Department of Art and Art History News

Katherine Bash Debuts New Work at Museum of the Southwest

Tue. October 4, 2016

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three photographs from Bash

The Light of Consciousness: Part I, by Katherine E. Bash (M.F.A. in Design, 2004) is a multi-layered installation of photography, and poetry drawn from three years of investigatory travel into different landscapes—both interior and exterior—with a focus on ephemeral phenomena. The exhibition includes 57 unique photographs, a publication Companion Guide and a recording of the accompanying Polylogue (a multi-sourced poetic form). Public programs included a one-time collaborative performance with violinist John Madura, concertmaster of the Midland Symphony Orchestra, on August 20, 2016.

According to co-curator Pujan Gandhi, Bash's installation reminds the viewer that “objective cognitions are also subjective, and that our mind’s eye is constantly revealing, concealing, and again revealing our observed reality.” Gandhi explains that “[e]ach photograph captures a sensory semi-stasis, one that the artist then acts upon with a ‘chance reading’ of a selected text. Image, language, and performance coalesce into a cohesive whole. Her aim: to generate an alternate space to discover ‘new meanings, and new poetries.’”

Katherine E. Bash lives and works in London, UK and Midland, TX. She earned her B.A. in Biology and an M.F.A. in Design at The University of Texas at Austin. In 1998 Bash received a Fulbright Fellowship to conduct a visual anthropology of indigenous rainforest cultures of Ecuador. Bash was an awarded a Ph.D. from the Bartlett School of Architecture at the University College London in 2011 for her dissertation: Spatial Poetics: Heuristics for Experimental Poisesis. Her most recent exhibition, De Speculum Oraculum, was held at the Till Richter Museum in Buggenhagen Germany.

Julia Guernsey Published in Latin American Antiquity

Mon. October 3, 2016

Society for American Archaelegy journal
 

Art History Professor Dr. Julia Guernsey's paper, "Water, Maize, Salt, and Canoes: Iconography, Economics, and Commodities at Late Preclassic Izapa" was published in the October 2016 journal Latin American Antiquity from the Society for American Archaeology

Michael Smith's Latest Show Opens September 17, 2016 at Dan Gunn in Berlin

Sat. September 17, 2016

Image stll from "Timeline" exhibition
 

Transmedia professor Michael Smith exhibits "Timeline" at Dann Gunn in Berlin. The exhibition will be on view from Sept 17 - Nov 12, 2016. It was recently mentioned in Artforum's "Must See: Berlin" art guide listings. 

Inaugural Georgia O'Keeffe Museum Intern Thomas Edwards Spends Summer as Curatorial Fellow

Fri. September 9, 2016

With the generous help of the Tom and Charlene Marsh Family Foundation, Thomas Edwards (M.A. Art History, 2016) was the first University of Texas at Austin graduate selected to intern with the Georgia O’Keeffe Museum in Santa Fe, New Mexico.

Over the course of the inaugural internship program, Edwards gained experienced as a curatorial fellow, working to organize the museum’s incredible research archives that serve as host to reviews and critical essays written about O’Keeffe, from 1916 to the present. “Under Curatorial Director Cody Hartley, who entrusted me with great autonomy while guiding me with meticulous care, I completed challenging projects that fostered in me a confidence and self-sufficiency with museum work that I will carry for the rest of my career,” Edwards writes.

clipping from O'Keeffe archive
 

Additionally, he updated this collection, honing in on articles written between 1916 and 1970 that enhanced and complicated the understanding of O’Keeffe’s critical reception. Edwards writes, “I gathered popular features written about O’Keeffe during her lifetime, obtained copies of the original publications, and began a long-term project to insert these magazines into the gallery space, offering visitors exciting contextual frameworks for O’Keeffe’s paintings and public image.”

As a separate endeavor, Edwards spent much of the summer developing the research and writing a proposal for a forthcoming exhibition narrating O’Keeffe’s excursions to Glen Canyon and the Colorado River in the 1960s, before and during its contested damming. This period, these trips and their associated stories, became especially relevant to Edwards’ work because O’Keeffe made some of her last paintings and charcoal drawings during this time.

“Opportunities like these, to work hands-on with collections and direct original research, are nearly unheard of in the category of internships and entry-level museum work,” Edwards remarked. “and as such the three months provided experience normally only available upon years of entry-level labor.”

To read more about his experience, visit the O’Keeffe museum blog.
 

Ezra Masch to exhibit at Mattress Factory

Fri. September 9, 2016

Ezra Masch, "Mind the Gap", 2016
Ezra Masch, "Mind the Gap", 2016

 

After a summer as one of the Mattress Factory’s artists-in-residence, Ezra Masch (M.F.A. Studio Art, 2012) will exhibit all new installation work on September 30, 2016. The Mattress Factory is renowned as a leader in site-specific, contemporary art and continues its tradition of unparalleled support of its resident artists.

Masch will exhibit a multi-channel video installation comprised of footage shot in the NYC subway system. Masch has synchronized and arranged cell phone footage collected from passersby in Pittsburgh who were asked to shoot video with their own cell phones simultaneously out of different windows of a moving train. Together they create an unfolded view of the tunnels, platforms and people underground.

“When I moved to NYC last year, I began to document my surroundings by making drawings and video sketches,” writes Masch. “In part, the shift from sculpture to drawing/video was out of necessity (I couldn't afford a studio space in New York, and I had to find a way to sustain a creative practice in this challenging environment), but the sketches have turned into a catalyst for exploring new territory in my work. I'm excited about using video in a sculptural way.”

Twelve videos in all, six on each side, the exhibit is intended to be an immersive audio-visual experience.