2013 was an interesting year for me. I made many life changes and forged on with invisible gallery. Accepting a job at a gallery, Ruiz-Healy Art, for half of the year, I have spent my time primarily fluctuating between working on RHA or invisible. It has been a fascinating experience, learning from a commercial gallery many lessons I can apply to my artist run gallery. While my schedule was a little more stable, I have tried to continue travelling as much as time and my finances would allow. It felt like my travel had decreased dramatically, but after trying to recall my trips writing now, it seems I still traveled frequently. While that also seems to be repeatedly to the same locations, I had a unique trip every time. Since I mainly plan my travel around exhibits, art fairs, and temporary installations, it is easy for a fresh experience.
Places I traveled to see art in 2013:
Houston: Picasso Black and White at MFAH in March, James Turrell at the MFAH in July, Houston Fine Art Fair in September, and the Texas Contemporary Art Fair in October, Luc Tuymans’ Nice. at the Menil , and Houston Artcrawl Studio Tours in November
Ann Arbor, MI: UMMA (University of Michigan Museum of Art) in June
This year was primarily spent travelling around Texas, Houston being where I traveled the most. While most of my travel this year has been much closer to home, the art I experienced was fantastic. Not leaving the country this year did not lower the quality of art I saw. The diversity in what I went to see was pretty extreme. This year included many large scale installation and pieces from the James Turrell Retrospective and the permanent installation of Dan Flavin, Cindy Sherman’s huge photography, Louise Bourgeois and her large spider sculpture…the list goes on. While none of these pieces were created this year, size seems to be the theme in what was being exhibited, either touring or displayed from a permanent collection. Working on a large scale with my sculptures as well, it is always interesting to see art that influences your work. I will always expose myself to as many different medias of art as is available to me. Inspirations and ideas should come from all sources. I am also interested in learning about themes or ideas that are different than my own, including the use of materials. Art is a thought intensive process that I appreciate and enjoy experiencing greatly. I am very fortunate that I have many friends that support this and often are the reason I can travel as much as I do.
The top 5 posts read this year:
- 1 Seeking Refuge: Twombly, Flavin, and Picasso
- 2 Cindy Sherman at MOMA
- 3 Banksy hits NYC by Jonathon A. Sims
- 4 Cindy Sherman Comes to Texas
- 5 Heading to the Big Easy: New Orleans
My 2nd year documenting my art experiences has continued to remind me of all the wonderful and exciting things that are waiting to be explored. By continually exposing myself to new thoughts and ideas is how I keep growing. As I open myself up to new experiences, I find many new opportunities arise. At the end of this year I find myself in a much different place. I am (currently) more stable, slowly pulling invisible together in a more secure direction, while trying to continue making my own art. Personally, I have also been going through a divorce this year, another major change in my life. Art has affected my life in various ways and I feel fortunate to feel so passionately about something. My life takes a lot of planning and patience, as well as unpredictability and chance. It’s a slightly crazy balance I don’t think everyone can handle, although I know plenty of people who happily do. It is very difficult to juggle everything, but I feel a little lost when I don’t have several project going on. Sometimes I wonder if I have a short attention span or just really that many ideas. Although finishing several major projects to completion every year, I will go with I have that many ideas. As I visual person, I work best with constantly new imagery to stimulate me. As an artist that likes to discuss ideas of repetition and multiplicity, I notice people patterns everyday. New environments are just as exciting to me as new ideas. This was another unpredictable year. Only so much can be planned, the rest I figure out as I go along.
For the second time this year I head to New Orleans. This time I was on a vacation, I finally took some time where I didn’t have to be anywhere, so I didn’t have an art agenda. However, my one priority was to find Banksy from when he did a “residency” there. I had also been following his month in New York and am interested in the messages that he wants to leave with his graffiti.
It wasn’t hard to find. I just googled Banksy in New Orleans and found out that he was in New Orleans three years after the Hurricane Katrina, in 2008. I easily found Umbrella Girl still existed in Marigny neighborhood. Considered to be one of his most poignant pieces from this series, the umbrella is supposed to protect her but instead is the source. It had plexi glass over it that was broken through, left with a note PLEASE DO NOT COVER written in marker.
It was in an lower class neighborhood, in fact on the corner on an empty building, at a bus stop. This is an important factor for me, it really shows Banksy is trying to bring art to the people, trying to discuss their struggle.
Photos taken of the guy. Apparently he covered up the area to be in private.
I’m lucky she still exists. A total of fourteen pieces were made but only a couple remain today.
Just as recently as July 2013, A Girl Frightened by Rat was covered up by graffiti. The tag obviously intentional, bearing the words “real graffiti”.
Yet someone began documenting the removal of some of the pieces as early as July 2009, about 9 months after they went up. This piece “Bush” was also intentionally covered up. Besides the threat of vandalism by taggers, Banksy had a war with the Gray Ghost. A man committed to the removal of graffiti in New Orleans, his name comes from the uniform gray paint he uses to cover up the walls.
In response, he became a subject of some of Banksy’s work, depicted as removing the color from the landscape.
While my intention in New Orleans wasn’t art related, but as usual, I couldn’t help but find images relating to one of my on going bodies of work. Salvation Everywhere is a project I have been working on for the last year. It is about being bombarded with religion everywhere you turn. Everyone wants to save you. If you perform certain rituals, such as prayer, confession, or attending mass, you will be cleansed. My ideas primarily form around this concept of ritual and repetition that drives people’s behavior. My second multi media series, it will be composed of sculpture, installation, sound, and photography. The images are what I found everywhere in New Orleans. Religion seemed to be embedded everywhere, including in and around the debauchery on Bourbon Street. I have been randomly capturing images of religion that exists everyday, everywhere. It has been a very interesting project to work on, However, to collect the amount of found items and images I would like to present will take quite a while longer. Many of my projects take a year or two to complete. They are normally larger in scale and generally require much contemplation, Working on my art has really taught me the virtue of patience.
New Orleans is a city of mystery and beauty. There is much to explore, from art to the streets. Any visit here has left me with unique experiences. Hopefully next time I visit I can dedicate a little more time to art. Although with all the inspiration I found, I consider this trip to be very successful art wise.
With the new year ahead of me, or maybe I just got the itch to travel, I planned an impromptu trip to New Orleans. I was planning a regular trip to Houston to visit a friend, when I decided to go to New Orleans for a relaxing time. There is also the New Orleans Museum of Art, which I have never visited before. So I rented an apartment, headed to Houston for free on the Megabus (there is a promotion for free travel if seats are available, through Feb 29! Promo code: TRYMEGABUS), where a friend picked us up, and we drove about five more hours, into New Orleans. Although, quickly, some (fun) work is added. On the way there, I get an email confirming Antonio Diaz from Austin is still in Seven Minutes in Heaven II. It has been a while since I invited him, so I am glad he will still be joining the group. I found his prints insinuating and erotic, a perfect fit for SMIH II. I also get a text from the Southwest School Gallery Shop, my now former job. I have been on the list to purchase some of the display pedestals. Everything from the store is for sale, since it closed. Of course, I would be out of town, and unable to go in and pick them out now. Lucky for me, I already know what’s there and what I want. Making some quick decisions, I make some purchases through text, calling after we arrived to pay by credit card. Since Vanessa Centeno, one of the Seven Minutes in Heaven II artists, is living there, working on her MFA at the University of New Orleans, I set up a little more work, meeting her at a local spot. It is great to see her, it has been since last April, when I originally invited her. Already known in San Antonio for her paintings, she presented her idea for video for SMIH II, which I am excited about. My curating style of working with solid, intelligent artists makes it easier to encourage experimentation. I want to work with artists pushing limits and that often involves unpredictable results. A lot of risk taking is involved in making and exhibiting provocative, thought-provoking art. Unfortunately, the weather was anything but ideal. It was chillier than we would prefer and it is foggy as hell. Standing at the water, you can only see about a hundred feet into the Mighty Mississippi. That was a little disappointing. However, everything else was absolutely fabulous! Our two bedroom apartment was cute and walking distance to everything. There was plenty of amazing art, beautiful cemeteries, fantastic buildings, great food, and definitely interesting people! NOLA never disappoints! Visiting the New Orleans Museum of Art is high priority for me. The building that it is located in is beautiful. My friend, Katherine Marquette, worked here prior to moving to San Antonio. How amazing would that be to come here every morning? Is that too much to ask, to work in a historical building surrounded by world-class art? Sigh. That is
the goal one day. They had an amazing exhibition up, “Lifelike,” that I really enjoyed. The exhibit focused on contemporary realism, comprised of objects that were distorted by their scale. Spanning from the 1960’s to the present, the work discussed various ideas from over fifty artists. Unfortunately, there were no photos allowed and the gift shop was currently sold out of the catalog right then, but said I could buy a copy on Amazon. I will have to do that. Their permanent contemporary collection was also impressive, including Yves Kline, John Chamberlain, Joan Mitchell, Richard Diebenkorn, John McCracken, Basquiat, and Warhol. These artists are always incredibly inspiring to me, I have previously posted about most of them already. Mitchell is an artist I wish I had an opportunity to see more of in person. Her bold, gestural work is beautiful to look at up close. I think this may only be the third piece I have had the pleasure of viewing. I was fortunate to see Diebenkorn’s Ocean Park Series in Fort Worth last year. The layered, worked over, and revealing subtractions are what I find the most interesting about his work. John McCracken always reminds me of a contemporary art class I took in college. One student looked at photos just like this one and kept asking “what color is it?”, because of the light reflecting on it. Even this photo shows light and dark gradations due to the lighting. Isn’t that the point of using such a highly reflective surface? I’m so glad to be out of school. But I guess I do have some affection towards McCracken, I did also post a photo of his beautiful red piece at SAMA. The slick, polished Minimalist planks are perfectly crafted, made using industrial materials. I enjoy the simplistic expression of Minimalism. I could never explain anything that basic, my layered work relates to what a complicated person I am. As with Donald Judd, I am particularly attracted to the simplicity of the presentation, perfect aesthetics, and exploration of space. The space these pieces occupy interests me because they simultaneously engage two spaces, placed on the floor like a sculpture, but also positioned on the wall, a place normally reserved for paintings. This is characteristic of this particular series, his other work is comprised of free-standing pieces. A surprise for me was the largest collection of Joseph Cornell I have been able to view together. Considered a pioneer of assemblage, Cornell’s pieces interest me because he has assembled objects once considered precious, often still recognizable, invoking feelings of nostalgia, while at the same time, their original beauty, and sometimes use, has been lost. The raw, real, everyday objects discuss collecting and time, while creating enigmatic narratives. The format of assemblage put together in boxes is also very inviting. I want to further investigate these collections of things. His work extends also into collages, which I consider 2-D assemblages, or assemblages as 3-D collages, connecting by creating new thoughts out of existing remnants. They are fun to view, placed in a room on their own. Since Marfa, I appreciate a little more when a larger collection of an artist is kept in context of their own work to contemplate together.
The most fantastic discovery of all was the Sculpture Garden. I finally got to see one of Louise Bourgeois’s “Small” Spiders. There are quite a few of them displayed throughout the world. While a small one, it stands above me as I walked in and out of her long, elegant legs. I have seen many of her pieces, however, this is the first outdoor, large-scale piece I have seen. She is represented in most collections, considered an important artist, discussing fears, anxiety, confusion, and sexual desires in her works. Of course, it is always exciting to see Claes Oldenburg and Coosje van Bruggen. Their massive sculptures of common, everyday objects are elevated by being increased to a monumental scale. At 21’, Safety Pin towers over the park, demanding your attention, one of my favorite characteristics of Pop Art. It’s always fun to see their pieces, I love their Horseshoe in Marfa. It is not clear in the photo, but the Ladder piece by Leandro Erlich is not held up by anything in the back. It is amazing to look at. There are so many pieces I could discuss. This fantastic Sculpture Garden was so fun to explore. There were many other great sculptures, including pieces by Rene Margritte and Fernando Botero. Nearby the museum, we randomly find St. Louis Cemetary #3. New Orleans cemeteries are beautiful. There are graves, as well as places where ashes of families are together that range from boxes to buildings. French influenced, many of the above ground structures remind me of the Pere Lachaise Cemetery in Paris. There are still many differences that make it unique to NOLA, which is what I want to capture. When I go to cemeteries in different regions or a different country, I am searching for how that culture celebrates death and those who have passed. Marble, sculptures of Saints and Angels adorn many sites. It doesn’t take long to discover some rituals that you would only find in New Orleans. One site has Mardi Gras beads strewn around. I bet during Mardi Gras the grave sites will be covered with them. That would make some nice photos. Another has simply a bottle of oil, something I have never seen before, and I wonder if it has something to do with Voodoo. One site has a jar of some kind of food. It looks odd, and may be aged, rotting food left a while ago, or something else possibly related to Voodoo. I am excited to find new customs that I have not seen before.
At this point, I have been working on this large cemetery photo project for about twelve years, possibly towards an exhibit or book or, hopefully, both. My fascination with cemeteries has been since I was in high school. It’s interesting to think how something cultivates and captures your attention for that long. I have always found them beautiful. When I was in Munich a few years ago, there was an exhibit on Hermann Obrist at the Neue Pinakothek. An accomplished Art Nouveau sculptor and designer in Germany, this exhibition focused on his sculptures and “funerary monuments.” Unaware of who Obrist was, running into that show was purely coincidental. I squeezed in the Modern and Contemporary Art by myself on a day off. It was nice to see I wasn’t the only one who appreciates the beauty that lies inside the cemetery gates.
This was a quick few days during the week, but that didn’t stop it from being a fun, inspiring, and productive trip. It’s been about ten years since I was here last and it was just as fun as I remember. There is definitely still a lot to explore – gallery spaces, plenty more cemeteries, architecture, and the vibe that the entire city gives off. I will definitely be back.
Last year was crazy, unpredictable, and exciting! All that without a full plan. Well, that’s not entirely true. I work pretty hard at what I do, whatever that is, put myself out there , and accept most opportunities that I’m lucky enough to have come my way. A new year to me means new opportunities and adventures. I do not return to the same boring desk job after Christmas. I get to plan my year out however I would like. I am very lucky.
With that in mind, how do I begin to plan for the new year? Some things are already on my calendar, such as Seven Minutes in Heaven (SMIH) 2013, which will be March 2, 2013, my first CAM studio tour on March 24, 2013, and the show I am curating at Alex Rubio’s gallery, R Gallery, of my five artists July 13, 2013. That’s a lot to be excited about already, but doesn’t take up nearly enough of my calendar. That means work to do and new opportunities to find.
Beginning January 1, Megabus put up travel through April, so travel is my next stage of planning. My husband and I are heading to New Orleans in a week with friend, although we will be driving there. Then I head to Dallas before the month is over for a music show with a friend. Both trips include meetings with artists in SMIH and visits to the Museums of Art. Technically “pleasure” trips, work and art are, as usual, always included. I know I will be in Austin for a music show in March, a few days after SMIH. I know the West Austin Studio Tours are in April this year, and last year was so much fun, I won’t be missing that! In May I will be heading back to Dallas for the Cindy Sherman exhibit. That will be such an exciting trip! I spent several hours in the exhibit at MOMA last March and look forward to doing that again.
I will also be in Detroit visiting someone very dear to me, I think in the beginning of June, but I will be flying there. However, it would be really easy to hop on the Megabus to Chicago. I have visited both cities before, although not in quite a while. I was lucky enough to see Throbbing Gristle perform in Chicago a few years ago. That was a pretty legendary show I was lucky enough to attend. Detroit has some great art to visit such as the DIA, Detroit Museum of Contemporary Art, and cool galleries like CPOP. In Chicago, there is the Art Institute, Chicago Museum of Contemporary Art, and I wouldn’t miss an opportunity to visit my friend, artist, Grayson Bagwell, currently attending Grad School at Columbia. He is in SMIH this year. I keep dragging him back to San Antonio to exhibit. And I keep visiting him. He used to live in Brooklyn, so of course I would pop up there. When he attended Pratt he was fantastic enough to take me on a tour and to the Grad office. It is the school with my dream program, a dual masters program in Art History and Information Sciences (Library Sciences). They offer a summer program to study in Venice and do internships with the Met. Their main campus is in Brooklyn, but their Art History campus is on Manhattan. It would be perfect since my husband is also interested in attending Grad School in New York, at the New School. He is an experimental writer looking for an untraditional program. Although with his high GPA and great references, I’m pretty sure he could get in anywhere. It’s me I’m a little worried about. My GPA is slightly lower due to not dropping a one class in time. Really. That killed my GPA for a few semesters. I am now just thrown in the average pool. Which is why I am hustling everyday, trying to build my resume and get my name out there so I stand out when I do apply. I need scholarship money to live in New York. Oh yes, please let me learn all about curating in New York!
And what about “work?” I mean, I am always working, always glued to my phone or laptop, always attending art exhibits and meeting people. What I really mean is paying work. Regularly. Money is a funny thing. I swear I don’t live by it, but it sure does make my plans come together much more smoothly. As of now, I don’t have anything scheduled until February. January is always the slowest month for me work wise. Everyone has already taken their vacations during December and won’t take time again until the summer. It’s a little tough financially, but I always have a lot to do. Last year I learned I better focus on SMIH or it definitely catches up with me all at once. Not to mention I need to organize my life again. Spring cleaning is serious business to me, after the whirlwind of my first open studio, the holidays, art events, and parties, I am completely disorganized. My house and studio are normally a wreck. So is my brain. I will set up my calendar and travel, begin to work on my house so it no longer looks like a war zone, clean my studio, go back to yoga to relax my mind, oh, and breathe. I have to be able to clear through some of these things before I can focus on my art again.
Being self employed is not for everyone. You have to be a go-with-the-flow kind of person, which I am only sometimes, and have lots of confidence, which I do most of the time. Inviting people you’ve never met before to work with you at a place/event they have never heard of (mainly out of town artists), you have to sound like you know what you’re doing, or they’re not interested. Sometimes they’re not interested even when they do know you and what your doing. Marketing to strangers. Yes, I have definitely built up this skill in the last year. Also fundraising. I could not possibly afford everything I want to do, so I do need help. I’m very fortunate to have people believe in me. I have produced a few events now, worked with quite a few artists, and have had a good track record by showing up and supporting many artists and art events. Believing I will make enough money by the end of the month to pay for my studio rent, my art supplies, and any art events/parties I am throwing. That is the most go-with-the-flow-part. Sometimes that gives me a huge headache, but again, I am learning to breathe and take it one day at a time.
I am excited to work on my art again. I have several big projects that I am working on and now have the space to begin to put them together. I have to be ready with my work for the studio tour in March. Both displaying my older work and really putting in some time on my newer projects. The studio tour is in about eleven weeks and I want to have something to show. I have been fortunate to receive so many opportunities when I have shown I am serious about curating. Who knows what will come up when I show I am interested in showing my art again. The last few shows I have been in were invitational group shows, but I will be ready this year to exhibit some of the major projects I have been working on.
So I begin to prepare for the new year. Whatever that means.