What does this wild art mean now, in a New Austin too quick for memory?
Artwork will be dispersed across the city of Austin and beyond in the semi-public and overlooked spaces. In the gallery will be pieces derived from or connected to the works — sketches, parts, models — arrayed as a map on the floor and walls.
A print map to the sites will be available in the gallery and published as a pdf. PDF Maps with links to pins will be sent out when the show begins, Saturday, June 10. Sign up to receive a map below. You should be sent a confirmation email after signing up.
Twists and Riverscapes. Picnics in ancient places. Memories tumbled with magic. Vulnerable practices, explosions of sunlight. Change and comfort.
Green Eyes are new paintings by Michelle Marchesseault, her second solo show with Northern–Southern.
Visiting hours Thursday to Sunday, 2-6 pm.
Special events to be announced.
Tuesday, Mar 14
Kicking It ATX
“Running a business, particularly a small business takes creativity that is shown in the product, the story, and the people behind it. The first KBDB is a tribute to the art of the entrepreneur. A retail as art exhibit that showcases Austin-based businesses and highlights black culture. It blends the lines of art and consumerism and begs the question of art and how we define it for ourselves.
“In the midst of SXSW, one of the most popular times of the year for the city, we want to pay homage to that creative business owner and allow them a space to share their art with those in town.”
— Keyheira Keys
Katherine Vaughn & Ryan McKerley
Woo Nerk is a scored duet performance for dance and ceramics.
Katherine Vaughn & Ryan McKerley make new work before the audience at the moment of exhibition. They collide and integrate.
Woo Nerk brings shape from earth and body. It is a celebration of creation at its instance.
Saturday Performance, March 4
complimentary cocktails by Phillip Niemeyer
limited seating PURCHASE TICKETS
Saturday Rehearsal Matinee, March 4
Sunday Matinee, March 5
Katherine Vaughn is a dancer and performance artist. Ryan McKerley is a potter. They are friends and former roommates.
Jan 20–Feb 19
Alyssa Taylor Wendt
Emma Hadzi Antich
GOING DOWN delves passage to counter places and underworlds. In painting, photography, sculpture, taxidermy, and games the artists seek to rebalance the spirit and the flesh; to synthesize myth and experience.
Northern-Southern’s first art fair. Laura Lit at NADA Miami. Email if you would like a preview, and we’ll send you one.
Nov 11–Dec 18
Virginia Fleck fills the gallery with shimmers of sound and light, strings of tens of thousands of aluminum can tabs. From salvage and discard, Fleck weaves a tour de force of serenity, wonder, and peace.
Drew Liverman’s new paintings are immediate and oddly refined. Thin layers of summer-intense color soak into the canvas, or float above it. The compositions breathe with yin, and sear with eye-burn emotion and thought.
The subject matter: hot doom, the joys of love, bike rides, Olaf from Frozen, Goya’s covens, and scraps of what could be something for a place to live, for a time.
Introspective, with a funny gloom, these are paintings for an infinite summer.’
Michael W. Hall
spirit forms, continuous and ever-changing & describes Alesi’s art and practice: flowing always to new forms and new reasons. Alesi works in a series:, each an era in a moment, marking the emotional time of the making. They seldom revisit a series. Alesi moves to the next one, and the next, and the next. And, and, and.
a solo show as a community & is a Stella Alesi solo show as a community. Alesi invited four artists to contribute—friends and those they admire from afar. All searching abstractionists, seeking to make a spirit material. Each artist balances rigor with freedom, finding the eternal in the moment of making: Momo, Michelle Marchesseault, Michael W. Hall, and Evan Horn.
Matt Steinke‘s second solo show at Northern-Southern, un•verb defies the illusion of still life. Robotic musical objects chant and chat with each other in an aspirational din.
Matt Steinke’s work is—in turns and all-at-once—music, robotics, sculpture, animation, instrument building, puppetry, and computer programing. Steinke gives objects voice and identity. Mechanical sound sculptures mimic the behaviors and personalities of animals, people, plants, and machines. The objects discourse, chant, and interact in group ruminations on consumerism, morality, transcendence, ecology, health, and neurodiversity.
Tyeschea West was one of the principle photographers of Where is Here, photographic portraits of the people of East Austin, ages 0-100.
For Drawing Conclusions, West expands her palette. Vivacious layers of painting and photography overlay on translucent sheets. Photo-like images defy photography, each angle of viewing reveals a new way to see a human face. The title of each piece is a statement made by the real or imagined subject.
Rachael Starbuck‘s work imagines touch and its absence. Ceramic pots bulge like bags with soil. Brass rods lithely support the stems of living plants. The plants, nurtured by Starbuck, are descended from cuttings from her childhood home in Florida. Hand-sized and pit-fired ceramic “handholds” echo the feel of Starbuck’s holding hands as if they were yours.
Michael Muelhaupt sculptures are functional furniture. With some, he Frankensteins surplus furniture parts into witty pastiches, like a ’00s Droog designer. Other pieces lovingly tease modernism, upholstering pirated classics with white socks or Starbuck’s father’s old leather belts. Gentle startles, the sculptures are comfortable in unexpected ways.
Jesse Cline‘s sculptures are puzzles as formal meditations. Tactile, oblique, and hypnotic, the pieces are answers without questions.
FITTING is Texas late-Covid, an earth-toned punk. Subversive by being kind, gentle, crafted, warm, life-scale. Their hands make homes.
Alyssa Taylor Wendt Ann Armstrong Annette D Carlozzi Audrey Molloy Barbara Purcell Barry Stone
Charles Heppner Christina Moser Christopher Lee Kennedy Christos Pathiakis
Emma C Schmidt
Emma Hadzi Antich
Given McClure de Sanchez Goodluckhavefun
Hallie Rae Ward
Jerome Pelitera Josh Rosen Jules Buck Jones Juliet Whitsett Liz Rodda
Lydia Garcia Madeline Irvine Marcie Walker Meredith Miller Michael Hambouz Naomi Schlinke Nicole Sara Simpkins Oliva Iris
Owòlabi Aboyade & Bridget Frances Quinn Patrick Wyss
Sonya Gonzales Spencer Cook Stella Alesi Suzanne Wyss
Vanessa Gelvin Wayne Alan Brenner
The word “manifesto” formally came into the English language in the early 1600’s, via Italy, with its roots in the Latin word “manifestus,” meaning: clearly visible, public, conspicuous. Artist manifestos weren’t formally documented until the mid 1800’s. Festo Fest had its beginnings more recently. It grew out of a chance conversation between Phillip Niemeyer, Suzanne Wyss, and Ann Armstrong at a Co-Lab opening this past fall. The dialogue began around the topic of a land ethic and then veered into how intention setting often leads to manifestation.
Manifestos can reflect who you are and what you believe historically, and/or foreshadow what you want to become/embody/see in the world. Writing one is a way to get into your head and clarify your own musings. And then—it’s also nice to get out of your head and read other’s manifestations.
We like to think the further you put your manifesto out there (i.e. on a wall at Festo Fest) the more likely you are to embody, act on, or realize your festo.
For Far In, Laura Lit summoned the full range of her experience: as painter, and from her work in film makeup, special effects, and architectural restoration. She composes the forms by meditation, or before sleep. Only when it is honed does she commit the design to paper, usually in a single drawing. Lit works alone, without assistance or fabrication. She jigsaws wood skeletons, sculpts molds, fine brushes oils, pours dyed resins, until something on the wall lives.
FAR IN is on the forefront of what abstraction could become again, post Hilma af Klint: spiritual, deeply imagined, ur-real.