“…where are you then looking at? I am hoping that you then h ave a self reflective act of looking that you are looking\, that you are ac tually seeing yourself see to some degree and it does reveal something abou t your seeing as opposed to being a journey of mine seeing…”
James Tur rell explaining about his work to Robert Hughes in American Visions episode 8 hosted by Robert Hughes\, created by BBC
I was first exposed to Jam es Turrell’s work many years ago when I chanced upon a documentary narrated by Robert Hughes called “American Visions”. In episode 8\, James Turrell w as introduced as a conceptual artist with grand ideas\, many of his creatio ns involved manipulating the viewer’s senses through the use of unique spat ial environments. James’ works were essentially very simple and minimalisti c to say the least\, however the vision that he was trying to achieve caugh t my attention in a great way.
James Turrell’s hope to evoke a self-re flective state in the viewer is a difficult and at times idealistic respons e to expect from diverse viewers. In most cases\, the general public is usu ally not used to critical or self-reflective examinations. Thus\, most arti sts are hopeful but usually apprehensive when trying to reach this holy gra il of art making. However so\, in my view many of my artistic heroes have a lready hit the grand prize\, just to name a few\, these include MC Escher\, Caravaggio\, Lorenzo Bernini\, Ron Mueck and James Turrell. All of who hav e successfully manipulated the viewer through certain metaphysical properti es of their artworks. Nonetheless to achieve this effect\, the works had to be conceived with hindsight\; Escher exploited our visual flaws by designi ng his prints to confuse our sense of perspective and dimensional space\, C aravaggio played with lights and shadows in his paintings to focus our atte ntion on the heightened drama\, Lorenzo Bernini and Ron Mueck both created realistic figures in their respective eras\, hoping to make us conscious of the physical flesh\, and finally James Turrell took pains to create grand spatial “windows”\, that would force viewers to focus only on one area nega ting the rest of the void.
Well\, I am no Caravaggio or MC Escher\, bu t in preparation for my new series\, “Every trick only needs one truth”\, I became increasingly mindful about the relationship between the delivery of the concept and the outcome of the artwork. Like James Turrell\, the trick was to engage the viewer on a sublime and almost psychological manner. In effect\, the artwork was not the outcome\, but the process of engagement wa s.
It actually doesn’t take much for one to recognize that the method of engagement with an artwork is as important as the physical artwork itsel f\, the challenge is to distillate one’s concept to its most fundamental ke y-point\, and to deliver it in a succinct and interactive way. It took me s ome time before I could attempt to articulate this relationship in my work.
During the initial conceptualization of “Hybrid Society – Schizophren ia”\, I was keen to explore the contextual dilemma of preconceived visuals against the meanings of written text\, hence the creation of the paintings “Urban Species”. In effect\, the series of paintings were composed to first appeal to the viewer from a distance\, and as the viewer moved in to read the metallic title on the frame\, he or she is confronted with a conflictin g name that doesn’t suit the image. Take for example\, the image of the wol f below\; it bears a highly questionable tag at the bottom of the frame tha t reads\, “Mr. Honest”.
For “Urban Species”\, the whole setup was to p ut across the basic premise “to never judge a book by its cover”\, and to s uggest that our inner personality is often inherently opposite to that of o ur outward social persona. As with the painting above\, many works were als o presented in a similar fashion throughout the series. Like many ideas\, i t didn’t occur to me until much later that many works\, including my own\, were technically very narrative in nature\, hence making it a means to an e nd. And what made “Urban Species” so appealing to me was the fact that I ha d played a little “trick” on viewers to induce them to investigate the work further. On realizing that the title and visual was contradictory\, viewer s would then grasp the full “truth” behind the painting.
“Turrell’s ar t doesn’t happen in front of your eyes\, it happens behind it...”\, Robert Hughes responding to James Turrell’s statement from the very beginning.
“Urban Species” among others\, was a minor attempt at engaging the viewer in a direct and humorous way. However\, after “Hybrid Society - Schizophre nia” - my last series that spanned 4 years\, I was left with a splatter of disparate ideas that couldn’t seem to fit into a nice and neat package.
While floundering around to identify what was the common thread that link ed all the new ideas together\, I came across an online article from the jo urnal: Nature Reviews Neuroscience called "Attention and Awareness in Stage Magic". It was a science research paper conducted by researchers at the Ba rrow Neurological Institute in Phoenix\, Arizona\, to look at the neuroscie nce of magic.
Teller\, one half of the magician duo of Penn and Teller \, was one of the coauthors\, and its publication was a signal event in a f ield some researchers are calling “Magicology: the mining of stage illusion s for insights into brain function.” On one hand\, the researchers were tot ally baffled by the cognitive workings of the brain when it responded to th e deceptive illusions. But on the other hand\, the participating illusionis ts were having a field trip\, contributing to most of the study by providin g valuable insights into the age-old craft of fooling the viewer. To say th e least\, their insights were a joyous read.
“The magician must sell p eople a lie even as they know they're being lied to. Unless the illusion fe els more real than the truth\, there is no magic.” - Teller
Amongst th e many tricks that were deciphered\, three fundamental facts became apparen t\; the first\, the illusionist assumes that the viewer knows that the tric k is a lie\, a trick is always designed with this basic condition in mind\, by exploiting the heightened sense of the viewer\, it is actually easier f or the illusionist to turn the tables on the viewer. The second\, the illus ion is only considered successful when both the mind and the heart of the v iewer are befuddled. Finally\, and most ironically\, the viewer is always a willing participant to the lie\; he or she actually wants to be convinced and fooled\, failing to do so makes it more disappointing than pleasurable.
"Every time you perform a magic trick\, you're engaging in experiment al psychology\," - Teller
“Tricks and truths”\, have always been partn ers in crime\; to “trick” is to outwit\, to deceive with cunning and sinist er means if necessary. The outcome of this trickery is a “victim” with an i llusion and a piece of arbitrary info that has been internalized as “truth” . However so\, according to the article by Barrow Neurological Institute\, the victim is often a willing participant and the trickster a possible vict im to yet another’s trick. It appears that we are constantly in a cycle of trickster and victim role-play when it comes to handling issues of “truth”.
It is noteworthy to realize that this “trick and truth” hypothesis is also prevalent in the real world context as well. Why are we so attracted to beauty and perfection when we know that they are merely visual pleasures ? Why trust words when there is a multitude of contradictory meanings? If r eligion is infallible\, can belief turn lies into truth and vice versa? Wha t about the comparison of value\, say\, symbolic versus physical\, life ver sus death? The list goes on\, and the fact of the matter is\, in the end\, we are all victims and tricksters\, willing and contributing participants t o our own dilemmas and contradictions.
After having this epiphany\, I began to link the dots to my concepts\, “Every trick only needs one truth” begun to take shape. I was keen to explore the fundamental shortcomings of human perception and our ever-evolving judging criteria. I am also curious about the ironies of humankind as gullible victims to questionable and arbi trary “truths”\, and yet guilty of being in cahoots with the sinister trick ster at the same time.
Granted that contemporary life is marked by man y contradictions\, it is perhaps only fair to recognize that none of us are that innocent anymore. The most fundamental “trick” that we play is to lie . Be it an inevitable pervasion from our DNA or an erroneous upbringing\, e ach generation struggles to achieve that fine balance of “truths\, tricks a nd lies”. Therefore amidst this balance of self-preservation and that sneak y sleight of hand\, I attempt to play the trickster\, hopefully to stir up one’s curiosity and reflective understanding of the works presented.
W hile every lie can be made real as long as there is a hint of truth in it\, the trick to success depends greatly on the method of delivery. I suppose in the end\, every truth needs a trick and every trick only needs one truth .

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130516 GEO:1.3001259;103.849316 LOCATION:Art Seasons Singapore\,1 Selegie Road \nSingapore\, SEQUENCE:0 SUMMARY:Every Trick Only Needs One Truth \, David Chan UID:276014 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steve Brudniak’s work has been exhibited in more than 150 sh ows\, critiqued in over 200 publications and documentaries\, (including 8 b ooks)\, and collected by major art museums\, including Houston’s own Museum of Fine Arts.


Works include the first assemblages to travel into o uter space\, the only art to integrate the oldest life discovered on earth\ , the first sculptures to incorporate electrical lightning\, unique applica tions of human blood and more.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130503 GEO:29.7820125;-95.3737488 LOCATION:Avis Frank Gallery\,1606 White Oak Dr. \n Houston \, Texas 77009 SEQUENCE:0 SUMMARY:The Science of Surrealism\, Steve Brudniak UID:275141 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ben Mata (b. 1969\, San Antonio) was raised on the Southside of San Antonio. He studied painting at Southwest Texas State University (1 997-2000) and at Palo Alto College in San Antonio (1993-96). During his stu dies\, he was a resident artist at the Guadalupe Cultural Arts Center Annex Building.  


Mata works on aluminum panels using artist oils and po wer tools to manipulate the surface. The luminous metallic surface allows h im to create a variety of textures and depths. Mata claims that this allows for a process of discovery\; he is led by intuitive responses to the surfa ce which guide him in the execution of the work.  


Mata has exhibit ed at Blue Star Contemporary Art Center\; Guadalupe Cultural Arts Center\; Galería Ortiz\, Anarte Gallery\; San Antonio\,Art House Gallery\, Houston\; and Martinez Gallery in Troy\, New York. His work has appeared in Domino M agazine (2007)\, Brilliant Magazine (2005)\, and San Antonio Magazine (2007 ). In addition\, he has been involved in several community-based projects. In 2000 he created a mural with South San Antonio High School students\, an d through the Guadalupe Cultural Arts Center Juntos en Arte program\, assis ted inmates from the Comal Detention Center in the creation of a portable m ural (2000).


Individual projects include a forty foot mural at Kluz os Martini Bar\; San Antonio(2008) and a mural for the Mary\, Mother of Pri est Chapel in Rome\, Italy\; commissioned by Rohn and Associates Design Inc . in 2010. Mata's work is in the University of Texas at San Antonio Art Col lection and many other private collections.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130518 GEO:29.753448;-95.3940638 LOCATION:BLUEorange\,1208 West Gray Street \nHouston\, TX 77019 SEQUENCE:0 SUMMARY:Point of Connection\, Ben Mata UID:271152 END:VEVENT BEGIN:VEVENT DTEND:20130518T210000 DTSTAMP:20160927T102356 DTSTART:20130518T180000 GEO:29.753448;-95.3940638 LOCATION:BLUEorange\,1208 West Gray Street \nHouston\, TX 77019 SEQUENCE:0 SUMMARY:Point of Connection\, Ben Mata UID:271153 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Celebratory Reception\, Monday June 10\, 2013


From June 1st through J une 15th\, and in conjunction with the annual Art Basel fair in Switzerland \, Venus will present the second part of its homage to William Copley with< strong> Confiserie CPLY. This project is a collaboration between t he gallery and the historic Confiserie Schiesser\, the oldest café and choc olate shop in Basel\, Switzerland\, founded in 1870 and renowned across Eur ope for its approach to candy making as fine art. 


For two weeks\, the Confiserie will offer customers to i ts street level shop a special limited edition product: hand made chocolate s decorated in relief with figures from CPLY’s painting ‘Villa Rosa’ (1959) . In the tea salon located on the second of third levels of its landmark bu ilding across from the Drei König Hotel (Grand Hotel Les Trois Rois)\, Conf iserie Schiesser also will serve kirsch with CPLY chocolates alongside its regular menu items\, in spaces decorated with custom-made CPLY wallpaper de rived from the wallpaper pattern key a CPLY canvas. In these rooms Venus wi ll present eight major paintings by the artist. 


Confiserie CPLY coincides with the 40th a nniversary of Art Basel’s first special single-country exhibitions in 1973 – a show devoted to American art. < /span>


Confiserie Schiesser is located at Markplatz 19\, in Basel Switzerland. It is open to the public


Monday through Saturday\, from 9AM to 6PM. The Confiserie will remain open until 1AM from 1 June through 15 June\, in conj unction with the Confiserie CPLY< /strong> project.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130601 GEO:47.5580111;7.5873488 LOCATION:Confiserie Schiesser\,Marktplatz 19 \nBasel\, 4001 SEQUENCE:0 SUMMARY:Confiserie CPLY\, William Copley UID:280966 END:VEVENT BEGIN:VEVENT DTEND:20130610T010000 DTSTAMP:20160927T102356 DTSTART:20130610T180000 GEO:47.5580111;7.5873488 LOCATION:Confiserie Schiesser\,Marktplatz 19 \nBasel\, 4001 SEQUENCE:0 SUMMARY:Confiserie CPLY\, William Copley UID:280967 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ingo Nussbaumer is not only proficient in absolute geometry\ , it is also color that appoints his artistical and theoretical work. There is no way of avoiding Goethe\, who speaks in his theory of color about the aesthetic and moral effect of color. Colors are able to record and express the vaguest and the strongest movements of the soul and simultaneously the y claim dedication to the depth and to the abundance of their character. Th eir area stays mysterious and unseizable.


Galerie Hubert Winter wil l present new works by the Viennese artist Ingo Nussbaumer: four paintings\ , four watercolors and a staggered object. The last one  mentioned consists of seven panels. It is titled „Bild-Abnahme“ (picture-abatement) and relat es to Jaques-Luis David´s „Oath of the Horatii (Le Serment des Horaces)“ fr om 1784 (Louvre\, Paris). This is the first part of a larger project that t he artists calls „Die Befreiung der Horatier“ (The release of the Horatii)“ . Ingo Nussbaumer focuses on the geometrical composition that was developed in the French Age of Enlightment and expresses the beginning to autonomy o f geometry in paintings.  (please compare to Hans Körner\, Auf de r Suche nach der ‚wahren Einheit‘. Ganzheitsvorstellungen in der französisc hen Malerei und Kunstliteratur. Munich 1988)


The watercolors ar e from the series „Kaspar Hauser’s Versuch die befohlene Tonlage zu torpedi eren“(Kaspar Hausers´attempt to torpedo the ordered theme). It is the sente nce that Kaspar Hauser was taught by the stranger who kept him „A söchtener Reuter möcht i wern\, wie mein Voater gwen is“(I want to be a cavalryman\, as my father was) that became for him a universal applicable explication\, usable for various meanings. Ingo Nussbaumer modulates the theme figurativ e on the basis of a leading structure.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130426 GEO:48.2041341;16.3564058 LOCATION:Galerie Hubert Winter\,BREITE GASSE 17 \nWIEN\, A-1070 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ingo Nussbaumer UID:273904 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Buildings made of concrete constructed from the inside out\, contrary to the viewer’s perspective\, let us curiously discover a labyrin th of walls\, ceilings and floors. Houses become cities. Sometimes a stair case obstructs the view. The concept of disguise provokes a detailed and sc anning observation.


In the same way\, attention is needed for Wolfr am Ebersbach’s works\, which are also concerned with urban spaces. Reductiv ely\, with little colour\, but with purposefully placed highlights and cont rasts\, he designs/arranges his images with finest nuances of brightness. E bersbach focuses on the apparently unappealing and provides it with a mythi cal dimension. At the same moment he breaks it up into abstraction. After d ecrypting the extract you will recognise the perspective and a motive. He w orks with the scheme of vista and consciously creates viewing windows in hi s pictures\, which is similar to Czarnetta’s three-dimensional work. His sc ulptures lend the feeling of walking down a street of houses\, which guide us through the gallery. Transit. Keep on moving.




Wolfram Ebersbach was born in 1943 in Zwickau. He studied in Wolfg ang Mattheuer’s class at the Academy of Visual Arts Leipzig where he also t aught from 1992 to 2008. Since then\, he works and lives in Leipzig and Wur zen. 


Oliver Czarnetta\, born in 1966 in Düren\, o btained his doctorate in Art History. Since 2011 he lives and works in Leip zig and Aachen.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130504 GEO:51.327474;12.319472 LOCATION:Galerie Queen Anne\,Spinnereistr. 7 \nLeipzig\, 04179 SEQUENCE:0 SUMMARY:"TRANSIT" \, Oliver Czarnetta\, Wolfram Ebersbach UID:273884 END:VEVENT BEGIN:VEVENT DTEND:20130504T210000 DTSTAMP:20160927T102356 DTSTART:20130504T110000 GEO:51.327474;12.319472 LOCATION:Galerie Queen Anne\,Spinnereistr. 7 \nLeipzig\, 04179 SEQUENCE:0 SUMMARY:"TRANSIT" \, Oliver Czarnetta\, Wolfram Ebersbach UID:273885 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ATLANTA – Hagedorn Foundation Gallery is please d to presenta solo exhibitionof Lucinda Bunnen’s photographic series on the nude. The artist’s twenty two black and white works shot in natural and stu dio lighting are a departure from her strong resume of landscapes and trave l photography\, but align with them in their exploration of the ephemeral e veryday and fresh view of subject. Like the surrealists of the thirties and forties and the feminists of the seventies and eighties\,* Bunnen’s work i n this exhibition frequently questions assumptions about seeing and about g ender expectations by producing images that are uncertain in nature. At fir st ambiguous\, her photographs call into question the viewer’s perception: is her subject a body\, another form or some other categoryof artistic expr ession.


Lucinda Bunnen is a p racticing artist (photographer) living in Atlanta\, Georgia.  She has trave led worldwide for her work and has had numerous one and two person shows th roughout the Southeast.  She has also participated in many national\, inter national and regional juried shows such as:  “Atlanta Artists in Buenos Air es” in Argentina\; “Atlanta in France” in Toulouse\, France\, “New Southern Photography:  Between Myth and Reality” at the Burden Gallery in New York City. She has lectured\, given workshops and curated exhibitions across the Southeast United States.  She was both donor and curator of “Subjectiv e Vision:  the Lucinda W. Bunnen Collection of Photographs\,” a collec tion of contemporary photographs assembled for Atlanta’s High Museum of Art .  


Ms. Bunnen’s work is in the collections of the Museum of Modern Art\, NY\; the Whitney Museum of American Art\, NY\; the Museum of Fine Arts\, Boston\; the High Museum\, Atlanta\; and the National Museum of Women in the Arts\, Washington D.C.\, among others.


This ye ar\, Lucinda Bunnen has been chosen to receive the fourth annual Nexus Awar d from the Atlanta Contemporary Art Center in Atlanta\, Georgia. The award publicly acknowledges an individual who has made a profound contribution to contemporary visual art in Atlanta and beyond.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130426 GEO:33.819347;-84.37002 LOCATION:Hagedorn Foundation Gallery\,425 Peachtree Hills Avenue \nAtlanta\ , GA 30305 SEQUENCE:0 SUMMARY:Nudes \, Lucinda Bunnen UID:278931 END:VEVENT BEGIN:VEVENT DESCRIPTION:

南北に長い国日本には、その地その気候風土に寄り添うように染めもの、織りものがあります。農閑期の女たちの織りものから始まり 、アートとして日本伝統工芸展や国画会に出品するような貴重な布になって来ました。
又、更紗はインドネシアのビンテージ、豊穣を意味し本場の植物 染料で染め上げた布を美しい帯に仕上げました。和更紗も加わり、珍しい布が集まります。
見た目にも涼しげな布に触れていただきたいと思っておりま す。


DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130606 GEO:35.6740806;139.7683587 LOCATION:Ippodo Gallery\, Tokyo\,1-8-17\, Ginza \nTokyo\, 104-0061 SEQUENCE:0 SUMMARY:Exhibition zone of exposed to those woven in the summer UID:280672 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Die Konrad Fischer Galerie freut sich\, Arbeiten aus dem Frü hwerk von Mario Merz (1925–2003) präsentieren zu dürfen.

Mario Merz gilt als ein Hauptvertreter der Arte Povera\, die mit ihren Bezügen z ur Konzeptkunst\, zur Land Art\, zum Informel sowie zur Art Brut und mit de n Werken von Giovanni Anselmo\, Alighiero Boetti\, Per Paolo Calzolari\, Gi no de Dominicis\, Giuseppe Penone\, Michelangelo Pistoletto und Gilberto Zo rio zu den wichtigsten Bewegungen der europäischen Kunst nach 1945 gehört.< br />
Obgleich das Oeuvre von Mario Merz eher mit den ikonischen Igl us aus Stein\, Glas und Reisig und den installativen Arbeiten mit Fibonacci -Zahlen aus Neon verbunden wird\, beginnt die künstlerische Karriere des Au todidakten in den frühen 1950er Jahren als Maler.

Neben den fr ühen\, bisher noch nie gezeigten Öl-Portraits aus den Jahren 1956 und 1960 zeigt die Konrad Fischer Galerie in Zusammenarbeit mit den Nachlass von Mar io Merz erstmals auch frühe abstrakte oder an vegetativ-animalischer Motivi k orientierter Malerei aus den Jahren 1955 bis 1965. Dazu zeigen wir die wa ndfüllende Arbeit „Pantere sul cono“ von 1978\, zuletzt gezeigt 1994 im Ste delijk Museum in Amsterdam und davor im Guggenheim Museum\, New York.


Konrad Fischer Galerie gladly announces an exhibition of early pa intings by Mario Merz (1925–2003).

Mario Merz has to be consid ered as being the principal representative of Arte Povera – one of the most influential European postwar movements in art which includes references to Conceptual Art\, Land Art\, Informel and Art Brut and features works by Gi ovanni Anselmo\, Alighiero Boetti\, Per Paolo Calzolari\, Gino de Dominicis \, Giuseppe Penone\, Michelangelo Pistoletto and Gilberto Zorio.

Though the oeuvre of Mario Merz is\, more or less\, connotated with his iconic igloos made of stone\, glass and brushwood as well as with his neon Fibonacci numbers the actual carreer of the self-taught artist began as a p ainter.

Along with his early oil portraits executed in 1956 an d 1960\, Konrad Fischer Galerie and the Estate of Mario Merz are presenting early abstract paintings including vegetative and animalistic motifs. In a ddition\, we show the wall-size "Pantere sul cono" (1978) which has been ex hibited before at Stedelijk Museum Amsterdam and at Guggenheim Museum\, New York.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130503 GEO:51.2277802;6.8068417 LOCATION:Konrad Fischer Galerie Düsseldorf\,Platanemstrasse 7 \nDüsseldorf\ , 40233 SEQUENCE:0 SUMMARY:PITTURE 1955 - 1965\, Mario Merz UID:273483 END:VEVENT BEGIN:VEVENT DTEND:20130503T210000 DTSTAMP:20160927T102356 DTSTART:20130503T180000 GEO:51.2277802;6.8068417 LOCATION:Konrad Fischer Galerie Düsseldorf\,Platanemstrasse 7 \nDüsseldorf\ , 40233 SEQUENCE:0 SUMMARY:PITTURE 1955 - 1965\, Mario Merz UID:273484 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Lawndale Artist Studio Program is part of Lawndale’s ong oing commitment to support the creation of contemporary art by Gulf Coast a rea artists. With an emphasis on emerging practices\, the program provides three artists with studio space on the third floor of Lawndale Art Center a t 4912 Main Street in the heart of Houston’s Museum District. This exhibiti on features residents for the seventh round of the Lawndale Artist Studio P rogram\, DOMOKOS  /  FUTURE BLONDES (Domokos Benczédi)\, Nancy Dou they &\; Patrick Turk.


DOMOKOS  /  FUTURE BLONDES 0.0.0. 0. presents new works on aluminum\, installations\, disposable/fre e items\, video manipulations and a sound series to accompany his new body of work created during Lawndale's 2012-2013 Artists Studio Program. These w orks are a visual / aural extension of the sound and concept of his ongoing work with the experimental music project\, future blondes network / ne twork / .


Nancy Douthey wanders thro ugh the Lawndale halls in Dom’s polkadot pajama pants and oversized slipper s. He has let her borrow these items in an attempt to help her look present able for tonight’s guest. She has locked herself out of the studio for the fourth time  - this time without pants and only in a blue striped button do wn men’s shirt in which she has a three foot pile of in the studio and has given as a gift only once to Lane Hagood. Meanwhile\, Patrick hosts the Looking at Art collectors group and is in no position to provide word s of comfort or advice – she loves his advice. Her phone is also locked in the studio. She tries to use Facebook on Dom’s computer from 2001 to make c ontact with the outside world – this world consists of one person – Dennis Nance. She is known to make regular late night phone calls to Dennis reques ting the third set of keys to get back into her studio all the while trying to take a bath in the large industrial sink on the third floor with the or ange industrial soap in order to wash all the pink sugar off of her body in hopes of regaining a good grip on the 10 lb. camera she is borrowing from her cop friend that she met during her last car accident on the way to work . She is making work based on ideas around the drama of performance and the mystery of what is and what might be and what we can only wish for.

\n< p>Patrick Turk's highly detailed collages not only use ima ges of the body\, or body parts\, but are meant to excite a physiological e xperience for the viewer. Turk is a story teller who uses psychedelic movem ents and intricate designs to captivate the viewer and bring them into an e xotic reality where the body becomes more than it seems. The work produced during the Lawndale Artist Studio Program is a glimpse into Earth’s future as The Superorganism\, in which the planet’s surface becomes one g igantic\, interconnected biomass comprised of all of the flora and fauna on Earth.  The integration is both biological and telepathic creating a plane tary network in which the whole truly is comprised by the sum of its parts. This transformation begins as a last ditch effort to save humanity\, reduc ed by plague\, from imminent extinction.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130510 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:Round 7 • DOMOKOS / FUTURE BLONDES\, Nancy Douthey\, Pat rick Turk UID:275308 END:VEVENT BEGIN:VEVENT DTEND:20130510T203000 DTSTAMP:20160927T102356 DTSTART:20130510T183000 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:Round 7 • DOMOKOS / FUTURE BLONDES\, Nancy Douthey\, Pat rick Turk UID:275309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Through installations\, sculptures\, videos\, and sound piec es\, Justin Boyd’s work explores Americana and the American Landscape in se arch of true American spirit and inspiration. In finding these moments and stories that define us and the environment we live in\, it is Boyd’s hope t o make work that expands upon those histories and locations\, and opens the m up for current day exploration and participation. Boyd will be creating a site-derived sound installation in the Cecily E. Horton Gallery employing the sounds of heartbeats\, railroads\, comets and homecoming mum-bells.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130510 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:I'll Send The Message Along The Wires \, Justin Boyd UID:275310 END:VEVENT BEGIN:VEVENT DTEND:20130510T203000 DTSTAMP:20160927T102356 DTSTART:20130510T183000 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:I'll Send The Message Along The Wires \, Justin Boyd UID:275311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Abhidnya Ghuge’s installation begins with an original wood b lock carving that is printed on thousands of paper plates\, which are trans formed through simple folds to create a larger organic form. For Ghuge\, th e meditative process of carving the woodblock\, printing and transformation of the paper plates suggests the possibility of preciousness and indispens able beauty. The site-specificity of the installation allows the form to ch ange\, thus echoing the global and ever changing nature of “home” in today’ s fast pace\, mobile culture.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130510 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:Halls without walls\, room to feel in. The door awaits\, your retur n within. \, Abhidnya Ghuge UID:275312 END:VEVENT BEGIN:VEVENT DTEND:20130510T203000 DTSTAMP:20160927T102356 DTSTART:20130510T183000 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:Halls without walls\, room to feel in. The door awaits\, your retur n within. \, Abhidnya Ghuge UID:275313 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PRECARIOT is a self-portrait of the artist as a con tinental drifter in perpetual precarity. The Precariat is a term that combi nes the word “proletariat” with “precarious” to describe an emerging “barba rian” class of migrant laborers and professionals living and working precar iously\, holding temporary underpaid jobs\, lacking a political voice and i ncreasingly frustrated by their living and working conditions. Attracted by its revolutionary aspects\, Massa Lemu embraces the label and adopts it as his title. For Lemu the old patriot was proud of\, and ready to die for fa therland\, the “precariot” however is one whose only possession is the unst able and indeterminate terrain of precarity\, staking claims and maneuverin g in this uncertain landscape. In the age of heightened mobility\, PREC ARIOT focuses on processes of inspection and scrutiny\, labeling and b randing to highlight the realities of migration.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130510 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:PRECARIOT \, Massa Lemu UID:275314 END:VEVENT BEGIN:VEVENT DTEND:20130510T203000 DTSTAMP:20160927T102356 DTSTART:20130510T183000 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:PRECARIOT \, Massa Lemu UID:275315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For this exhibition\, titled Rooms\, Toebbe exhibits seven paintings composed of gouache and various mixed media materials (fabr ic\, yarn and flocking\, for example). As the title of the exhibition sugge sts\, each painting is a fastidious depiction of an interior space\, render ed in a pseudo-naive fashion. Each scene is drawn from Toebbe’s past and su btly psychologically charged: her mother’s childhood room\, the living room of a vindictive neighbor\, her parent’s living room during the Christmas h olidays. Toebbe relies mostly on memory and old photographs to recreate eac h setting. “Spaces are my prominent memories. Rooms are things you can reme mber. There’s something cathartic about recreating those memories on paper. ”


For Margie’s Room (2013)\, a scene of her mother’s childho od bedroom\, Toebbe drew on family photos of her grandmother’s hand-sewn cu rtains\, stapled wallboard and linoleum floors\, which in her mother’s reco llection was a quintessential adolescent girl’s room\, replete with sewing machine\, horse paintings\, and vanity tables. In Jean’s Vision (201 2)\, Toebbe recreated the living room of her mother’s friend\, Jean\, who c laims to have seen The Virgin Mary and each Christmas decorates her entire living room blue. The seemingly mundane interiors of Toebbe’s idiosyncratic subjects are portholes into a stranger’s life that reveal only part of a s tory.


Toebbe’s paintings and mixed media collages transform those m emories into formally executed homages about space\, geometry\, and color. The work foregrounds geometric patterns and materiality but also reveals mo ments of unexpected nuance: the landscape outside a window\, the glare on a mirror\, or the wood grain in a coffee table is subtly transformed into sm all abstract markings (a painting within a painting).


Rooms is a slice of Americana and a bit of nostalgia within a domestic frame. Are our lives really this structured? Who is doing the dusting? Do objects def ine us? Are the Christmas decorations an extension of our obsessive self? I f I pay homage to The Virgin Mary will she visit my home?



Ann Toebbe received a MFA from Yale University\, CT and a BFA from Cleveland Institute of Art\, OH. She received a scholarship fr om DAAD\, Universität der Kunst\, Berlin\, Germany in 2005\, and was awarded a residency at Skowhegan School of Painting and Sculptur e\, ME in 2000. In 1995\, Toebbe participated in the “NY Studio Program ” at Parson’s School of Design\, NY. Her work was recently exhibited in a group exhibition titled  “Open House: Art About Home” at The Elmhu rst Museum of Art\, Chicago\, IL and in solo exhibitions at the Chic ago Museum of Contemporary Art (as part of the invitational “12 X 12” series)\; Ebersmoore Gallery\, Chicago\; and Steven Zevitas Gallery\, Boston\, MA. Toebbe’s work is included in an upcoming exhibi tion titled “Paper” at the Saatchi Gallery in London. This is her fi rst solo exhibition at Monya Rowe Gallery. Toebbe lives and works in Chicago\, IL.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130502 GEO:29.901333;-81.316311 LOCATION:Monya Rowe Gallery\,4 Rohde Avenue \nSaint Augustine\, FL 32084 SEQUENCE:0 SUMMARY: Rooms\, Ann Toebbe UID:273096 END:VEVENT BEGIN:VEVENT DTEND:20130502T200000 DTSTAMP:20160927T102356 DTSTART:20130502T180000 GEO:29.901333;-81.316311 LOCATION:Monya Rowe Gallery\,4 Rohde Avenue \nSaint Augustine\, FL 32084 SEQUENCE:0 SUMMARY: Rooms\, Ann Toebbe UID:273673 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Museum will host the first comprehensive show of the Arg entinian artist Eduardo Basualdo. The recreation of natural forms\, the amb iguity of the representation of nature and the physical impact of the works of art on the exhibition space are the challenges of his artistic research .

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130301 GEO:45.8213889;0.8191667 LOCATION:Rochechouart Museum of Contemporary Art\, Rochechouart place du Ch âteau\n Rochechouart \, 87600 SEQUENCE:0 SUMMARY: Nervio\, Eduardo Basualdo UID:265024 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To coincide with Sydney's VIVID festival of lights\, Austral ia's pioneer of Lumino Kinetic Art - Roger Foley-Fogg (also known as Ellis D Fogg) - returns to SLOT with a new collaborative artwork created with Red fern talent Jessica "Jess" Cook.
Utilising electronically controlled LEDs and steel mesh\, this dynamic lightwork combines Cook's cloth weaving process with Foley's recent forays into rope lighting.  Despite a forty-yea r difference in their age\, Cook 'n Fogg share a passion for artistic colla boration and alternative process.
The ribbon LEDs play wonderfully wi th the street scape\, their bounced reflection on the shop window mingling with street signage and the tail lights of passing traffic.

DTEND:20130615 DTSTAMP:20160927T102356 DTSTART:20130514 GEO:-33.896103;151.198761 LOCATION:Slot\,38 Botany Rd\, Alexandria \nSydney\, NSW 2015 SEQUENCE:0 SUMMARY:Light Collaboration \, Roger Foley-Fogg\, Jessica "Jess" Cook UID:277504 END:VEVENT END:VCALENDAR