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Kiddie Klink Kare: A Day at the Capitol
The good news is the sex-abuse allegations broke when the legislature was in session, when they could address every screen door on the submarine, so to speak. The even better news is we're meeting up with our SXSW day-parties escort, "Congressman Al" Rindfuss, who couch surfed during his failed bid to win the Democratic nomination in 1998 for Henry Bonilla's District 23.
Dirty words other than lethal injection
Today, I was a special guest (i.e. not on the program, but scheduled myself in anyway) at the Alternative Spring Break, persented annually by the Texas Students Against the Death Penalty. I'm blogging from Austin. I probably should've mentioned it to y'all earlier, given our avid readers in Austin a heads up, but seeing as those avid Austin readers don't exist (yet) .... well, OK, I kinda forgot. Sorry.
Anyhow ... the Alternative Spring Break is a week of anti-death-penalty activism training for high school and college students. They came from all over the country, and MTV is supposedly following it, as are the ACLU Freedom Files producers.
I was inserted into the last 15 minutes of a "Youth Media Training" seminar led by a Campus Progress representative named Pedro. Mostly, he taught them how to write media alerts for their rallies, panels, and other public events. I was supposed to fill them in on the journalist's side of things. I'd planned on telling them about the Bocharski case (Arizona Supreme Court decision: pdf), and how I first found myself covering death row ... but then I realized that would take my entire slot and half of the next, which featured Bryan McCann, coach of UT's champion debate team.
This a photo from before it
started. There were 14 of them, all lazing back in the comfy leather
chairs usually filled by State Board of Education asses. You can see
the vote-board in the back, and on each of our desks sat an
aye/nay/abstain button-box. When my turn came up, I went with what I
thought were the most important bits; how the alt-newsweekly cycle
works, that you need to get calendar items to Nicole (email) two
weeks in advance, and so forth. After that, I talked about using
Myspace to contact the families and friends of death-row
inmates, and that would've been what stuck with them -- Wow!
Journalists use Myspace too? -- but then the big indie rock
kid with the glasses raised his hand. He was one of the stragglers, so
he's not in this picture. He was sitting in that first empty chair on
the left.
He asked what kind of control/freedom I have over my work?
My response ... I didn't talke about about ethics, or responsibility, or free speech, or the wall between editorial advertising. The first thing that came to mind and out my mouth: "This last week, the words vagina, twat, cunt and bald pussy made it into our copy."
As soon as I said it, I heard the sucking in of air. That's when I remembered a few of them were high-school students. Completely inappropriate? Nah ... they're anti-death penalty kids. They'll need to learn how not to flinch
Next, I called on the dreadlocked girl in the front row (also not in the picture), who asked politely, if I could explain how they were used. I explained that I described Colin Farrell as "that fucking irish cunt" in the crossword (that was a giveaway). And then I quoted the Queque's vocabulary as evidenced by this week's tired rant on 210SA's euphemism, "in between down there."
And that's probably what they'll remember ... well, some of them at least. I think I convinced two San Antonio high schoolers to start writing letters to the editor. I'll settle for comments on the blog. Hooman took a copy of the Bocharski decision that I'd brought. All in all, it went OK, and I'll do better at my upcoming lecture at Texas Intercollegiate Press Association convention. At least I'll know what not to bring up.
It was also successful on the newsgathering front: I got some background on the two anti-death-penalty artworks removed by Rep. Borris Miles. But I think I'll sit on that for a bit.
He asked what kind of control/freedom I have over my work?
My response ... I didn't talke about about ethics, or responsibility, or free speech, or the wall between editorial advertising. The first thing that came to mind and out my mouth: "This last week, the words vagina, twat, cunt and bald pussy made it into our copy."
As soon as I said it, I heard the sucking in of air. That's when I remembered a few of them were high-school students. Completely inappropriate? Nah ... they're anti-death penalty kids. They'll need to learn how not to flinch
Next, I called on the dreadlocked girl in the front row (also not in the picture), who asked politely, if I could explain how they were used. I explained that I described Colin Farrell as "that fucking irish cunt" in the crossword (that was a giveaway). And then I quoted the Queque's vocabulary as evidenced by this week's tired rant on 210SA's euphemism, "in between down there."
And that's probably what they'll remember ... well, some of them at least. I think I convinced two San Antonio high schoolers to start writing letters to the editor. I'll settle for comments on the blog. Hooman took a copy of the Bocharski decision that I'd brought. All in all, it went OK, and I'll do better at my upcoming lecture at Texas Intercollegiate Press Association convention. At least I'll know what not to bring up.
It was also successful on the newsgathering front: I got some background on the two anti-death-penalty artworks removed by Rep. Borris Miles. But I think I'll sit on that for a bit.
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm at Artpace, with food provided by Sip. Call Artpace for reservations (212-4900).
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which was a collection photos he took from a recent trip to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two entities is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue.
The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more to stand in line to not see a show) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites.
Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
Posted by Mark Jones on 3/12/2007 Permalink | Comments
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm at Artpace, with food provided by Sip. Call Artpace for reservations (212-4900).
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which was a collection photos he took from a recent trip to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two entities is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue.
The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more to stand in line to not see a show) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites.
Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
Posted by Mark Jones on 3/12/2007 Permalink | Comments
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm at Artpace, with food provided by Sip. Call Artpace for reservations (212-4900).
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which was a collection photos he took from a recent trip to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two entities is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue.
The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more to stand in line to not see a show) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites.
Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
Posted by Mark Jones on 3/12/2007 Permalink | Comments
On the Street - Artpace, 2nd Saturday, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renogitiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
Since the Current has started the blog I don't believe the Spurs have lost a game. The synergy between the two groups is not obvious but palpable in a sort of indirect way.
Ebert & Roeper's 2 thumbs up review of 300 is perplexing. Granted Ebert was on leave this episode, but how could two professional film critics approve this movie?
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
On the Street - Artpace, 2nd Saturday, 300, and SXSW Free Shows
As SXSA SA Indiefest proudly (and nervously) took center stage for the week, a few other events and occurrences transpired across our effortlessly serendipitous yet lamer than lame city.
On Thursday night Artpace unveiled the latest work from its three artists-in-residence: Glenn Kaino, Robert Pruitt, and Katja Strunz. I arrived in time to hear the artists' dialogue, which helped give an important understanding to the work. According to curator Debra Singer the artists were chosen with contrast in mind, which is cool because in knowing that I don't need to try and force some tenuous connection between the three. Nonetheless, at least for two of the artists, a shared interest in music and comic books were revealed as influences. For Pruitt, soul/funk album covers were a specific point of departure.
Pruitt's exhibit of photos, drawings, and sculptures "exemplifies his renegotiation of stereotypes of black identity." {1} Pruitt came across as very sincere and thoughtful as he talked about his work. He mentioned a shared theme in black culture and history - looking for a way out. By that he meant escape to another place, and made the connection between the writings of Marcus Garvey to the intergalactic "travels" of Sun Ra to the album covers of Parliament Funkadelic. In several of his pieces, Pruitt created his own escape narrative as different characters look off into the distance waiting to be saved.
If my ears were correct this drawing was entitled "Waiting for the Mothership" - an apparent allusion to the P-Funk album "Mothership Connection".
This sculpture, 100 handcuffs welded together in the shape of a... flyer saucer?, is perhaps another hidden allusion to "Mothership Connection." Song #5 of the album is entitled, that's right, "Handcuff."
Katja Strunz spoke the least during the dialogue. Because of this, I learned little about her show, except that it was titled "Lazy Corner", assuming I heard her right. And worse, my camera battery died before I was able to photograph any of her steel sculptures.
I was able to borrow this image...
...which is not justice. There will be one more opportunity to ask her questions for those interested - a brown bag lunch on Wednesday April 11 from noon to 1pm, with food provided by Sip. Call Artpace for reservations.
Glenn Kaino, in some ways, stole the show during the dialogue with stories about his other life working for Napster and directing a commercial for the Superbowl. Kaino's kinetic energy translated to his work - both with We Will Breathe Later (3 hourglasses spinning around with the help of an off-angle centrifuge) and Quarter Mile ( a three-channel video installation.)
Quarter Mile contrasts the varying movements of three different people navigating a quarter of a mile: 1) jazz singer Olu Dara walking through Harlem, 2) race car driver Kenji Yamanaka speeding past a wreck, and 3) "Olympic athlete Sinjin Smith sprinting away from where a destructive storm has hit." {2}
Each video channel begins and ends at the same time but changes speed throughout, expanding and foreshortening the temporal experience, and perhaps, commenting on the Law of Relativity.
In We Will Breathe Later sand from 3 different locations are placed in the separate hourglasses - 1)from the Middle East, 2) from Texas, 3) from silicon valley. Through the motion of the machine the sand is never allowed to drift downward. The title of the piece is a quote from some anonymous but infamous graffiti from the May 68 uprisings in Paris.
On Friday at Holden's 101 Bar graffiti art was on full display as various artists donated their work to raise money to pay medical bills for a friend. It was probably the most people I've seen yet at Holden's, though one can't tell from this photo..
...because everyone else was photo right getting hammered.
Also on Friday I stopped by i2i Gallery at 2110 McCullough to see the photos of Justin Parr. The show was entitled "Invisible Houses", which were photos from a trip he recently took to Marfa. Here Justin smells one of the dozens of small photos of Marfa featuring a reoccurring red balloon.
Justin's point of view?
On Saturday I heard that a band Temple of Bon Matin was going to play at 1906 S. Flores. From what I read online I expected to hear a cross between Ornette Coleman and Judas Priest. The bridge between this gap was loudness. Instead, they played a much quieter set, and perhaps, lost a chance to embrace San Antonio's leathery, metal roots.
Most people were inside 1906 S. Flores for "2nd Saturday" wherein several galleries at this warehouse unveiled new artwork. At Fl¡ght Gallery, Robert Tatum and Jason Gonzales shared a show. Below is a vanishing point of Tatum's toilet dispensers entitled "love is...letting it flow."
This gentleman decided to get comfortable with the artwork before he considered making a purchase.
Here are a couple of faceless but irreverent paintings by Jason Gonzales...
Since the Current has started the blog I don't believe the Spurs have lost a game. Coincidence? The synergy between the two groups is not obvious but palpable in a sort of indirect way. If the Spurs do lose a game then I feel confident that chisme libre will continue. The main reason for the Spurs unexpected return to form is the dominating play of Manu Ginobili. He hasn't played this well since his heroic exploits in the playoffs of the 2005 Championship. Another coincidence - the concomitant improved play of Manu and the phenomenon of manusexuality. It's not too late to take the quiz. Are you a Manusexual?
On Sunday morning after having breakfast at the solid Magnolia Pancake Haus, I went next door to the Embassy theater to see the animated sword and sandals disaster 300. Later that night I saw Ebert & Roeper's 2 thumbs up review of 300, which is perplexing. Granted Ebert was on leave this episode I saw, but how could two professional film critics approve this movie? Seduced by the cgi spectacle, they were confused into equating faithfulness to a graphic novel with interesting filmmaking. The only real plot twist was when a Benedict Arnold hunchback exposed the secret goat trail to the invading Persian army.
Looking ahead, after SA Indiefest, I realize more than a few people would like to head up to Austin for SXSW. I remember getting a free wrist band in 1993 (before one needed anything more) and still thinking that the $40 price was too much. Now one needs a badge worth half a thousand dollars to be able to confidently see anything. I've written the festival off since then as being too much of a hassle. Now, the overwhelming success of the festival has actually created a critical mass where the festival is worthwhile again, sort of. The preponderance of free day shows makes the festival actually interesting, even if they have nothing officially to do with the festival and are basically mutualistic parasites. Here is THE website to check for free musical events in case anyone wants to make the trip. Scroll down to Wednesday and beyond for the free stuff. Enjoy (at your own risk.)
{1} Kate Green, Artpace Gallery Notes, New Works 07.1
{2} Ditto
Campaign Tactics
Last night, I hit the Jupiter coffee shop off Alamo while waiting for
the Flight Gallery to open its Robert
Tatum/Jason Gonzales show. Self-centered, as always, I had to
admire the Current
stack on the counter.
On first glance, I thought,
"My god, they've vandalized the best cover we've had since Chuck
spoofed Grand
Theft Auto." On closer inspection, I realized that they're
just really gung-ho to win SA
Current's Best Of honors. I'm not endorsing Jupiter, but I am
applauding the effort. Is anyone else out there lobbying hard for Best
Of?
