Exhibition: VIP

March 24 – May 26, 2018

The color red has long fascinated psychologists due to its effect on the human psyche. Red communicates confidence, success, power, lust, and sexuality. Despite its metaphoric connotation of aggression and the fact that it’s the color of blood, red is inviting in another primal sense. It is awe-inducing.

Awe is defined as reverential respect mixed with fear and wonder, producing feelings of vastness and accommodation. Awe-inspiring experiences may be one of the fastest and most powerful methods of personal change and growth. Yet they also reinforce social hierarchies. Primordial awe is the hardwired response that low-status individuals feel in the presence of more powerful, high status individuals and beings (God, celebrities, heroes, etc.)

VIP is an exhibition about this feeling of awe as a motivator and addresses issues of privilege, ambition, and risk. It is a social commentary on youtube sensationalism, social media fanaticism, and the frantic display of one’s importance to avoid fading into the ether.

The central piece in the exhibition is a floor-based, oval-shaped red carpet track titled “I am a very important person”. In order for a red carpet to work, one needs an audience. It denotes a sense of elevation and exclusivity (“getting the VIP treatment”), by providing a point of pause for admiration. This red carpet is its own feedback loop – you walk in a circle like a broken record.

On the wall are black & white drawings – black pastel chalk on white felt – of mountains. The drawings are part of a series titled “Deadliest Climbs” and feature 10 of the deadliest mountains to summit. Mountains, a long held symbol for self-help and motivational posters, inspire a sense of awe through their vastness. We feel small and insignificant in their presence. Ambition and bravery, as well as privilege and status are necessary to summit any of these 10 mountains, a quest to conquer unchartered territory.

Achievement calls for celebration. Yet are we the recipients or providers of this admiration?

Next to these monumental works, a lonesome red phone sitting on a table seems almost comical. A red phone reads as an emergency communication device – a crisis or hotline. “Find your Calling” is a direct line but to the top of the mountain and all you hear is the wind – nature’s static and silence.

A saddle-stitched zine of color photocopies is available as the footnote to VIP. Its free association doodles provide a child-like meditation on the red carpet track, turning the monumentality of the piece and its associated emotions of ambition, privilege, motivation, and awe upside down by infusing a sense of humor, a release to laugh at ourselves. Perhaps we shouldn’t take ourselves too seriously because maybe the red oval is not a red carpet but an inner tube that could burst at any moment.

The initial contact a viewer has with an exhibition is through its invitation card. VIP’s postcard announcement shows a red background with “I am a very important person” written in white across the center. It’s a personal and private affirmation card for what’s truly important – knowing that you are a very important person. The affirmation is also available as an edition of bathmats.

proposal

Uncovered

September 14 – October 14, 2015
Drawings from living rooms, back rooms, flat files and sketchbooks.

Work by:

Akin · Anderson · Asis · Aylsworth · Barrera · Bernstein · Bott · Carola · Conrad

Currea · Davenport · DeMarziani · Eifler · Forsythe · Godfrey · Havel · Hecker

Henry · Hippenstiel · Jimenez · Kempner · Kittelson · Kremer · Lizarraga

Ludwig · Martincic · McKean · Miller · Murphy · Nasso · Omori · Orensanz

Roesch · Ruello · Steffy · Sutherland · Tait · Vaughn · Villegas · Wooten

 

Reception: Wednesday, September 16, 6-8:30 pm

Exhibition organized by Sally Sprout Fine Art
713 553-5060; sosprout@earthlink.net
Gallery hours: M-F, 8-6

It Came From CalArts

[photo by Valerie Green.]

CentralTrak: The University of Texas at Dallas
Artist Residency

FOR IMMEDIATE RELEASE

Department of Communications
Event: It Came From CalArts
Date: August 22,2015 – September 19 2015
Opening Reception Saturday August 22, 2015 at 8:00 pm

Location:
CentralTrak
800 Exposition Ave
Dallas, Texas 75226

Description
CentralTrak is pleased to host Guest Curator Robin Myrick’s extraordinary vision of the blended world of CalArts in Texas. It Came From CalArts is an exhibition comprised of nine Texas artists who are also CalArts alumni, together representing three decades of this unique relationship. For a moment in time, Centraltrak will give this elusive intersection a name and a place, bringing artists in different mediums and cities (Austin, Dallas, Denton, El Paso, Houston, and San Antonio) together to examine the ways in which Calartians (as they are known), are navigating this common landscape.

Participating Artists

Justin Boyd (San Antonio)
Elaine Bradford (Houston)
Danielle Dean (Houston)
Adrian Esparza (El Paso)
Robin Myrick (Dallas)
Denise Prince (Austin)
Peter Bo Rappmund (Dallas)
Ariane Roesch (Houston)
David Stout (Denton)

Other Programming during It Came From CalArts
Artist talk with Denise Prince (8/29, 2:00 PM)
Literary event with Joe Milazzo, Robin Myrick and others (9/12, 2:00 PM)
Interactive music performance with David Stout (9/19, afternoon)
Film screening with Peter Bo Rappmund and others (TBA)

Curator’s statement

Whenever someone finds out that I went to California Institute of the Arts, I am often asked a version of the following question: “Isn’t that the Walt Disney school where all the students run around naked?” Those same people are often disappointed to hear that though the Disney legacy remains strong, the random nakedness is less a factor these days, and mostly limited to the annual Halloween party. Likewise, whenever I’m away from Texas, people will sometimes ask me whether we all ride horses to the store, or why anyone would eat a chicken fried steak. At times it feels like these are oddly similar conversations. My alma mater and my home state may share the dubious honor of inspiring provocative, cartoonish intrigue, but a more compelling question for me has always been how art that lives in the intersection of there and here, here and there, is the product of both experiences.

Since its inception in 1961, as a merger of the storied Chouinard Art Institute and Los Angeles Conservatory of Music, CalArts has blended the rigor of the professional conservatory with a bold devotion to experimentation, encouraging artists of all types to break traditional boundaries and find their own way. The intersection of CalArts and Texas surely encompasses the independent, mercurial nature of each place, but it’s not always so easy to pin down. More an idea than a venn diagram, less a point on a map than the influence of each physical and liminal space on the other, it’s ultimately the conversation and negotiation between there and here, here and there, that allows one to see its coordinates. In practice, it is reflected in the work of visual artists, writers, dancers, actors, musicians, designers, filmmakers, and others who carry this form of dual citizenship, so to speak. Some grew up here and headed west to CalArts for their education, returning with degrees and ideas that may have changed them in small or radical ways. Others migrated from CalArts to the major and minor and rural cities of Texas, in pursuit of additional degrees, new studies and projects, or a more budget-friendly place to live and work.

Whatever their stories or reasons, each takes and brings something to this long-form exchange.

Bio
Robin Myrick is a writer, visual artist, and educator based in Dallas, Texas. She holds an MFA in Writing and Critical Studies from California Institute of the Arts, and is currently pursuing her doctorate in Aesthetic Studies at UTDallas. She serves as Arts and Media Editor for Entropy magazine, among other endeavors, and is a member of the long lost art collective In Cooperation With Muscle Nation. She also curated the 2014 glitch exhibition Message (NOT) Received at UT-Dallas.

Press Contact:
Clinton Butler, (817) 944-3487
PRcentraltrak@gmail.com

ABOUT CENTRALTRAK
CentralTrak, The University of Texas at Dallas Artists Residency, established in 2008, is dedicated to the creation, presentation, and advancement of the contemporary arts. As a live/work space for eight artists, it serves as a community center in the North Texas area for broad intellectual discourse around the arts. While the residency promotes artistic experimentation through its support of production, the companion gallery encourages critical engagement in a local urban context through exhibitions and related programs. By building on the forward-thinking academic resources of the School of Arts & Humanities at The University of Texas at Dallas, CentralTrak unites artists from an expansive range of creative disciplines to extend and challenge contemporary notions of artistic practice, creative expression, and the role technology plays in these processes.

CentralTrak is supported in part by the generosity of numerous donors and partners from the North Texas area and The University of Texas at Dallas.

PUBLIC INFORMATION

CentralTrak
Address: 800 Exposition, Dallas, TX 75226
Hours: Saturday 12:00 – 5:00 during exhibitions, tours available by appointment call (469) 232-7298.
Admission: Free

Visit our Website at www.CentralTrak.com for more information

Exhibition: Home

The Till Richter Museum is pleased to announce its second Rising Stars Residency artist Ariane Roesch. The German-American artist (*1984 Würzburg, Germany) lives and works in Houston, TX after completing her MFA at the California Institute of the Arts.

From August 2015 to January 2016 Roesch will be featured on the Museum’s MainStage with a solo show entitled HOME. Intrigued by the human drive to constantly better oneself, Roesch’s work questions the physical and psychological structures that our life consists of‪. For this exhibition‪, she is interested in what defines home ‪- is it just an address‪, a place to settle down and grow roots‪, or ultimately also a search for a better life‪? As an artist who has grown up in one country and moved to another at the age of 11, the experience of two different cultures and countries makes this an area worthy of exploration. In a time of voluntary or forced mobility, where boundaries and front lines are redrawn as much by politics as by social and economic developments, the concepts of ‚Home’ are diverse and complex.

Roesch decided to make Houston her home by purchasing a plot of undeveloped land to build a house with her husband. This exhibition is inspired by the trials and tribulations of the now two-year process to break ground. Just as people headed west to conquer the American Frontier in search of a better life, it’s a tale of risk, boundaries, shipping containers, and donkeys that evokes the question, “how much do you really need to be happy?” The exhibition will translate and transplant this experience in various ways in a 19th century castle by the Baltic Sea. Roesch will fill its rooms and hallways with drawings, objects, photographs and installations raising questions in each viewer about such seemingly simple things as place, origin and belonging. Materiality and process relate as much to social as to personal structures and offer a myriad of connection points for a reflection on what home and happiness means.

 

Dates: August 15, 2015 – January 3, 2016
Opening: August 15, 2015: 2 – 6 PM
Hours: Thursday through Sunday, 11am – 6pm

Location:
Till Richter Museum
Schloss Buggenhagen
Straße des Friedens 6
17440 Buggenhagen
Germany

The Till Richter Museum, housed in the 19th Century Castle Schloss Buggenhagen by the Baltic Sea, is an institution dedicated to exhibiting, collecting, and archiving international contemporary art.

 

For more info please see:
http://arianeroesch.com/
http://tillrichtermuseum.org/