Department of Art and Art History Studio Art

In Memorium: Adam Boley

Thu. October 13, 2016

woman swimming in water

On Sunday, September 4, 2016, our community suffered the loss of a faculty member and alumnus, Adam Boley (M.F.A. in Studio Art, 2016).

Boley graduated from our M.F.A. program in Studio Art the spring of 2016 and came to the Department of Art and Art History staff in the Fall semester as a lecturer in photography. During his time with the department, Boley assisted artist Ann Hamilton in the execution of her work for the Dell Medical Center, O N E E V E R Y O N E. “I have many very beautiful photographs of Adam from the photography sessions for Dell,” writes Hamilton. “I think they capture—something in him, a lightness and weight, reflectivity, a humor. I watched him work with everyone we photographed, how he put everyone at ease and made the air lighter with his empathy. I will never watch a duck land down in water without thinking of him.”

two ducks

Boley earned his undergraduate degree in Photography at St. Edwards University in Austin. His work has been in numerous exhibitions, including those at Time Waste Management in Orlando, Florida (2016); The Mom Gallery, Austin; 60 Orange St, Providence, Rhode Island (2015); Locker 95, Austin (2015); and Pump Project Art Complex in Austin (2014).

He was born and raised on a ranch outside of Georgetown, TX, and his work reflects a connection to the landscape and history of the state. “Texas was a central character in his work,” said Department of Art and Art History Chair Jack Risley. “He was able to channel the friction between its historic myth and its suburban present in work that captured both the serenity and violence of the rural landscape.”

Service for Boley took place in early September in Georgetown, TX.

Beili Liu Featured in the 2016 Hangzhou Triennial of Fiber Art, Weaving & We

Mon. October 10, 2016

blue fiber art piece
In September 2016, Hangzhou–an ancient silk and global city–held the second Hangzhou Triennial of Fiber Art. Once again an international dialogue has been created between disciplines, geographies and people.  The Triennial stages this dialogue from a fiber art’s perspective both chronologically and on a grand scale.

In 2013, the first Hangzhou Triennial of Fiber Art attracted over 150 thousand visitors and artists from more than 16 countries. For the first time audiences in China had an opportunity to learn about modern fiber art. At the time of the Second Hangzhou Triennial the G20 Summit will take place. Running concurrently, these two international events will run in parallel.  Two global visions converge together with the creative vitality of the art works on display.
The second Triennial has a distinctive theme, “Weaving & We”, a starting point for curators and artists.
“Weaving” is a special practice. It is embedded in narrative. It tells stories that combine a history of textile labor and production with human experience. It tells these stories with raw materials and advanced technology. Technology changes at a fast pace and so too does the perception of weavers around the world, as individuals, groups and regions.
The exhibition has four sections which represent the research of curators. The artists selected echo Weaving & We from a numbers of different positions and perspectives.

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.

Manifesta 11 European Biennial of Contemporary Art Features Michael Smith

Tue. May 31, 2016

black text on white background logo reads "Manifesta 11"

'What do you want to be when you grow up?' From early childhood on, work is thought of as something of essential importance for personal desires. The profession we select plays a central role in the development of our identity, in how we speak, behave and relate to other people. The question: 'What do you do for money?' is the starting point for the curatorial concept of Manifesta 11.

Next to the Joint Ventures, the new artistic productions, the curated section of Manifesta 11 brings together artistic positions from the past and the present to examine how work can be subject of artistic reflection. At the same time, the selected works illuminate the concrete working conditions under which art is produced.

The Historical Exhibition: Sites Under Construction gathers artworks and non-art-specific materials from the past fifty years. The show, curated by Christian Jankowski and Francesca Gavin, is divided into eleven chambers. These are inspired by the intersections between private and public, the personal and the professional, and examine how and why artists portray the working process and relations that they face and engage in. 

The exhibition will be on view from June 11- September 18, 2016.

Syndicate content