Wednesday, December 9, 2009

Is this Hell freezing over?

'cause that frost last week wasn't the end of it...

N [pronounced nnn] gallery debuts its first exhibition Cooler than Usual of frozen works by twelve local artists.

The gallery is a new 3.8 cubic feet at 0°C exhibition space conceived of to provide artists with a colder and smaller venue for experimental exhibition.

Cooler than Usual is a diverse of group of works specifically created to be exhibited in this unconventional space.

Daniel Adame
Elia Arce
Hagit Barkai
Claudia Cruz
Nancy Douthey
Ian Fernandez
Haden Garret
Jack Hukill
Melanie Jamison
Gary Parkins
Jon Read
Tyson Urich

Curated by Aisen Caro Chacin

Join us for a warm opening reception
8:00 PM
Saturday, December 12th, 2009
Apartment 2’s freezer,
2005 Vermont St.,
Houston, TX, 77019.

The exhibition will be on view through December 23, 2009 by appointment.

Monday, December 7, 2009

Fuck Yeah


New Work By Jack
Project Gallery
Friday, December 11th
6-10 p.m
the joanna
4014 Graustark, Houston

Thursday, December 3, 2009

That's the Good Shit


Monday, November 30, 2009

Frankly, I Don't Give A Damn

What do Wayne Dolchefino and rancid leftovers have in common?

They're both unwelcome finds a week after Thanksgiving.

Donald Lipski (photoshopped, not really there)

Wayne Dolcefino (aka Dolcefinko) has a penchant for taking on the artworld in late fall. What can explain his perennial Houston Art Alliance bashing that sprung up last year? At first it seemed like an easy target, a populist lashing of an intellectual group known for muddying the waters of progress. Then it looked like a limited-government outburst, lamenting money being spent on art in such a dire economic climate. Hell, it wouldn't have been out of character for the art expose to simply be a potshot at Jonathan Glus, HAA director, after clocking him as a mark. The whole time I defended the artworld as above this kind of dressing-down at the hands of a slack-jawed yokel.

This time around, as Dolcefino searches for fodder for his grist mill, I have a change of heart to admit. He's right. We're spending too much money on crappy art. In this town, if you can hang around long enough, wear the right clothes and make the right friends then you too can receive an HAA grant and embezzle all the money. The real problem lies in the selection committee, who continues to make bad decisions.

The Water Pump civic art piece at the Sabine Street Pump Station is a travesty. It is ugly as hell and rather obtusely useless. Yes, you can take a quick shower after you go skating at the Jamail Skatepark next door, but skaters don't take showers after skating. You're thinking of swimmers, douchebag. No one at HAA thought this was an impractical and boring art project? WTF?

Bush monument
Bush sculpture at the airport

Airport art is a stupid idea in the first place. All those sculptures at IAH? Last time I was there I only saw one- unlit, in the dark at 6 pm- and it was pretty boring. The best airport art in Houston (sorry Art Guys) is the Jim Love airplane at the arrivals gate at Hobby Airport. Let's just make 100 of those twice as large and throw 'em everywhere.
no, not that horse.

Sharon Engelstein's curt response to Police Chief Harold Hurtt weighing in on the aesthetic tip ("he cares little and knows even less about art. Let the experts do their job.") does little for her cause, but I do hope that the project is built. Even if the whole HAA project is a bust in the eyes of the money counters at least it supports a group of artists who add a lot to the artworld with their presence. One benefit of the organization not in dispute is the amount of times their employees and associates are in the society pages, raising awareness of all the artists who don't get grants in the eyes of the gentry. Ha ha.

I couldn't even watch the videos, Dolcefino's voice is a little too acid for me, but I did read the articles on 13 Undercover. Last year I was with the HAA and the artists involved, as Dolcefino went after morality issues, Glasstire, the Performance Art Lab and, indirectly, me. This economic impact survey is still a version of the "Where's the Beef?" meme that Dolcefino operates in, but this sequel is definitely better. With a lack of ambition, taste or decision-making skills the Houston Arts Alliance has bumbled millions and will probably continue to do the same. Microloans and technology grants would be a step in the right direction, actually showing up to see other shows in town and talk to people could lead to a new perspective, and installing public art in accessible residential and commercial centers would let people know that you exist. Britt was too nice with his assessment of the Lipski sculpture.

Watch this clip of Annise Parker promising to revive the Westheimer Street Festival and praising the art scene as the best part of Houston's cultural landscape. She led the Dolchefino expose in 2008, but this year she's no where to be seen. Will Parker gut the HAA and still be able to tout the art world's success in Houston?

Sunday, November 29, 2009

Spiritual America and the Immeasurable Distance
pic via Essdras M Suarez/Boston Globe

Matthew Day Jackson: The Immeasurable Distance
Contemporary Arts Museum Houston
5216 Montrose Boulevard
Open Tues. – Saturday (10 am – 5 pm), Thurs. (10 am- 9 pm), and Sun. (12 pm- 5 pm)
Through January 17, 2010

With a bushy russet beard, wearing disheveled clothes and riding a BMX bike, Matthew Day Jackson pedaled back and forth across Marfa. His brown eyes cast a friendly glow on any face he came across in the windswept West Texas town. As he went from house to house meeting, greeting, drinking and laughing, Jackson built up the kind of goodwill that usually follows gurus, gamblers and ice cream trucks. Five years after those sun-parched days in the desert his mind is ensconced here in Houston at the Contemporary Arts Museum as “The Immeasurable Distance”- a fitting title for his collection of resin-soaked memorabilia by an earnest mind let loose.

Overtly curious, with a wide-ranging appetite for pop culture, Jackson’s work toes the line of conceptual art without engaging in the pretension that plagues esoteric aristocrats like Vanessa Beecroft and Matthew Barney. At first glance Jackson’s artworld bona fides are firmly intact, but his childlike guile keeps even the most mortifyingly informed insiders on their toes spinning bullshit into gold thread. Composed of readymade elements, each with their own set of innuendoes, Jackson’s work is sculpture, painting and installation- a coherent context holding various disciplines together. Within his mind pulsating like a thick bass line, everything moves together. Gone are the days of the categorical museum, Jackson is bringing back the reign of the wunderkammer.
Garden of Earthly Delights (Spiritual America), 2008

Matthew Day Jackson’s work came to town in 2008 as a part of Toby Kamps’ “The Old, Weird America” and returns this year as a solo show courtesy Bill Arning, who first arranged for “The Immeasurable Distance” to be exhibited in Boston at MIT while he was the director. Both curators see his work as a call for social progress, a break from the cyclical nature of human existence. In “The Old Weird America” Jackson’s Garden of Earthly Delights (Spiritual America) was an edgy, dark take on fallibility and legitimacy. Tenuously based on Hironymous Bosch’s triptych of the same name and a recent exhibit by the king of art thieves Richard Prince, Garden consisted of a group of black-framed modified posters and a snaking vitrine filled with oddities. An Evil Dead poster is cut into a psychedelic landscape, zombies cheering on Sputnik in grey wool suits. The title character from the 1977 film Sasquatch becomes Joseph Beuys scaring a caravan of cowboys forwarding a river. Hopper and Fonda from Easy Rider roll upside down across the USA. Fake taxidermy fairies, Wally Wood’s Disneyland Memorial Orgy, astronauts and the ’68 Olympics all make appearances in this sprawling installation. Without a serious leap of faith the elements may remain inert but with the right mix of faith and paranoia the aesthetic experience becomes a reprieve from heavy handed messages and a DIY journey to one’s own sense of understanding.

“The Immeasurable Distance” is that experience writ large, and I must recommend getting really high on weed before attempting to fully enjoy the virtuoso stonership that the exhibit displays. If nothing else you’ll need to do it just so you can see the human visages on rock faces across America that Jackson spent months and thousands of miles documenting. Conceived as a response to the artist’s residency at the Massachusetts Institute of Technology, “Distance” looks at science as a layman, far enough from the content to appreciate the aesthetics of categorization, preservation and simulation. Study Collection is a long steel shelving unit with a series of series; mock-ups of American missile systems from Fat Man and Little Boy to Cruise missiles, skulls morphing out of geometric forms and crude human limbs fused to tree branches. It is an amazing work to take in, the viewer walking back and forth examining objects, measuring differences, making references and noting new elements. Looking to the past, August 6th, 1945 documents Hiroshima and Washington DC on the last day of WWII, when atomic bombs were dropped on Japan. The streets are paved in lead, and buildings are nothing more than charred stumps in jagged geometric patterns. Through reversals and reexaminations Jackson takes on the legacy of the American 20th century from a myriad of perspectives.

The issue of immeasurability comes to the fore in Tensegrity Biotron, a large cube divided by mirrors and lit by neon tubes. Casts of the artist’s bones hang suspended in the case and as one looks through the box mirrored angles extend into infinity, multiplying bones and bright neon lines into the thousands. Keep staring. Further and further into space. All things considered, Jackson may search for the long look that carries us into the future but inside his earnestness is a clear grasp of the here and now, the disjointed realities of contemporary life that keep us tied to this earth and our own problems. The artist’s intent fades into the subconscious as the viewer’s context adds meaning to the objects and ideas presented to it. If the new century of art has anything to bring to the table, it is a better sense of our selves instead of any single narrative striving to lift humanity out of the mire of boom and bust, truth and lies or right and wrong. Jackson brings it to us today.

Monday, November 23, 2009

What'cha Been Doin'?

I've been making crepes.

Follow me on Twitter


Monday, November 16, 2009

Like The Ear Cut Off: A Tribute to the Life of Jacob Scanlan

A Tribute to the Life of Jacob Scanlan

A Tribute to the Life of Jacob Scanlan
Like The Ear Cut Off

Opening Friday, November 20th
6 – 9 pm

On View by Appointment November 20 – 29, 2009

Apama Mackey Gallery
628 East 11th Street
Houston, TX 77008

Join us in celebrating the life of artist Jacob Scanlan this Friday, November 20, 2009, from 6 – 9 pm at Apama Mackey Gallery, curated by Sean Carroll and Mark Hougham from the collection of the Scanlan family. Through Scanlan’s poems, paintings, origami and photographs we hope to reveal the intense zeal and creative mind that touched his family and friends.


Artist and writer Jacob Scanlan, aka JKOP, was born in Houston on November 29, 1979, and studied philosophy and poetry at the University of Houston. He delved into street art and public paintings that were bold, bright, and passionate. As a regular on the punk scene and with a keen ear for early hip hop, he quickly immersed himself into a chaotic lifestyle, making friendships with the most infamous graffiti writers in downtown Houston. Gaining insight and experience, he set out to make a name for himself on many fronts. He folded intricate origami and painted graffiti-influenced expressionism. He took thousands of photographs of his life, his friends and his environment. After a near fatal bout with Encephalitis, writing was one of the many catalysts he used to express the turmoil he felt deep inside. All of his poetry was written during the aftermath of his illness. An avid reader, he was influenced by the works of Baudelaire, Rimbaud, and Riding-Jackson. His studies in philosophy have given his poetry and art a rare and vibrant perspective.

Untitled (Burning Bible)

For Scanlan art was an emotional force. He viewed artistic creation as the freeing himself from society. He felt that art was rooted in daily experience; that it grew into something beautiful and personal. This collection portrays Jacob’s life; full of love and romance. Scanlan was a guest poet on The Spoken Word, a Rice University radio show and had poems published by Our Time Is Now, Poetry Motel, Rag Shock, Lone Stars magazines, and Poetry Junction website. His poems "Physiognomy" and "Equation" were featured in the anthology The Great American Poetry Show by Muse Media Publishing.

Self Portrait with Twombly

Scanlan died on Tuesday, September 23, 2008, at the age of twenty-eight, of residual complications of encephalitis. During the aftermath of Hurricane Ike, the stress of living in those conditions and the strain of his medications took its toll on his body, and he succumbed. A friend found him the next morning. Over the next several months his parents gathered dozens of poems, paintings and delicate origami sculptures along with thousands of photographs that detailed his life in the past decade. At the opening we will release Scanlon’s book of poems and essays, The Grammar of a Nightmare. A portion of all sales will benefit a fund set up at the Menil Collection in Scanlan’s name.

at the CC

Chiahui Nahui-Aztec Art & Performance

Youre invited! Come out!

This Sunday Nov. 22, 2009
1pm - 6pm

The Ripley House
4410 Navigation
Houston, Texas 77011

Admission: Free!

Please help us spread the word for our show by forwarding to other friends!

Thanks & Peace be to you!
Sent from my iPhone

Monday, November 9, 2009

We Love Parkour

This weekend come visit the Westheimer Block Party for TWO DAYS full of great bands on stages at Avant Garden, Mango's Cafe, Austin Layne, La Strada and Numbers inside and out. See great sculpture and performance from the Northside, Museum District, Montrose and East End. The weather in Houston is rarely so beautiful as 70 during the day and 50 at night, get out and enjoy it!

Plus come visit me outside Numbers (300 Westheimer) Saturday and Sunday at Melange Creperie, where I will make you awesome crepes. I have a sweet Krampouz crepe maker and quick hands. We'll have crepes with Nutella and bananas, roasted zucchini, Parmesan and pesto, ham and cheddar and more! Oh yeah, and galettes (buckwheat crepes) are vegan and gluten-free.

What should you see? Chin Xao Ti Twon play at noon Saturday at Austin Layne; Defend the Ghetto will be outside at Numbers at 4:10 or so; at 5 you've got to pick between Young Mammals at Numbers and Muhammid Ali in Mango's; if you like metal go see PLF at 7:15 at Mango's or if you like hip hop check out Perseph One at Austin Layne at the same time. At night there's a show at Numbers with Dead Prez and The Eastern Sea on Saturday ($15) and Japanther too! Sunday the Texas Southern Jazz Ensembles played an extended set at 2:30; Ben Wesley is on at 5 upstairs at Avant Garden; at 8 pm head back over there to Avant Garden for Two Star Symphony at 8 pm! Come out to the Block Party. Its a party.

Info at

Friday, October 30, 2009

DEBRIS: No Room For More

It feels like Houston is a small town outside of Detroit in the artworld; no jobs and no satisfaction. For too long this town has been a producer, not a consumer, and now as fortune turns away from us a black heart is revealed as the oozing center of the scene, the structure and the soul. For all the cats and kittens gobbling cheese and slurping wine at openings their shallow agendas suck the air out of the room. In like fashion even a purchase is a strong-armed exchange of influence perpetuating bourgeois respectability that simply makes me sick. The navel-gazing bored wives and ex-wives who open galleries operate on this exchange and drag their circle of friends into the money pit of art, like the Avon lady gunning for a pink Cadillac, without a shred of decency. For every big wig buying his way into the echelons of Houston’s plastic surgeon elite or cementing his place as a cuntbag with too much money to spend there is a gallerist willing to suck their toes- and an artist ready to lick their balls.

If our alternative spaces insist on selling off their spaces to bad artists with bank accounts, if our minor museums persist in spinning bullshit out of New York halfwits, if the MFAH dumbs down their programming and reaches into the history museum for content, if the CAMH doesn’t wise up and start a collection- then I don’t want any part of it. In a moment of weakness I relish the work on the walls, the game of aesthetic b.s., the meandering society of artists ducking in and out of shows, but soon enough I am reminded of the dark heart of the whole thing. I’ve been working crap jobs for too long and applying for too many art jobs to be happy about it all. I’ve had three art jobs in the past few years and they have all imploded in short shrift. I worked for a gallery for a week before the owner lost his backing and cut me from the payroll. I wrote online for a site for three months before the budget wasn’t there for me anymore. Last month I was offered a job at a non-profit that disappeared before I even started. I can’t help it that I’m crushed. Maybe I am just unemployable. Maybe I write and speak too frankly to maintain the glassy-eyed stare necessary for artworld sustenance. One way or another I’m sick of it. Curating, writing, painting, blogging, buying art and bullshitting are still my favorite hobbies- but that’s all they’ll ever be. Screw this shit. I’m gonna go be a street vendor.

Thursday, October 29, 2009

DEBRIS: Next To What I Believe

You can’t run before you walk and you can’t have a cultured city without street culture. Why was Houston turned down for an Olympic bid in 2010? Because a bunch of people got sick on street food a century ago. In 1901 dozens were sickened by tamales in Market Square downtown. The city quickly passed strict health regulations that sent food culture indoors up to this day. The surge of taco trucks in the last decade- and the subsequent connoisseurship of their fare- demonstrates the confluence of needing more gastronomy in Houston and a desire for quick, good food eaten on your feet. Some of the best barbacoa and lengua around comes on a paper plate with tomatillo salsa in a squeeze bottle. Finding the diamond in the rough is like navigating the back alleys of New Orleans- even if you need “beware of pickpockets and loose women” it’s usually worth it. Despite the proliferation of quality Mexican food on wheels, the myriad of cultures in Houston is not represented in street food like it is in the restaurant world. Where are the falafel trucks, the crepe stands, the hot dog vendors and meats-on-a-stick popular the world over? We need to take a serious look at our jaded approach to street food and our city’s regulations on them. Austin is experiencing an explosion of street food, borne along by a maturation of their quirky identity, plentiful festivals and tourists. Why can’t we?

Since that fateful day in Market Square street food has been a bust in Houston- but what about other vendors, buskers and performers? Even in Los Angeles immigrants sell oranges on street corners and Spiderman tries to goad you into dropping five bucks for taking a picture with him. Not here on Buffalo Bayou. The presence of police surely has an impact, but the ambition- or desperation- doesn’t seem to be there. Festivals are always a good place to tinker with peddling wares, and I would like to encourage any artist reading this to show up and set up at the Westheimer Block Party this November 14th and 15th to see what it’s like to put your work in front of the public. I guarantee it won’t be what you expect. Start a jug band and take over the street corner. Put little paintings in a suitcase and set up in front of the Museum of Fine Arts. Execute a performance piece in the middle of a gallery’s opening-- if you dare. Leave a sculpture in your front yard-- hopefully something that will stop traffic. The more things to see on the street, the more people will get out of their cars to see them. Or buy them. Or eat them. There’s no way to go but up for Houston’s street culture- and there’s nothing holding you back from creating it.

Wednesday, October 28, 2009

DEBRIS: The Left Bank

Houston is known as the major supplier of automatic weapons for street wars in Mexico, a key hub for sex slaves in America, a conduit for counterfeit goods, warehouse and distributor for the drug trade, flashpoint for religious fervor, haven for illegal labor, producer of massive amounts of pollution, center of overcrowded and discriminatory jail practices, cesspool of the unwashed masses and purveyor of “screw”- a wholly deviant and dangerous subculture. Throw in a serial killer with a colorful nickname and you’re in London in 1888. Swap Codeine syrup in a styrofoam cup for absinthe in a sugared glass and we’re in Paris in 1849. These metastasizing burgs were known as unholy hells in their salad days, and Houston has nearly reached the heights of disreputable notoriety each of these cities experienced before blossoming into icons of the modern age.

We’ve always had an identity problem, mostly stemming from the fact that Houston is simply new; only a little over 50 years ago that the population climbed above a million people. We’re nearly a century behind New York City, Paris housed a million people on the day the Allen Brothers landed in Buffalo Bayou and London had a million people before they even got around to taking a census during the American Revolution. We share a lot with these forbearers, but one thing has to change- every great city has had a model to aspire to, a paradigm to create.
Built with a set of freeways like the spokes of a monstrous concrete wheel, dappled with parks and green spaces, fiercely liberal in the center and rabidly conservative at the fringes, Houston has a lot more to do with Paris than you may think. We have a bayou running west through the center of town, they have a river running east. There is a boisterous self-identity that comes with living on the north or south side of this boundary in both cities. Prussians gave Parisians the bistro, they gave us the kolache.

A lot of the lore of Paris is centered in the Left Bank, packed with cafes and parks near the river and housing a cluster of universities. It is known as the seat of intellectual life for the city, attracting scholars, painters, writers, daydreamers and hustlers. On the south side of Buffalo Bayou sits Houston’s left bank, with Montrose as the heart of its intellectual life. The bars, galleries, bookstores and garden parks draw students from the University of Houston, Texas Southern University, St. Thomas and Rice. In the 18th century the universities of Paris served different communities from all over the country, seasoned with a dash of foreigners all too eager to embrace the shaping of their adopted city. Today Houston’s universities served different communities in the same way, but they collide in the streets along Westheimer every weekend at night. There are no cobblestones to tear up in revolt against the world, but nonetheless form follows function in the exploration of any cultural analogies. More than Napoleon III’s deputy Haussmann could tame the populace of the urban world with grand boulevards, Houston’s centralized freeway system, triumphantly efficient in its ability to move massive amounts of people and goods into or out of the city, has blunted the effects of radical thought- but has not prohibited the organic growth of a culture that proves Houston, in the midst of derision, is something to be proud of.

Tuesday, October 27, 2009


Arsgratia Artis sez:

blaffer has canceled the student show but the students have not. large scale guerrilla installation. all volunteer. one nite only. you must take responsibility for your own work or actions/interventions. curate your own show. invite anyone. work together!

Causes - Protest
Friday, December 4, 2009
6:00pm - 8:00pm
120 Fine Arts Building Houston, TX 77204

please send this event through your networks, in order for it to work we need to have an audience + participants. it would be great if all floors are open and the courtyard/hallways filled with art/activities. if there are any musicians or performers interested please invite them as well. Lawndale had Black Flag play back in the 80's when it was still part of U of H

Click It

Thursday, October 1, 2009

2010 Exhibition Call for Artist and Curator Proposals

Box13 Artspace is currently accepting proposals for the 2010 calendar year (January, May, July, September, November 2010) for exhibitions in its two downstairs galleries (~1000 sf each), the window box gallery, and an upstairs gallery. Media artists interested in the Green BOX should contact Michael Henderson at Artists and curators are invited to submit recent (or proposed) experimental works not previously shown in Houston.

Exhibition and performance proposals will be reviewed and selections made by a committee of artist resident members of BOX 13 and potentially guest curator(s) for exhibitions/performances.

BOX 13 will accept proposals twice per year to discuss and make programming decisions for the BOX for no more than 18 months into the future from the meeting date. The next upcoming submission deadline for review is October 16, 2009. This is a postmark date.

BOX exhibition/performance space floor plans can be viewed and downloaded as pdf.

All proposals must be submitted in digital format on CDs and DVDs only. Additionally all requested material may be posted to a single page on a website and the link may be submitted. No paper materials will be reviewed. The BOX is committed to the reducing our environmental impact when possible and streamlining the application and review process.

For more information, to make an appointment to view the galleries or to inquire about proposal drop off please email Elaine Bradford, our exhibition coordinator, at

Submission Criteria

1. Letter of intent or exhibition proposal in a Word document or PDF file. In 500 words or less. Please be sure to include:
a. Contact information
b. Title and description, concept and physical details
c. Requested gallery space and any requests for equipment or special installation requirements*
d. Any budgetary concerns*
*BOX 13 does not have a budget for assisting artists with expenses at this time..
2. Resumé(s) or CV(s) for all proposed participating artists each in its own Word document or PDF file.
3. Images. NO MORE THAN 15 digital images in jpg format. Numbers should be used in the file names beginning with 01.jpg. Each image must be 1MB or SMALLER. Any files not meeting these requirements may not be viewed when considering your proposal.
4. Video. Video samples may be submitted on DVD or CD. Videos must be ready to play on a computer using Windows Media Player or Quick Time.
5. Corresponding numbered list of submitted images and/or videos in a Word document or PDF file.

Submissions may be mailed to:
BOX 13 ArtSpace
Attn. Exhibition Proposal
6700 Harrisburg Blvd
Houston, TX 77011

BOX 13 Artspace
Address: 6700 Harrisburg Blvd, Houston, TX 77009
Gallery Hours: Saturdays, 1-5pm, and by appointment

Umm... Sorry

Sorry to be AWOL... I've been taking care of Tish after her surgery and my computer crapped out at the same time... a week without the internet... I've got the sweats and the shakes...


Thursday, September 24, 2009

Annise Parker for Mayor and against Art


skip to :21...

"I won't fund museums we can't afford..."

If this hardass is elected we can expect a tough few years for local arts funding; after hearing from people that she only wanted to fund permanent public art (and was specifically against other, more temporary forms, development grants, etc) I was skeptical of supporting Parker- but her involvement in the Wayne Dolcefinko hubub last year was not a fluke. She's taking her art-hatin' to the airwaves in an effort to sew up outer-loop support that may not like her position as a prominent LGBT politician.


Monday, September 21, 2009


Have you seen this art car? Last week it was stolen from it's home in Garden Oaks.

Art Cars are always a labor of love and this one especially. AC-8 was built by Johnny Rojas for his wife Cynthia.

via HeightsBlog

Down on the Block

Check it... shows up through October at Alabama and Main

Collected Works, Inman Gallery




candy in the back, Wayne White


Jochen Plogsties

Katy Heinlein at CTRL



John Sparagana

Sasha Pierce from far away

Sasha Pierce up close

Friday, September 18, 2009

Open to interpretation!

A/V Swap contributor Sharad Patel answers questions after A/V Swap Austin & Best of A/V Swap screening Sept. 7th at Alamo Drafthouse South Lamar.

The Best Of The A/V Swap is tonight!

artists reception at 7:30

screening at 8 pm

Q&A with filmmakers, artists and musicians to follow

Rice Media Center

Thursday, September 17, 2009

Preview of The A/V Swap!

Michael Rodriguez / Chris Knutson

screening this Friday at 8 pm, over at Rice Media Center- come see!

Tuesday, September 15, 2009

Where the hell is 9th street?

Artist as Performer at HCP

Hi Jaimie Warren!

William Lamson

Kara Hearn

Jaimie Warren

hi Michael!

Robert and Shana Park-Harrison

Diane Decruet


through Nov 5
Houston Center for Photography