Emvergeoning

Description

Quinceañera ( keen-say-ah-NYAIR-ah )-Is to be properly pronounced. Is a coming of age celebration. Where “girls become ladies.” Where, traditionally, young females are ready for marriage, and motherhood. Where elaborate is a minimal term in describing the atmosphere. It is a melting pot of “Latino” culture, and can be traced to Aztec ritual. It was once only for the wealthy, the privileged, but times have changed. Traditions have changed. The Quinceanera has changed.

La Chicana Collective has the honor of inviting you and your distinguished family to our Debut.

Works by:

Ruth Buentello
Sarah Castillo
Kristin Gamez
Mari Hernandez
Christina Ordonez

Come one, come all.

Drawing. Painting. Fotography. Video. Soundscape

We would like to acknowledge all the strong women (especially in our community) that were before us, that inspire us now, and that will continue the tradition of Chicanisma.

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Host:
Network:	Global

Date:	Sunday, December 13, 2009
Time:	3:00pm – 4:30pm
Location:	The Alameda Regalo Gift Shop and Botánica
Street:	101 S. Santa Rosa
City/Town:	San Antonio, TX
	MapQuest Microsoft

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Mark your calendar – This Thursday, December 3, 2009, 6-10 PM San Antonio Downtown Market Square Hotel (formerly the Radisson) 502 W. Durango and across the street from downtown campus of UTSA.  Free and open to everyone.  Come see and bid on 144 original works of art donated by San Antonio’s leading artists.  All proceeds benefit the San Antonio Art League and Museum.

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Description

Mateo Ayala, Emma Kanko, Jessica Correa, Vanessa Mendoza, Chris Craig, Kathryn Navarro, Candace M. Hardin, Stacey Rushing, Ana L. Harvey, Demetrius V. Smith

Opening Reception
Thursday, December 3, 2009
5:00 – 7:00 p.m.
Semmes Gallery
University of the Incarnate Word

The exhibit will be on display
December 3, 2009 – January 8, 2010

Gallery hours: 10:00 a.m. – 5:00 p.m.
Monday through Friday
(except UIW holidays)

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Description

All visual and musical artists are invited to the Flop House for a “work” day… bring paint, materials, etc. and pieces to work on and INSTRUMENTS, a little beer and whatnots, an open mind, some friends, and create art and music as the spirit of the Flop House moves you to do.
There will be a PA and some instruments, open mic all day, music by Sarah Maspero, Kevin Sanchez, antsinatree, The Heavy Feathers, World’s Biggest Necklace, and more… NOON – 2am

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coastlines & cloudlines

Kendra Curry @ FL!GHT Gallery

Type:	–
Network:	Global

Date:	Saturday, December 12, 2009
Time:	7:00pm – 10:00pm
Location:	FL!GHT Gallery
Street:	1906 S. Flores
City/Town:	San Antonio, TX
	MapQuest Microsoft

Description

Exhibition Statement :

This is a game I made up for us. But first:

You’ve seen big clouds from the ground, looking up into the sky from below. Maybe you’ve gazed down into clouds from an airplane window or a hot air balloon. I’m talking about those dense, puffy clouds, the ones that look like cotton balls or big scoops of whipped cream. You now the ones.

This game is all about those clouds. But it’s also about coasts.

Open one of those paper maps with millions of folds and look for water- maybe you’ve found a river, a lake, or a coast. Follow this waterline with your finger. Draw it from memory into the dust that’s built up on your computer screen or the humidity on a foggy window.

Our game is up to you: name my lines coastlines or cloudlines

Type:	–
Network:	Global

Date:	Saturday, December 12, 2009
Time:	7:00pm – 11:00pm
Location:	LoneStar Studios, San Antonio, Tejas
Street:	107 Lone Star
City/Town:	San Antonio, TX
	MapQuest Microsoft

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For the third and final installment of our interview series with San Antonio art luminaries (see previous interviews, Easy Rider and Prodigal Son), we spoke with Anjali Gupta, executive director and editor-in-chief of Art Lies contemporary art quarterly. If it hasn’t been angelic qualities that have fueled this woman’s meteoric rise through the Nebula of Texan Art, than it has been her dogged work ethic, keen sense of telemetry, her concentrated gravity, and her superhuman ability to detect faint wisps of bullshit. She cannot hide her roots–tracking them all over the house on her boots–Gupta is a seasoned DIY commando, a builder of community and an emissary for that community cosmos-wide. We sat with her at our home and hers, both on San Antonio’s southside.

You were one of the driving forces behind the legendary Wong Spot in San Antonio. Tell us a little bit about the Wong days.

The Wong Spot began in a lovely building on South Flores, the old Wong’s Grocery Store, just a few months after I relocated here from Austin. Initially, it was a co-op consisting of artists James Cobb, Alex Rubio, Regis Shephard, Gary Sweeney and my ex-partner, Robert Tatum. At the time, I still had a somewhat regular studio practice, but my role was primarily what it always ends up being: the enabler. I dealt with logistics. Don’t get me wrong—it was a blast—and through Robert’s existing contacts in the San Antonio art community, it was wildly popular. We were also fortunate enough to be spitting distance from Jesse Amado and Chuck Ramirez’ studios, as well as Franco Mondini-Ruiz’ botanica. Such proximity fostered a certain synergy still prominent and strategically successful in the San Antonio visual arts community, Unit B and Sala Diaz being perfect examples.

We did everything on a shoestring. It was truly a community effort. When we relocated to East Commerce, however, it became an all-out business venture: a full kitchen, bar and a staff of 14 in a 10,000 square foot space. We staged weekly mini shows, monthly gallery shows, weekly film screenings and music five nights a week. (Did I mention that I was also running a video postproduction house out of the same building during the day?) It was a veritable circus, and ultimately—sans trust fund—sadly and inevitably unsustainable. But we didn’t really learn our lesson. Robert and I moved on to a series of smaller endeavors including Ellis Bean (which I quickly backed out of due to the, um, idiocy factor), The Honey Factory and 811 on Guadalupe and, finally, booking and curating the Wiggle Room for a spell. During this period, I survived on freelance writing gigs, graphic design jobs, gardening on the Riverwalk and producing videos, primarily for artists-in-residence at Artpace. I then woke up one day and consciously opted for a career instead of a series of really expensive and exhausting hobbies. Ten years, two paragraphs. Whew.

As somebody who grew up in Texas but has branched out, how has your opinion of the Texas art scene changed?

Actually, I spent half my formative years on the East Coast. I’m also a first generation American, which certainly shaped my psyche much more than being a “Texan.” My interest in the arts began as child (I was a fairly talented painter and my parents encouraged this), was fostered by my sister in my teens (she is an art historian and curator), by studying abroad in Germany and by my previous incarnation as an ethnographic filmmaker, which landed me in San Francisco in the early 90s working for Survival Research Labs.

That said, I have lived in Spring (just outside of Houston), Dallas, Austin and now San Antonio. Clearly, there is a distinct timbre in each of these cities and, by extension, a “Texas art scene.”

From your idiosyncratic perspective, is it all piñatas and cowpokes, or is there hope for other Texas art outside of Texas?

Mmmmk. At least you didn’t say scatological.

I assume by “hope” you mean an audience, and furthermore, success. My question to you is what yardstick do you, as an artist, use to measure success? Mine stick is qualitative, not quantitative. It is made in Texas out of imported wood and yes, it can beat the crap out of your piñata.

Have you seen any New Media artwork lately that has had an impact on you?

Sure. Some enchanting and some disappointing, which is to be expected no matter what the media.

Prove that you’re telling the truth, and name one. And tell us where you saw it and what made it stand out from all the other sermons you’ve heard in the last year.

Miguel Angel Rios’ 2008 video series White Suit, Crudo and Matambre comes to mind. I first saw them in person at the 2009 Armory Show, which was the perfect venue for this work—a hands down smack down—a balls out parody of the art industry. What makes this work stand out is that is not a sermon at all. I like art on the secular side of the spectrum. I don’t like to be preached at.

What is the difference between contemporary art and art made contemporaneously?

Content.

If you’re lining your eyeballs up with the fine line that separates the two, what can you see on either side?

Shit/Shinola. Please see David Robbins’ Brie Popcorn in Art Lies 52.

Do you ever get too much art?

If I do, it is probably time for a career change.

How do you cope?

I don’t. I allow myself the latitude to act out with impunity.

So, despite rumors, there are no outstanding warrants for your arrest?

I didn’t say that.

How can artists be productive members of society outside of the art world?

That is reductive. The art world is an imaginary space.

There are a lot of people going into debt pursuing degrees to prepare themselves for that imaginary space.

The industry of the MFA is problematic any way you look at it. I know plenty of smart, talented artists (and curators and art historians) with advanced degrees working multiple unpaid internships and/or bartending, driving cabs, stripping, walking dogs for cash, etc. This is nothing new. Spillage is normal and healthy. The very idea that a degree is somehow an automatic direct flight ticket to see the wizard is a very strange fallacy—one quite obviously reinforced in the labyrinths of our upper learning institutions. People coming out of prestigious MFA programs are simply not prepared for rejection, and let’s face it, even rejection has to be earned. Perhaps the idea of a PHD in studio art is a temporary solution to your question. That way, by the time these kids get out of school, they will be totally incapable of dealing with the real world and well prepared for the comforting and insular interior of a padded cell.

How did the economic crisis impact artists and the art industry?

How did it or how is it? We’re all still pretty fucked, top to bottom, coast to coast. Anyone who says differently is trying to sell you a self-help seminar. Funding freezes. Hiring freezes. Layoffs. Cutbacks. Ad budgets slashes. Programming halts. Tenure track position cuts. Gallery closures—I could go on, but the bottom line is now is the time to get creative. Collaborate. Pool resources.

Survive.

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Description

PLEASE SAVE THE DATE AND MARK YOUR CALENDAR

Author Stephen Elliott reads from his book, ‘The Adderall Diaries: A Memoir of Moods, Masochism and Murder.’

Based on a true life event, Stephen Elliott will read from his book and sign books at the end. A Question and Answer session will follow.

Wine and hors d’oeuvres will be served.

“Despite the luridness of the subject matter, the author creates a refined, beautiful work of art. His themes-seemingly crime, murder, drugs and sadomasochistic sex-actually encapsulate the nature of truth, self, love and memory, and the limits of art to get at them all. Deserves a place on the shelf next to such classics of uninhibited American introspection as On the Road and A Fan’s Notes.” – Kirkus (starred review)

Vanity Fair writes, “Elliott may be writing under the influence, but it’s the influence of genius.”

Elliott’s writing has been featured in Esquire, The New York Times, GQ, Best American Non-Required Reading 2005. He was a Wallace Stegner Fellow at Stanford University and is an editor at The Rumpus.

** Please NOTE: Subject matter may contain adult content and may not be suitable for children or young adults.

Advance books are for sale for $20.00 if you’d like to save a little money and read the book BEFORE the reading, please contact Lesley via Facebook or email for a book.

We look forward to seeing you at this event. You won’t want to miss it!

Remember, WEDNESDAY, December 9th, 2009 at 7PM at the BIHL HAUS ARTS.

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Alamo at 9

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Description

TUESDAY _two brand new brews from freetail brewery will make their way to your mouths on This Tuesday (nov 24) right out of the handbuilt bar. Check out the the handblown glass tap-handles in person & listen to a short artist discussion between Raygun & Jake – FL!GHT Gallery – 1906 S Flores, San Antonio TX 78204

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Description

THAT’S RIGHT TURKEY LOVERS, IT’S THAT TIME OF THE MONTH…

TIME FOR MOVING PICTURES AND BEER!!!!

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Type:	–
Network:	Global

Date:	Saturday, November 21, 2009
Time:	6:30pm – 10:00pm
Location:	La Casa Rosa
Street:	527 E Dewey Pl.
City/Town:	San Antonio, TX
	MapQuest Microsoft

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the KLRN series Conversations sits down with Jesse Treviño, catch it on Monday, November 23nd at 9PM when Texas Public Radio’s David Martin Davies interviews Jesse Treviño and the Museo Alameda’s new President Guillermo Nicolas.

705: Jesse Treviño
Jesse Treviño is a small and humble man, but his sweeping, epic life story is as captivating as his paintings are. Born in Monterrey, Mexico, he was raised in San Antonio and showed a very early and sizeable talent for Art, where he won competitions as early as 10 years old, and a scholarship to a New York school in his late teens. After his time in the Big Apple, he planned to go to Paris, but his draft notice took him instead to Viet Nam where an explosion left shrapnel imbedded in his body, and the hand he used to make beautiful art…unusable.
After three frustrating years of trying to overcome those injuries, doctors removed his arm. While in rehabilitation Treviño met a fellow injured soldier who convinced him to try letting his art flow out his left hand instead. It worked!In the ensuing 4 decades Treviño has been creating world class art about the simple things, places and people of his neighborhood, and San Antonio.
Known generally for his photorealistic style, Treviño’s reputation extended far beyond the Texas border to the Smithsonian in Washington DC, where two of his paintings hang.A talent this large as his isn’t content to rest or stay within one medium, so Treviño undertook his largest work: a nine-story tall Mosaic adorning the Christus Santa Rosa Hospital. Now the Museo Alameda hosts an exhibition on the Alamo City’s most-loved artist and that’s where Texas Public Radio’s David Martin Davies interviewed him. Also interviewed is Museo Alameda’s new President Guillermo Nicolas.

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Diamond Life

Jillian Conrad (Houston, TX)
Moo Kwon Han (New York, NY)
Curated by Kurt Mueller (Houston, TX)

Jillian Conrad and Moo Kwon Han create idealized spaces, fictive structures of time and place through which we are invited to reconsider on our relationship to the real. The effect of their constructions, however, is equally refraction. Poetic dreams are realized as hopeful Chroma-key videos and imagined landscapes manifest as dazzling sculptural installations. The artifice of these mediated views is purposely apparent; lofty reaches are made tangible by humor and humble means. Conrad and Moo Kwon’s works pull from natural science, but repurpose its phenomena lyrically, as narratives of discovery and forms of accretion—metaphors for the creative process. Drawings are sculpted, calligraphic poems are performed, and the world is revealed as a multi-faceted prospect: still-forming.

Kimberly Aubuchon
Director
Unit B (Gallery)
500 Stieren at Cedar
San Antonio, TX 78210
www.unitbgallery.com

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