nix, Peter Clough, and Virginia Lee Montgomery
6:00 PM18:00

"Soft Opening" featuring Adrien Sun Hall, Erica Nix, Peter Clough, and Virginia Lee Montgomery

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Partial Shade and Co-Lab Projects present:
Soft Opening
Featuring Adrien Sun Hall, Erica Nix, Peter Clough, and Virginia Lee Montgomery
A one-night event and the inaugural exhibition for A Platform, a series of sensitive and site-responsive programming

Event: Sunday, March 10th, 2019, 6-10pm

Soft Opening features four works, all directly positing an idiosyncratic relationship to the environments in which they were created. Made in a field in rural Vermont, inside of a closet in a Brooklyn apartment, in a fitness studio in Austin or directly on a platform, the works deftly navigate these different sites while gesturing towards alternative relationships between bodies and objects. Their temporary convergence outdoors amplify one another, presenting intimate actions here at full volume; out of which a newly synthesized and fluid space is described. Mimicking the verdant landscape with perforated cloth, finding comfort and control in the confinement of a dog cage, animating the inanimate by bathing a stone, inviting an audience to participate in a private moment—the artists in Soft Opening invoke inversions and contradictions to upend expectations of how a body negotiates space.  

A Platform is a series of events and art installations organized by Partial Shade and Co-Lab Projects, centered around a physical platform built in an empty lot in East Austin. A Platform will provide a literal and conceptual space for emerging artists to share work and experiences and will provide artists and visitors an opportunity to experiment with new modes of relating to each other and their surroundings.

The structure for A Platform takes the form of a ramp gradually rising to a flat platform 2ft off the ground; this incline makes the platform more accessible to viewers and acts to undermine the established hierarchical relationship between performer and audience. This blurring of boundaries by an unusual, structural site from which to make and view art will encourage all involved to renegotiate their relationship with the physical and social space they are navigating.

PARTIAL SHADE is a nomadic curatorial project focused on organizing visual art exhibitions in non-traditional spaces, with work that is responsive to, considerate of, and affected by its environment. Untethered to one specific piece of real estate, Partial Shade operates as a model for a sustainable, alternative exhibition platform, and offers artists the opportunity to experiment with work that wouldn’t otherwise fit comfortably in a conventional gallery space. Partial Shade is organized by Rachael Starbuck, Michael Muelhaupt, and Jesse Cline.

ADRIEN SUN HALL works through sculpture, performance, and time-based media to investigate acts of passing between different identities and spaces. Hall’s current work borrows from theatrical and militaristic strategies for the manipulation of visibility and display to pose questions of spectatorship and performer-audience agency. Hall holds a BLA in Landscape Architecture from the University of Guelph and an MFA in Visual Art from the University of Pennsylvania. Hall has exhibited and performed at such venues as Vox Populi, Fjord Gallery, and Icebox Project Space in Philadelphia, and David Nolan Gallery in New York. Hall was a resident artist at the Vermont Studio Center and co-curator of A/PUBLIC at the Kelly Writers House.

ERICA NIX is a certified personal trainer, body-positive ambassador, and owner of Transform, a queer-centric fitness center in Austin, Texas. On a mission to "Make Working Out Fun Again!" by bringing dance aerobics into public spaces and creating space for queers and weirdos, Nix’s performances and videos combine kitschy, sex-positive choreography from a variety of vintage sources to produce a refreshing mix of nostalgic aerobics, raunch, and pop-culture. Nix’s performance art and work as a queer and trans-inclusive, body-positive activist and personal trainer is well-documented: active participation in LGBTQIA activist rallies and demonstrations; being a regularly featured artist at OUTsider Fest, aGLIFF, the Museum of Human Achievement, and MASS Gallery; awarded an Austin Critics Table Award in 2016 for Best Independent Project and Austin Chronicle’s Best Body Positive Ambassador in 2016 and Best Personal Trainer Award in 2017 and 2018.

PETER CLOUGH is an artist, activist, and curator, working across media to explore queer sexuality and fetish through humor and childhood wonder. Clough's work is insistently vulnerable, celebrating personal narrative as a political tool and queer strategy. Clough’s work is rooted in collage, cutting and manipulating images of his own body to create works that exist on the borders of desire and repulsion, sexiness and silliness, pleasure and suffering. Clough was born in Boston in 1984 and received a BA from Grinnell College in 2006 and an MFA from NYU Steinhardt in 2009. Clough has presented work in New York at MoMA PS1, Printed Matter, Fresh Window Gallery, Microscope Gallery, Southfirst Gallery, Wayfarers Gallery, LeRoy Neiman Gallery, SPRING/BREAK Art Fair, the Center for Performance Research, and Dixon Place Theater, in Pittsburg at the Andy Warhol Museum, in L.A. at Human Resources, in Nashville at Open Lot, in Berlin at Peres Projects and Space/Time at FLUTGRABEN e.V., in Seoul at Konkuk University and The House of Collections, in Antwerp at the Monty, in Ghent at Off/off Cinema and in Oslo at Kunstnernes Hus, Fotogalleriet, and SOPPEN Performance Festival at Ekebergparken. Clough’s work has been featured in the New York Times and Time Out magazine. Clough lives and works in Brooklyn.

VIRGINIA LEE MONTGOMERY (b. 1986, Houston) received her BFA from The University of Texas at Austin in 2008 and MFA from Yale University in Sculpture in 2016. She is a hybrid artist and works primarily with video, performance, sound, and sculpture. Her artwork is a practice of metaphysics, latently autobiographical, and often with a feminist impulse. The work is paradoxically cryptic and literal, conceptual and hand-built. Her movements interrogate the relationship between physical and psychic structures. VLM also works as a professional mind-map scribe, a Graphic Facilitator.

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"Lines Composed During A Tour" featuring Sara Vanderbeek, Andy Coolquitt, Kristi Kongi, and Erin Curtis
to Mar 30

"Lines Composed During A Tour" featuring Sara Vanderbeek, Andy Coolquitt, Kristi Kongi, and Erin Curtis

  • Co-Lab Projects @ Springdale General (map)
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Co-Lab Projects Presents:

Lines Composed During A Tour
Featuring Sara Vanderbeek, Andy Coolquitt, Kristi Kongi, and Erin Curtis
Curated by Leslie Moody Castro and Sean Gaulager
March 9th - 30th, 2019

Open Hours: Tuesday-Saturday, 12-6pm

Culled from a few of our favorite recent exhibitions, this selection of work focuses on materials, movement, pattern, color, and light. Each of these artists employ very different techniques, often utilizing textiles, iconography, flora, found objects, “sloppy” geometry and fabrication; but all elicit reverential humor for the commonplace and the banal objects of everyday life. Their use of color and pattern unify their collective voices while offering entry points into their individual practices. While each of the four artists pull references from a variety of sources, histories, and contexts the formal qualities of the works offer moments of connectivity and reciprocity, engaging in playful dialog with one another and the exhibition space itself.

Sara Vanderbeek is a Texas-based multi-disciplinary visual artist who creates concept-driven series focused on reframing the window and vernacular of portraiture. Her brightly colored work contextualizes autobiographical experiences, appropriates visual imagery and responds to culture and politics. Her artwork has been included in several solo and group shows nationally, including the McNay Art Museum, Art Palace, The Contemporary Austin, grayDUCK Gallery, Freight Gallery, Deitch Projects, Co-Lab Projects and was included in the 2013 Texas Biennial at Blue Star Contemporary. In addition to her studio practice, she works as an independent art consultant and Director of DORF, an alternative gallery space in Austin.  She received her BFA from Rhode Island School of Design in 2003.

Andy Coolquitt was born in Texas in 1964 and currently lives in Austin. He recently opened a solo exhibition titled “Andy Coolquitt: i need a hole in my head” at the Museum of Contemporary Art Santa Barbara, in California. Coolquitt is perhaps most widely known for a house, a performance/studio/domestic space that began as his master's thesis project at the University of Texas at Austin in 1994, and continues to the present day. He has been an artist-in-residence at Artpace, San Antonio, TX; Chinati Foundation, Marfa, TX; and 21er Haus, Vienna, Austria. Recent exhibitions include the Tang Museum in Saratoga Springs, NY; The Contemporary Austin, Texas; The Museum of Contemporary Art Denver, Colorado; Rodeo Gallery, Istanbul, Turkey; and The Goethe Institute - Ludlow 38, New York. His work is included in the collections of the Philbrook Museum of Art, Tulsa, Oklahoma; the Österreichische Galerie Belvedere, Vienna, Austria; the Henry Art Gallery at the University of Washington, Seattle, Washington; and the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York.

Kristi Kongi (Tallinn, Estonia; 1985) is a visual artist whose paintings and site specific installations focus on the nuances of light and its effect on color. Her works use color to build and preserve narratives, memories and histories while offering a different perspective and point of view. Kristi studied painting at Tartu Art College (BA, 2004-2008) and graduated from Estonian Academy of Arts painting department (MA, 2008-2011). She’s been awarded with Young Artist Prize (2011), Sadolin Art Prize (2013) and was nominated for Köler Prize in 2016. Kongi was awarded with Konrad Mägi Prize in 2017. She is Associate Professor at the Estonian Academy of Arts painting department.

Erin Curtis is an artist living and working in Austin, Texas. Her recent work reflects an interest in geometric abstraction and its historical roots in weaving, architecture, nature and ritual. Curtis’s work combines utopic ideals of beauty and structure, with process and chance. Primarily working as a painter, she also creates, large-scale, site-specific installations and public art projects. She has received grants from the Dallas Museum of Art, the Andy Warhol Foundation, the City of Austin and the District of Columbia. Recently, Curtis had solo shows at Conduit Gallery, Dallas, TX (2017), CalPoly San Luis Obispo University, California (2016), Big Medium Gallery in Austin, Texas (2015) and at Flashpoint Gallery (2015) in Washington, DC. She has created commissioned works for the Chicago Transit Authority, City of Washington DC, Facebook, Art in Embassies and The City of Austin. Curtis attended the Skowhegan School of Painting and Sculpture in 2010 and was awarded fully funded residencies at Anderson Ranch (2012) and Vermont Studio Center (2014). In 2008-2009, Curtis was a Fulbright Scholar in Jaipur, Rajasthan. Curtis graduated from Williams College with a BA in Liberal Arts in 1999 and received her MFA from the University of Texas at Austin in 2007.

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"TERROR NULLIUS" A film by Soda_Jerk
8:00 PM20:00

"TERROR NULLIUS" A film by Soda_Jerk


Co-Lab Projects, hyperreal film club, and Texas State Galleries present:

A film by Soda_Jerk

TERROR NULLIUS is a political revenge fable which offers an un-writing of Australian national mythology. This experimental sample-based film works entirely within and against the official archive to achieve a queering and othering of Australian cinema. Part political satire, eco-horror and road movie, TERROR NULLIUS is a world in which minorities and animals conspire, and not-so-nice white guys finish last. Where idyllic beaches host race-riots, governments poll love-rights, and the perils of hypermasculinity are overshadowed only by the enduring horror of Australia’s colonising myth of terra nullius.

Read about the film in The GuardianABC NewsThe Saturday PaperArtlinkFilmInkMemo ReviewBroadsheet, and Running Dog

Formed in Sydney in 2002, Soda_Jerk is a two-person art collective who work at the intersection of documentary and speculative fiction. They are fundamentally interested in the politics of images: how they circulate, whom they benefit, and how they can be undone. Their sample-based practice takes the form of films, video installations, cut-up texts and lecture performances. Based in New York since 2012, they have exhibited in museums, galleries, cinemas and torrent sites. Soda_Jerk was featured in the group exhibition "unrealpolitik" in the summer of 2017 at Co-Lab Projects' DEMO Gallery and will be exhibiting at Texas State Galleries September 17th-29th, 2018.

Watch the trailer below:

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"It’s All True" by Object Collection
to May 20

"It’s All True" by Object Collection

  • Stateside at The Paramount (map)
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It's All True.jpg

Co-Lab Projects, Sean Ripple, and Vault Fine Art Services present:

It’s All True
by Object Collection

It’s All True is an opera-in-suspension based on the complete live archives of iconic underground band Fugazi. Grounded upon the DC post-hardcore outfit’s 1987-2002 Live Archive series, the work uses only the incidental music, text and sounds; none of Fugazi’s actual songs. An obsessive leap into 1500 hours of gig detritus – random feedback, aimless drum noodling, pre-show activist speeches, audience hecklers, police breaking up gigs – form the foundation of an ear-body-and-mind-flossing 100 minutes for 4 voices/performers, 4 electric guitars/basses and 2 drummers. It’s All True is overloaded, maddening, mundane, properly funny, and a radical incitement to action.

Watch the promotional video on Vimeo
Listen to the album Here
Read about the performance in Conflict of InterestSightlines, The Austin American StatesmanThe WirePitchforkSpinThe GuardianNoisey/ViceAV ClubFact, and Bandcamp Daily

Written/Directed by Kara Feely
Composed by Travis Just
Scenography by Peter Ksander
Stage Managed by Liz Nielsen
Voice and Performance by Catrin-Lloyd Bollard, Avi Glickstein, Daniel Allen Nelson and Deborah Wallace
Drums by Shayna Dunkelman and Clara Warnaar
Electric Guitar and Bass by Dither: Taylor Levine, James Moore and Brendan Randall-Myers

Object Collection was founded in 2004 by writer/director Kara Feely and composer/musician Travis Just. Based in Brooklyn, the group operates within the intersecting practices of performance, experimental music and theater. We are concerned with simultaneity, complexity, and radicality, combining dense layers of text, notation, objects, and processes. We work to give audiences unconventional viewing experiences through our merging of theatricality and pedestrian activity. Our works upset habitual notions of time, pace, progression and virtuosity. We value accumulation above cohesion.

This project is produced in proud partnership with Vault Fine Art Services, Stateside at the Paramount, and Fusebox Festival. Artist accommodations sponsored in part by Native Experiential Hostels.

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"Good Mourning Tis of Thee" Curated by Alyssa Taylor Wendt and Sean Gaulager
to Nov 25

"Good Mourning Tis of Thee" Curated by Alyssa Taylor Wendt and Sean Gaulager

Transformation of a broom #2.jpg

Good Mourning Tis of Thee, an expansive, conceptual art installation directed and curated by the multimedia artist Alyssa Taylor Wendt and Co-Lab Projects' Executive Director and Curator Sean Gaulager, features work from over 65 artists and performers from Texas, New York, Detroit and Seattle. This interactive exhibition addresses topical issues such as grief, loss, death, architecture and urban development. Staged in an old building shell in downtown Austin currently being used by Co-Lab Projects as their gallery space, visitors are able to move through areas devoted to themes of mourning, darkness and transformation and occasionally interact with durational performances both during gallery hours and at designated events throughout the run of the show. The show is especially timely as the building is slated for subsequent demolition to make room for a planned development on this site.

The concept behind this show, conceived of by Miss Wendt, looks at death as a positive agent and component of change. American culture has few rituals around or processing death and the artists involved will bring their own ideas, superstitions and rituals about mortality, but also those of different cultures and belief systems. We all have the capacity to use such markers of change as vehicles for new beginnings and transformative magic. Visitors to the exhibition move freely in between the curated areas of the building in no particular order, ending with the message implied by the title, that each one of us is a source of beneficial change through cycles of ending and new beginnings. This exhibition explores both issues of urban redevelopment and those surrounding death and grieving. Our fear of death and the lack of concern for history and preservation in an age of rapid development and gentrification are addressed here through the mediums of photography, video, sculpture, sound, painting, installation, drawing and performance.
Participating Artists and Performers:
Michael Abelman, Butch Anthony, Toni Ardizzone, Jon Brumit, Shawn Camp, Chris Carlone, Marnie Castor, Gail Chovan, Livia Cocchi, Erin Cunningham, Alex Diamond, Rachelle Diaz, Maggie Douglas, Dan Estabrook, Michael Anthony García, Brooke Gassiot, Stefany Anne Golberg, Oren Goldenberg, Joshua Goode, Amy Guidry, Frank Haines, Hollis Hammonds, Ryan Hawk, Geoff Hippenstiel, Scott Hocking, Katy Horan, Lindsay Hutchens, Madeline Irvine, Tlisza Jaurigue, Jules Buck Jones, Joseph Keckler, Travis Kent, Jardine Libaire, Marne Lucas, Rebecca Marino, Colin McIntyre, Robert Melton, Angelbert Metoyer, Cynthia Mitchell, Landon O’Brien, Christos Pathiakis, Matt Rebholz, Cristin Richard, Lacey Richter, Benjy Russell, Beth Schindler, Elizabeth McDonald Schwaiger, Seth Orion Schwaiger, Lauren Silberman, Sandy Smiles, Julia Solis, Michael E Stephen, Terri Thomas, Brad Walton, Bruce Lee Webb, Jason Webb, Alyssa Taylor Wendt, Steve Wiman, Matthew John Winters, Rachel Wolfson-Smith, and YOUNGSONS.

Associated Public Programs:
"In the Round: Death and Urban Renewal" Panel Discussion, Q&A
"DARK AX I": Performance Event featuring Chris Carlone butoh ritual, Sandy Smiles (Frank Haines), and more
"Draw-a-Ghost Workshop" for kids led by Katy Horan, Emily Cayton, and Alyssa Taylor Wendt
"DARK AX II": Performance Event featuring Marne Lucas and Marnie Castor (Duelling Doulas), Michael Anthony Garcia, and Jardine Libaire
"Fear the Reaper: A Dance Party", Halloween DJ Dance Party where everyone is dressed up as DEATH
"An Evening Performance and Reading with Joseph Keckler"
Catalog Release Party

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"Expedition Batikback"<br>Group Show
to Aug 26

"Expedition Batikback"
Group Show

Artists: Ryan Davis, Sara Vanderbeek, Noel Kalmus, Steef Crombach, Drew Liverman, Erin Curtis, Manik Raj Nakra, Paul de Jong, and Floor van het Nederend. 

For EXPEDITION BATIKBACK curator and artist Steef Crombach offered six artists from Austin and two artists from The Netherlands the opportunity to learn the process and create works in the traditional Indonesian technique known as Batik. This fully saturated fabric dyeing process allows the artist's compositions to become three-dimensional objects, viewable from front and back. When suspended from the ceiling in the gallery they create a structure for visitors to navigate. After their exhibition at DEMO Gallery the works will travel with Steef back to Holland to be shown there.

The artists selected to participate in the workshop and exhibition all incorporate strong color palettes, use of bold linework, and patterning into their paintings. These painterly qualities transfer well to Batik and each of the artists brings their individual style to the medium. Untraditional themes, pop-elements, patterns, and colors contrast with the traditional use of Batik and the unique way the works are shown shed new light on the technique. 

“Ours was not going to be a clone of the usual expeditions, oozing with sleekness. It was clear from the start that oddity was our advantage.”
― Tahir Shah, House of the Tiger King: The Quest for a Lost City

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"unrealpolitik"<br>Mark Hilton, Elizabeth McDonald Schwaiger, Soda_Jerk, and Ted Carey
to Jul 22

Mark Hilton, Elizabeth McDonald Schwaiger, Soda_Jerk, and Ted Carey

ün rāˈälpōliˌtēk/
a system of politics or principles based on ideological rather than practical considerations

Alt-facts, fake news, gaslighting, and cognitive dissonance have become so commonplace in contemporary society that we find ourselves wondering at times what, if anything, constitutes our collective reality. An unrealpolitik has emerged, a return to a system of ideology, spectacle, and demagoguery.

In "unrealpolitik" artists deal with this foreboding quandary using dark humor, pop culture, and cryptic imagery that represents our contemporary State. A mash-up shouting-match of talking-points and counter-points struggling for dominance, dense and complex narratives reduced to a single image, an underwater political landscape, a literal house of cards on the brink of total collapse.

Mark Hilton (b. Melbourne 1977, lives and works in New York) is been the recipient of the prestigious AusArt Fellowship for Fine Arts and attends the International Studio & Curatorial Program's Ground Floor syllabus. He has an extensive exhibition history and work is represented in numerous international collections. Each card in Mark Hilton’s series ‘Half Flush’ adopts a duality that tends to stir something in the viewer. Using the standard pack of cards as his organising principle, Hilton mixes desire, degradation, contamination, zealotry and violence into a brew often sweetened by humour. Each suit has a theme that works more as a starting point than a defining rule: diamonds are class; hearts are religion; spades are nationalism; clubs are the environment.

Elizabeth McDonald Schwaiger (b. Plano 1985, lives and works in Austin) Schwaiger produces paintings and research-driven exhibitions revolving around ideas of ritual and the uncanny, as well as abstracted interpretations of political and interpersonal power differentials. Since earning her master's degree from the influential and unconventional Glasgow School of Art in 2011 she was named one of the top UK art graduates by The Catlin Guide, and has built an impressive resume with work in several prominent private and public collections throughout Europe and North America including paintings shown at The National Portrait Gallery in London, Liverpool’s Walker Art Museum, Aberdeen Art Gallery and Museums, Chapter Arts Center in Cardiff, Art Basel Miami Satellite, and the biennial contemporary art festival Glasgow International 2010 and 2014.

Formed in Sydney in 2002, Soda_Jerk is a 2-person art collective that approaches sampling as an alternate form of history-making. Working at the intersection of documentary and speculative fiction, their archival practice has taken the form of video installations, cut-up texts, screensavers and lecture performances. Soda_Jerk are based in New York where their work was recently shown in a dedicated program at Anthology Film Archives. They have collaborated with Australian collectives The Avalanches and VNS Matrix, and exhibited work in museums, cinemas, festivals and torrent sites. Soda_Jerk are the recipients of the Ian Potter Moving Image Commission and will premiere their new film Terror Nullius at the Australian Centre for the Moving Image in 2018.

Ted Carey (b. Philadelphia 1984, lives and works in Austin) is an improv sculptor and abstract turntablist, he earned a BFA from the University of the Arts and an MFA from the University of Pennsylvania. “Carey works with the drastic insightfulness of an absurdist poet. His elegantly distressed objects, funny and sad and oddly exquisite, undermine varied sacred cows of culture and commerce. More, they affirm the vitality and importance of the mindful eye and heart in a world that overlooks beauty and numbs the senses.” - Matt Freedman.

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"There isn't any is"<br>John Paul Rosenberg
to Jun 3

"There isn't any is"
John Paul Rosenberg

Co-Lab Projects is pleased to present John Paul Rosenberg: “There isn’t any is,” an exhibition of new mixed media assemblages. Known for collaborative projects and socially engaged public performances, Rosenberg challenges art historic traditions in order to create agency and find freedom within systems. For this exhibition, the artist uses humble materials and techniques, like deconstruction of the traditional frame by cutting and transmuting the work’s surface. These fragmenting techniques create voids in the work, but these spaces are not truly empty: they are spaces of potential. The "nothingness" creates possibilities that allow the works to physically become a part of their surroundings, and symbolically act as a window for personal and communal conditions, connectivity, untapped potentiality and multiplicity.

Remnants of vintage materials, throwaway tarps and used drop cloths play a dictatorial role in the series. These pieces are selected by their historic context or disposable use: traces of stains, seams and underlying textures that inspire a copoiesis – a collaborative dialogue with the material. This dialogue informs the arrangement of fabric, then the compositions are painted using a variety of traditional techniques such as geometric abstraction, painterly brushwork, print or tromp l’oeil. Irregular sections of surface material have been cut through to expose the wall, making an expanded, multi-layered surface. These vacuities of negative space, and elements like suspended strings, gentle folds and flexible straps that tug, hug edges, flex, reveal or conceal surface tension, move the two-dimensional paintings into three-dimensional active objects. They become anthropomorphic “actionables” that are energetically engaging.  

The structures in “There isn’t any is” emerged out of the artist’s introspective decision to base studio practice on an instinctual method that would produce fresh ways of thinking. Rather than looking out there for areas of discovery or inspiration, the artist looks inward to find what is both intrinsic and universal. Having grown up in poverty and conscious of notions of privilege, the artist makes analogies between the affluence and elitism associated with traditions of oil paintings on fine linens, and the utilitarian, disposable, “democratic” materials that have no connection to aesthetics. Lines are blurred between high and low, art and craft, deconstruction and construction, inner and outer.  These contrasting notions demonstrate the potential for anything to be elevated, appreciated, or just what is.

The mixed materials and techniques of the works act as different points of accessibility. Visible mark-making, imperfect masking, or stitching are used to reinforce the idea of “the hand,” a symbol of the ongoing relevancy, potentiality and importance of painting as a means for expression of both individual and collective understanding and connection. The approachable, characteristic compositions are a metaphor for the broad pastiche of voices that desire to be expressed and experienced in simple, distilled ways. Although there is no figuration in the work, the individual pieces might convey personal subjectivities, social reassurances or other psychological content.  Agency may be found in the linear layout of the exhibition space, generating opportunities for reflection through unpretentious objects that invite relation, contemplation, appreciation, inspiration…or nothing at all.

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"String Room"<br>Maria Chávez
to May 6

"String Room"
Maria Chávez

Many fixed sound installations confine the audience and bind performer/sound artist into static points within a contained room. In "String Room", grand piano strings are tensioned from ceiling to floor, each aligned differently throughout the gallery. These configured strings allow the viewer to pluck the strings as they walk around the space. The room becomes an activated place where a viewer interacts with the instrument and depending on the number of participants at any given time, the room can become vibrant cacophony or a minimal soundscape.

"String Room" will have dedicated time periods throughout the installation that will allow all artists and performers from the Austin, Texas area to sign up and have personal time to perform within the installation. For a performer/composer, this installation may force them to take into account the many varied perspectives that one may hear in their works, transforming their creative process from composing sounds that emit towards a body of people, into an all encompassing approach that physically engages the entire social and political aspects, becoming equal bodies in a performance space.

About Maria Chávez:

Born in Lima, Peru and based in NYC, Maria Chávez is best known as an abstract turntablist, sound artist, and DJ. Accidents, coincidence, and failures are themes that unite her sound sculptures, installations and other works with her improvised solo turntable performance practice. Maria was thought to be deaf until the age of three when her family came to Austin, Texas and doctors at the University of Texas removed the water from her ears allowing her to hear her first sounds.
She was chosen to be a composer fellow with the Civitella Ranieri Foundation in Umbertide, Italy, is currently a research fellow with the Sound Practice Research Department of Goldsmith’s University of London until fall of 2017 and will be an arts fellow with the Robert Rauschenberg Foundation in 2017. Her work is published and is featured at art museums, festivals and on radio world-wide including previously at MoMA, MoMA PS1, the Villa Romana Festival (Italy), and Museo Centre de Carmen (Valencia, Spain). She was an artist in residence with CEC Artslink Back Apartment Residency in St. Petersburg, Russia, has presented sound installation/ performance works for the JUDD Foundation (Marfa, Texas) and will present a new radio sonic art piece for Every Time a Ear di Soun as part of DOCUMENTA 14 in Kassel, Germany this year.

Opening Reception @ DEMO Gallery: Saturday, April 8th, 7-11pm
Solo Turntable Performance @ DEMO Gallery: Wednesday, April 12th, 8pm
DJ Set @ Al Volta's Midnight Bar, 315 E 17th St: Saturday, April 15th, 1am
The Language of Chance workshop (Ages 12-17): Sunday, April 16th, 3-6pm

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"textscape"<br>Susan Scafati and Sean Ripple
to Mar 4

Susan Scafati and Sean Ripple

"textscape" is a meditation on constructed worlds, communication and connection through the gesture of text messaging. Combining old and new photo- graphic processes, Scafati creates a multitude of iterations of the ubiquitous smart- phone textbox, extensively layering and enlarging its form from its familiar handheld 1-2 inch size to up to 7-feet. This play on scale shifts its physical relationship to the human form and suggests a metaphor for a greater psychological impact on human experience.    

Scafati’s artwork takes the form of large-scale archival pigment scrolls comprised of multi-layered cyanotypes and photograms, site-specific acrylic installations, a high- grade mesh banner, jumpsuits, and photocopies. As part of this project, Scafati com- missioned the artist Sean Ripple to create his own original interactive, performance- based works that engage some of the exhibition objects — activating their life beyond the gallery space and further drawing metaphors about public and private, presence and absence, and real and virtual.  

Contact Sean Ripple at 512-699-8168 to discuss his artworks for the exhibition. 

Susan Scafati is an American contemporary artist whose abstract, conceptual artwork of the past decade has been focused on the ways in which individual versus collective identities, per- sonal versus cultural mythologies, are constructed. Subjects that have provided a framework for these interests include personal archives, domestic spaces, bullfights, nuns, robot competitions, football, fishermen, and ant colonies. Across these bodies of work, she contemplates the iconography and materiality that contribute to the way meaning is organized and its impact on human experience. She has created her artwork abroad in Italy, France, China, Japan, and Aus- tralia, as well as in the United States. 

Sean Ripple is a content provider, exhibitor, and curator based in Austin, TX. He has exhibited in Austin almost exclusively since 2003 and relies heavily on social media and the Internet to create intuitive, highly impulsive, and discursive works which are modest in scale. Ripple seeks to merely suggest what it is that he wants to convey to an audience, similar to how an impres- sionist might represent a cathedral as a ghostly figment of their own perception. The texts he uses to help identify the conceptual underpinnings of his artworks are often densely awkward and burdensome. He believes his approach to be one in which a deep sense of confusion in an age of rapid, technologically-induced destabilization across all sectors and aspects of culture is given a dedicated voice. 

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"A Question / Some Mild Anxiety / The Results"<br>Tim Kerr, Johanna Jackson, Andy Coolquitt, Tamar Ettun, Chris Johanson, and Dana Dart-McLean
to Dec 10

"A Question / Some Mild Anxiety / The Results"
Tim Kerr, Johanna Jackson, Andy Coolquitt, Tamar Ettun, Chris Johanson, and Dana Dart-McLean

New chapters are important. Every six weeks, a haircut. A medium chapter break. Every week, the laundry. A small chapter break. Every day, for sanity's sake, there are the dishes, making the bed, coffee, breakfast. Tiny chapter breaks. Leaving Texas behind to move out West. A very big chapter break. It has been nearly two years, though, and self-imposed obligations call out. And so, a return to Texas. A return to Austin.

By the time this exhibition opens, we will know who the next president is. And, no matter how it turns out, we will absolutely be entering a new chapter. Voters from every generation maintain that this is the oddest election year they’ve ever seen. Definitely the lewdest, the cruelest. The one that really pulls back the curtain on the true state of our country. Look around. Humans are moving into a new time. We’ve crossed over. And it is painful. No one knows what they are doing. Not even the people who insist that they do.

Congratulations, by the way, on making it this far. Do you remember what it was supposed to feel like? Conceiving two-thousand-sixteen was something for daydreaming teenagers sitting in the back row of the classroom, doodling in the margins of unfinished homework, fidgeting, listening to loud bands on crummy home-dubbed cassettes waiting for one bell or another to ring. Figuring out how you could possibly make it to this then-imaginary world that surely could and would hold unknown pleasure, chaos, and the steep uphill climb toward something resembling middle age.

There is hope that you can still find, in that indiscernible web you might refer to as “your network”, people willing to take risks and meander towards the unknown. To really take it day by day. To collaborate on something like music, art, publishing, or printing. “Dying” mediums eking out an existence that lives outside the forms we’ve allowed into our lives, albeit truly grating against our true selves.

A teenage punk wonders, “Will this ethos, a feeling only a handful hold onto, still determine decisions down the line?” The answer, much to your (usually financial) detriment, is “yes, yes, yes.” So, here we are. Still doing things for reasons other than making money. For reasons that elude most proper capitalists. For reasons that keep many people alive. If for nothing else but that sentimental “community” concept. The one that tends falls apart under the microscope.

It has taken a collaborative community that not one of us could have predetermined. A job leads you to a person, and then another person, and another, until, finally, many years later an exhibition rears its head from the pond and makes for land. And here we are. Land. An exhibition proposed over half a decade ago by Tim Kerr, and only now coming together in a form very different than imagined.

For two weeks, the six artists involved will start at a point that looks like the dot at the end of a question mark. From there, they will work on their own and together to produce an exhibition inside a massive one-hundred-year-old building in downtown Austin, three blocks from the capital of Texas where, you imagine, a lot of really intense energy is currently going down. Where everyone is preparing themselves for the next chapter. For the next era. For the next “future.” – Russell Etchen


Artist BIOS:

A former resident of both Portland, OR and San Francisco, CA, Johanna Jackson currently lives in Los Angeles, CA. Jackson has exhibited her work widely throughout the United States and abroad since 1999. Her works are part of the permanent collections of SFMOMA, the Henry Art Gallery and the Portland Art Museum.

Chris Johanson

multi media artist that tries to fill up time positively, not interested in one medium unless that medium is what some call living. Up for selfish expression as well as collaborative living. Often spends time considering food as the most beautiful sculpture, using color texture and taste as important to an important ritual of creating and sharing food. Seeks out bent life and glitching poetry in people and places. Looks for places where things can grow and believes that we make this or that happen collectively.

Dana Dart-McLean

I am an artist, art therapist (MFTi), and art teacher interested in

what paintings tell us
about mapping
what is seen.

I care for the quantum leap--do you? Let's talk.

Andy Coolquitt is perhaps most widely known for a house, a performance/studio/domestic space that began as his master's thesis project at the University of Texas at Austin in 1994, and continues to the present day. He has recently completed a four month residency/exhibition at Artpace in San Antonio, TX, titled Studio Art……………Period Room. In 2014, Coolquitt was artist-in-residence at the Chinati Foundation in Marfa, Texas, which culminated with an exhibition, Multi-Marfa Room, at the Locker Plant in Marfa. Recent solo exhibitions include somebody place at Lisa Cooley, in New York, This Much at Galerie Krinzinger in Vienna, Austria, and no I didn't go to any museums here I hate museums museums are just stores that charge you to come in there are lots of free museums here but they have names like real stores at Maryam Nassir Zadeh in New York. In 2013, Coolquitt was an artist-in-residence at 21er Haus in Vienna, Austria, and opened an exhibition there that July. In Fall 2012, he presented a major solo exhibition titled attainable excellence at AMOA-Arthouse in Austin, Texas. This exhibition was organized by the Blaffer Museum in Houston, and opened there in May 2013. A full-color monograph published by the University of Texas Press accompanied the exhibition and features contributions from Dan Fox, Matthew Higgs, Jan Tumlir, and Rachel Hooper.

Tamar Ettun (b.1982, Jerusalem) is a Brooklyn-based sculptor and performance artist, she is the founding director of The Moving Company. Ettun received her MFA from Yale University in 2010 where she was awarded the Alice English Kimball Fellowship. She studied at the Cooper Union in 2007, while earning her BFA from Bezalel Academy.

Her numerous exhibitions and performances include: Uppsala Museum of Art, Bryant Park, Sculpture Center, Diana Lowenstein Gallery, Fridman Gallery, The Knockdown Center, Zurcher Gallery, The Watermill Center, Madison Square Park, e-flux, Transformer, The Queens Museum, Braverman Gallery, Indianapolis Museum of Art, Herzelia Museum, The Jewish Museum, Andrea Meislin Gallery, PERFORMA 13, PERFORMA 11, PERFORMA 09.

Ettun has been honored by several organizations including Iaspis, Franklin Furnace, The Pollock Krasner, Fountainhead Residency, The Watermill Center, MacDowell Fellowship, Abron's Art Center, The Lower Manhattan Cultural Council, Art Production Fund, Socrates Sculpture Park, Artis, RECESS, and Triangle.

If self-expression has no boundaries, why do people keep putting labels on it?

For those of you with scorecards, Tim Kerr's first art award was winning a fire prevention poster contest in elementary school. Like any self-respecting artistic outcast in Texas, he moved to Austin after high school graduation where he has lived ever since with his wife Beth. He earned a degree in painting and photography at the University of Texas at Austin and studied the latter with Garry Winogrand. Tim was awarded a Ford Foundation Grant while at UT. He won a slot two years in a row for the new songwriter's contest at the Kerrville Folk Festival during this time as well.

After college graduation, Tim became involved musically and artistically with the early stages of the DIY punk/hardcore/self-expression movement. The idea that anyone could and should participate in self-expression burst every door and window inside of him wide open. He was a key member of bands that have made recordings for such labels as Touch & Go, Estrus, Sympathy For The Record Industry, In The Red, Sub Pop, and Kill Rock Stars. Tim also produced and recorded bands for all the labels above and more, both in the US and overseas. Journalists and critics have cited bands that Tim was a member of as having been a major factor in starting everything from punkfunk, skaterock, grunge, and garage; and all have played an important role in what is known, for better or worse, as the US indie scene today. The Big Boys, Poison 13, Bad Mutha Goose, Lord High Fixers, and Monkey Wrench are just some of the bands Tim was a founding member of. Some of Tim's art from then is now in books depicting that period. He shared bills with the likes of Grace Jones, Pearl Jam, Nirvana, Fugazi, Black Flag, Africa Bambaataa, and X to name a few. He has toured in the States and abroad. Here is an extensive website that a fan from Portugal of all things Tim Kerr.

Tim is now being asked to show his artwork in the US and abroad from galleries including PS1 in New York, 96 Gillespie in London, Slowboy Gallery in Germany, and Hyde Park Art Center in Chicago. He was honored to have been selected as the first artist for the Arlington Transit's Art On The Bus program in 2010. He has also been involved in painting murals in Texas, Nashville, New York and California. The summer of 2015, Tim will have a solo show at the Rosa Parks Museum. He was also given a residency through Void Gallery in Derry, Northern Ireland, AS220 in Providence, and I.A.M. in Berlin. Tim was also asked by artist Matt Stokes to help with his pieces The Gainsborough Packet (The Baltic & 176 Gallery), These Are The Days (AMOA), and Catata Profana.

Tim was inducted into the Texas Music Hall of Fame by popular vote in 1996 which he says he is still honored, humbled, and confused by. The Experience Music Project Museum in Seattle asked to record an oral history with him in 2000 and he has donated a lot of his personal archives to the Austin History Library. He composes and records music for several choreographers who work in Austin. These pieces have been performed in Austin, New York, and California. He created soundtrack work for films such as Bill Daniel's documentary, “Bozo Texino”, and Jan Krawitz documentary, “Drive-In Blues”. Tim's art is on album covers, posters, skateboard graphics, and advertisements and a book devoted to Tim's art has been reissued through Monofonus Press. From 1990 to 2000, along with his library job, he also worked in a stained glass studio building windows, fusing, and sandblasting glass.

There are many interviews with Tim in a variety of magazines, web zines, and books. He has been asked to speak on panels and also gave a talk at the college in Ljubljana, Slovenia about himself and his involvement then and now. The approach of an upcoming documentary being made about him, and also one about his first band the Big Boys, has Tim honored and surprised.

Through all of his life, he has never felt comfortable with labels and their restrictions. When someone confines him to one label, they do themselves and Tim a disservice. He is painting more than ever and is also now playing Irish and Old Time music with friends in Austin and wherever his travels take him. In Tim’s own words, “I'm not dead yet. I am still active and as proud as I am of all that has happened before, I hope I have not seen the best thing yet.”

In the words of his friend Dan Higgs, “Keep Breathing til you stop, because there’s a whole lot of todays before tomorrow.”

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"PLAYGROUNDS"<br>Group Show
to Oct 29

Group Show

Artists: Kate Barbee, Gingi Statman, John Welsh, Seth Murchison, Rowan Summers, Yamin Li, Joshua Orsburn, and p1nkstar

SUMMERSCOOL 2016 culminates in a group show featuring eight exciting young artists exploring the past, present and the desire for a better future through a variety of lenses. Fond memories are decaying, hope is balanced by loss and longing. A star is born but the light it exudes is likely only a mirrored surface. Voices echo from the past and are swallowed up by the constant buzz and background noise of contemporary life. The most private moments are made public and put on display for objective scrutiny and personal reflection. This communal space created is contemplative and reverent yet peppered with dark humor and an unironic playfulness that invites the viewer to explore and participate. The works serve individually as vignettes of personal struggles, transitions and intimate histories providing multiple takes on identity and the complications of personal relationships. Together, they weave a larger narrative mining personal tragedy, childhood, family and fantasy for material. The extremely personal nature of each artist’s work renders them all the more relatable as they raise questions and present problems that are fundamental to the human condition.

SUMMERSCOOL is an intensive program that prepares dedicated artists to propose, refine, and execute an exhibition concept in a professional and supportive environment. These selected artists have spent the last several months participating in our post-art-school curriculum which includes professional development in gallery preparation, art handling and installation, artist statements, bios, and talks, application preparation, grant writing, and community networking. The 2016 program is sponsored in part by Metropolitan Gallery.

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"Room with a View"<br>Adam Crosson
to Oct 1

"Room with a View"
Adam Crosson

I continually trace between the language of urban densities and peripheral spaces of dissolve—each condition becoming recognized in the other, the results are photographs, sculptures, and installations referencing uncanny instances of time and place. In these conditions my works formulate place as vestige where a vernacular is gathered through distance, as from the passing train in the landscape or from a bird’s-eye view overhead. Recently I have been mining roadways and streetscapes for signs in varying states of obsolescence. I produce facsimiles of these structures as sculpture and I also work with these signs in-situ, converting them into large cameras from which I make photographs from their position and point of view.
Rebecca Solnit discusses America’s “amnesiac landscape” as one of erasure, razing the structures of our history as means of escape and control. I use my work as a tool to investigate the American ruin, an endangered species as Solnit describes. In a nation of erasures it is necessary to detect emerging conditions of the ruin as structures that are calibrated with America’s amnesiac tendencies. The lights that still glow in an otherwise sign of nothingness seem to state, in a very distinct way, the ironies undergirding a nation of erasures.
When signs lose their subjects, their information panels, they become infrastructural relics. Instead of signifying points of commerce through sign as metaphor, they signify—through metonymy—the very antithesis of a functioning capitalist economy, summed up in terms of stagnation, ends, lack, and ultimately, the ruin. There is an untethering of the literal sign structures from the commercial buildings on which they were previously attached. They become individually autonomous within a post-commercial taxonomy.
My photographs come out of an ethos of photography as ritual as opposed to reflex. I make each camera that I use and generally I make two types of photographs. One type emerges directly from my appropriation and conversion of empty signs or otherwise underutilized spaces into cameras while the other type is of open water conditions in South Louisiana. I find that the first type is anchored in logic, in a set of rules that determine all variables involved while the second type is open, floating at the water’s edge.
The sign structure photographs are typically composed of a strict grid of individual images, resulting in many slightly shifted perspectives of streets, parking lots, and strip malls; they have a complicated or ambivalent relationship to place while the waterscapes are saturated in a specific and poetic connection to place. The open water photographs are made at the infrastructural ends where blacktop or gravel meets water at land’s edge. I have been focusing these efforts in the South Louisiana landscape, where land’s edge is swiftly losing ground. These open water photographs have larger image diameters that overlap; the photographs are large in scale, opening the viewer to the sublime sense of the landscape that I experience beyond the levees.
The two ways in which I make photographs seem to be anchors along my own gamut of how I experience conditions of place. By working both centrifugally and centripetally, moving from the urban-out and the rural-in, my work remains in flux, continually disassembling notions of boundary and threshold.

Adam Crosson was born in Arkansas in 1982. He holds an MFA from The University of Texas at Austin and a BARCH from the Fay Jones School of Architecture. Crosson was recently awarded a Core artist-in-residence fellowship through the Museum of Fine Arts, Houston for the 2016-17 term. In 2014, Crosson was awarded the inaugural Dean's Royal College Exchange Fellowship allowing him to spend a term at the Royal College of Art, London where he participated in two group exhibitions. In 2014, Crosson was also awarded the Umlauf Prize and a fellowship to attend the Vermont Studio Center residency program. Recent solo exhibitions include Soft Wax at Pump Project, and Intermodal at the Umlauf Sculpture Garden and museum, both in Austin. In 2015, Crosson was included in group exhibitions in Providence, RI and Houston, TX. He has organized exhibitions in Texas, London, and Vermont.

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"Live Free with Guys"<br>YOUNGSONS
to Jun 24

"Live Free with Guys"

YOUNGSONS is the collaborative painting duo of Drew Liverman and Michael Ricioppo. Rather than work alongside one another and impose two contrasting sensibilities onto one canvas, the artists trade turns at every stroke, at every idea point and counterpoint from detail to composition. There is a visual rhyming here, a syncopation, perhaps even a punning. You can catch a stroke as assured as the most calligraphic graffito right next to, or even obliterated by, the blind scratchings of a caveman squatting with primeval lamp of animal fat and head swimming with lust. The results are accumulative, energetic, omnivorous, and almost always organized into images that flirt with but never want to wholly emerge from the zest of the painting process itself.

For "Live Free with Guys" Drew Liverman and Mike Ricioppo have created a giant mural on the corner of Congress & East 8th Street as well as mounted an exhibition of artwork in the storefront windows and interior of DEMO GALLERY.

Michael Ricioppo is a fabricator and artist currently living in Santa Fe, New Mexico. He splits his time between cultures and disciplines, with one foot in the rough-neck world of high-end finish construction, and the other in the “no rules, no plan, no matter” art world. Michael has experimented with most things craft, and all things art, from video to theatre, printmaking to ceramics, stone carving to poetry, and pop music to art furniture; everything is of interest. Making is what’s most central to his varied practice, and if there is any plan at all, it is to be unafraid and open.

Drew Liverman is an artist and designer living in Austin, TX. Since receiving his BFA in painting and printmaking from Virginia Commonwealth University in 2002, Drew’s drawing, painting and installation work has been featured in Beautiful Decay Magazine and shown in The Centre for Contemporary Arts Glasgow, Scotland; Big Medium in Austin, Texas; and the Lawndale Art Center in Houston, Texas. In addition to his personal work, Drew contributes to the Austin, TX based art collective, Boozefox and has been on the staff of MASS Gallery in Austin, TX since 2007.

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"Life Machine"<br>Angelbert Metoyer
to Nov 28

"Life Machine"
Angelbert Metoyer

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The Body as Teleportation

         Moments and memories operating within the scales of time

This installation includes video from gathered footage aligned with mirrors etched with signifiers. These projections overlap the collage of epic scale which was extracted from many works on canvas. They are the remnants of personality and spirit – recharged as medium – in clothing and personal objects.

Angelbert Metoyer is a native Houstonian. He is a descendant of the freed slave Marie Thérèse Coincoin, the matriarch of a Cane river family who became a Louisiana plantation owner. His unique experience is reflected in his use of natural materials to consider the elemental nature of identity and futures.

In all of his works, whether they be visual, auditory, or performance, Metoyer explores the “hidden language of religion.” His works question and address ancestral memory, Jungian archetypes, and the human condition.

Metoyer is a renowned visual and performance artist, having studied at the Atlanta College of Art and Design, and shown at Miami Art Basel, the Houston Museum of Contemporary Art, Gerald Peters Gallery, the Dactyl Foundation, Project Row Houses, prominently featured at the Contemporary Austin's exhibition Strange Pilgrims curated by Heather Pesanti, and others.

His enthusiasm for engagement with the arts community has been consistent and unyielding. He has recently become involved with the Afrofuturism movement and has ongoing collaborations with post-punk poet Saul Williams, singer-songwriter Bilal, and hip-hop performer Mike Ladd.

This exhibition was developed as a community partnership with The Contemporary Austin's exhibition Strange Pilgrims, on view from September 27, 2015, through January 24, 2016.

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"HAINT"<br>Alyssa Taylor Wendt
7:00 PM19:00

Alyssa Taylor Wendt

Experimental Narrative Feature Video
72 minutes long, work-in-progress

The directorial debut from multimedia artist Alyssa Taylor Wendt, HAINT is an experimental narrative feature film that tells the story of a young man in Berlin trying to survive at the end of World War II. The story is a surreal journey through his desires and fears, as he simultaneously confronts and bears witness to the slow unraveling of his mother and the neighbors. Speaking to our fear of death, HAINT examines the forces behind our will to survive and what price that may carry. This line between darkness and light blurs as the relationships and stability both dissolve, where the only constant and stable element is Mortality, played with great empathy and gothic beauty by the performance artist Joseph Keckler.

This film was originally designed as a three-channel video installation. The filmmaker is currently developing one channel of the production into a narrative feature to bring this vision to a wider audience and to develop the depth of the story itself. In development for four years, the project was greatly inspired by the conflicting stories her dying father told her about living through the end of the war in Germany and subsequently moving to America and serving as not only anarchitect, but supposedly an operative for the CIA. HAINT explores recent themes in her artistic process including monuments, decay, memory, cycles of history, perceived grandeur and parallel realities.

The film is due to be completed by November 2015.

ALYSSA TAYLOR WENDT (Director, Writer, Producer, Art Director- HAINT) works as a filmmaker and multimedia artist and lives in Austin, Texas. She has performed on record, in films, on stage and with art while living in the West and earned her MFA in 2008 from Bard College with the Directors Award. Evolving out of a photographic and video background, she now concocts films, installations and multimedia pieces that speak about an ongoing legacy and personal cosmology through ritual appropriations, experiential spaces, collaborative work and non-linear narratives. Showing in both national and international exhibitions, she has performed at envoy gallery, Location One, Fusebox festival, St. Cecilia’s and CoLab space, among many others, and completed residencies in both Iceland and Norway. This fall in Austin, she will be screening a sneak preview of her experimental non-linear narrative HAINT, participating in POP Austin, ArtBash, EAST studio tours and having a solo show at Women and Their Work. HAINT is her first feature and more of her work can be seen here:

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"The Third Annual ART OF THE BREW"<br>Group Show
to Sep 19

"The Third Annual ART OF THE BREW"
Group Show

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Art of the Brew is the crossroads of contemporary art, craft beer, music, and food. This one-day event demonstrates the connections and influences these creative communities have on one another and encourages greater collaboration between them. In preparation for the event, artist and brewers meet to discuss their work during brewery visits and over a few cold ones. On the day of the event, breweries showcase their craft by providing tastings in the beer garden while the artworks, influenced by the breweries, are displayed in the gallery. Food from local chefs will be built to pair with what’s on tap, while local musicians provide the atmosphere and entertainment.

512 / Erin Cunningham
Hops & Grains / Seth Schwaiger
Blackstar Co-op / Ted Chevens
Jesterking / Andy Rhin
Live Oak / Hand Waddell
Thirsty Planet / Andrea Hyland & Emily Cayton
Blue Owl Brewing / Jessica Deahl
Kamala Brewing / Vladimir Mejia
Lone Pint / Josh Cockrell
Independence / Pat Snow
Karbach / Landon O'Brien
Zilker Brewing / Rebecca Marino
Circle Brewing / Casey Polacheck
5 Stones / Haley Householder
Pint House Pizza / Matthew John Winters
Adelbert's / Matt Rebholz
Austin Beerworks / Michelle Devereux
Last Stand / Mark Leavens
Oasis Brewing / Ryan McKerly
Lakewood Brewing / Nathan Walker

Mama K and The Shades
The Avocados
Dan and The Ceiling Fans
Cactus Operandi

Frank Hot Dogs
Wunder Pig BBQ

Franks Hot Dogs
Bitch Beer
Shame Shame Productions 

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"labile affect" Natalie Bradford, Whitney Hill, Tsz Kam, and Kate Wilson
to Aug 29

"labile affect" Natalie Bradford, Whitney Hill, Tsz Kam, and Kate Wilson

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betties … emotional labor … a world without gender: a world without genesis? maybe
also a world without end … “then laughing wildly the next”... ovo-lacto-cyborgs…
reclaiming craft … what are we building? … breast milk food porn … slippery when wet
"rebellion against the derogatory connotations of feminine" … female rat pack …
dress for the job you want … vessels … why is it pink? … fainting couches or picket
fences … gentrifying a gender ghetto … the delicate promiscuity of laying eggs … 
“informatics of domination” … put on a pedestal for an upskirt shot … do you see? …
fears of a zero-sum art market … “she’s good enough to be a real actress” 

Natalie Bradford currently lives in Austin, pursuing a BFA in Studio Art at the University of Texas. Bradford utilizes printmaking and painting to examine parallels between feminine, human bodies and non-human, animal bodies in relation to modes of production and consumption.

Whitney Hill recently received her BFA in Studio Art from the University of Texas and has remained in Austin to continue her work. She draws upon her family’s tradition of craft to create prints and sculptural pieces about femininity and domesticity.

Born in Hong Kong, Tsz Kam received their BFA in Studio Art from University of Texas in 2015. Through multimedia work, Kam explores the relationship between their queer gender identity and an exotified feminine body existing in the West.

Kate Wilson is an artist originally from and currently working in Austin, Texas. She earned a BA in Anthropology from the University of Chicago, and completed her BFA in Studio Art at the University of Texas this past May. Wilson engages in printmaking and sculpture to question the legibility and rationality of visual systems of information.

This exhibition is a part of SUMMERSCOOL, an intensive program that prepares dedicated artists to propose, refine, and execute an exhibition concept in a professional and supportive environment. These selected artists have spent the last several months participating in our post-art-school curriculum which includes professional development in gallery preparation, art handling and installation, artist statements, bios, and talks, application preparation, grant writing, and community networking. These efforts now culminate in three exhibitions opening at our Canopy pop-up gallery.

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"Peels"<br>Kayla Jones and Lillian Byrd
to Aug 29

Kayla Jones and Lillian Byrd

The work of Kayla Jones and Lillian Byrd explores texture as it exists in nature and as it is impersonated in processes of mass production. Whether due to cheapened processes or limitations in technology, everything from masonry to Google Maps bears evidence of this attempt to aestheticize or convenience nature and its textures. Jones and Byrd explore these dumb, redundant, or alien products attempting to package an idealized version of nature. Their work mimics and highlights the peculiarity of these wholly unnatural endproducts, sampling the natural world and aestheticizing it to curious or ridiculous ends.

Kayla Jones grew up in Austin and is currently a student at the University of Texas at Austin pursuing a BFA in Studio Art and a BA in English. She is attracted to the mundane and explores our interaction with everyday objects or rituals through a variety of

Lillian Byrd was born and raised in Houston, Texas. She received her BFA from the University of Texas in 2015. She primarily works in sculpture and oil painting. Her work explores self-perpetuating natural processes of dematerialization and entropy. Her process often involves experimentation with unusual materials and exposure to natural damaging elements. She is dedicated to preventing a piece of art from developing an object preciousness, or a disconnect with nature by depriving a material of its tendency toward natural decomposition. Byrd has exhibited work at The Visual Arts Center in Austin, Texas and The Lumberyard in an exhibition affiliated with Fieldwork in Marfa, Texas. She was a recipient of the University of Texas Fine Arts Professional Initiative Travel Grant in 2015. She is currently living and working in Austin, Texas.

This exhibition is a part of SUMMERSCOOL, an intensive program that prepares dedicated artists to propose, refine, and execute an exhibition concept in a professional and supportive environment. These selected artists have spent the last several months participating in our post-art-school curriculum which includes professional development in gallery preparation, art handling and installation, artist statements, bios, and talks, application preparation, grant writing, and community networking. These efforts now culminate in three exhibitions opening at our Canopy pop-up gallery.

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"You Are When You Sleep"<br>Brittany Reeber
to Aug 29

"You Are When You Sleep"
Brittany Reeber

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In a crowded bar, I told an acquaintance that she looked like Parker Posey.

"Really? I don’t know who that is. Is she pretty?"

"Yeah, she’s really pretty."

"Pull her up on your phone."

I held up a google image search for Parker Posey. Her friends gathered around. 

"Mmm she doesn’t look like that girl.”   “You actually look like her way more."

"Yeah, I don’t look like Parker Posey. YOU look like Parker Posey."

“Wait… what? But her bone structure— and her voice. You have to hear her voice."

"She doesn’t look like her. You look like her."


An assortment of societally-induced identity crisis. 

Credits: Cinematographers: Carmen Hilbert, Aaron Berecka Performers: Lucy Kerr, Matt Sledge, Jen Rachid Additional Performers: Destiny Baldwin, Charity McBay, Marlaina Smith, Lindsay Mitchell, Mandy Marcu, Brittany Allyson, Stephanie Atkinson, Francis Roman, Raquel Breternitz, Victoria Prescott, D'Anna Siciliano, Sarah Marie Maddox, Ananda Marielle, Emily NG, Ursula Barker, Sarah Gerson and Samara Alvidrez

Special Thanks To: Quacks 43rd St. Bakery, James G Hubly , Tyler Gavin Shaffer, Heather O'Connor, Kayla Abuda Galang, Jonathan Cox, Ursula Barker, Victoria Prescott, Susan LaMarca, Gregory Stout, Kyle Seaquist, Caleb Kuntz, John Spottswoode Moore, Thomas Graves, Raquel Breternitz, Taylor Washington, Taylor Benac, Sean Gaulager, Chris Whiteburch, Valdimir Mejia and Erin Miller

Floridian turned Texan, Brittany Reeber obtained a degree in film from the University of Texas and then remained there to pursue a career in directing and producing. Her short films, Psycho Billy (2013) and The Rapture and Gammy Gwen (2014), have been honored at the university level and screened around the U.S. Her video installation and performance work has been featured in various venues in Texas. She recently collaborated with Houston-based artist Mark Flood, to produce his feature film titled Art Fair Fever that is currently in exhibition.

This exhibition is a part of SUMMERSCOOL, an intensive program that prepares dedicated artists to propose, refine, and execute an exhibition concept in a professional and supportive environment. These selected artists have spent the last several months participating in our post-art-school curriculum which includes professional development in gallery preparation, art handling and installation, artist statements, bios, and talks, application preparation, grant writing, and community networking. These efforts now culminate in three exhibitions opening at our Canopy pop-up gallery.

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