On View November 21, 2014 - January 10, 2015
Friday, November 21, 2014
6:30 – 8:30 PM, Artist talks at 6 PM
Drive • Curated by Joshua Fischer and Katia Zavistovski
Work by The Art Guys, Anthony Álvares, Jesse Morgan Barnett, Claudia Casbarian, Bryan Gardner, Heather Johnson, Cody Ledvina, Lars Lerup, Mike Osborne, Flash Gordon Parks, Susie Rosmarin, Thumb (Luke Bulman and Jessica Young) and Charisse Weston
John M. O'Quinn Gallery
Freeways are a ubiquitous presence in Houston, circumscribing its inner and outer loops, bisecting downtown, and stretching over its neighborhoods and bayous. Snaking through and around the city, I-10, 59, 45, and the 610 and Beltway 8 loops have physically and psychologically shaped the everyday lives of Houston residents in profound ways. In this group exhibition Drive, Joshua Fischer and Katia Zavistovski explore the various roles that freeways and driving culture have played in our human experience and perceptions of the city. Questioning how freeways have impacted art making – whether as inspiration, antagonist, or more neutrally as platform or stage – the exhibition will feature a broad range of work by artists and architects who engage with the topic from multiple perspectives and in diverse media. These range from works that address the subject directly – for example, Bryan Gardner’s recreation of the 610 loop that draws from his experiences commuting – to the more indirect and open-ended, such as Susie Rosmarin’s abstract paintings that explore visual repetition and seriality. The exhibition will also feature work by The Art Guys, Jesse Morgan Barnett, Claudia Casbarian, Cody Ledvina, Lars Lerup, and Mike Osborne, among others; as well as visual ephemera that provide a brief history of the freeway as it has shifted from an optimistic symbol of growth and freedom to what is now commonly seen as a problematic piece of infrastructure associated with traffic jams and long commutes.
After Landscapes is a collection of altered photographs about the ragged prairies that border the highways and railroad tracks in Regan Golden's hometown of St. Paul, Minnesota. Each scrap of prairie is within walking distance of her home, a proximity that enables her to document the location over time. Golden then combines drawn, painted and photographic imagery through cut paper collage and digital imaging. She splices and reorders the traditional horizontal landscape format to convey the natural cycle of growth and decay in these marginal, unkempt spaces. Golden's work examines how our sense of images as physical objects is diminishing with the influx of digital media and how this parallels our detachment from natural spaces. Using both digital tools and traditional collage techniques, After Landscapes invites viewers to examine their relationship to the often overlooked natural spaces that are part of everyday life.
Margaret Smithers-Crump’s work focuses on vulnerability, growth, powerlessness, and transformation within natural cycles of life. It examines the consequences of choices and investigates notions of probability. Working primarily with Plexiglas, Smithers-Crump’s current series of work utilizes water—with its inherent associations to life, death, and renewal—as both metaphor and substance to further investigate ideas regarding existence. For this exhibition, the artist created three new installations that explore the three dimensional use of Plexiglas: cutting it into shapes, bending or melting it by heat, chemically bonding disparate pieces, or sanding it down to receive diverse art media. Using both floor and ceiling, Smithers-Crump transforms the gallery into a glass-like world composed of translucent forms and light.
at dawn and dusk is a two room installation with videos, still photographs, objects and sounds exploring the notions of the artist's memory and identity as a Japanese-American artist, and the reconstruction of her past. The installation weaves pieces of post-war Japanese history and my vivid childhood memories of that particular time period. The installation serves as an apparatus, a laboratory, to test ideas for self-discovery and self-realization. For the viewer, the work is a window into an unfamiliar world which prompts questioning and contemplation.
Saturday, December 13, 2014
2 – 4 PM, Artist talk at 2 PM
TIME FRONT uses sign painting techniques typically used for window sign advertising, known as “window splash,” on Lawndale’s Main Street windows. Using time-based terms ubiquitous in public advertising, “NOW,” “SOON,” “NEVER,” “ALWAYS,” and “FOREVER,” on each window, the painting suggests an immediate sense of promise, contract, and urgency between the buyer/viewer and the seller/establishment. Though Moya Ford borrows from the language of public advertising, the terms gain a poetic character when removed from their corollary sales and products that leaves their interpretation and meaning more open and adaptable.
Through a collaborative art project/public health program, Otabenga Jones & Associates will attempt to mitigate the ongoing health crisis of obesity and its related risks. The Collective will create a public mural at the Lawndale Art Center along with a series of adjacent programs, kicking off a year-long commitment to health education. Programs will include cooking classes, a foraging workshop, an urban gardening workshop, an instructional cooking video and a line of mass produced lunchboxes that will be made available to the public. Inspired by the Black Panther Free Breakfast for School Children Program, which saw the Panthers cooking and serving breakfast to poor inner city children, the Collective aims to provide at-risk community members with a set of tools that will encourage self-sufficiency and empowerment in terms of maintaining their own health through food choices, while building community.