2017 Texas Biennial
September 30 - November 11, 2017
Introduction pg
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Team pg
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Sponsors pg
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Par tner Organizations pg 10 Road Trip pg 16 Exhibition pg 42 Ar tist Bios pg 122 Conclusion pg 126
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Introduction The Texas Biennial, a program of Big Medium, is an independent survey of contemporary art that celebrates the many cultures, identities, and artistic voices across the state. The Biennial was founded in 2005 by a group of artists in Austin who wanted to provide an exhibition opportunity open to all artists living and working in Texas. At the core of the Biennial is a desire for connectivity and exchange, the organizers and curators have explored a variety of exhibition formats and curatorial models to further connect the vast landscape of Texas. A survey exhibition curated from an open call for art remains the central feature of the project, with a focus on expanding boundaries and engaging artists outside of the major cities. All iterations of the Texas Biennial have valued experimentation, collaboration, diversity, and dialogue. The first three iterations of the Texas Biennial were presented at multiple venues in Austin. In 2011, the project expanded to include venues in Houston and San Antonio. In 2013, the main exhibition of the Biennial was hosted in San Antonio with satellite venues in Houston, Dallas, Marfa, and Austin. The survey exhibition has also been shaped using different curatorial approaches – by a panel of jurors in 2005 and 2007, and by solo curators in 2009 and 2011. For 2013, the Biennial was assembled by a large group of 13 curators working independently around the state. 2017 saw the return to the singular curator model.
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Team After receiving a historic 1,217 applicants from a statewide open call, 2017 Biennial Curator and Artistic Director Leslie Moody Castro, embarked on an ambitious seven week road trip to over 25 cities, visiting over 200 artist studios and Partner Organizations. Many miles and difficult decisions later, 33 artists were selected, representing 19 Texas cities and represented in a single venue in Austin. Under Moody Castro’s vision, the Biennial exhibition focused on three elements, all of which are relevant to the present cultural climate and the state of contemporary art in the state of Texas: 1) exploring current art making across the state, 2) deconstructing the Texas identity, and 3) examining the state as a border zone. About Leslie Moody Castro Leslie Moody Castro is an independent curator who lives and works in both Mexico and Texas. She has organized and collaborated on exhibitions at Artpace, San Antonio, Contemporary Art Month, San Antonio, Texas State University, CentralTrak Dallas, Co-Lab Projects. She is also a regular contributor to ArtForum, Flash Art International, Frieze Magazine, ArtNews and ArtCritical. She earned her Master’s degree at the University of Texas at Austin in Museum Education with a portfolio supplement in Museum Studies in 2010, and her Bachelor’s degree in Art History at DePaul University in Chicago in 2004.
Executive Director Shea Little
Exhibition Construction Jon Lawrence
Curator and Artistic Director Leslie Moody Castro
Exhibition Installation ART CRÜE
Director of Programming Jordan Gentry
Exhibition Documentation Sarah Frankie Linder Mark Menjivar Andrew Reiner
Director of Development Rachael Garbowski Director of Operations Tiffany L. Coghill Development Coordinator Jenna Carrens Design Hollis Baxter Road Trip Section Design Larimie Garcia
Interns Kirsten Hixon Jacqueline Overby Volunteers Daniel Baugh Emmet Duff Lauren Goforth Amy Hoagland Kai Jantanan Roxolana Krywonos Orlando Sanchez Travers Swan
Volunteer Coordinator Elise Powell
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Sponsors The Texas Biennial is a program of Big Medium, a 501(c)(3) nonprofit organization dedicated to promoting contemporary ar t throughout Texas, and is funded in par t by the Cultural Ar ts Division of the City of Austin Economic Development Depar tment. TX17 was suppor ted by the Texas Commission on the Ar ts, the National Endowment for the Ar ts, and generous contributions from Suzanne Deal Booth and other private donors.
Success is never a singular feat and is shared among the people and voices that lent their time, dedication, and suppor t.
Founders Circle Suzanne Deal Booth
Back Seat Driver Nicole Blair Jereann H. Chaney Tres Davis and Paul Rogers Ellen Lackermann and Neal Stephenson Susan and Richard Marcus Carlos Martinez Mary Morse Brad and Amanda Nelsen Judy and Scott Nyquist
Co-Pilot Jim Butler and Lynn Whitten Keith and Evangelina Kreeger Daryl Kunik Stephanie and Scott Little Desmond Ng and Donald Mason Lauren and Tommy Moorman Betty and Duncan Osborne Joseph Phillips Steve Redman Ariel Saldivar Joel and Elisa Sumner Chelsea Sun Jana Swec and Shea Little Terri Thomas and Randy Potts
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Friends Shaleiah Fox and Reid Drapp Ann S. Graham Steven Maddox Patricia Molina Diana Phillips Pat Snow
In-Kind Austin Art Services Austin Beerworks The Austin Wine Merchant Nine Banded Whiskey Tito’s Handmade Vodka Topo Chico Special Thanks Charles Adams David Alcantar Carlos Aleman Maisie Alford Kelly Alison Joe Arredondo Rabea Ballin Nick Barbee Dan Barry Terry and Paul Bell Ron Berry Christopher Blay Dianna Bluntzer Patrick Cable Jennifer Cahn Mark Clark ClayHouston Rachel Cook Laura Copelin Linda Cullum Linda Darke Judy Tedford Deaton Jeff Dell Tanya Diaz JD DiFabbio Kerry Doyle Javier Dragustinovis Wendy Earle Philana Oliphant and James Pace Susan Fitzsimmons Heyd Fontenot Samantha Isabel Garcia Dorothy and David Garza Sean Gaulager Sue Graze Anjali Gupta Margo Handwerker Alecia Harris
Nina Hasselle Shane Heinemeier and Alison Ward Michael Henderson Brian Jones and Brian Scott Hillarey Jones Patrick Kelly Dan Lackey Julia Barbosa Landois Jon Lawrence Scott and Kasie Lunson Lauren MacKnight Rebecca Marino Andrea Woody Mellard Jesse Meraz Jed Morse Dennis Nance Kelly O’Connor Cruz Ortiz Jessica Phillips Victoria Ramirez Darryl Ratcliff Jackie Resendez Jon Revett and Abby Palmer Arelí Rocha Rachel Rogerson Jordan Roth Pancho Santos Rosie Santos Chris Sauter Eric Schnell William Serradet Lucia Simek Alison Starr Kathleen Brady Stimpert Peter Svarzbein Keer Tanchuk and Greg Sunmark Sally Tetzlaff The Midland Map Company Chris Tomlinson and Shalini Ramanathan Paul Valadez Ken Villalovos Megan Wells Derrick White Jon Whitfill Ashlee Winters Betty Moody Winters and Nathan Winters Tanya Zal
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Partner Organizations The Texas Biennial is an ambitious program that is strengthened by the collaboration with organizations and artist collectives across the state. Since 2011, when the Partner Organization program was established, organizations have scheduled special artist talks and lectures, designated works by Texas artists on display in their permanent collections, installed temporary exhibitions of work by one or more local ar tists, and highlighted exhibitions featuring contemporary Texas ar tists.
Abilene The Grace Museum
In our sixth edition we are proud to par tner with a diverse, vibrant, and compelling group of 81 organizations that served as ambassadors for TX17 and provided critical suppor t during the Road Trip and beyond.
Albany Old Jail Art Center
Arlington The Art Corridor, Southeast Campus Gallery
at Tarrant County College
The Contemporary Austin Austin
Austin
Art.Science.Gallery.
Texas Biennial Teacher Resource
Austin Creative Alliance Blanton Museum of Art Co-Lab Projects Dimension Gallery Emma S. Barrientos Mexican American
Cultural Center
Through a collaboration between Leslie Moody Castro, Emily Cayton, and 20 central Texas teachers, the Texas Biennial Teacher Resource will feature interdisciplinary lesson ideas as well as multimedia resources for classroom and arts teachers. The main goal is to encourage teachers to integrate contemporary artists into their teaching setting, specifically those featured in the Texas Biennial. This resource will be published online and will be featured in a presentation at the Texas Art Education Association’s state conference in Galveston, Texas. This program was made possible through a grant from the Texas Art Education Association.
Fusebox Festival ICOSA John L. Warfield Center for African and African American Studies Julia C. Butridge Gallery at the
Dougher ty Ar ts Center
MASS Gallery Mexic-Arte Museum
Old Jail Art Center Albany Kelly O’Connor: Oz/Odessa September 16, 2017 - February 3, 2018
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Contemporary San Antonio ar tist Kelly O’ Connor (TX07, TX09) utilizes the upper galleries of the museum’s 1877 historic jail building for her installation Oz/Odessa in the Old Jail Ar t Center’s ongoing CELL SERIES of exhibitions curated by Patrick Kelly. Through this site-specific work, the ar tist attempts to reveal the similarities and polarities of the two cities and their inhabitants – one fantasy and one real – to weave a non-linear narrative.
Pump Project Art Complex Texas Sculpture Group The Contemporary Austin The Museum of Human Achievement The People’s Gallery at Austin City Hall Travis Heights Art Trail Umlauf Sculpture Garden Visual Arts Center at the
University of Texas at Austin
Women & Their Work
Pump Project Austin Cody Arnall: Set Out to Disappear September 29 - October 28, 2017 Cody Arnall’s work investigates themes of personal and shared histories. With that in mind, the work in Set Out to Disappear is a closer examination of aggression and the idea that we are building our own destruction through a desire for power.
Brownsville
Houston
Brownsville Museum of Fine Art
Art League Houston Aurora Picture Show
Corpus Christi
Blaffer Art Museum at University of Houston
Art Museum of South Texas
BOX13 Artspace
K Space Contemporary
ClayHouston
The Art Center of Corpus Christi
DiverseWorks FotoFest International
Stanlee and Gerald Rubin Center for the Visual Arts El Paso Suzi Davidoff: Simplified World August 10 - December 15, 2017 Suzi Davidoff has been intricately engaged in the West Texas landscape she calls home, creating drawings, paintings, and prints that reflect both soil and sky and often incorporating found materials including cochineal, clay, natural charcoal, and lichen.
Dallas
Houston Center for Contemporary Craft
Ash Studios
Houston Center for Photography
Project Row Houses
BEEFHAUS
Houston Museum of African
Houston
Dallas Contemporary
Mountain View College Cliff Gallery
Project Row Houses
Nasher Sculpture Center
Splendora Gardens
Round 47 | The Act of Doing: Preserving, Revitalizing and Protecting Third Ward October 14, 2017 - February 11, 2018
American Culture
South Dallas Cultural Center The McKinney Avenue Contemporary
Huntsville Gaddis Geeslin Gallery at Sam Houston
Edinburg
State University
The Act of Doing amplifies the questions posed by the Emancipation Economic Development Council (EEDC) – questions of place, displacement, ownership, and creative community organizing – while documenting its formation and early impact on the community through a time line installation and an interactive space capturing the stories ignored in the gentrification process.
University of Texas Rio Grande Valley
Kingsbury El Paso
Habitable Spaces
El Paso Museum of Art Stanlee and Gerald Rubin Center for the
Laredo
Laredo Center for the Arts
Visual Arts
Fort Worth
Lubbock
Fort Worth Community Arts Center
Charles Adams Studio Project
South Campus Carillon Gallery at
Landmark Arts, School of Art at
Tarrant County College
Galveston Arts Center
Texas Tech University
Mar fa Tierra. Sangre. Oro. Rafa Esparza with Carmen Argote, Nao Bustamante, Beatriz Cortez, Timo Fahler, Eamon Ore-Giron, and Star Montana August 25, 2017 - March 18, 2018
Galveston
Galveston
The Louise Hopkins Underwood
Giovanni Valderas: Tradecraft October 14 - November 19, 2017
Galveston Artist Residency
Giovanni Valderas (TX13) pulls from his culture, history, and origins to produce three-dimensional mixed-media works that address the tattered relationships with his Guatemalan, Mexican, and American ancestry. This new work addresses issues with gentrification in Spanish speaking communities and incorporates frayed elements of the piñata.
Ballroom Marfa
Museum of Texas Tech University
Center for the Arts
Galveston Arts Center
Marfa Ballroom Marfa
New installation, performance, and sculptural work from Rafa Esparza, in residence in Marfa from June through August. Working collaboratively, Esparza produced new work and conceived of a site-specific installation that is particular to the landscape and cultural context of the Big Bend region and northern Mexico, where adobe building is prevalent.
McAllen International Museum of Art & Science South Texas College Library Art Gallery
Midland Museum of the Southwest
Library Art Gallery at South Texas College McAllen
Plainview
Jenelle Esparza: Yo Solita Me Enseñé September 11 - October 11, 2017
Contemporary Art Museum Plainview
Janelle Esparza is a San Antonio-based artist who works primarily as a photographer. She was awarded the 2015 NALAC Artist Grant for her project El Color de la Obra about the interconnected histories of South Texas cotton fields. Esparza will be the Texas Artpace International artist in-residence for 2018.
San Antonio
McNay Art Museum
1906
San Antonio
Artpace
Chuck Ramirez: All This and Heaven Too September 14, 2017 - January 14, 2018
Blue Star Contemporary Art Center Clamp Light Studios & Gallery Contemporary Art Month FL!GHT Gallery Linda Pace Foundation
Ramirez’s large-scale photographs of everyday objects offer a humorous yet poignant perspective on our culture of consumption and waste, and the reality of fleeting life and mortality. Ramirez was inspired by opposing themes – life/death and humor/despair – and incorporates hints of his work as a graphic designer at Texas supermarket giant HEB.
McNay Art Museum Sala Diaz Southwest School of Art The McNay Art Museum
Linda Pace Foundation San Antonio Texas Biennial 2017: Ar tist Panel Discussion October 10, 2017 Linda Pace Foundation welcomed curator Leslie Moody Castro in conversation with Ana Fernandez, Cruz Or tiz, and Jennifer Ling Datchuk at SPACE, the Linda Pace Foundation Gallery. These three ar tists represent San Antonio in the 2017 Texas Biennial Exhibition, and spoke to the complex visual language of Texas and the identity, cultures and histories that make up their work in this lively panel discussion.
San Marcos Texas State University Galleries
Tyler Tyler Junior College
Victoria The Nave Museum
Wichita Falls The Juanita Harvey Art Gallery at Midwestern
State University
Texas State University Galleries San Marcos We Are a Camera: Christina Patino Sukhgian Houle, Paulina Mendoza, and Aja Segapeli October 23 - November 17, 2017 Featuring the video work of three alumni of the School of Art and Design at Texas State University, We Are a Camera refers both to the pervasive act of using a camera lens to mediate one’s experience of the world, and to the necessity for individuals to act collectively by using cameras to document and make public singular experiences of discrimination.
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Road Trip
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How do you curate a Biennial? I go to sleep asking myself this every night, and suffer the minor panic attacks that come with thinking about it before breaking the task down into manageable sub-tasks, and returning to the calm of forward movement.
How do you curate a Biennial? I have obviously done my research. I’ve studied up on Kochi and talked to friends that have been. I’ve read up on the People’s Biennial put together by Jens Hoffmann and Harrell Fletcher as par t of an Independent Curators International project. I’ve looked at the history of Venice, of the Whitney (yikes!), and explored other models like Manifesta and Per forma. My question, however, is the How. How do you really curate a Biennial? On an international scale the Texas Biennial is tiny, and even though we are going into our sixth year, we are still a programmatic baby. We don’t have the resources or reach of Venice, nor should we, since Venice has 123 years on us. We don’t have the pull of the Whitney, whose resources and geographic proximity within a massive ar t center gives it an edge. So, considering this somewhat peripheral, young, and grassroots, statewide project that we call our Texas Biennial, I guess my real question is: How does one curate this Biennial? Texas is a big place with a lot of big personalities. While I can’t answer the question of how to curate this Biennial, I can do my best to learn from it. Undoubtedly I will make mistakes, and I will mess up along the way because I am only human, but I can trust that focusing this Biennial on learning about the ar ts ecosystems that make up our cultures and identities within the state has to be a healthy place to star t. How can I curate something about our state if I haven’t attempted to understand what makes our places so great? While I don’t have all the answers, at least I have a foundation. This Biennial will explore our cultures, and the lens will shift to focus on the learning process and the answers that process brings. However, the enormity of this project continues to terrify and overwhelm me, and the only way I can think to tackle any singular par t of it is to rely on my instincts, and the magnanimity of the communities that I am a par t of. I have to talk about these fears. Addressing them helps me process them, and writing about them makes them seem a little less scary. It is my instinct to talk through the fears, to demystify the curatorial process, to humanize the profession, and to talk with my community of peers.
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LMC arrives in Austin Aeromexico Flight
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I woke up to the sound of a torrential rain storm in For t Wor th. It was 6:30am, and anyone that knows me is well aware of my trouble with mornings. Evidently a storm was in the forecast, but I had no idea. Confounded with confusion of where I was and how I got there, and where I had to be the morning of stop #1 was par ticularly and unnecessary stressful.
Road Trip Kickoff Potluck Hosted by Par tner Organization: The Contemporary at the Jones Center
I listened as the rain star ted to die down, and as is so typical in Texas, the sun wasn’t far
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media were totally different, then that evening a group of people who are leaders, voices in the
behind. I had a full day of studio visits to get through, all ar tists whose method, technique, and
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community, and generally incredible people were to gather at a dive bar called the Boiled Owl
Leave Austin
Tavern, thanks to the connectivity and generosity of ar tist Christopher Blay.
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LMC arrives in Fort Worth
Much of my goal on this road trip was to get a temperature of ar ts communities around the state, and to find the common issues, strengths, and languages that can connect us. Conver-
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sations like the one we were having became a solution to help gain insight in the shor t amount
Dinner with Jesse Meraz
of time that I had. We all began by introducing ourselves, and to my surprise many in the
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room were meeting for the first time that evening as well. The 20 people that sat in our circle
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that evening were all there because they worked at the local institutions, are ar tists, curators,
Studio Visit: Chris Blay
activists, and generally working to shift the ar ts narrative in the city.
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Studio Visit: Devon Nowlin 3:30pm ---------------------------------------------------
Over the course of the next two hours we volleyed back and for th with opinions, questions,
Studio Visit: Diane Durant and Devyn Gaudet
and even an explanation of the shifting tide within the city. For years I had understood (after
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many years of being corrected) that residents of For t Wor th indignantly maintained their own
Par tner Organization Visit: For t Wor th Community Ar t Center Magnetron Par fait by Chuck and George 6:00----------------------------------------------10:00pm
For t Wor th Community Forum Boiled Owl Tavern
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identity apar t from Dallas. For t Wor th had always been slower paced, less flashy, and smaller than its neighboring city about 35 miles west on I-30. Our conversation, however, illuminated that among the ar ts community the sentiment couldn’t be more different. Almost everyone among the group recognized the impact of sharing resources between the cities, including the mid-cities between. Across the board everyone agreed that frequent trips to Dallas in order to connect and suppor t are necessary.
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The camaraderie around that table quickly turned to friendship among all of us, and the ques-
Studio Visit: Mark Renner
tion turned to what we want to see in For t Wor th in five years. As I was in For t Wor th I star ted
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Studio Visit: Casey Leone
to realize the potential for connectivity that our Biennial has. Clearly there is a want for this
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Biennial to happen, and while the work has been enormous, the oppor tunity to meet and visit
Studio Visit: Fabiola Valenzuela
with ar tists who are living and working outside of the pool of usual suspects is incredibly
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Studio Visit: Timothy Harding
rewarding.
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Leave For t Wor th 12:00pm --------------------------------------------------
Arrive in Dallas Stay with Keer Tanchak 12:00----------------------------------------------3:00pm
Dollar Mimosa Squad TXB edition with Ash Studios and Darryl Ratcliff Maracas Cocina Mexicana
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Studio Visits: CentralTrak Ar tists Rachel Cox Clayton Harper 2:00pm ---------------------------------------------------
Sean Gaulager arrives 2:00pm ---------------------------------------------------
Studio Visit: Erin Stafford 3:30pm ---------------------------------------------------
Studio Visit: Carolyn Sor ter 6:00pm ---------------------------------------------------
Studio Visit: Joshua Goode 6:30pm ---------------------------------------------------
Ar t Peña Talk Nor th Park Center 7:30pm ---------------------------------------------------
Dinner with William Serradet and Dee Lara of Ar t Tooth Chick-Fil-A, Nor th Park Center 8:00pm ---------------------------------------------------
Studio Visit: Chuck and George Dinner with Brian Jones and Brian Scott of Chuck and George
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Par tner Organization Visit: Mountainview College with Alison Starr 11:00am --------------------------------------------------
Studio Visit: Gabriel Dawe 12:30pm --------------------------------------------------
Studio Visit: Kris Pierce
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Studio Visit: Lunch with Ryder Richards and Sue Anne Rische
Par tner Organization Visit: Tyler Junior College
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Studio Visit: Keer Tanchak
Visit to The University of Texas at Tyler Studio Visit: Lisa Horlander Studio Visit: Nora Schrieber Studio Visit: Philana Oliphant Studio Visit: James Pace Studio Visit: Chance Dunlap
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Studio Visit: Jennifer Thompson 7:00pm ----------------------------------------------------
Studio Visit: Giovanni Valderas 8:00pm ----------------------------------------------------
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Dinner at Stanley’s Famous Pit Barbecue
Workshop with Nasher Grantee, Chesley Antoinette Walk through Fair Park
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Studio Visit: Derrick White
Studio Visit: Lunch with Montoya Williams
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Studio Visit: Amanda Slaughter Visit to the Box Company with Jason Koen
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Leave Tyler 5:00pm ----------------------------------------------------
Par tner Organization Visit: Nasher Sculpture Center with Lucia Simek and Jed Morse Par tner Organization Visit: Dallas Contemporary with Justine Ludwig Par tner Organization Visit: The MAC with Rachel Rogerson Suppor ting Gallery Visit: Ro2 Ar t with Jordan Roth
Arrive in Huntsville Par tner Organization Visit: Gaddis Geeslin Gallery, Sam Houston State University Host: Michael Henderson Drive through Huntsville Dinner at Salvadorian restaurant
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Studio Visit: Max Manning 3:00pm ----------------------------------------------------
Bites/Beverages with Rachael Rogerson and Jordan Roth
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Studio Visit: Edward Morin 4:30pm ----------------------------------------------------
Visit to David Adickes Foundation 6:00pm ----------------------------------------------------
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Leave Huntsville
Leave Dallas Sean Gaulager returns to Austin
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Arrive in Tyler Host: Derrick White Par tner Organization Tyler Junior College 12:00pm --------------------------------------------------
Studio Visit: Gregory Zeorlin 1:00pm ----------------------------------------------------
Visit to Tyler Museum of Ar t
Arrive in Houston LMC takes evening off... goes for run... eats healthy food at home...
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W E D N E S D AY, J U N E 2 1
LMC day off
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CORE Studio Visits: Shana Hoehn Adam Crosson Yue Nakayama Felipe Steinberg
Studio Visit: Sierra Forester
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Studio Visit: Rabea Ballin
Par tner Organization Visit: Project Row Houses
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Studio Visit: Rachelle Vasquez
Shea Little and Jordan Gentry depar t
Studio Visit: Rober t Hodge
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Studio Visit: Angelber t Metoyer
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Studio Visit: Luisa Duar te
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Sean Gaulager depar ts
Sean Gaulager arrives
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Studio Visit: Emilie Duval 4:00pm ----------------------------------------------------
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Studio Visit: Wayne Gilber t
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Studio Visit: Ber t Ber tonaschi
Par tner Organization Visit: DiverseWorks with Rachel Cook, Curator
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Bites/Beverages with Rachel Cook, David Shelton, Sean Gaulager, Chris Tomlinson
Arrive in Galveston Host: Dennis Nance Stay with Galveston Ar t Center Board Member Linda Darke and Don Swaynos
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Dinner with Chris Tomlinson
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Leave Houston
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Lunch with Dennis Nance, Curator Galveston Ar ts Center 2:00pm ----------------------------------------------------
Galveston City Tour with Nick Barbee 6:00-----------------------------------------------8:00pm
Galveston ar ts community Meet and Greet Hosted by Galveston Ar ts Center and board member Linda Darke 7:00pm ----------------------------------------------------
Stay in Galveston The Proletariat Gallery Visit
City Touring S U N D AY, J U N E 2 5 1:00pm ----------------------------------------------------
Studio Visit: Doug McLean 3:00pm ----------------------------------------------------
Leave Galveston 6:00pm ----------------------------------------------------
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Arrive in Victoria
Par tner Organization Visit: Galveston Ar tist Residency (GAR), Eric Schnell
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Coffee with Judy Nyquist
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Leave Victoria
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Studio Visits with GAR ar tists: Fidencio Mar tinez Pat Palermo Leonardo Benzant
Par tner Organization Visit: Houston Center for Photography
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Par tner Organization Visit: Ar t League Houston with Jennie Ash
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Suppor ting Gallery Visits: David Shelton guerrero-projects Barbara Davis Gallery
Shea Little and Jordan Gentry arrive 4:00pm ----------------------------------------------------
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Arrive in Corpus Christi Host: Dianna Bluntzer, Director of The Ar t Center of Corpus Christi Studio Visit: Joe PeĂąa, Islander Ar t Gallery 12:30pm --------------------------------------------------
Studio Visit: Kevin Schuster 1:30pm ---------------------------------------------------
Studio Visit: Shelia Rogers 2:30pm ---------------------------------------------------
Par tner Organization Visit: Houston Center for Contemporary Craft
Studio Visit: Nick Barbee
Sean Gaulager arrives
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Par tner Organization Visit: K Space Contemporary
Par tner Organization Visit: Aurora Picture Show
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Studio Visit: Ann Wood 6:30pm ----------------------------------------------------
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Par tner Organization Potluck Dinner with ClayHouston
Par tner Organization Visit: Galveston Ar ts Center
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Par tner Organization Visit: The Ar t Center of Corpus Christi 5:30pm ---------------------------------------------------
Studio Visit: Mayra Zamora
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Studio Visit: Ricardo Ruiz
We were going to visit Paul Valadez, an ar tist that I had never met before, but whom I was very
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excited to talk with. I had followed Paul’s career for a number of years, both as an ar tist and an
Par tner Organization Visit: Ar t Museum of South Texas with Deborah Fuller ton, Curator
educator, and I was excited to see his submission among the many in the Biennial open call.
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Paul walked us back into his small studio and pulled out a stack over a foot tall of more col-
Studio Visit: Marcy Sanchez
lages from an ongoing series titled The Great American Songbook, and my jaw dropped when
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I stumbled upon a grouping that was Paul’s treatment of Casta paintings from Colonial Mexico.
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Arrive in Harlingen (Rio Grande Valley)
I had studied Casta paintings in college, they were a symptom of Spain’s need to classify the
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New World post colonization. They were also Spain’s way of maintaining a visual hierarchy
Dinner with Aunt Betty Moody
among the classes as “mixed breeding” became more and more prominent, and classified
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Par tner Organization Visit: International Museum of Ar t and Science (IMAS), McAllen with Jennifer Cahn, Curator 12:30pm --------------------------------------------------
Studio Visit: Chris Leonard Hello with Susan Fitzsimmons 2:00pm --------------------------------------------------
Studio Visit: Paul Valadez, Edinburg
this breeding according to genetic hierarchies. With our current, postcolonial eyes, the Casta paintings are both racist and classicist, but imply a need to control society vis-a-vis classification. Paul’s reference to this historical painting shifts the narrative of adver tising to once again reveal the many ways the visual lens has been colored to cater to specific people and hierarchies. ******* I spent much of my youth in the small town of San Benito, which used to be the midpoint between Brownsville and the town of Harlingen. As urban sprawl and population growth began
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to affect the area, Harlingen’s borders swelled and now the two towns are nearly one in the
Studio Visit: Serena Pandos
same. As a child I would toggle back and for th between these two totally different worlds that
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rarely intersected. That day I was traveling that stretch of highway to visit Mark Clark of Gale-
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Studio Visit: Josué Ramírez, McAllen
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Visit Mark Clark of Galeria 409, Brownsville
ria 409, a pioneer when he moved to Brownsville, and the person that had offered a platform to young ar tists to exhibit. Mark had purchased an historic building in downtown Brownsville and conver ted the building into a gallery, a studio and his home, and committed to investing in the ar ts in the city. I was excited to see my friend again, and we sat in his studio chatting for an hour before he walked me downstairs to say goodbye. From Mark’s doorstep we could see the
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border fence just across the street. We gave our last hugs and walked over to snap a picture
Studio Visit: Rory Parks
in the space of here and there, because that’s really the best way to characterize the RGV, a
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place between, somewhere between here and there, a place caught between two identities.
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Cross Border to Matamoros 3:30pm --------------------------------------------------
Visit to Museo de Ar te Contemporáneo Tamaulipas (MACT) with Javier Dragustinovis, Curator
***** Later that afternoon we visited Samantha Isabel Garcia who had recently star ted using chile guajillo as her medium, either using it to build sculptures and installations, or using the chiles as a drawing tool. Samantha had begun referencing the conversation of immigration, borders, and walls to illustrate the proliferation of Mexican culture in the United States, as well as the irony of appreciating the culture, but not the people that bring it.
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The three hours to San Antonio was relatively uneventful, the strip of highway is flat and long, and the strength of the sun beating down on the car made the ride heavy. I arrived in the city
Studio Visit: Cande Aguilar, Brownsville 7:30pm --------------------------------------------------
around 5pm and made my way straight to Casa Chuck, a residency program attached to Sala
Moody Family Dinner at home of LMC aunt and uncle – Dorothy and David Garza, Harlingen
Diaz. Casa Chuck was the home of Chuck Ramirez until his tragic death from a bike accident
9:00pm --------------------------------------------------
in 2010. I had never met Chuck, but his loss in the community can still be felt. I had stayed at Casa Chuck many times thanks to Anjali Gupta, friend and Director of Sala Diaz. Once again the impor tance of the place was not lost on me, but this time more than ever I felt like I was walking into San Antonio’s version of ar t history.
Ending fireworks with Moody family
F R I D AY, J U N E 3 0 11:00am --------------------------------------------------
Leave Rio Grande Valley 3:00pm ---------------------------------------------------
It was a steamy summer night, and friends, ar tists, and suppor ters of both Sala Diaz and the Southwest School slowly star ted to trickle in for a community potluck Anjali and Julia had organized. It was an evening with a full table and an even more full cooler of Lone Star, and as
Arrive in San Antonio
old friends, suppor ters, and new friends came in and out it felt good to be back in San Antonio.
Stay at Casa Chuck Host: Anjali Gupta and Sala Diaz
*****
6:30pm ----------------------------------------------------
There are days when I am surprisingly prepared for the morning, but most days I am a total disaster. The days that begin with friends that meet me in the middle of that disaster is always endearing and full of laughs. That morning involved plans to meet Co-Director of the Contemporary Ar t Month and ar tist, Chris Sauter, at Blue Star Ar t Museum, however, neither of us thought to check the open hours of the museum, and we ended up with a free hour to properly
San Antonio Community Potluck at Casa Chuck hosted by Par tner Organizations Sala Diaz and Southwest School of Ar t
S AT U R D AY, J U LY 1 11:00am --------------------------------------------------
catch up over an odd Halcyon breakfast before walking through Chris’s show, which set the
Studio Visit: Raul Gonzalez
tone for the rest of the day.
1:00pm ---------------------------------------------------
We had done a studio visit with ar tist David Alcantar. A year previously David had begun a research based project titled #skinthegame where he had asked individuals specific questions
Studio Visit: Esteban Delgado 2:00pm ---------------------------------------------------
Studio Visit: Julia Barbosa Landois 3:30pm ---------------------------------------------------
about their reasoning behind acquiring a tattoo, and why they do or do not think of acquisi-
Studio Visit: Ana Fernandez
tions of ar t in the same way. David is both a trained painter and tattoo ar tist, and had also
5:30pm ---------------------------------------------------
begun designing a series of flash based on ar t historical references fur ther complicating the question of “collecting,” and muddling agency and ownership. Sean and I had made appointments to par ticipate in the project, and that night we walked into the tattoo studio with our decisions made. Sean would get a Rauschenberg on his shoulder, and I had decided upon
Studio Visit: David Alcantar 7:30pm ---------------------------------------------------
Studio Visit: Cruz & Olivia Or tiz Snakehawk Press 9:00pm ---------------------------------------------------
Clothespin by Claes Oldenburg, a specific nod to one of the most influential ar tists references,
Dinner at Hot Joy
and my first tattoo.
10:00pm --------------------------------------------------
***** I woke up the next morning in a slight panic which faded instantly once I saw the tattoo again. It was still beautiful, and I was still thrilled to see it on my left forearm. Once again that instance set the tone for the day, and in the first two hours of that day I was scheduled to sit for a por trait by ar tist Cruz Or tiz in the living room of Chuck’s home. Cruz knocked on the door, set up the easel and canvas, I put on Selena, and within 15 minutes of star ting we realized that we weren’t just sitting in a room of San Antonio’s ar t history, we were par ticipating in it.
Drinks with Nina Hasselle Co-Director of Par tner Organization Contemporary Ar t Month
S U N D AY, J U LY 2 11:00am --------------------------------------------------
Par tner Organization Visit: Blue Star Ar t Museum with Chris Sauter 1:00pm ---------------------------------------------------
Studio Visit: Daniela Riojas
2:30pm ---------------------------------------------------
2:00pm ---------------------------------------------------
Studio Visit: Amada Miller, Hello Studios
Sean Gaulager Arrives
9:00pm ---------------------------------------------------
2:00pm ---------------------------------------------------
David Alcantar Tattoo Commission As par t of the #skinthegame project/series
Par tner Organization Visit: Old Jail Ar t Center Patrick Kelly
M O N D AY, J U LY 3
3:30pm ---------------------------------------------------
Late lunch with Patrick Kelly
11:30am --------------------------------------------------
LMC por trait by Cruz Or tiz Casa Chuck/Sala Diaz
Studio Visit: Patrick Kelly
2:00pm ---------------------------------------------------
Overnight in Abilene
Studio Visit: Michele Monseau 3:30pm ---------------------------------------------------
Par tner Organization Ar tpace Resident Ar tist Visits: Christie Blizard Kang Seung Lee
M O N D AY, J U LY 1 0 11:00am --------------------------------------------------
Late Breakfast 12:00pm --------------------------------------------------
4:30pm ---------------------------------------------------
Par tner Organization Visit: Grace Museum with Judy Tedford Deaton, Curator
Studio Visit: Kristy Perez
1:00pm ----------------------------------------------------
5:30pm ---------------------------------------------------
Leave Abilene
Leave San Antonio
3:00pm ----------------------------------------------------
6:00pm ---------------------------------------------------
Arrive in Wichita Falls The Juanita Harvey Ar t Gallery at Midwestern State University Host: Carlos Aleman
Arrive in Kingsbury 7:00pm ---------------------------------------------------
Par tner Organization Visit: Habitable Spaces Farm and Ar tist Residency Program 8:00pm ---------------------------------------------------
Habitable Spaces Sons of Elvis Dinner
T U E S D AY, J U LY 4 LMC back to Austin - sleep
W E D N E S D AY, J U LY 5 LMC still sleeping
T H U R S D AY, J U LY 6 LMC catch up day
F R I D AY, J U LY 7 LMC catch up day
S AT U R D AY, J U LY 8
4:00pm ----------------------------------------------------
Visit to the Wichita Falls Museum of Ar t at Midwestern State University Studio Visit: Gary Goldberg
T U E S D AY, J U LY 1 1 11:00am --------------------------------------------------
Studio Visit: with Carlos Aleman 12:00pm --------------------------------------------------
Leave Wichita Falls 3:00pm ----------------------------------------------------
Arrive in Plainview Par tner Organization Visit: Plainview Ar t Museum Host: Kelly Alison
5:00pm ---------------------------------------------------
8:00pm ----------------------------------------------------
LMC off to Abilene
Drive to Palo Duro Canyon
S U N D AY, J U LY 9 10:00am --------------------------------------------------
Leave Abilene Arrive in Albany
9:00pm ----------------------------------------------------
Showing of Texas Outdoor Musical at Palo Duro Canyon State Park in The Pioneer Amphitheater
W E D N E S D AY, J U LY 1 2
Dear Lubbock,
1:00pm ----------------------------------------------------
Sean Gaulager depar ts
I think I fell in love with you before I even arrived.
4:00pm ----------------------------------------------------
Leave Plainview 5:00pm ----------------------------------------------------
Arrive in Lubbock LMC arrives at Louise Hopkins Underwood Center for the Ar ts (LHUCA) Host: Linda Cullum 6:00pm ----------------------------------------------------
Jordan Gentry arrives 7:30pm ----------------------------------------------------
Community Potluck at Par tner Organization Charles Adams Studio Project (CASP)
T H U R S D AY, J U LY 1 3
10:00am --------------------------------------------------
Par tner Organization Visit: Museum of Texas Tech University with Peter Briggs, Curator 11:00am --------------------------------------------------
Studio Visit: Cody Arnall 1:00pm ----------------------------------------------------
Studio Visit: Zach Morriss 2:30pm ----------------------------------------------------
Studio Visit: Carol Flueckiger
My journey had taken me back south from Plainview, where for the first time in my life I had experienced the massive sense of openness of the landscape. I turned the radio off in the car and marveled at the wind turbines that stood majestically from the ground like pillars connecting ear th and sky for as far as the eye could see. Strangely they reminded me of my Mexico home where Mayan crosses act as conduits between connecting the physical ear th with the heavens above. And it was indeed, your ear th, your landscape, that kept me speechless as I drove into your city. I have lived in cities my entire life. I am accustomed to my visible horizons being obstructed by skyscrapers of glass. I had never been to a place where I had seen such a stark contrast of immense blue sky clashing so per fectly with the rust red of the ground, and in every direction the view was unobstructed and was massive. The stillness and aridness of your place was new to all my sensibilities. For the first time since I could remember the air was not heavy or oppressive, the heat unobtrusive and light, and I immediately felt a sense of openness that I was reinforced with every step I took in your place. I arrived tired and fatigued. I had been on the road for a number of days, but immediately your community revived me. The sense of openness that I felt in your landscape was reflected in every person I met and spent time with. Immediately, your community surrounded me with genuine friendship and companionship, one that offers togetherness and suppor t while also challenging each other to stretch fur ther for greatness.
3:00-----------------------------------------------3:30pm
Par tner Organization Visit: Texas Tech University with Joe Arredondo, Director of Landmark Ar ts 4:00pm ----------------------------------------------------
Studio Visit: Shannon Cannings 5:15pm ----------------------------------------------------
Studio Visit: Nicolle LeMare 8:00pm ----------------------------------------------------
Pinball and hot dogs with John Whitfill
F R I D AY, J U LY 1 4 9:30am ----------------------------------------------------
Coffee with Linda & Maisy of LHUCA Meet at LHUCA galleries 10:30am --------------------------------------------------
Studio Visit: Sara Lindsey 11:00am --------------------------------------------------
Studio Visit: Jarred Elrod
You sat with me for hours that first night and told me stories about your place, your neighbors, and colleagues. You recounted the years of how this community had grown through the generosity of its leaders, how those leaders mentored others and through the years your city carved out a cultural niche of ar tistic suppor t that could be rivaled across the state. Then over the course of three days you invited me into your studios, shared your work with me, and graciously answered question after question about your city. I learned to play pinball, I saw giant paintings of the most intimate moments, I explored your university, and when I finally had to leave the intimidation I had felt when I first arrived had long been extinguished. Thank you, Lubbock, for your place, your friends, and your love.
12:30pm --------------------------------------------------
Leave Lubbock
M O N D AY, J U LY 1 7 10:30am --------------------------------------------------
1:00pm ----------------------------------------------------
Studio Visit: Elliott and Amanda Lunson
Arrive in Amarillo Host: Jonathan Revett
11:30am --------------------------------------------------
2:00pm ----------------------------------------------------
Visit to Kamiposi Ar t Gallery Scott and Kasie Lunson
Visit to Rober t Smithson’s Amarillo Ramp
12:30pm --------------------------------------------------
4:00pm ----------------------------------------------------
Studio Visit: Catherine Allen
Studio Visit: Jonathan Revett
1:45pm ----------------------------------------------------
6:00pm ----------------------------------------------------
Studio Visit: Shemaine Hernandez
Opening of the AMoA Biennial 600: Architecture Amarillo Museum of Ar t
3:00pm ----------------------------------------------------
S AT U R D AY, J U LY 1 5
Drive to Odessa 5:00pm ----------------------------------------------------
Sean Gaulager arrives in Odessa
10:00am --------------------------------------------------
5:00pm ----------------------------------------------------
Breakfast with hosts Jonathan Revett and Abby Palmer
Studio Visit: Steve Goff
2:00pm ----------------------------------------------------
Return to Midland
Visit to Cadillac Ranch 5:00pm ----------------------------------------------------
Leave Amarillo
7:00pm ----------------------------------------------------
T U E S D AY, J U LY 1 8 10:00am --------------------------------------------------
6:00pm ----------------------------------------------------
Leave Midland (stopover in Stonehenge replica)
Overnight in Lubbock
2:30pm ----------------------------------------------------
S U N D AY, J U LY 1 6 10:00am --------------------------------------------------
Arrive in El Paso
Jordan Gentry leaves 10:00am --------------------------------------------------
3:00pm ----------------------------------------------------
Studio Visit: Hannah Dean and Maisie Alford 5&J Gallery
Par tner Organization Visit: El Paso Museum of Ar t with Victoria Ramirez, Executive Director and Patrick Cable, Curator
Visit Charles Adams Gallery
5:30pm ----------------------------------------------------
Studio Visit: Peter Svarzbein Studio Visit: current CASP residents
7:00pm ----------------------------------------------------
12:00pm --------------------------------------------------
Drive through El Paso and Sunland Park, New Mexico
Lunch with Charles Adams
9:00pm ----------------------------------------------------
1:00pm ----------------------------------------------------
Dinner with Peter Svarzbein and Kerry Doyle
Leave Lubbock 3:00pm ----------------------------------------------------
Arrive in Midland
W E D N E S D AY, J U LY 1 9 10:00am --------------------------------------------------
3:00pm ----------------------------------------------------
Studio Visit: Brenda Perry-Herrera, Skype visit
Par tner Organization Visit: Museum of the Southwest Host: Wendy Earle
12:00pm --------------------------------------------------
6:00pm ---------------------------------------------------7:30pm ----------------------------------------------------
Par tner Organization Visit: Stanlee and Gerald Rubin Center for the Visual Ar ts with Kerry Doyle, Director and Curator
Museum of the Southwest Concer t on the Lawn
2:00pm ---------------------------------------------------
Dinner with Wendy Earle
Studio Visit: Angel Cabrales 2:00pm ---------------------------------------------------
It had been almost five years since I had driven that stretch of I-10. that was the first time I had been in far West Texas, and sitting in the car that day I was reminded of the vast distance required for the vast beauty that is the west Texas landscape. I was driving to El Paso from Midland, a city named for its exact geographic proximity between Dallas and El Paso, but this stretch seemed so much far ther and so lonely. My car isn’t a fancy one, it had been in the family about 15 years and was still with me making the trek across Texas. Needless to say, I didn’t have a fancy radio with bells, whistles or even an AV outlet to plug in my music. For most of the near five hour drive the radio remained scanning the quiet of the drive with the occasional interruption of a country music or Christian gospel station. I was reminded that the drive to El Paso offers quiet and solitude. For good or bad it’s a moment of necessary quiet before the noise of geography convolutes and complicates culture. There I was, in what seemed to be in the middle of nowhere driving straight into the crossroads of two countries. ***** El Paso is shor t for “El Paso del Nor te”, or the road to the nor th. It shares an identity with the city of Juárez, in the state of Chihuahua, Mexico just across a bridge. If any place in the state of Texas is to be a definition of transience in the state of Texas, El Paso is cer tainly a main contender, and Ciudad Juarez its beautiful sister city. It’s so rare to see two places across a single border that are so different, share dynamic histories, and are so beautiful in their own identities. Upon arrival I would learn of this relationship once again through ar tist Peter Svarzbein whose practice had gone beyond just the object and into the concept of uniting communities in the two cities. Peter had taken on the task of City Council Member when the revival of the streetcar between El Paso and Ciudad Juarez that ran between 1940 until 1974 became a new reality to connect the downtown of El Paso with the University. Peter had revived the sentiment of connectivity in a place that for many years had forgotten about its sisterhood—or at least kept it at a distance. His form of social practice had far exceeded a traditional ar t practice. The El Paso Streetcar in its sentiment and history told the story of two connected cities, and countries, and the revival of the streetcar in its new iteration was a reminder of the cross-border connectivity that once existed so seamlessly. ***** We were eating lunch with Kerry Doyle right before we crossed the bridge into Ciudad Juarez when a flash flood arrived in El Paso. Witnessing rain in a deser t is surreal and vexing, and from the bottom of the mountain we watched as the rain swept down across the street in small, fast pools, and just as quickly as it came it left, and the only reminder of its presence was the cool refreshing breeze that blanketed the deser t.
Lunch with Kerry Doyle 3:30pm ---------------------------------------------------
11:00am --------------------------------------------------
Cross border to Ciudad Juárez
Leave Mar fa
4:00pm ----------------------------------------------------
12:00pm --------------------------------------------------
Visit to Museo de Ar te de Ciudad Juárez
Studio Visit: Alyce Santoro, Alpine
7:00pm ----------------------------------------------------
6:00pm ----------------------------------------------------
Studio Visit: Ingrid Leyva Bar De Eugenio, Downtown Juárez
T H U R S D AY, J U LY 2 0
Arrive in Laredo
11:00am --------------------------------------------------
Check into La Posada Hotel
Studio Visit: Haydee Alonso
9:00pm ----------------------------------------------------
2:00pm ----------------------------------------------------
Drinks with Rosie Santos Director of Par tner Organization Laredo Center for the Ar ts
Leave El Paso 5:00pm ----------------------------------------------------
Arrive at Balmorhea State Park (stopover to Mar fa)
F R I D AY, J U LY 2 1 1:00pm ----------------------------------------------------
Leave Balmorhea State Park 3:00pm ----------------------------------------------------
Arrive in Mar fa Par tner Organization Visit: Ballroom Mar fa with Laura Copelin, Director and Curator 5:00pm ----------------------------------------------------
Jordan Gentry arrives 6:00pm ----------------------------------------------------
Studio Visit: Sarah Melendez 7:00pm ----------------------------------------------------
M O N D AY, J U LY 2 4 10:30am --------------------------------------------------
Studio Visit: Alma Haer tlein 12:00pm --------------------------------------------------
Partner Organization Visit: Laredo Center for the Arts 1:00pm ----------------------------------------------------
Community Lunch with ar tists Laredo Center for the Ar ts 3:00pm ----------------------------------------------------
Studio Visit: Gilber to Rocha-Rochelli 4:00pm ----------------------------------------------------
Studio Visit: Mauro Mar tinez 5:00pm ----------------------------------------------------
Visit to MUSA Alternative Ar t Space with Poncho Santos
Dinner with Laura Copelin of Ballroom Mar fa
T U E S D AY, J U LY 2 5
S AT U R D AY, J U LY 2 2
7:00am ----------------------------------------------------
6:45am ----------------------------------------------------
Visit to Rober t Irwin’s installation Untitled (dawn to dusk) at Chinati’s The Arena 11:00am --------------------------------------------------
Studio Visit: Mar tha Hughes 12:00pm --------------------------------------------------
Visit to John Redington’s work at COMMUNITIE 12:30pm --------------------------------------------------
Studio Visit: Ross Cashiola 2:00pm ----------------------------------------------------
Visit to The Chinati Foundation 3:00pm ----------------------------------------------------
Studio Visit: Julie Speed
S U N D AY, J U LY 2 3 11:00am --------------------------------------------------
Jordan returns to Austin
Leave Laredo 10:00am --------------------------------------------------
Arrive in San Marcos 10:00am --------------------------------------------------
Public Program Coffee and Conversation with Margo Handwerker Texas State University Galleries 12:00pm --------------------------------------------------
Lunch with Margo Handwerker and Jeff Dell 2:00pm ----------------------------------------------------
Studio Visit: Tommy Fitzpatrick 3:00pm ----------------------------------------------------
Studio Visit: Jeff Dell 6:30pm ----------------------------------------------------
Dinner with Texas State faculty 8:00pm ----------------------------------------------------
Texas State Campus Public Ar t Tour with Margo Handwerker
For weeks I was worried about the drive to Laredo. The entire trip was a stretch for the Mitsubishi Galant borrowed from my mom to embark upon this trip. Going into it all I knew was that the second West Texas stretch would be the hardest because of the heat and the distances. The trip from Mar fa to Laredo was the longest stretch we had in the seven weeks we had been on the road. I had never been to Laredo before. It had somewhat of a mythical presence in my reality, especially as a border city. For years I had a very clear understanding that border cities have their own distinct identities, and that one is not interchangeable for another. But until that point Laredo, and its character had remained a mystery to me. I was grateful for the day that Rosie Santos, Director and Curator of the Laredo Ar ts Center invited me to visit Laredo on the road trip. The timing was per fect to fit it into the route. ***** I sat around a long table at the Laredo Ar ts Center surrounded by some of the most brilliant ar tistic minds in the city. Rosie had generously organized a lunchtime networking event where I could get a sense of Laredo through the stories and perspectives of the leaders in its ar ts communities. I had arrived in Laredo the night before and while having a dinner at a Cuban restaurant with Sean I realized that there was something seamless about Laredo. We had been there for hours, but I had spoken more Spanish than English, and my sense of place was quickly becoming blurry. My hotel room overlooked the international bridge, and looking out my window I could literally see Mexico on my right and the United States on my left, equidistant from one another. Until that point I had long become accustomed to one or the other: either Mexico or the States, either Spanish or English, but never really did the two meet in the middle so very seamlessly that the distinction became confusion.
W E D N E S D AY, J U LY 2 6 11:00am --------------------------------------------------
Studio Visit: Augustine Chavez 12:00pm --------------------------------------------------
Visit to Dahlia Gallery 1:00pm ----------------------------------------------------
Studio Visit: Marcos Morales The Good Stuff Ar t Gallery 2:00pm ---------------------------------------------------
Return to Austin
T H U R S D AY, J U LY 2 7 LMC takes day to rest
F R I D AY, J U LY 2 8 5:30pm ----------------------------------------------------
Studio Visit: John Redington
S AT U R D AY, J U LY 2 9 12:30pm --------------------------------------------------
Studio Visit: Nick Schnitzer
S U N D AY, J U LY 3 0 LMC takes day to rest
M O N D AY, J U LY 3 1 10:30am --------------------------------------------------
Studio Visit: Kirsten Hixson 11:30am --------------------------------------------------
So I shared a table with 20 brilliant ar tists, and we talked about the city, and about the ar ts, and about a new generation that had begun to challenge the cultural traditions of the area, setting the stage for a vibrant cultural class that was eager to take the torch passed down from their mentors, who had prepared a platform for the next generation. We talked about the traditionality of the area and how it was changing, and as I looked at each person at the table I was proud to see the equanimity of gender, and color in the room. We were all people of color, we all represented a bicultural existence, and we were all vocal in challenging the status quo.
Studio Visit: Hector Carmona Miranda
***** It was hard to leave Laredo. There was something so close to home about the city that I wasn’t ready to escape from when the itinerary required that I make my way to the next destination. I knew there was so much more to learn about Laredo, and I knew that I had made friends that I could forever consider a new family. I took solace in knowing that I was walking away from a city that was a new home, and that I was only walking away temporarily.
T U E S D AY, A U G U S T 1
12:30pm --------------------------------------------------
Studio Visit: Elizabeth Schwaiger 1:00pm ----------------------------------------------------
Skype Studio Visit: Alicia Egger t 3:00pm ----------------------------------------------------
Studio Visit: Kat Kohl 4:00pm ----------------------------------------------------
Studio Visit: Vladimir Mejia
12:00pm --------------------------------------------------
Studio Visit: Liz Rodda 4:00pm ----------------------------------------------------
Studio Visit: Terri Thomas 7:00pm ----------------------------------------------------
Studio Visit: Dan Berry Road Trip Ends
W E D N E S D AY, A U G U S T 2 9:00am ----------------------------------------------------
LMC returns home to Mexico Aeromexico Flight
41
Exhibition Cande Aguilar (Brownsville) Catherine Allen (Midland) Haydee Alonso (El Paso) Rabea Ballin (Houston) Nick Barbee (Galveston) Christopher Blay (For t Wor th) Angel Cabrales (El Paso) Ted Carey (Austin) Jennifer Ling Datchuk (San Antonio) Hannah Dean (Lubbock) Frances Dezzany (McKinney) Luisa Duar te (Houston) Jarred Elrod (Lubbock) Ana Fernandez (San Antonio) Samantha Isabel Garcia (Brownsville) Gary Goldberg (Wichita Falls) Rober t Hodge (Houston) Max Manning (Huntsville) Vladimir Mejia (Austin) Zach Morriss (Lubbock) NoĂŤlle Mulder (Houston) Teruko Nimura (Austin) Philana Oliphant (Tyler) Cruz Or tiz (San Antonio) Joe PeĂąa (Corpus Christi) Jonathan Revett (Amarillo) Gilber to Rocha-Rochelli (Laredo) Erin Stafford (Dallas) Felipe Steinberg (Houston) Keer Tanchak (Dallas) Paul Valadez (Edinburg) Fabiola Valenzuela (Grand Prairie) Montoya Williams (Dallas)
42
Zach Morriss Pattern/System (2017); Milk paint, powdered pigment, painters tape, personal computers; Dimensions variable (opposite) Chair (2016); Foam; 46 x 33 x 27�
Nick Barbee Marfacello (JefferJudd) (2017); Mixed media; Installation variable
Frances Dezzany Black Totem (2016); Rayon, wire, feathers, raffia; 88 x 16 x 10� (opposite, left) Feathertree Totem (2016); Plastic, beads, wood, feathers, acrylics; 90 x 10 x 10� (opposite, right)
Erin Stafford Sentimental Offerings of Trade and Commerce (2015); Artificial flowers, wood; Dimensions variable (opposite) Les Mauvais Oeufs (2016-2017); Found objects, resin; Dimensions variable
Hannah Dean Le Brun, How It’s Made (2017); Acrylic, gel medium, gesso on canvas; 65 x 55 x 2” Sergeant child, How It’s Made (2017); Acrylic and gel medium on pattern papers stretched through embroidery hoop; 30 x 24 x 1” (opposite, top) Page Left Intentionally Blank (2017); Acrylic on pattern papers stretched through embroidery hoop; 30 x 22 x 1” (opposite, bottom)
Keer Tanchak Tilda (2016); Oil on aluminum; 39 x 56.5� (opposite) Scores (2017); Oil on aluminum; 20.5 x 21.5�
Cande Aguilar Torn T on Panel (2017); Torn T-shirt on panel; 23 x 12” (top) Confetti in a Bag (2016); Confetti in a plastic bag; 9 x 5 x 1” (middle left) Untitled (2017); Deflated balloons on target practice paper; 27 x 14” (middle right) Silver Bag (2016); Painted plastic bag with product box inside; 16 x 9 x 4” (bottom) 65 Seconds of Total Nutrient Annihilation (2016); Bird’s nest, paint can lids, plastic toy on cake base; 11 x 12” (pedestal)
Max Manning Untitled (PPR77) (2017); Acrylic on paper; 12 x 9” (left) Untitled (PPR57) (2017); Acrylic on paper; 12 x 9” (middle) Untitled (PPR43) (2016); Acrylic on paper; 12 x 9” (right)
Luisa Duarte My Territory (2017); Wax thread and thumbtacks installation; Dimensions variable (opposite) Removed (2014); Monotype on Arches 88 paper; 34 x 26.5 x 1.5� (left) Empty Site (2014); Monotype on Arches 88 paper; 34 x 26.5 x 1.5� (right)
Jennifer Ling Datchuk Making Women (series) (2014-ongoing); Porcelain, collected human hair; Dimensions variable
Rabea Ballin Remixing Delphine (2017); Digital image on metal; 30 x 24” (opposite) Unthought-of Dimensions (2017); Digital image on metal; 30 x 24” (left) Plaits, Twist or Braids (2017); Digital image on metal; 30 x 24” (middle) Unapologetic (2016); Digital image on metal; 30 x 24” (right)
Montoya Williams Instrumental (2016); Digital collage print; 24 x 18” (opposite) Blood Water (2017); Digital collage print; 24 x 18” (left) Unraveling the Kongacross (2017); Digital collage print; 10 x 8” (right)
Ana Fernandez Las Princesas (2017); Oil on panel; 48 x 72” Collection of Maya Royberg (left) Handy Stop (2017); Oil on panel; 48 x 72” Courtesy of Cinnabar Art Gallery (right)
Joe Peña Quick Stop, Cold Night (2017); Oil on panel; 4.5 x 4.5” (left) Blue Glow, 9:00 pm (2017); Oil on panel; 6.5 x 10” (opposite, top) Early Visit, Humid Summer (2017); Oil on panel; 8 x 8” (opposite, bottom)
Cruz Ortiz Guadalupe River State Park 1 (2017); Oil on canvas; 36 x 48” Guadalupe River State Park 2 (2017); Oil on canvas; 36 x 48” (opposite, left) Big Bend Road To (2017); Oil on canvas; 18 x 24” (opposite, top right) Big Bend Chisos (2017); Oil on canvas; 26 x 32” (opposite, bottom right)
Ted Carey Strong Work (2017); Wood, strap; Dimensions variable (opposite) Aberrant Wedgie (2017); Bricks, limestone; Dimensions variable
Robert Hodge Things done changed (2017); Mixed media collage on reclaimed paper; 20.5 x 20.5” (top) Everyday Struggle (2017); Mixed media collage on reclaimed paper; 20.5 x 20.5” (bottom left) To Be Bobby Then You Gotta Be Bobby Now (2017); Mixed media on reclaimed paper; 20.5 x 20.5” (bottom right) Elvis Presley aint got no soul, Bo Diddley is rock n roll (2017); Mixed media on reclaimed paper; 28 x 30” (opposite)
Paul Valadez Selections from the great Mexican-American songbook the castas (2017); Mixed media collage, acrylic, pencil, ink; Installation variable (top row) American Raspa (2017); Mixed media collage, acrylic, pencil, ink; Installation variable (bottom row)
Fabiola Valenzuela Study Questions, Study Answers, Clinton, Bush Jr., Obama (2017); Cake; 11 x 14” (opposite) Napkins (2017); Napkins, thread; 9 x 9” each (top) Tu Que Sabes Pocha (2017); Coconuts, acrylic; 12 x 24 x 5.5” (bottom)
Noëlle Mulder Reflections: Texas Pecan Tree, Mexican (Lone)starfruit Tree, Chinese Fringe (2017); Organic matter, steel, mirror, felt; 144 x 144 x 132” (opposite) Olfactory Hallucinations (2017); Porcelain, native mint plants, steel; 32 x 33 x 18”
Jarred Elrod Inductee Candidate 01: Huntsville Homophobics, Inductee Candidate 02: Galveston GMOs, Inductee Candidate 03: Peoria Politics, Inductee Candidate 04: Dover Debt Dependency (2016); Vinyl on regulation size Riddell speed football helmet; 10 x 10 x 14� each Current Hall of Shame Inductees Collection and Voting Apparatus (2016); Digital print; 40 x 24� each
Christopher Blay Gap Years (1970-2017) (2016); Video Bullet Points (For Diallo), From the series Cos N!&&@^& Can’t Breathe (2016); Metallic ink on vinyl; 43 x 24” (opposite, left) Bullet Points (For McDonald), From the series Cos N!&&@^& Can’t Breathe (2016); Metallic ink on vinyl; 43 x 24” (opposite, right)
Haydee Alonso I Just Want To Be Loved (2010); Audio and photography; Installation variable
Samantha Isabel Garcia Them (2017); Guajillo chile on paper; 25.5 x 19.75� each
Gilberto Rocha-Rochelli The Weight of a Dream (2017); Mixed media; 144 x 72 x 66�
Vladimir Mejia Through The Haze (2017); Five-channel digital video; Installation variable
Angel Cabrales Juegos Fronteras: Watch Tower Slide (2013); Mixed media; 84 x 36 x 84�
Catherine Allen Building 1 (2016); Oil on canvas; 24 x 24” (left) Building 2 (2016); Oil on canvas; 24 x 24” (right) Building 3 (2016); Oil on canvas; 24 x 24” (opposite)
Philana Oliphant I Am The Tornado (Series) (2017); Dyed BFK Rives, bleach, graphite, Duralar, museum board; 29 x 10 x 8” (opposite, left) Yesterday (2017); Hand-cut Duralar, litho crayon; 60 x 7 x 17” (opposite, middle) Tomorrow (2017); Hand-cut Duralar, graphite; 60 x 9 x 20” (opposite, right)
Felipe Steinberg In God We Trust (2016); Gold dies of a five Dinar coin, as released in the Islamic State currency proposal on November 13, 2014, claiming the return of the gold standard as a monetary system; 1.5 x 1.75 x 1.75� each
Jonathan Revett The Glacier Project (2014-ongoing); Serigraphed record albums; Installation variable
Gary Goldberg Finding the Universe in Oaxaca, Landscape, gray ground with blue and pink sky (2017); Textile, wool felting; 48 x 120 x 1” (top) Finding the Universe in Oaxaca, Yellow Underworld (2016); Textile, wool felting; 48 x 120 x 1” (bottom)
Teruko Nimura Wish Lantern Bridge (2016); Wood, fabric, paper, light, wishes; Installation variable
Artist Bios
Cande Aguilar
Christopher Blay
Hannah Celeste Dean
Jarred Elrod
Born 1972 in Brownsville, TX
Lives in Fort Worth, TX
Born 1988 in Midland, TX
Born 1985 in Borger, TX
Lives in Brownsville, TX
BFA Texas Christian University, Fort Worth, TX
Lives in Lubbock, TX
Lives in Gainesville, FL
Curator at Tarrant County College Southeast, Arlington, TX
BFA Texas Tech University, Lubbock, TX
BFA West Texas A&M University, Canyon, TX
MFA Texas Tech University, Lubbock, TX
MFA University of Tennessee, Knoxville, TN Teaches at University of Florida, Gainesville, FL
Catherine Allen Born 1982 in Midland, TX
Angel Cabrales
Teaches at Lubbock Christian University
Lives in Midland, TX
Born 1973, El Paso, TX
Represented by Charles Adams Gallery, Lubbock, TX
BFA University of Texas of the Permian Basin, Odessa, TX
Lives in El Paso, TX
Ana Fernandez
BFA Arizona State University, Tempe, AZ
Frances Dezzany
Born 1971 in Corpus Christi, TX
Haydee Alonso
MFA University of North Texas, Denton, TX
Born 1942 in Chicago, IL
Lives in San Antonio, TX
Born 1987 in El Paso, TX
Teaches at University of Texas at El Paso
Lives in McKinney, TX
BFA The School of the Art Institute of Chicago
Lives in Ciudad Juarez, Chihuahua, MX
Represented by Royse Contemporary, Scottsdale, AZ and
BA Kean University, Union, NJ
MFA University of California at Los Angeles
BFA University of Texas at El Paso
MA Montclair University, Upper Montclair, NJ
Represented by Cinnabar Art Gallery, San Antonio, TX
Ro2 Gallery, Dallas, TX
Represented by The Cove, McKinney, TX
MA Royal College of Art, Kensington, London Teaches at El Paso Museum of Art
Ted Carey
Samantha Isabel Garcia
Born 1984 in Philadelphia, PA
Luisa Duarte
Born 1988 in Matamoros, Mexico
RabĂŠa Ballin
Lives in Austin, TX
Born 1959 in Caracas, Venezuela
Lives in Brownsville, TX
Born 1973 in Buchen, Germany
MFA University of Pennsylvania
Lives in Houston, TX
BA University of Texas at Brownsville
Lives in Houston, TX
BFA University of the Arts, Philadelphia, PA
BD in Architecture at Universidad del Zulia, Venezuela
MAIS University of Texas Rio Grande Valley
Course work at Glassell School of Arts, Houston,TX
MFA University of Houston Teaches at Lone Star College, Houston, TX
Jennifer Ling Datchuk
Course work at Southwest School of Arts, San Antonio, TX
Gary Goldberg
Born 1980 in Warren, OH
Represented by Serrano Gallery, Houston, TX and
Born 1952 in San Jose, CA
Nick Barbee
Lives in San Antonio, TX
Lives in Wichita Falls, TX
Born 1981 in Arlington, VA
MFA University of Massachusetts Dartmouth
BFA Arizona State University, Tempe, AZ
Lives in Galveston, TX
Teaches at the Southwest School of Art, San Antonio, TX
MFA University of Nebraska, Lincoln, NE
Art Nouveau Gallery, Miami, FL
MFA Tyler School of Art, Philadelphia, PA
Teaches at Midwestern State University, Wichita Falls, TX
BFA Pratt Institute, Brooklyn, NY
Represented by Erin Cluley Gallery, Dallas, TX
Teaches at University of Houston
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Robert Hodge
Noëlle Mulder
Jon Revett
Keer Tanchak
Born 1979 in Houston, TX
Born 1971 in the Netherlands
Born 1974 in Bitburg, Germany
Born 1977 in North Vancouver, Canada
Lives in Houston, TX
Lives in Houston, TX
Lives in Amarillo, TX
Lives in Dallas, TX
Skowhegan School of Painting and Sculpture, New York, NY
Gerrit Rietveld Academie, Amsterdam
MFA West Texas A&M University, Canyon, TX
BFA Concordia University, Montreal, Canada
Teaches at West Texas A&M University, Canyon, TX
MFA School of the Art Institute of Chicago
Atlanta College of Art, Atlanta, GA
Teruko Nimura Max Manning
Born 1978 in Sacramento, CA
Gilberto Rocha-Rochelli
Paul Valadez
Born 1988 in St. Marys, OH
Lives in Austin, TX
Born 1977 in Laredo, TX
Born 1965 in San Francisco, CA
Lives in Huntsville, Texas
BFA San Francisco Art Institute
Lives in Laredo, TX
Lives in Edinburg, TX
MFA University of Cincinnati
MFA University of Texas at Austin
BFA University of Texas at San Antonio
BFA San Francisco Art Institute
MFA School of the Art Institute of Chicago
MFA University of North Carolina Chapel Hill
Represented by Zoya Tommy Gallery, Houston, TX
Teaches at University of Texas Rio Grande Valley
Lives in Tyler, TX
Erin Stafford
Fabiola Valenzuela
Vladimir Mejia
BFA University of Texas at Austin
Born in 1983, Dallas, TX
Born 1990 in Los Angeles, CA
Born 1992 in Brooklyn, NY
BFA University of Texas at Tyler
Lives in Dallas, TX
Lives in Fort Worth, TX
Lives in Austin, TX
Teaches at Tyler Junior College
BFA University of North Texas, Denton, TX
BFA University of Texas at Arlington
BFA Bowling Green State University Works at Sam Houston State University
Philana Oliphant
Represented by TW Fine Art, Brisbane, Australia
Born 1961 in Plainview, TX
MFA University of Texas, San Antonio, TX
BFA University of Texas at Austin
Cruz Ortiz
Teaches at Mountain View College, Dallas, TX
Montoya Williams
Zach Morriss
Born 1972 in Houston, TX
Teaches at Tarrant County College, Fort Worth, TX
Born Year in Dallas, TX
Born 1984 in Dallas, TX
Lives in San Antonio, TX
Represented by Kirk Hopper Fine Art, Dallas, TX
Lives in Dallas, TX
Lives in Lubbock, TX
BFA University of Texas at San Antonio, TX
BA Howard University, Washington, DC
Felipe Steinberg
AA Collin County Community College, McKinney, TX BFA University of North Texas, Denton, TX
Joe Peña
Born 1986 in Campinas, Brazil
MFA Texas Tech University, Lubbock, TX (enrolled)
Born 1971 in Laredo, TX
Lives in Houston, TX
Teaches at Texas Tech University, Lubbock, TX
Lives in Corpus Christi, TX
MFA School of the Art Institute of Chicago, 2016
MFA Texas A&M University at Corpus Christi
Fellow at The Core Program, Museum of Fine Arts, Houston, TX
Teaches at Texas A&M University at Corpus Christi
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Conclusion Leslie Moody Castro
It was somewhere in the Panhandle that I realized the road trip had become much bigger than myself. I had been tasked with the role of understanding the current climate of the ar ts in Texas in order to produce a Biennial that was a survey of the state. It all star ted with a road trip, but that trip was the first component of three that fit together to tell a complete story of this year’s Texas Biennial. From the road trip I garnered the information I needed to curate the exhibition that could represent and illustrate the ar tistic practices and voices from across the state. While our open call received 1,217 submissions, I still felt the pressure to produce an exhibition that spoke with the state, one that reflected what was happening on the ground from place to place, and an exhibition that could thread those conversations together fluidly. In the end I could not be more proud of the exhibition that came together. It crescendos in the space as the work speaks to each other and the conversations become louder and louder. It is political and reflects our climate of change unapologetically. It speaks to our multifaceted identities and formally hearkens back to our histories of ar t history. It is the culmination of a 126
commitment to the ar ts and ar tists across the state in a summary. Texas is a big place, and tackling an exhibition of this nature is a huge responsibility I’m still not entirely sure I was prepared for, but with the suppor t of Big Medium, every single one of our Par tner Organizations, and the ar ts communities everywhere I went, there was never a moment that I felt alone or isolated. I sincerely hope this sentiment is reflected in our road trip chronicles and the exhibition itself. On September 30th, 2017, the day of the opening of the exhibition, we hosted a lunch for the ar tists. As I scanned the room, I realized that I was looking at a snapshot of the state. Sitting together were ar tists who are community leaders, mentors, and mobilizers who were born in Texas or who had moved to Texas and made the state their home. I listened as everyone talked together and shared stories of their place and their practice. As they laughed in a spirit of camaraderie and connectivity, I felt lucky to witness.
not be more accurate and true. It manifested in the physical exhibition through what I learned, the histories I was told, the conversations I had about place, and the ar tists studios that I visited. This feat could not have been possible without the suppor t of key people. Sean Gaulager, Director of Co-Lab Projects in Austin, held me together on the majority of the road trip and became my sounding board. Jordan Gentry jumped in wherever possible and offered fresh perspective and suppor t. I commend the entire Big Medium team, who took on a project structured around flexibility. Working with a curator who lives between two countries is not easy, and the team handled it all gracefully.
A special thank you should be said to our exhibition hosts Brett Jennings and Scott Ellswood of KC Grey Home who watched as we constructed an entire exhibition in their space, and never shied away or second guessed their decision to host us. I hope their generosity is returned in spades! I am walking away from this experience full and happy and still processing the things I have learned from it. It will take a number of years to truly understand the magnitude of what we all did together, but it has become incredibly clear that this was a project full of hear t, and that together we all made it happen beautifully.
Traveling the state would have been impossible without the love and suppor t of my parents who gifted us their 15 year old Mitsubishi Galant, a car that I absolutely adore. Paul and Terry Bell, and Jackie Resendez are always there to suppor t creative endeavors no matter how crazy or impossible they seem.
I still see the exhibition as a collaborative process, one that is reflective of the research gathered from the road trip. I have joked many times that I felt I was traveling with the ar ts communities across the state, but that could 127