Wed. October 5, 2016
Currently on sabbatical and completing a studio residency in Berlin awarded by the Aargauer Kuratorium, Photography Professor Teresa Hubbard will have her work with collaborator Alexander Birchler exhibited in multiple exhibitions this fall.
From October 6, 2016 – February 4, 2017, The State Museum for Art and Design Nuremberg, Germany will be exploring contemporary frontiers in film and video art. Hubbard and Birchler’s Single Wide will be shown in the month of December. Other artists included in the exhibition are Johan Grimonprez, Julian Rosefeldt, Stan Douglas and others.
Also in October, the National Gallery in Prague’s Moving Image Department will commence its 6th Chapter: Inner Lives (Of Time), exhibiting the work of Hubbard and Birchler. The sixth chapter of the Moving Image Department concentrates on two parallel and complementary themes – the (inner) architecture of time and the architecture as a vehicle of a (real and imagined) temporality. The works gathered in “The Inner Lives (Of Time)” are reveries and as such, oscillating between the states of dreaming and waking, they express the psychology of both time and architecture, and their influence upon (mainly female) protagonists’ conscious and sub-conscious acts and the actions' flow. From the trance films of the American avant-garde filmmaker and film theorist of the 1940’s and 1950’s, Maya Deren through a cinematographic masterpiece, “House with Pool” (2004) by American-Swiss filmmakers Teresa Hubbard / Alexander Birchler down to the structural poetry of Czech artist Markéta Othová’s photography and the poetic structure of Austrian artist Josef Dabernig’s already iconic Montage-System, the exhibition loops the stories in a search for a cinematic truth and magic.
The exhibition will be on view October 5, 2016 – January 15, 2017
Tue. October 4, 2016
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.
Mon. October 3, 2016
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.
Sat. September 17, 2016
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.
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.