Laurel Shear Presents Work at Solo Show in Los Angeles
Fri. September 9, 2016
Laurel Shear (M.F.A. in Studio Art, 2015) presents work in show entitled Where Dreams Come True and Go To Die at Tiger Strikes Asteroid in Los Angeles. The exhibition will be on view from September 10 - October 1, 2016.
Elizabeth McClellan honored with this year’s UMLAUF Prize and exhibition
Wed. September 7, 2016
EchindaLabs, performance-based installation work of Elizabeth McClellan (M.F.A. Studio Art, 2016) will be featured with previous UMLAUF prizewinners in the UMLAUF 25th anniversary retrospective exhibition November 4, 2016 – January 29, 2017.
Don Bacigalupi, founding president of the Lucas Museum of Narrative Art, and juror of the 2016 UMLAUF Prize, selected M.F.A. graduate Elizabeth McClellan as this year’s winner. In Bacigalupi’s statement, he remarked, “EchindaLabs is a complex, multi-faceted Gesamtkunstwerk by Elizabeth McClellan that reflects the extraordinary boundary-breaking creativity seen in some of today’s most advanced and cross-disciplinary art practices.” He adds, “the work operates in the nexus of art and medical science, a fertile territory staked out previously by artists as diverse as ORLAN and Virgil Wong. Complex ethical issues abound in the real world of rapidly advancing genome-editing technologies, and McClellan capably invites us in for consideration.”
When museum visitors walk onto the set of EchindaLabs, they will learn about genetic skin modifications and explore the possibilities of using viral biomes to decorate the skin through a series of videos, brochures, photographs and human interaction with the “EchindaLabs receptionist”. McClellan created the experience based on the recent innovations in gene editing technology and her fascination with its implications on politics, science and the future of our bodies.
Exhibition Opening is Friday, November 4 from 5–7pm.
Adam Crosson Presents "Room with a View" Exhibition
Thu. June 23, 2016
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.
Twenty-Member ICOSA Collective Formed by UT Alumni
Thu. June 9, 2016
ICOSA is a diverse group of artists who have come together to pursue cooperative exhibition opportunities in a collective setting. They are: Terra Goolsby, Jonas Criscoe, Brooke Gassiot, Erin Cunnigham, Kate Csillagi, David Bae, Betelhem Makonnen, Sara Vanderbeek, Andrea DeLeon, Adrian Aguilera, Katy Horan, Jenn Wilson, Anna Pedersen, Amanda McInerney, Micah Evans, Elaine I-Ling Shen, Jennifer Balkan, Matt Rebholtz, Alyssa Taylor Wendt and Teruko Nimura.
ICOSA Collective: Part 2 exhibition open until June 26.
Bruce M. Shackelford releases book, The Wests of Texas: Cattle Ranching Entrepreneurs
Sun. May 1, 2016
The Texas State Historical Association released Bruce M. Shackelford's (B.F.A. in Studio Art, 1975) latest book The Wests of Texas- Cattle Ranching Entrepreneurs in May. He will start his 21st season with PBS Antiques Roadshow in June.