Filtering by: 2010

"Fabrication and Value"<br>Kale Roberts
to Dec 11

"Fabrication and Value"
Kale Roberts

The installation will focus on the discrepancy between value and worth, taking into account labor and comfort as intrinsic components of monetary value. The exhibition features a bed, a dollar bill quilt setting, television, sound installation and the smell of money highlighting the creation of the quilt.

Kale Roberts has lived in El Paso, TX and is currently attending graduate school at University of South Florida. With an intense interest in a social and multi-sensory experience, Roberts provides questions focusing on social distraction and the possibility of comfort within a flawed system.

Every dollar is worth 5.3c in gold and costs 6c to manufacture leaving the true value of the dollar to be -.7c. Now the reserves no longer back the bill, and so the value of the dollar is now based on the economic standing of the country which correlates to rates of productivity and global consumption. Money is our verification of labor and identity that in turn becomes the assets we obtain. There are $536.00 in the bedding.

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"Intransigent"<br>Stacy Elko and Sang Mi-Yoo
to Nov 21

Stacy Elko and Sang Mi-Yoo

Sand Castles have different connotations for people. It has the sad sweet memories of childhood. Sand castles crumbling one after another resemble human civilizations as well as the temporal aspect of everyday life. As we get older, we forget the early times of play and memory and concentrate on our busy lives. But with all that we do and make, anything we do is nothing more than castles in the sand to be washed away by time and human experience.

We are commenting on the ephemeral quality of human life and civilization. Through this metaphor in installation, we present the repeated efforts and decay of human activities. Using materials that are both fragile and biodegradable, we construct a temporary civilization in the space. Cave houses crawling on the wall are made of recycled newsprint papier mâché. Sand houses on the floor slowly disintegrate under the slow but inexorable pace of time, represented by water.

Like Gulliver among the Lilliputians, we stand and ponder the decay as the crumbling sand parallels the destruction of shifting weather patterns, and the political strife and upheavals across the globe.  Although some structures high on the walls may seem immune, all will eventually succumb to the force of time. Is it only within our will or can we alter the seemingly inevitable march of repeating history and time?

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"Trees Make Seeds Make Trees"<br>Chris Whiteburch and Geoff Galvez
to Nov 21

"Trees Make Seeds Make Trees"
Chris Whiteburch and Geoff Galvez

Trees Make Seeds Make Trees is a new series that attempts to articulate my fascination with the seed as an example of possibility, growth and change. The seed is a mysterious enclosure with vast potential, I choose to mystify it and accentuate it's mystery by exaggerating the size and proportion of seed to tree. The trees themselves are new incarnations of trees that have fallen in the woods and have later been collected. The space created by the conjoined branches of the four trees is meant for contemplation and at it’s most successful will be well integrated with the space around it while carving out it’s own little environment to be separately experienced. 

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"Real Life Realm"<br>Ryan Lauderdale
to Oct 2

"Real Life Realm"
Ryan Lauderdale

In this new body of work by Ryan Lauderdale continues the artist’s regressive fascination with shared and personal histories, and the expanding perimeters of these histories within the digital realm. The mostly-analog results stand as frozen portals to explored/excavated spaces on and around an increasingly multi-layered and interconnected platform.

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"Subliminal Cognizance"<br>Kim Wimprine
to Sep 18

"Subliminal Cognizance"
Kim Wimprine

My work aims to create an energy in space. By installing and incorporating handmade ceramic pieces with other mixed media, I create large-scale interactive sculptures. The forms that I use come from objects that we encounter on a daily basis. Some derive from objects that we constantly interact with and use whereas others come from objects which we mostly fail to realize. I have a particular interest in industry: all the things that hover over and around us in order to meet our everyday needs. These are things that are often times not realized by the eye and mind but rather, taken for what they are and eliminated from our daily consciousness. In my installations I attempt to draw the viewer’s attention to these forms while stripping away their original meaning and function. By making these things nameless they become obscure forms that work together to create a unique and energetic space that allows the viewer to pull from their own subconscious associations with shape, form, texture and color.

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"Aint't Nothin Like The Real Thing"<br>Sarah Welsh, Sarah Crowe, and Graham Austin
to Aug 14

"Aint't Nothin Like The Real Thing"
Sarah Welsh, Sarah Crowe, and Graham Austin

What the artifice does is create an anxiety over our own place in the scheme of reality. Whether a placeholder, substitution, or perfect copy, a double is a replacement, with its own motives. Sarah Welch, Sarah Crowe, and Graham Austin explore contemporary forms of substitution in “AIN’T NOTHIN LIKE THE REAL THING”, with a scoping range of media, focused upon questions of legitimacy and nostalgia that invariably arise when confronted with the doppelgangers wearing human, linguistic, or environmental form.

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"When You Say Go Here"<br>Errin Delperdang
to Jul 31

"When You Say Go Here"
Errin Delperdang

When You Say Go Here is a dance/movement piece that deals with proximity and control.  A world of claustrophobia and paranoia dissolves into a cave of solitude; a private moment becomes a public one; the connection between two people flashes from comfortable and intimate to anonymous and disconnected.  The piece is surrounded by an evening of interactive sound and visual aides concocted with old tape decks, photographs, drums and carvings created by fellow performers Nicholas DeCarmine and Matthew Young.

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"Cash Only"<br>Caitlin G. McCollom
to Jul 11

"Cash Only"
Caitlin G. McCollom

*Cash Only is the investigation of art consumption by exploiting the image, representation, and body of the artist as a religious icon. This performance based show explores the commercial nature of contemporary art and the commoditization of the artist herself. In *Cash Only, Caitlin McCollom aligns herself with Catholic images as she transforms herself into art deity. Like Catholic iconography, she will present her image and name as cheap purchasable commodity, and ultimately offer herself in a participatory performance in which viewers can purchase time and services from her. Caitlin will hear your petitions and provide her services for *Cash Only.

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"Notes On The Emptying Of A City"<br>Ashley Hunt
8:00 PM20:00

"Notes On The Emptying Of A City"
Ashley Hunt

Fluent~Collaborative and Co-Lab Present
A performance work by Ashley Hunt

About the Performance:
“Notes on the Emptying of a City” is a performance that acts as a dismantled film, in which a single narrator pieces together the sounds, images and voiceover of a documentary before a live audience. Based upon material generated in the city of New Orleans in the months following Hurricane Katrina, it opens a unique space of reflection at a time when the urgency of Katrina seems to have receded into a comfortable past as new economies of disaster and risk form around states of emergency around the world. In the performance, a figure sits alone at a desk with a printed text and a laptop computer. What looks at first like a traditional slide lecture quickly turns into storytelling — a narrator recounting his experiences as an artist working with a group of social justice activists in the storm’s aftermath. Spoken over slides of ruined and emptied architecture, he reflects upon being a witness, an observer, a listener and a speaker among other speakers; upon the cataloguing marks left by soldiers and police; and upon the prison that the city had refused to evacuate before the storm. Between each account, the narrator cues a video, replaying the testimony of citizens — a neighbor, an organizer, a group of protesters — each speaking to their experience and making a claim to their place in the city. Together, the testimonies, the narration and slides weave into a live form of journalism, one left open for inspection and discussion by an audience.

About the Creation Process and Theme:
In the months following Hurricane Katrina, Ashley Hunt joined a number of organizations in New Orleans — Critical Resistance, Families and Friends of Louisiana’s Incarcerated Children, the NAACP Legal Defense Fund, the ACLU and Human Rights Watch, in order to help document what had happened at the Orleans Parish Prison during and after the flood. Following this trip, the artist produced a short documentary entitled, “I Won’t Drown on that Levee and You Ain’t Gonna’ Break My Back,” that soon became the centerpiece of a campaign seeking amnesty for people arrested during the storm. As this short film took on a life of its own, Hunt continued to work from this material, thinking and writing his way through a number of thoughts that had been triggered by this experience. One of the resulting essays was published in the Journal of Aesthetics and Protest #5, 2007, and was intended to become a script for a film or video installation, but through a series of experiments with performing the materials of that film live, it wound up as the script for “Notes on the Emptying of a City,” which acts very much like an essay film that has been taken apart. With its different pieces held together by the thread of their performance and the active viewership of an audience, its form is compelling yet uncomfortable, supporting an important yet uncomfortable subject matter. As performance, it activates the relations of the room like only performance can do, and the presentation typically leads to lively discussion and debate.

About the Artist:
Ashley Hunt is an artist, activist and writer who engages the ideas of social movements, modes of learning and public discourse. Among his works are the ongoing “Corrections Documentary Project” (1999–present), “On Movement Thought and Politics” (2004–present), a collaboration with Taisha Paggett, “A World Map: In Which We See…,” (2004–2010) and “9 Scripts From a Nation at War” (2007), a collaboration with Andrea Geyer, Sharon Hayes, Katya Sander and David Thorne, commissioned originally for Documenta 12. Recent exhibitions include the Tate Modern, the Nottingham Contemporary, the 18th Street Center for Art in Los Angeles, the Gallery at REDCAT, the 3rd Bucharest Biennial, and various community-based venues throughout the United States.

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"Cantanker Issue 10: Misinform Release Event"<br>Group Show
7:00 PM19:00

"Cantanker Issue 10: Misinform Release Event"
Group Show

Co-Lab’s 2nd Birthday / Independence Day Celebration!

America turns 234, Co-Lab turns 2.

Come celebrate two years of programming, 4th of July style. Come BBQ and play outside with us. Bring stuff to throw on the grill, games, super-soakers, decorations, family, friends, and strangers! 

Over the past two years Co-Lab has presented over 100 unique exhibitions, performances, and screenings. Many of these artists and bodies of work have gone on to win awards, travel the country, or take on new and greater forms. Join us as we enter our third year of programming - another round of new media and collaborative projects.


Cantanker Presents ISSUE 10: MISINFORM

Join us at Co-Lab for the release of ISSUE 10: MISINFORM and interactive installations that explore the creation and alteration of information.

"The boldness with which we proclaim our ill-informed ideas and opinions to others is a sort of social lubricant akin to booze or cash.  Loaded with faulty knowledge, we share and judge imperfectly until some bigger kid busts us for being incorrect or off in some fundamental way… this is a world-turning phenomenon and to the extent that society gets by on such silliness, we should be grateful.  While talk is cheap, this doesn’t mean one should completely abandon a humbler sense in favor of nothing but the brazen… I mean everyone needs to spell check from time to time, right?"  - Sean Ripple

Contributors: Clarke Curtis, Suzanne Koett, Joshua Saunders, Mouths by, Sean Ripple, Justin Cox, James Huizar, Katherine Kunze, Richard Fetchick, Thax Douglas, John Mulvany, 6th Grade Art Students of the Khabele School, Michael Merck, Jana Swec, Mark Johnson, Josh Dihle, Cherie Weaver, Debra Broz, Ben Pickle, Shea Little, Sean Gaulager, Amber Shields, Julie Johnson, Austin Nelsen, Katie Rose Pipkin, Lance McMahan

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"Sum of the Parts"<br>Drea Mastromatteo and Jacob Green
7:00 PM19:00

"Sum of the Parts"
Drea Mastromatteo and Jacob Green

Sum of The Parts is an interactive performance/sound installation exploring the gaps between the consumer identity and the personal self via ritual. Sound will be mixed live from various microphone feeds around the space and performers. The concept should elicit contemplations about personhood and its attachment to the things we own and do, as well as how they own us. The performance itself is a personal endurance and question for all participants, active and passive, to work through the masking concepts of identity that take us away from our humanity and the visceral aspects of our personal being.

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"Demand + Supply"<br>Chad Hopper and Amanda Jones
7:00 PM19:00

"Demand + Supply"
Chad Hopper and Amanda Jones

Beginning with an Assignment (DEMAND) to create a list of Materials (SUPPLIES), Hopper and Jones engage in a closed-economy art experiment, wherein the elements themselves are also used as tools without any additional means.

1)     Create a list of mutually agreed-upon supplies limited to 20 different elements with specified quantities.
2)     Gather all supplies on list individually.
3)     Install supplies at Co-Lab on specific sides of room, working independently except for at the meeting point (somewhere in the middle).

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"Disposable Spirit"<br>Lauren McMurray
7:00 PM19:00

"Disposable Spirit"
Lauren McMurray

Photographic images of people are often surrounded by the cultural belief that light and shadow can capture the spirit.  Now that digital cameras are used almost exclusively, is the human spirit in these photographs distorted as the image is reduced to code and compressed?  Does the ease and accessibility of digital imaging affect the significance of the moment captured? 

I want to open a dialogue with the community about the effect digital representation has on the human identity. In a society where we are becoming increasingly involved in digitally representing ourselves through the Internet, I want to explore the distortion, preservation, and disposable culture associated with digital media.

My main concern is the loss of identity resulting from the disposability of digital material versus tangible material, and the distortions that result from replication. 

Through collaborative events, the artist and community will explore ideas and techniques to articulate their views on the effect digital representation has on human identity.

Disposable Spirit will deal with themes such as the emotional attachment people form with objects, and the detachment we feel toward digital media or mass-produced objects.

The work will be an interactive process consisting of mixed media, photography and audiovisual recordings that explore the emotional reactions of the participants as they interact with and destroy traditional media, like photographs.  

The participants will also be asked to experience the visceral impact of becoming a disposable object, which will allow them to explore the physical and emotional reaction to throwing their own identity and spirit away, symbolizing the ease by which we destroy and replicate digital material.  

The result of this project will be an effort to continue a dialogue on disposable identity, and to research the effects of digital representation in contemporary culture. Through the process of capturing these interactions, the artist and the community can become more aware of the emotional and spiritual relationships we communicate with one another.

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"Gypsy"<br>Warren Aldrich
7:00 PM19:00

Warren Aldrich

The experience of shopping is (for many) just as important as the acquiring of possessions.  The thrill of the hunt reinforces our sense of ownership by associating the experiences that come along with the obtaining of objects.  The majority of our interactions with strangers occur during the act of shopping, making it a vital means for human contact.  The variety of senses evoked during the act of shopping makes the process of acquiring tantamount to its aftermath.

The aesthetic organization, in which a variety of objects are displayed, remind consumers of their ability to make choices.  Options define what we consider valuable. Through the comparison of prospective purchases we decide what is better and what is worse.  Possessions hold higher value when selected from a variety of objects than when there are no options.  When decisions our denied, nothing is unique. Thus one’s individuality, defined by their possessions, becomes invalid.

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"Dead (The Poem As Object)"<br>Thax Douglas
7:00 PM19:00

"Dead (The Poem As Object)"
Thax Douglas

Thax Douglas has been seriously writing poetry since the day after his 30th birthday in 1987. Always attracted to the so-called “abstract” he denied his predilection for a while until he had no choice. In 1991 he composed many “poetry portraits” of people but got bored. In 1997 he wrote a “portrait” of a band and was overjoyed to find his metier. The unique speck that makes a band beloved and unique is what is translated into words in his poems. Written on the night of the show ideally the poem captures the vibrations (a literal not a slang term) of the night and bands and their fans will pick up on that. 

Thax says:”I love the idea of a poem as a 3 dimensional object- After all the electrical charge of inspiration takes place in those 3 dimesnions-so what better way to give body to that idea than to strect the manuscripts of the poems to a giant size-beyond broadsides, the poems become sculptures, the letters chiseled out against a background of white hills. The poems proudly stare out at the viewer as tall or taller than the viewer (no longer just reader-“reading” comes later).

Some but not all of the poems are illustrated by Joe Swec. Ambient music by Kevin Foote.

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"Una Corda"<br>K. Terumi Shorb
7:00 PM19:00

"Una Corda"
K. Terumi Shorb

By k. terumi shorb
Directed by Yvan Greenberg

Una Corda is a solo performance with music meditating on the spiritual affects and effects of cancer. Through presenting an original, “from-scratch” ritual, Una Corda digs beneath the sentimental and condescending notion of cancer as it exists in the popular imagination and instead explores how cancer effects us as a lived experience—visceral, complex, messy, and unresolved. 

In the creative process of Una Corda, shorb and Greenberg work with many different sources. For text, they explore short autobiographical pieces written about three individuals in shorb’s life who passed away from cancer. Some of these texts were written specifically for this piece, some were not. They have incorporated the Latin text of the Catholic Mass and various translations of the Heart Sutra as well as poetry and word play pieces commissioned from Austin-based poets, Kimberly Alidio and Ana-Maurine Lara. The piece also utilizes borrowed and modified elements from Catholic and Shingon Buddhist traditions, particularly the physical and spatial structures of ritual. The grounding elements of the piece are cancer-related objects (radiation therapy masks, cancer-related jewelry, motivational magnets, bright pink objects, etc.) donated by cancer survivors, patients, and caregivers. While the Mass and Sutra are rich in imagery, spirituality, and sonic histories, the donated objects are the physical connection to actual experiences surrounding cancer.

Work on Una Corda has been made possible by the City of Austin Cultural Council Core Grant and a residency at Alma de Mujer Center for Social Change.

kt shorb:
k. terumi (kt) shorb is a director, performer, and writer. She trained in Suzuki Actor Training and Anne Bogart’s Viewpoints with the SITI Company and Zen Zen Zo. shorb is Artistic Director of the Generic Ensemble Company for which she directed the critically acclaimed Stuck on Gee-Dot. She is a founding member of Stamp Lab: A Performance group, with which she shared the Fourth Annual ArtSpark Festival Best Theatre Award and the 2009 FronteraFest “Best of Fest” Award. She has performed in multiple original plays, drag shows, instructional videos and short films. She has presented her work on college campuses including, University of Chicago, University of Illinois in Urbana-Champaign, University of Texas at Austin, and Oberlin College. 

Yvan Greenberg:
Director/choreographer Yvan Greenberg is the founder of Brooklyn-based experimental performance company Laboratory Theater and has created ten original pieces for the ensemble since 2001. Greenberg’s work has been presented in New York by P.S. 122, HERE Arts Center, The Brick Theater, Dixon Place, New Dramatists, Chashama, The Performing Garage, The Knitting Factory, Movement Research, WOW Cafe Theater, and Raw Space. In February 2007, Greenberg was awarded Dixon Place’s first Artist Residency and, with Laboratory Theater, helped Dixon Place establish their now on-going residency program. In addition to his work with Laboratory Theater, Greenberg has choreographed two experimental music theater pieces by composer Corey Dargel, REMOVABLE PARTS and THIRTEEN NEAR-DEATH EXPERIENCES, and is directing MURPHY, by playwright Honor Molloy with music by Dargel. Greenberg received a MacDowell Fellowship in 2006.

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"Low Lives 2" Group Show
to May 1

"Low Lives 2" Group Show

International Networked Performance

In partnership with the 2010 FUSEBOX FESTIVAL and New York City based artist/curator Jorge Rojas Co-Lab presents Low Lives 2 featuring:

A 2010 Streaming Class Portrait
Since 1999 Michael Smith has been taking his students to the Sears Portrait Studio to sit for a group class portrait, a picture that later may become their only memento and reminder  of a semester spent together with Professor Smith. For Smith, it is not only a reminder of time spent with his class it is also and a not so subtle reminder of years passing. When looking over a group of the Sears Class Portraits it’s apparent that the project is a chronicle of aging, the students stay the same age as Smith gets older.
For Low Lives 2, Smith and his performance art students will animate the Sears Sessions and sit together for a live tableau vivant portrait for online viewers. Quiet and still, the sitters will attempt to hold their poses and freeze a moment in time.

About Low Lives:
Now in its second year, Low Lives is a one-night exhibition of live performance-based works transmitted via the internet and projected in real time at numerous venues throughout the U.S.  Low Lives examines works that explore the potential of performance practice presented live through online broadcasting networks. These networks, though seldom utilized for performance art, provide a new alternative and efficient medium for presenting and viewing performances. 

Organized and curated by Brooklyn-based artist and curator, Jorge Rojas, Low Lives embraces works with a lo-fi aesthetic such as low pixel image and sound quality, contributing to a raw, DIY and sometimes voyeuristic quality in the transmission and reception of the work. The international artists and artist collectives participating in this exhibition will transmit their performances from countries including Brazil, Canada, Czech Republic, Germany, Italy, New Zealand, Singapore Trinidad & Tobago and from the following cities in the United States: Austin, TX; Houston, TX; Nashville, TN; NYC, NY; Miami, FL; Fort Lauderdale, FL; Minneapolis, MN; Las Vegas, NV; Gunnison, CO; San Francisco, CA; Chicago, IL and Los Angeles, CA. 

“Low Lives is about not simply the presentation of performative gestures at a particular place and time but also about the transmission of these moments and what gets lost, conveyed, blurred, and reconfigured when utilizing this medium,” states Curator Jorge Rojas. Rojas, whose artwork has increasingly involved performative elements and live video streaming networks, proposed this exhibition to each of the presenting partners because of their commitment to experimental art, performance art, new media and framing local and international art-making.

Artists include: Amelia Winger-Bearskin, Lawrence Graham-Brown, Hector Canonge, Alexis Caputo, Vienne Chan, Osvaldo Cibils, Gabrielle Civil, Marcus Civin, Chris Coy, The Bridge Club, Francesca Fini, Linda Ford, Lynne Heller, Anni Holm, Gigi Otalvaro-Hormillosa AKA Devil Bunny, Las Hermanas Iglesias, Michelle Isava, Tina La Porta, Elizabeth Leister, Luke Munn, Olek, Wanda Ortiz, Jacklyn Soo, Michael Smith, Sam Trubridge with Rob Appierdo & Stuart Foster, Migdalia Luz Barens-Vera, Marcus Vinicius, Martin Zet, Agni Zotis.

As a new addition to this year’s exhibition, presenting partners contributed to the curatorial process and evening’s program by presenting a live performance at their venues. The following artists and venues will present live performances on the night of the event:
Lawrence Graham-Brown-Co-presented by Aljira and El Museo del Barrio
Michael Smith- Co-presented by Co-Lab and Fusebox Festival
Gigi Otalvaro-Hormillosa AKA Devil Bunny-Presented by Galeria de la Raza
Alexis Caputo- Presented by Diaspora Vibe Gallery
Gabrielle Civil-Presented by Obsidian Arts
Marcus Civin- Presented by The Temporary Space

Low Lives 2 will be presented at the following venues:
El Museo del Barrio: 1230 5th Avenue, NYC - 8:00pm – 11:00pm  
Galeria de la Raza: 2857 24th Street, SF - 5:00pm – 8:00pm  
Diaspora Vibe Gallery: 3938 North Miami Ave., Miami – 8:00pm – 11:00pm  
The Temporary Space: 1320 Nance St., Houston - 7:00pm – 10:00pm  
Obsidian Arts: 3501 Chicago Avenue South, Minneapolis - 7:00pm – 10:00pm  
Terminal: APSU- Clarksville - 7:00pm – 10:00pm
Co-Lab: 7:00pm – 10:00pm
Studio 304: 304 Boerum St., Brooklyn - 8:00pm – 11:00pm  
Live Broadcast: - 8:00 – 11:00pm (EST)

The Fusebox Festival presents contemporary art and performance that spans form and geography. The festival acts as a catalyst for new ideas, new artistic models, new languages and approaches to help us better fully engage with the issues and questions that define and inspire us as artists and audiences.

Fusebox is an annual contemporary art and performance festival that takes place in Austin, TX each April. This year’s dates are April 21 - May 2.

For Information and Tickets visit

About Michael Smith:
Michael Smith is a video/performance/installation artist known for his eponymous performance persona named Mike, the central figure in an ongoing series of large-scale narrative based projects.  Mike, an innocent who continually falls victim to trends and fashions while traversing an imperfect landscape, allows Smith to create an unsettling mixture of humor and pathos while commenting on discrepancies and absurdities in our culture. 

Smith has shown his work extensively around the US and Europe at a variety of venues including museums, galleries, universities, festivals, nightclubs, on television and in the streets. In New York City he has had solo shows and screenings at The Whitney Museum, The New Museum, The Leo Castelli Gallery, The Christine Burgin Gallery and the Museum of Modern Art.  In 2007-08 Smith’s retrospective “Mike’s World: Solo and Collaborative Works by Michael Smith and Joshua White (& other collaborators)” was exhibited at the Blanton Museum in Austin and at The ICA in Philadelphia. Smith was included in the 2008 Whitney Biennial and “The Pictures Generation: 1974-1984”, at the Metropolitan Museum of Art. In Fall 2009, he and Mike Kelley presented “A Voyage of Growth and Discovery” at the Sculpture Center in Long Island City, NY. 

Michael Smith received his Bachelor of Arts from The Colorado College and attended the Whitney Museum of American Art Independent Study Program.  He has taught in the Master of Fine Arts programs at Yale, Cranbrook, UCLA, Art Center, Columbia, CalArts and is currently an associate professor in the Department of Art and Art History at the University of Texas at Austin.

He has received numerous awards including fellowships from the Guggenheim Foundation, The National Endowment for the Arts and most recently from The Center for Advanced Visual Studies at M.I.T, the New York Foundation for the Arts and the Louis Comfort Tiffany Foundation.

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"Texas Crude"<br>Matthew Winters and Friends
to Apr 24

"Texas Crude"
Matthew Winters and Friends

A salon style gallery exhibition featuring a stimulating patchwork of artists. 

Exhibition and Dirty limerick poetry reading

TEXAS CRUDE will be an offering of artwork that is rude, raunchy and generally explicit. Artists will come from a variety of backgrounds and the artwork will have a range of media and content (as long as that content is vulgar and of a revolting nature).

Anyone is welcome to join in the show. 

There are two ways to participate in TEXAS CRUDE, the first is to send or deliver work to either Co-Lab or the curator Matthew Winters. The deadline for submissions for TEXAS CRUDE is Friday April 23rd, 2010. Any form of two-dimensional work in any media is welcome. Please try not to exceed 3’ x 3’ (36” x 36”). If you are going to deliver work please make email arrangements with the curator or the Co-Lab staff. Make sure to package your artwork competently and include any special instructions so that we can get your work back to you safely. Also make sure to include contact information so that you may get the credit that you deserve. 

The second way to participate in TEXAS CRUDE is to attend one of the four Study Hall sessions that will lead up to the Saturday opening. In these Study Halls I will create a calm and soothing atmosphere full of drawing spaces and materials. While in the Study Hall you should be free from the pressures of everyday life so that you can really let the sleazy and obnoxious ideas flow.

The four Study Halls will Have a theme each night (although the theme does not have to be adhered to, it is recommended for maximum crudeness). The themes are as follows:

Tuesday, April 20, 7-10PM : Butts
Wednesday, April 21, 7-10PM: Boobs
Thursday, April 22, 7-10PM: Boners
Friday April 23, 7-10PM: Political Figures

If you wish to have your drawing for sale in TEXAS CRUDE please let us know. Write the words “I would like to sell this piece” with a price and include it with your artwork. There will be staff on hand to take sales of cash or check. Artists will receive 100% of the sale of their artwork. If the artist does not wish to receive payment for his or her artwork then any profit will be donated to Co-Lab.

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"Riff"<br>Wura-Natasha Ogunji and Jorge Rojas
to Apr 10

Wura-Natasha Ogunji and Jorge Rojas

24 Hour Performance

Artists Wura-Natasha Ogunji and Jorge Rojas engage in a 24-hour improvisatory exchange using raw materials (paper, thread, wax) and sensory elements (sound, light, mirrors) to experiment with new ways of communicating through space and time.

This performance is presented with 2412 (a series of performances that take place over a 24-hour period) and will be live broadcast from Friday, April 9 at 8pm(CST) to Saturday, April 10 at 8pm (CST):

Sunday, April 11, 2pm: Artist Talk: artists Nicole Vlado, Senalka McDonald, Jorge Rojas and Wura-Natasha Ogunji discuss their experiences performing for 24-hours and the significance of this experience to their artistic practices.

Wura-Natasha Ogunji is a visual artist and performer.  Her work investigates the connections between physical actions of the body, memory, history and power.  Her performance works include videos in which she engages her own body in explorations of movement and mark-making across land, water and air.

Jorge Rojas is a multidisciplinary artist whose work centers on the creation and processes involved in artistic production. Rojas uses both traditional and new media as well as performative elements to investigate communication systems and the effect of technology on artistic production, social structures and communities.

2412 is a series of twelve performances that take place over a 24-hour period.

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"Live Nude"<br>Roseanne Black
7:00 PM19:00

"Live Nude"
Roseanne Black

Per-formative Installation

Sex is everywhere:  TV, news, magazines, movies…  Without argument, sex bares its head most dominantly in advertisements.  The average American is subjected to 10,000 ads daily, at least one third pertaining to sex.  Often, sex is graphically displayed with nudity and replication of the act in images; it is also used on us through the power of suggestion.  An open mouth, carefully positioned fingers, even make-up worn by the model can be incredibly sexually stimulating evoking an emotional response from the viewer, now potential customer.  Why is nudity illegal when it remains the greatest marketing tool used on the public?  Is sexuality kept a dirty thing in society so that it remains profitable?  How does sex influence our purchases?  Do we actually make a sincere internal connection between sex and unrelated products, or are we simply responding to our natural desires to attract and connect?  Perhaps it would be more fulfilling to focus our sexual energies toward becoming better lovers than savvier consumers?  Becoming lovers willing to be more interested in the other person than are worried about interesting that other person in our appearance.  Sexuality should be a joy, not a competition.  Experience this plastic world of sex in print, and let it inspire you to fearlessly embrace your own deep and organic desires without considering how fashionable you look when you fuck.

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"Beauty Is Not Benign"<br>Anthony Sonnenberg
to Mar 27

"Beauty Is Not Benign"
Anthony Sonnenberg

Time is not Linear

Everything in existence is moving in a cyclical pattern. Growth and decay, life and death, boom and bust.  This circular force is something that no one or no thing could ever hope to over come. Never the less we humans cannot stop ourselves from trying. We insist that if we cannot stop the cycle we can at least slow it down or disguise it, anything to make it easier to ignore.  We create beautiful replicas and preservations of life’s most fleeting things and surround ourselves with them so eventually they are all we can see. But no matter how beautiful these screens may be they can never stop our journey through the cycle of life and death.

This phenomenon of mass unconscious self-delusion is the focus of my recent work. I often compare this work to the Dutch still life painting of the 17th and 18th century. At first glance these enticing paintings seem almost to be flashy advertisements for indulgence.  When in actuality their crisp detail and luscious colors are subtle warning signs meant to be a reminder that as beautiful as life adornments may be they are equally as evanescent.  However do not think me a depressing fatalist.  Although my work in many ways serves as a reminder that all things must fade it also is a reminder that spring is always around the corner.

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"Revising the Century"<br>Josh Ronsen
7:00 PM19:00

"Revising the Century"
Josh Ronsen

Hands On Mail Art Exhibition

In “Revising the Century,” Austin experimental musician and artist Josh Ronsen invited Mail Artists to alter photographs chronicling the 20th Century. These were photos of generals, kings, presidents, despots, heroes, victims, and regular people. The artists could request photos from particular years or themes (one choose “just the scumbags, please”) and use them in any artistic transformation. Some 40 artists submitted 180 works of revisionist history, creating an alternate universe of whimsies and horrors.

Mail Art is an international open network of artists who exchange and collaborate works through the mail. From this simple premise springs countless unique and personal works of art spanning multiple techniques and media. Mail Art is best when delivered directly to your mail box, but the next best thing is a Mail Art exhibition where the public is invited to touch and sort through not only these 180 works, but also Ronsen’s thirteen year old archive of hundreds and hundreds of art works and project documentation. There will be no Do Not Touch signs, no security guards keeping you a polite distance away. Mail Art is as much a tactile art as it is visual.

This will be the only time all 180 works will be displayed together before they are mailed back out to different artists.
-Josh Ronsen

Participating artists are:

Abby Salazar - TX, Anna Banana - Canada, Anne L. Braunschweig - NM, Battistella Elisa - Italy, Bernd Reichert - Belgium, Cherrie Bright -TX, David Stone - MD, Dobrica Kamperelic - Serbia, Donna Han - WA, Fabio Sassi - Italy, Horst Baur - Germany, Irene Dogmatic - CA, James Hill - CA, Jastan Young - OR, Jennifer Zoellner - FL, Jimi Cameron - WA, John Bennett - OH, José Manuel Figueiredo - Potugual, Ct. Pf. Joseph A. Uphoff, Jr. -, Josh Ronsen - TX, Judith, Skolnick - DC, Junanne Peck - TX, Louisa Cataldo – United Kingdom, Luc Fierens - Belgium, Mailarta - Canada, Marina Salmaso - Denmark, Miguel Jimenez - Spain, Node Pajomo - WA, Peter Dowker - Canada, Reed Altemus - ME, Reid Wood - OH, Rémy Pénard - France, Richard Canard - IL, Rob Ray - NC, Ruggero Maggi - Italy, S.A. Walker - DC, Snappy - Canada, Serse Luigetti - Italy, Tim Scannell - WA, Uli Grohmann - Germany

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"Impressive Four Arms"<br>Group Show
to Mar 7

"Impressive Four Arms"
Group Show

Featuring six artists on four outdoor printing stations “Impressive Four Arms” is an interactive printing experience. Participants can customize T-Shirts by choosing from the many designs available at each station. Austin’s up and coming designers Down Deep, Future Perfect, Holloway Art, GAT 5, Speakerbang, and Twin Villain will also have works and merchandise on display inside.

$5 recommended donation gets you a hand-printed poster

$10 donation gets you a hand-printed poster + a blank T-Shirt for customization

FREE ticket to Austin Museum of Art’s current exhibition HATCH SHOW PRINT with $10 donation! (limited to the first 100 donors)

Music provided by Dj Orion + Nathan Gt.

Photo-booth provided by Danielle Dawley (D’Monstrative Studios)

Food provided by mmmpanadas, gourmet empanadas

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"Fish Funeral"<br>Hillary Andujar
7:00 PM19:00

"Fish Funeral"
Hillary Andujar

A celebratory farewell to two bettas

Video Installation:

I’m obsessed with funerals. I find it tragic that the stereotypical Christian funeral, the kind with which I’m most familiar, tends to be the most solemn, redundant, and depressing of all death customs throughout the world. The variety of funeral rites practiced in other cultures has a strong allure for me. Some people wear white, some black, and some red. Some people hire mutes and mourners, or recite “Waheguru,” or cover the bodies in flowers, or put coins on their eyes, or burn them, or bury them, or freeze them, or leave them to be eaten by birds. There are state funerals, fireman funerals, New Orleans jazz funerals, endless types of funerals. Maybe if people of the Christian faith were more open to mixing and matching traditions, we could find more peace in the process rather than feeling like all the deceased are reduced to one sad, droning farewell.

In Fish Funeral, I do away with the traditional concepts of a Christian funeral for my two beloved betta fish, Jagger and Bowie, and send them on a journey full of grandeur, color, and laughter. Jagger was sweet— a serene, blue fish. He died, possibly of unnatural causes, and remained in my freezer for a year so he could be put to rest with Bowie. Bowie was a jerk— a fiery orange fish. He would always puff his fins, ready to fight. Two very different fish deserve different funerals. The more peaceful Jagger fit a sky burial like the Tibetans used to practice, although I catapulted him into the air rather than waiting for the birds to pick him apart. Bowie fit a celebratory Viking funeral where he was sent down the river on a flaming raft. I invited guests to the funeral— some who knew the bettas well and some who had only seen them in passing. Everyone shared a story about the fish— some about Bowie and some about Jagger. 

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"The Mellow Drama of the Love K/nots"<br>Kendra Kinsey
to Feb 20

"The Mellow Drama of the Love K/nots"
Kendra Kinsey

Oh, the craziness of love. Oh, the love of craziness.

"The Mellow Drama of the Love K/nots" is a celebration of the beauty as well as the absurdity I see in love, but it will be a beautiful mess, an obsessive compulsive, patterned collection of oddities. It will explore the fantasies and fallacies of love and loneliness.

We are all looking for love, and happiness… right? Sometimes the “love” we see and experience manifests as bad habits, addictive relationships and unhealthy ways of thinking. In movies like Twilight, codependency is seen as a truer version of love. With tabloids following celebrity couples, our culture is obsessed with relationships, scandal and drama. There are countless amounts of books explaining how to catch a guy, how to keep him, how to be happy in a relationship, how to stay married, how to be single. I will read all the relationship counseling books I can find between now and the show, without filtering, and analyze myself while I am planning this show. It’s a self indulgent, obsessive experiment, to compliment the indulgent, obsessive way our culture focuses on love and relationships.

Musical Act/Performance Art: “The Mellow Drama of the Love Knots”

(Experiment with Clare Scallon and Linky Dickson)

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"Itself"<br>Aron Taylor
to Feb 6

Aron Taylor

Aron Taylor will make use of Co-Lab to develop and exhibit work that involves satanic sculpture and box cutters. Over the course of a week the space will be transformed into an installation of terracotta-like totems made from cardboard, wheat paste, a Xerox machine, and various blades. Visitors are welcome to observe the process, but are encouraged to build with the artist, and to contribute copied images of their own bodies - adding to the materials that are mutilated and resurrected into a horrific combination of ourselves, organic material, and mass product.

The resulting sculptures are the evil twin of perfection. They are a dark, ritualistic celebration and destruction of ego. In trying to manifest oneness or completeness into a physical form, they look abject, visceral, and approaching entropy. They are the solid brown lumps that a child makes when she mixes all her food on a plate that is all going the same place anyway. They are constructed with a compulsive obsession for seeing the obscene. Yet that obsession becomes playful and satisfying when we watch our creative origins bubble to the surface for a moment before dissolving into itself.

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