Sun. February 12, 2017
Nicole Awai's Work Featured in New Publication, Creole in the Archive: Imagery, Presence and the Caribbean Figure
Fri. February 3, 2017
Book jacket for Creole in the Archive
Associate Professor of Painting and Drawing Nicole Awai's photographic work will be featured in Roshini Kempadoo's new book, Creole in the Archive: Imagery, Presence and the Location of the Caribbean Figure, to be published in late February 2017. Creole in the Archive employs photographic analysis to explore the visual arts of the Carribean from 1850 to the present.
Mon. January 30, 2017
Doctoral candidate C.C. Marsh has recently been appointed as the research assistant to the Deputy Director of the The Getty Research Institute, Andrew Perchuck. She will be working on a book of essays focused on Jackson Pollock's 1943 Mural and researching the collection of postwar Argentinian geometric paintings gifted to the Museum of Modern Art in New York by Patty Cisneros. This latter book project on the Cisneros collection will complement the Getty's initiative, "Pacific Standard Time: LA/LA," a series of 46 exhibitions opening in September 2017 that explore the artistic connections between Latin America and Southern California.
Mon. January 23, 2017
Michael Smith, studio art professor at the Department of Art and Art History at The University of Texas at Austin has been selected for the fifth edition of the world-renowned Skulptur Projekte Münster (Münster Sculpture Projects) that takes place in Germany only once every 10 years.
Founded by Klaus Bussmann and Kasper König in 1977, Skulptur Projekte Münster features site-specific works that explore the relationship between art, public space and the urban environment. This year, Britta Peters and Marianne Wagner are curating the exhibition, expanding its reach into the nearby town of Marl and inviting both sculptural and performative approaches.
Included among more than 30 works, Smith’s contribution promises to remain rooted in his performance work. Smith intends to set up a fully operational tattoo studio for senior citizens.
Thu. January 19, 2017
Selene Bataille (B.F.A. in Studio Art, 2016) has been selected as one of the artists in the 2017 PrintAustin’s The Contemporary Print exhibition. Now in its fourth year, the annual national exhibition highlights innovations in contemporary printmaking and is being jurored by Susan Tallman, an art historian of print and editor of Art in Print. Tallman’s writing has appeared in in Art in America, Parkett, Public Art Review, Art on Paper, Print Quarterly, Arts Magazine and many other publications. Her books include The Contemporary Print: from Pre-Pop to Postmodern (Thames and Hudson), The Collections of Barbara Bloom (Steidl), and numerous museum catalogues.
Tallman will be giving a lecture at UT Austin on February 9, 2017 at 4 p.m. in conjunction with PrintAustin (taking place from Jan. 15 – Feb. 15, 2017) titled, "It's Complicated: Why Prints (Still) Matter." This event is free and open to the public.
The Contemporary Print exhibition will be on view at Flatbed Press Headquarters in Austin from January 10 – February 18, 2017. To get a better understanding of Bataille and her work, we’ve asked her a few questions. All correspondence took place over email.
Can you describe the work that you are submitting for The Contemporary Print show?
The work that was selected for The Contemporary Print is an installation consisting of a series of 7" x 7" screen printed fabric squares. The squares are displayed in a grid, similar to tiles, with about an inch of space in between.
What was the genesis of the work?
Back in September I started making a lot of patterns in Photoshop with photos that I had taken on my phone. The photos were pretty simple images of sand, clouds, rocks, grass—things in nature that have their own kind of order and are relatively untouched by human hands. I was thinking a lot about the patterned fabrics within domestic spaces and how they frequently depict botanical or natural imagery in a way that's very controlled and unlike nature itself. I liked thinking about how we seem to take these images of the seemingly chaotic outside world and control them for our interior spaces. I began to collect patterned fabrics that I found at thrift stores, cut them all into 7" x 7" squares and screen printed the patterns I had made in Photoshop onto the already patterned fabric. After they were printed, the patterns became indecipherable. I highly doubt someone would look at them and think "sand" or "clouds".
I like that the images are translated into something new, maybe more abstract. Laying the pieces out in a grid is a way of further controlling them, while also referencing tiles or quilts in domestic spaces.
What do you feel you took from your classes at The University of Texas and your peers in the Department of Art and Art History?
I took Jason's Advanced Print Workshop multiple semesters, which really helped me develop my portfolio conceptually and allowed me to push the boundaries of print. The class is very open and allows students to make work that is sparked by their individual interests. Because it wasn't a clear-cut traditional print class like "lithography" or "intaglio," everyone came to the class with different backgrounds, interests and understandings of print, which produced a lot of unique and exciting work.
What’s exciting in your horizon?
For the time being I'm sticking around Austin but all possibilities are open! I manage the gallery space at Bass Concert Hall on the UT campus, which has been such a great opportunity for me to be more involved with the art community around Austin because we strictly display local Austin artists and members of the UT community.