"Lines Composed During A Tour" Featuring Sara Vanderbeek, Andy Coolquitt, Kristi Kongi, and Erin Curtis
to Feb 2

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


Co-Lab Projects Presents:

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

Dates TBD

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. www.sodajerk.com.au

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)
  • Google Calendar ICS
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. www.objectcollection.us

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" A Conceptual Group Exhibition Curated by Alyssa Taylor Wendt and Sean Gaulager
to Nov 25

"Good Mourning Tis of Thee" A Conceptual Group Exhibition 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.

-Public Programs-

Sunday, October 15th, 4-6pm:
"In the Round: Death and Urban Renewal" Panel Discussion, Q&A

Friday, October 20th, 8-10pm:
"DARK AX I": Performance Event featuring Chris Carlone butoh ritual, Sandy Smiles (Frank Haines), and more

Saturday, October 21st, 2-4pm:
"Draw-a-Ghost Workshop" for kids led by Katy Horan, Emily Cayton, and Alyssa Taylor Wendt

Thursday, October 26th, 8-10pm:
"DARK AX II": Performance Event featuring Marne Lucas and Marnie Castor (Duelling Doulas), Michael Anthony Garcia, and Jardine Libaire

Saturday, October 28th, 9-12pm:
"Fear the Reaper: A Dance Party", Halloween DJ Dance Party where everyone is dressed up as DEATH

Thursday, November 2nd, 8-10pm:
"An Evening Performance and Reading with Joseph Keckler"

Friday, November 17th, 7-10pm:
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. www.markhilton.co

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. www.elizabethschwaiger.com

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. www.sodajerk.com.au

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. www.briefbird.com www.soundcloud.com/crickuts

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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. http://mariachavez.org/

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. www.adamcrosson.com

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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. www.youngsons.org

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. www.apartmanstudio.com

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. www.drewliverman.org

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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: www.alyssataylorwendt.com

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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. www.nataliebradford.com

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. www.whitneyjhill.com

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. www.zekam.tumblr.com

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. www.kateewilson.com

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 media.www.joneskayla.com

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. www.lillybyrd.com

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. www.brittanyreeber.com

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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"APOLOGYTOTIME"<br>Mark Johnson
to Jul 24

Mark Johnson

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function and form.

All of these things, seen in time, appear to us as the general phenomenon of growth.

Mark Johnson was born in Xenia, Ohio in 1979. He works predominantly in painting but includes video and performance in his installations. Johnson completed a BFA in Painting from Savannah College of Art and Design in 2001. He currently lives and works in Austin, Texas.

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"Intuitive Persuasions"<br>Michael Mogavero
to Feb 11

"Intuitive Persuasions"
Michael Mogavero

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The paintings were culled from hundreds of small ink drawings. These drawings were created during countless meetings I have attended over the course of many years. Early on, it became clear to me that I was a much better listener while drawing. Many meetings, many drawings!

With hundreds of these small intimate drawings, I recently began to wonder what they might look like if they were scaled up into large canvasses. The results were surprisingly “operatic.” New connotations emerged as the paintings began to reveal what verbal dialogue might look like if it were captured in bold and heroic abstract form.

The new paintings seem to contain similar complexities that are exhibited in most institutional dialogues whether social, political, or academic. Gnarly, unruly forms, struggling to reconcile each other punctuate spatial moments of harmony and equilibrium. The intuitive nature of the paintings reinforce these qualities and allow the viewer direct contact with the visual and musical pulse of language. 

Our current culture has certainly borne out that this struggle remains constant and applicable. Chaos gives sway to glimpses of calmness and the discourse begins in earnest!

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"Conspectus : Two Thousand Fourteen"<br>Group Show
to Nov 30

"Conspectus : Two Thousand Fourteen"
Group Show

A comprehensive look back at our 2014 programming year. Each artist or group of artists had the opportunity to transform our space, utilizing it to express their ideas. Now smaller components from each of these projects will be shown together illustrating the breadth and diversity of art we exhibited this year.

2014 Artists:
Erica Botkin, Leslie Moody Castro & Miguel Monroy, Emily Cayton, Ryan Cronk, Dave Culpepper, Nate Ellefson, Stephen Fishman, Scott Gelber, Jonathan Gruchawka & Mark Leavens, Hector Hernandez & Joseph Phillips, IDOKCFR/Alyssa Taylor Wendt, Lucy Kerr & Erin Miller, Sara Madandar, Kevin McNamee-Tweed, Michael Mogavero, Casey Polacheck, Scott Proctor, Andy Rihn, Sean Ripple, Joshua Saunders, Melissa Wilkinson, and Matthew Winters

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"I, Daughter of Kong: Primum Movens"<br>Organized by IDOKCFR and Alyssa Taylor Wendt
to Nov 1

"I, Daughter of Kong: Primum Movens"
Organized by IDOKCFR and Alyssa Taylor Wendt

It has been brought to our attention that since the 1970 discovery of the film fragment showing the half-blonde woman, half-ape creature we call I, Daughter of Kong, a number of cults, religious sects and fringe groups have appeared, around the figure of Her. Primum Movens or “unmoved mover” is the term Aristotle used to describe a being perfectly beautiful, indivisible, and contemplating only the perfect contemplation: itself contemplating. IDOKCFR found this to be a common departure point for these disparate groups: I, Daughter of Kong as first or final cause, literally or figuratively the next Messiah, a thought-poem from the collective unconscious, a cosmology mapping gravitational forces and light—a central sphere around which all celestial bodies revolve. IDOKCFR found willing disciples, former-practitioners & citizen scientists to assist with the collection of information about these groups and their practices. This exhibit features the results of these efforts.

The I, Daughter Of Kong Center For Research (IDOKCFR) was founded in Rio Vista, California in 1978. At IDOKCFR we are devoted to active education and research pertaining to the existence and life of I, Daughter Of Kong. IDOKCFR has informed the public through traveling exhibits and screenings around the globe including Galerija Miroslav Kraljević, Zagreb, Croatia; ACRE_TV live stream, Mana Contemporary, Chicago, IL; Recitation Gallery, University of Delaware, Newark, DE; Pixilerations [v.9], New Media Fringe Festival @ First Works & Brown University, Providence, RI; Big Muddy Film Festival 34, Carbondale, IL; Southern Exposure, San Francisco, CA; Inquiry Toward the Practice of Secular Magic, Co-presented by Los Angeles Filmforum and the Disembodied Theater Corporation, Los Angeles, CA; Lower Manhattan Cultural Council, New York, NY and The Lab, San Francisco, CA.

Contributors: Lara Allen, Skye Ashbrook, Marian Barber, Jeffrey Beebe, Emily Cayton, Wendy Farina, Colette Gaiter, Sarah Glanville, Wayne Grim, Billy Beasty, Katelena Hernandez, Amy Hicks, Steve Jones, Alexis Karl, Kurt Keppler, Abigail King, Kristin Lucas, Colin McIntyre, Cynthia Mitchell, Moira Murdock, Robyn O’Neil, Jamie Panzer, Sandi Petrie, Marijana Riminic, Jovi Schnell, Carrie Mae Smith, Phoebe Tooke, Anjali Sundaram, Alyssa Taylor Wendt, Jade Walker, Bruce Lee Webb, Caroline Wright
Come tell us what you know.

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"Wake me when it's quitting time"<br>Dave Culpepper
to Oct 18

"Wake me when it's quitting time"
Dave Culpepper

1 bed/1 bath. tastefully redone in '11. 
cncrt flrs, parking, club house,
controlled access, shipping container,
and MORE!

A fresh approach to selling lunar landscape.
* see desk for details

Dave Culpepper graduated with a BFA in painting and printmaking from VCU. He currently resides in Austin TX and is a member of Ink Tank. David Culpeppper is a future recipient of an honorary P.H.D. www.daveculpepper.com

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"Frontiers"<br>Melissa Wilkinson
to Nov 12

Melissa Wilkinson

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"The Frontiers Series” are investigations of man's interaction with the unexplored sublime, a landscape that is boundless yet terrifying.  They are not specific in their description of place or time, however they depict our interaction with an otherworldly landscape, one that is influenced by prophetic cinema, science fiction and survivalist grit.  I seek to investigate the sense of awe coupled with immense anxiety about the unknown, not through a fear of dying but through a fear of surviving.  The subplots of an otherwise master narrative consider the everyday; what would we harvest?, where would we live?, what would our ruins look like?  It is through manipulating the images digitally, through data bending and digital collage that I fracture the images, as a way to create a type of picture puzzle of limited information one might receive from a very distant location.  It is through painting them that I meditate on my own struggles with global conflict, strained economies, environmental uncertainty and political strife.

Melissa Wilkinson received her BFA in painting from Western Illinois University in 2002.  She then went on to receive her MFA in painting from Southern Illinois University in 2006.  Her work has been featured in wide reaching publications throughout the country including two editions of New American Paintings.  She has shown in various galleries nationally and internationally including South Korea, Canada and India and has won numerous awards throughout her career.  She has won several fellowships and grants including the Arkansas Arts Council Fellowship in Painting in 2012.  Her work is amongst private collections throughout the country and abroad.  She serves as Assistant Professor of Art-Painting at Arkansas State University in Jonesboro.  She lives in Bono Arkansas where she lives with her beloved husband and three dogs. www.melissawilkinson.net

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"Unmentionables"<br>Scott Proctor
to Oct 4

Scott Proctor

Unmentionables...... Work initially inspired by my favorite pair of Juicy Couture sweats; they leave much to the imagination while at the same time not quite so subtly alluding to what we are all thinking about..... butts, balls, boobs, blobs, and sweat stains..... right? Or is it just me? right?

Scott Proctor is an artist living in Austin TX.  Scott received his MFA from the University of Texas at Austin in 2007. Scott has shown his work extensively throughout Texas as well as the United States, including Austin's "20 To Watch" exhibition in 2009. Proctor is one of the founding members of MASS Gallery in Austin and continues his position there.  Scott is the head of the Ceramics and Sculpture Department at Temple College, Temple, TX. He continues to maintain a studio in east Austin.

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"The Second Annual ART OF THE BREW"<br>Group Show
3:00 PM15:00

"The Second Annual ART OF THE BREW"
Group Show

“Ideally, brewers interpret history, and through science they create art.” — Don Spencer, Silver City Brewery

Art of the Brew is a celebration of arts and culture (yeast and otherwise) that brings together three vital aspects of Texas’ creative community: visual arts, craft brewers and musicians. Co-Lab Projects developed this event to celebrate the connections and influences these creative communities have on one another and encourage greater collaboration between them. For several months now, conversations have been had between brewers and artists during studio visits and brewery tours, to discuss the creative process, inspiration, and collaboration behind their crafts. Come celebrate the product of these conversations with us as participating breweries showcase their brews with a tasting on the Co-Lab Projects lawn and the artwork influenced by the collaboration is displayed throughout the Project Space. 

Breweries & Artists:
Black Star Co-op Pub & Brewery & Aubree Dale
Hops and Grain & Drew Liverman
Jester King Brewery & Josh Cockrell
Karbach Brewing Co. & Vladimir Mejia
Live Oak Brewing Company & T.J. Lemanski
Adelbert's Brewery & Matt Schwausch
(512) Brewing Company & Landon O'Brien
Saint Arnold Brewing Company & Russell Etchen
Thirsty Planet Brewing Company & Matt Rebholz
Oasis, Texas Brewing Company & Nick Miller
Independence Brewing Co. & Rebecca Marino
Real Ale Brewing Company & David Culpepper
5 Stones Artisan Brewery & Haley Householder

Live Music:
3:00 Bob Appel
3:45 The Gents
4:30 John Wesley Coleman
5:15 Ghostmember
6:00 Shotgun Friday
7:00 The Avocados
8:00 Neosho
9:00 Chakra Khan

Food Trucks:
Wünder Pig Barbecue Co.

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"Migration wisdom, chalk lines, tracings, and undertow"<br>Ryan Cronk
to Oct 8

"Migration wisdom, chalk lines, tracings, and undertow"
Ryan Cronk

  • N Space @ Nelsen Partners (map)
  • Google Calendar ICS

Waters of sorrow and tranquility. Havoc, movement, and finally suspension. Layers of sediment from a lake, from dry riverbeds, from buildings under construction, from dust settling on the paper in my studio. These aren’t creationist works. Well, they might be. Tsunamis, lichen sent to Mars to check for water, walleye and bass my granddad caught in Arkansas, the same granddad who served in Okinawa. B-29 overhead. Black rain. What does radiation feel like underwater?

These works are culled from personal narratives that reflect on universal narratives of disaster and transformation. This work is curious and foolhardy. It’s a reaction, a question, an archive, and a collection of reinterpretations that consider an uncertain present and future. Orderly and absurd, these works reflect on our existence in this floating world.
Ryan Cronk was born in Honolulu, Hawaii, but grew up in Albuquerque, New Mexico. He received his BFA from the School of The Museum of Fine Arts Boston in 2000. He received his MFA in printmaking from the University of Texas at Austin in 2010. He currently lives and works in Austin, TX.

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"Drawnonward"<br>Jonathan Gruchawka and Mark Leavens
to Aug 2

Jonathan Gruchawka and Mark Leavens

In this exhibition, we study the nature of man-made structures and their journeys. We choose to personify and romanticize man-made objects and spaces that are composed of common building materials by instilling in them a history and future of their relationships to the living. These objects include frameworks for housing, “bones” of monuments, and two-dimensional depictions of their various states. The work weaves in and out of its own timeline, capturing single moments as well as broad swathes of its own experience, making physical evidence of what is normally passing and intangible. It is intended that through traversing from one temporally isolated work to another, a viewer can construct their own loose narrative around the pieces based on their physical, aural, and visual engagement. In this process of experience and analysis, real objects become entangled with romantic imagination, and through a phenomenological approach there is born a physical union between the warmth of possibility and the weight of past certainty.

With these ideas in mind, one might ask themselves some larger questions: Is divorcing one’s self from the past and building a new future as simple as rebuilding a house, or tearing down a monument? What do the things we manipulate, occupy, and leave behind really say about us?

Jonathan Gruchawka is an artist currently studying at the University of Texas at Austin. He was born in New Jersey in 1987 and has since resided in other states across the American south and east coast such as Georgia, Connecticut, and Tennessee. In these experiences Gruchawka has gathered many perspectives in his approach to art-making and strives to find some of the roots and common bonds that command universal understanding, emphasizing the importance of experience, interaction, and personal reflection. Jonathan has participated in several group exhibitions at the former Xue gallery in Dallas, featured work in DCCCD’s League of Innovation, and was a finalist for the Dallas Art Dealer’s Association’s (DADA) Edith Baker scholarship, featuring work at Irving Arts Center.

Mark Leavens was born in 1991 in Houston, Texas. In 2014 he graduated with a BA in studio art from The University of Texas at Austin, where he first studied architectural design and public relations before moving on to the study of painting and other visual arts that include photography and sculpture. His geometrically abstract style investigates perspective and his interest in formal elements of interior structures. He has exhibited at the Visual Arts Center in Austin and is currently keeping up with an avid studio practice in the city of Austin as well.

SUMMERSCOOL is a bridge between studio practice and exhibition production for young artists between the ages of eighteen and twenty-five. This mentorship based program provides training and insight as artists prepare for their exhibitions coupled with a hands on experience of managing an art space. Selected artists receive two months of personal access to Co-Lab Project's administrators, curators, artists and assistants to learn practical professional development skills required in the visual arts industry. 

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"The World of Wrestling"<br>Lucy Kerr and Erin Miller
to Jul 19

"The World of Wrestling"
Lucy Kerr and Erin Miller

“The World of Wrestling” is a recent collaboration between visual artist Erin Miller and dance/performance artist Lucy Kerr. Miller and Kerr applied to SUMMERSCOOL separately and were introduced to one another by the Co-Lab committee. They became interested in working together and combining their different mediums and conceptual approaches to art. Miller works mostly in two dimensional mediums, creating abstract shapes and colors to embody her unfamiliar feelings when being in various familiar environments. Kerr works primarily with the body and avant-garde dance, and her content is inspired by the wonder, tragedy, and difficulty of being a human in the world. "The World of Wrestling" blends both artists' styles and perspectives in a beautiful and haunting installation that immerses the audience and suspends familiar perceptions of time. In a repainting of the natural world, Miller's large scale drawings of an abstract sky are overlapped with time-lapse sky videos, while the gallery ground is transformed by an all encompassing floor sculpture. On opening night, a slow, solo performance will fill the space, juxtaposing what we consider "nature" with the existence of human consciousness and the social symbols ingrained in the everyday. Miller will also take up the outside mural space with abstract drawing, blurring the lines between the indoor gallery art space and the outside world that serves as direct inspiration for the gallery space. "The World of Wrestling" is ultimately an epic and honest reflection upon the absurd; upon the act of navigating the every day and the sudden moments of anxiety, nausea, sadness, amazement, and confusion that may strike at any moment, perhaps when we look above at the sky.

Lucy Kerr received a B.A. in Theater and Dance and a B.A. in Philosophy from the University of Texas at Austin. In addition to being an emerging scholar of Philosophy and Dance Studies, Lucy is a creator of avant-garde and post-modern dance and video as well as being a choreographer of contemporary dance for social change. Lucy was the most recent grand prize winner of the George H. Mitchell/Co-op Awards for her work with her thesis, Recognizing Possibility: Intersections of Disability, Contemporary Dance, and Social Philosophy and her mixed-ability dance-theater project, The Way You Move Your Body, which was presented as part of the 2013 Cohen New Works Festival. Lucy’s work has also been presented at the 2014 Frontera Festival, the 2014 Lab Series at UT, and the 2011 Cohen New Works Festival. Lucy is looking forward to training and performing with world renowned Butoh artist Ko Murobushi at Impulstanz in Vienna this coming August. She is very excited to be able to present her first gallery exhibition as part of Co-Lab’s SUMMERSCOOL and for the new possibilities this opportunity has opened up for her. 

Erin Miller is a senior at the University of Texas pursuing a BFA in Visual Art Studies. Mainly working in two dimensional mediums, her work can often be identified through her repeated use of abstract colors and shapes to reimagine the environment around her. Erin’s work has previously been shown at Richmond University’s Art Space in Florence, Italy and has also been published in Analecta 40 Literary and Arts Journal. Participation in Co-Lab’s SUMMERSCOOL program has given Erin the opportunity to work on a larger scale for the first time.

SUMMERSCOOL is a bridge between studio practice and exhibition production for young artists between the ages of eighteen and twenty-five. This mentorship based program provides training and insight as artists prepare for their exhibitions coupled with a hands on experience of managing an art space. Selected artists receive two months of personal access to Co-Lab Project's administrators, curators, artists and assistants to learn practical professional development skills required in the visual arts industry.

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