Continuously surrounded by art, I write about my experiences and their influences on my artistic practices. I am a starving artist that spends every minute I can being exposed to as many types of art as possible.

East Austin Studio Tours

November means it’s time for studio tours!  The East Austin Studio Tours takes place this month annually, in fact this is the 11th annual E.A.S.T.  I have been going for quite awhile now and have always enjoyed visiting artist’s studios.  At the time, I didn’t realize how important these tours would become for me or even that they would become something I would do to work.  I just knew I liked it, so I kept doing it.  Now, there are several objectives I have when doing studio tours.  First, I want to see what is out there – what ideas other artists are working on now, the media, their surfaces.  Second, I am curating.  This began by keeping track of artists I was interested in working with, yes, just in my head.  Then I finally started to see enough artists I liked working on similar ideas.  The exhibitions I am currently piecing together include nontraditional contemporary portraiture, nontraditional landscape, and experimental process or media.  And, of course, my main and largest project by far, Seven Minutes in Heaven 2013.  However, a new priority is really observing these studio spaces for, well, their space.  I want to compare how they store their work and supplies, divide their work space, display their art, or find new ways to use the space.  Yes, I have always noticed, lusting after these large studios.  But now it’s all possible.  If I want it, I now have a place to make it happen. A little low on funds, I decided to experiment with how I could make this work.  The tours take place over two weekends, with over 200 locations on the map, this included hundreds of artists.  I could only attend the first weekend, next weekend is the Houston Artcrawl.  I meant to rent a room, but I waited to long and couldn’t afford that.  So I booked two roundtrip tickets on Megabus to go both Saturday and Sunday.  My total was $12 – for both days.  That is less than gas for one trip.  That is why I love Megabus.  The only drawback is that you can’t bring a bike.  Luckily, since all the studios are fairly close in proximity, walking is a great option. Day 1 of the tour is very disorganized for me.  I forgot how important it is for me to plan ahead and nothing was really going according to my loose plan anyway.  Due to an accident on the freeway, I arrived an hour and a half later than expected.  A friend from school and her husband met me and we drove not too far into the East Side of Austin.  I had been so busy, I did not print a map, I figured I would just pick one up at one of the locations, I knew the general area.  Yes, we got to the general area, no, there were no maps or catalogs available.  They were all gone, this is a very popular tour.  I was disappointed, the catalogs are actually a beautiful highlight of the tour, the one for the West Austin Studio Tours earlier in the year was very impressive.  In fact, I feel the Austin Tours are a great model for artist studio visits, one of the largest and best organized.  After what seemed like an eternity, I printed a map at the library and we were on our way.  By not going through the list to edit, this caused major mistake #2.  With a couple hundred of artists to view, I will probably only be interested in 25 – 35% of the art, and only about 10% will I seriously be interested in working with.  While exploring is fun, with so much, there needs to be some organization.  So a lot of Day 1 was spent trying to gain my bearings.  I saw a lot of art, but not really anything that I would seriously consider.  So I began to prepare for Day 2 on the ride home.  I began to comb through the artist list.  This begins by identifying the locations with the most artists there.  If I had a catalog, each artist or location gets a page with an image of their work and their website.  But no such luck and the catalog is not listed online yet either.  That makes trying to form a strategic plan a little difficult. Day 2 was a million times better!  First, I arrived on time.  Armed with my map, I jumped in a cab and got dropped off at the furthest point away that I wanted to visit.  And just spent the day walking back, hitting as many studios as I could.  This included Big Medium, Pump Project Art Complex, and ARTPOST.  Those three spaces alone had over fifty artists. IMG_6974A major highlight was finding Industry Print Shop.  Immediately, I recognized the style of prints by the artist I saw at the Mexi-Arte Museum Graffiti Exhibit.  There his work opened the show, overtaking the entire first wall.  He has some work up, as well as some smaller prints on a table for sale.  The works are sensual advertisements using sex for promotion.  To promote what?  These pieces don’t have a product to sell, just imagery and catchy slogans.  These prints feel nostalgic, designed like vintage signs, but I begin to realize it’s also in the attitude.  The sexy tart can always get what Antonio Diazshe wants.  But how do those attitudes work today?  Sex sells more than ever.  Are these women being taken advantage of or in control of the situation?  How have these attitudes changed in the last 50 years?  Can a woman embrace her sexuality?  While sex sells, there still remains the stigma of being a whore.  Sex will make money but the woman better act like she doesn’t know anything about that.  I pick a print to purchase, how can not?  I also buy an awesome shirt for a gift.  All I had to do was ask for more info.  The artist is Antonio Diaz, and he is (one of?) the owner(s) of Industry.  I let him know I am a fan of his work.  Mentioning seeing their work somewhere else is always a great way to begin a conversation with an artists I want to meet.  They are interested when you know their work or have seen their other shows.  We go into his office and he shows me some more prints.  I discuss Seven Minutes in Heaven 2013, inviting him.  He would make a great addition to the show.  Interested, he gives me his card, I will definitely be in touch.  I have just begun to finally organize things for Seven Minutes in Heaven 2012.  Working on the Invisible Gallery website for several months now, I have organized SMIH 2012 page with the artists and press.  I would love for this to work out. IMG_7084 I love that during his open studio tour, Mark Johnson sits facing the corner of his studio, clacking away on a vintage typewriter, not paying attention to the crests of people in and out.  His mixed media works include various typography, referencing the home and domesticity.  There is a sense of longing, a void was left from all the chaos.  I find his work compelling and would possibly like to work with him in the future, although I have no idea right now where he would fit in.  Nothing I am currently working on.  But that doesn’t mean something won’t come up.  I can’t find any cards and I feel awkward trying to talk to him as he is typing away.  But I ask if him for his card, he politely stops, hands me the top piece of paper from a pile, each piece freshly typed as I was there.  The little piece of art with his most recent words was his card.  Yes, it had his contact information.  Back to typing. Mark Johnson Discovering the Pump Project Art Complex for the first time was cool.  There are a couple of collective studios there, such as MAKEatx and Women Printmakers of Austin.  There are also quite a few individual artists studios there, as well.   I find the ceramic work of Debra Broz.  Her manipulation of decorative kitsch is playful.  They are incredibly well crafted.  Taking these items from thrift shops, she alters them in an amazing way, where you cannot tell that it was not originally like that.  But you know it wasn’t.  This is her skill, her trade is a porcelain restorer.  A multi talented woman, she is also the director of Pump Project. IMG_7070IMG_7074 IMG_6985The photography of Jon Oldag catches my interest.  Stitching together photos physically versus digitally doing this in Photoshop is a lost craft he is continuing.  This gives the image a soul, some motion, in contrast to the flattened quality a computer can often produce.  There is always an attraction to the handmade, something exhibiting the artists’ touch.  He is actually selling his work for whatever you would like to offer him.  As much as I would love a piece, I have no cash and he is not taking credit cards. And then I found a free catalog at a little gallery.  I was so excited!  It really is a nice book, a great reference for Austin artists, and advertised as the companion book to the West Austin Studio Tours catalog from earlier in the year, which I have.  They were for sale at Big Medium, but free at all the other galleries in limited quantity.  As usual, I was on limited on funds.  What I do have I will spend on art.  It’s really good.  This was such a productive day, I am extremely pleased with the amount of work I got done.  Finding one artist for SMIH is a huge accomplishment.  The Austin Studio Tours always have intriguing art, I always find new artists to work with, get explore new spaces, and return to favorite spots.  I think this may have been the very first large studio tour that I ever went on, who knows how long ago.  Finding diversity in media is always welcome.  I really chose to discuss these artists randomly based on how much I like their work.  Afterwards is when I noticed I was discussing screen printing, mixed media, ceramics, and photography. Obviously, I feel it still delivers fresh artwork every year.

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