Nov 30–Dec 3
2022

Laura Lit at NADA Miami

Northern-Southern’s first art fair. Laura Lit at NADA Miami. Email if you would like a preview, and we’ll send you one.

Laura Lit, NADA booth, in the center:
“Crumbcatcher”, 2022, wood, foam, paper, cardboard, paperclay, resin, acrylic, oil, 5’x4’x6″
Nov 11–Dec 18
2022
Virginia Fleck, Moth, 2022, post consumer can-tabs, safety pins, woven backing mounted on wooden substrate, 38” x 76” x 2”

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.

photos by Tyeschea West:

SHIMMER opened 11-11 on 11:11 am.

Press Release [pdf]

Sunday, October 2

Postcard Mail Art Exhibition

one day only

organized by Josh Ronsen

For the last three years, Josh Ronsen invited Mail Artists to send him art works as postcards, and in exchange he would send unique handmade postcards back. 182 artists submitted 327 postcards, many of them stunningly beautiful and creative. Works came from 29 countries, including Brazil, Mexico, France, South Africa, Ukraine, Serbia, Luxembourg, Spain, Portugal, Japan.

All of the postcards, with Ronsen’s responses, and his personal collection of Mail Art will be on display at Northern-Southern gallery for only one day: Sunday, October 2, 2022, from 2-6pm.

As the work is as tactile as well as visual, visitors are welcome to handle and touch the postcards.

press release [pdf]

Sep 23–Oct 23
2022

Brad Tucker, Transmountain

New art by Brad Tucker: cheerfully complex, savvy, optimistic, funny, reflective, and beautiful. It no longer matters what they are; they resemble painting-sculptures.

Transmountain design is italo-modern by way of El Paso. They embed critical reflections into luxurious forms, using material as grammar.

email to request a list of available works

read more:
Outer Middle ‘zine [pdf]

Press Release [pdf]


photos by Tyeschea West:

Aug 11–Sep 10
2022

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.’

email to request a list of available works

read more:
Drew Liverman: MICE ELF, AGAIN ‘zine-[pdf]

photos by Andrea Calo:

Jun 25–Jul 24
2022

Stella Alesi

&

Momo
Michael W. Hall
Michelle Marchesseault
Evan Horn

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.

email to request a list of available works

read more:
Stella Alesi & Momo, Michelle Marchesseault, Michael W. Hall, Evan Horn ‘zine [pdf]

photos by Stella Alesi:

May 13–Jun 12
2022

Matt Steinke

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.

email to request a list of available works

read more:

Matt Steinke-un•verb ‘zine [pdf]

press:
Tyeschea West and Matt Steinke interviewed by Mike Lee on Austin Public Radio

May 19–June 18
2022

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.

email to request a list of available works

read more:
Tyeschea West: Drawing Conclusions ‘zine [pdf]

press:
Drawing Conclusions reviewed by Barbara Purcell for Glasstire

Tyeschea West and Matt Steinke are interviewed by Mike Lee on Austin Public Radio

Tyeschea West-Naima
“I have to remember, I’m more than enough, even if most of society has been brainwashed into believing differently”, composite image showing one angle of the original.
“I have to remember, I’m more than enough, even if most of society has been brainwashed into believing differently”
“Where there is peace, happiness always follows”
Mar 25–Apr 30
2022

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.

read more:
Fitting: three zines, one by each artist [pdf]

“Sit and Stay Awhile” by Lauren Moya Ford for Glasstire


Photos by Alex Boeschenstein:

Mar 13
2022

Drew Liverman
J. Johari Palacio
live painting
----
Katherine Vaughn
dance

Drew Liverman and J. Johari Palacio painted live between 11am and 5pm. Katherine Vaughn danced, unexpectedly between around 3pm. Palacio also DJ’d.

The one day party coincided with the SXSW music festival. Downtown Austin was perfect and bonkers Sunday, March 13, 2022, 11am–5pm.

Food provided by Baby Greens. Drinks sponsored by Jack Daniels. Big thanks to them!

WATCH PAINT DRY was organized by Keyheira Keys and Phillip Niemeyer.

2-22 to 2-29
2022

two over two

Phillip Niemeyer
& Friends

2/2 (“Two Over Two”) opened at the beginning of Pisces Season: 2-22-22 and closes on the day that would be 2-29 ( aka March 1).

Every day at 2:22 pm Phillip Niemeyer re-hung the show, often with Katherine Vaughn.

Friday, 2-25
2:22 pm — art is rearranged
hosted by Mark Fagan

Saturday, 2-26
2:22 pm — art is rearranged with dancer Katherine Vaughn
hosted by Beth Nottingham

Sunday, 2-27
2:22 pm — art is rearranged with dancer Katherine Vaughn
hosted by Phillip Niemeyer

Monday, 2-28
2:22 pm — art is rearranged and photographed by artist Amanda Julia Steinback. Those present could be subjects of the photos, as well.
hosted by Amanda Julia Steinback

Tuesday, 3-1
2:22 pm — art is rearranged for the last time.
4:44 pm — closing happy hour
hosted by Amanda Julia Steinback

Wednesday, 3-2
Artist Run Club Runception
6:30 am — art, one last time, with talk through by Phillip Niemeyer
7:00 am — Town (Ladybird) Lake Run
coffee and bananas

Katherine Vaughn & Phillip Niemeyer hanging 2/2 at 2:22, 2-24. Video grab by Stella Alesi
%, 2019, acrylic on wood panel, 24×24 inches, hang any way
Emma Hadzi Antich, Eye, 2021, acrylic and metal-leaf or gold leaf on a rock from Mont Sainte-Odile
JAN 15–FEB 19
2022

A Commitment to What is Before You was a joyful quiet, a call to look, feel, move, breath and be, January-February 2022.

Paintings by Alexandre Pépin play silent games. The oils are both light and earthy, like the touch of tall grass on naked skin.

Baskets by Donya Stockton hold tautologies, each a woven impossibility, a wicker sculpture.

Ceramics by Ryan McKerley are marked with lines and shapes that mimic the effects of erosion possible only with a technique called water carving.

Zine with works and interviews with the artists [pdf]

Email to innquire about available work.

photos by Amanda Julia Steinback:

Jan 7-8
2022

FESTO FEST was a festival of manifestos. Public and personal ‘festos from 52 artists and others were displayed on the walls of Northern-Southern gallery, January 7–8, 2022.

Download all the Festos (pdf)

Festo Fest was organized by Suzanne Wyss, Ann Armstrong, and Phillip Niemeyer.


Parcipants:

Adreon Henry
Alex Keller
Alicia Philley
Alyssa Taylor Wendt Ann Armstrong Annette D Carlozzi Audrey Molloy Barbara Purcell Barry Stone
Bryan Metzdorf
Chad Rea
Charles Heppner Christina Moser Christopher Lee Kennedy Christos Pathiakis
Darcie Book
Del Wieding
Emma C Schmidt
Emma Hadzi Antich
Eric Brehm
Given McClure de Sanchez Goodluckhavefun
Hallie Rae Ward
Hannah Cole
Henry Smith
Igor Siddiqui
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
Phillip Niemeyer
Preetal Shah
Seth Daulton
Sono Osato
Sonya Gonzales Spencer Cook Stella Alesi Suzanne Wyss
Ted Carey
Vanessa Gelvin Wayne Alan Brenner


On ‘Festos:

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.

Many thanks to all those who shared theirs!

— Ann Armstrong

Nov 5 – Dec 18
2021

Laura Lit

FAR IN

Animal-sized painted wall reliefs of wood, resin, and clay suggest sentience. Each is a deliberate dreaming, a spirit made solid, a tether to within.

Laura Lit: Far In ‘zine [pdf] – with images of the work and an interview with Lit.

Inquire about available works.

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.

Laura Lit: Atomic
Laura Lit
Atomic, 2021
wood, foam, paperclay, resin, acrylic, oil
34″ x 42″ x 3″
Oct 1–24, 2021

Alec Dartley
Amanda Julia Steinback
Brianna McIntyre
Clark Most
Drew Liverman
Hannah Cole
Harrison Marshall
Michael Villarreal
Alan Watts

The paintings and works in LOCATION LOCATION LOCATION depict specific places, pins on a map: domestic nooks, urban corners, secret trees, vast lakes, remote plains, the scars of highways. What do we make of these places?

What, and when, is a place?

Alec Dartley (b. 1973, Englewood, New Jersey) paints his old home in Englewood, New Jersey. Dartley paints plein air. The work is began and completed at the site.

Amanda Julia Steinback (b. 1984 Posey County, Indiana) pairs photographs of locations in a synchronous entanglement. Steinback currently lives in Austin, Texas, a base for her routine solo cross-country photography trips.

Brianna McIntyre (b. 1992 St. Louis, Missouri) critiques I-35 between 12th Street and MLK. McIntyre is a sculptor and a object designer with a critical practice, living in Austin, Texas.

Clark Most (b. 1957 Petoskey, Michigan) hangs a large scale translucent photographic print of his favorite spot: the coast of Lake Michigan facing south toward Ludington. Most is a professor of design at Central Michigan University.

Drew Liverman (b. 1979 Groton, Connecticut) paints scenes of his home in East Austin, the yard of Momofunus studios, and a trail in Delaware. Liverman recently had an solo iterative drawing show with N–S, 2020’s PREMEMBER.

Hannah Cole (b. 1978 St. Louis, Missouri) watercolors touch-scale details of a street near her old studio in Gowanus, Brooklyn, and of a tree near an old family home in rural Maine. Cole currently lives and works in Asheville, North Carolina, where she shows with our friends, Tracy Morgan Gallery.

Harrison Marshall (b. 1974 New York, New York ) paints oil Morris Williams golf course in East Austin. An architect and painter, Marshall lives in Austin, Texas.

Michael Villarreal (b. 1987, Austin, Texas) paints with oils his family’s land in Lytton Springs, Texas. Villarreal is a professor at Texas State University, and a member of the ICOSA collective.

Alan Watts (b. 1974 Houston, Texas) built a clock to count down the time Northern-Southern has left at its downtown space. Watts is half of the duo CLAW. He currently works as an artist for Meow Wolf.

LOCATION LOCATION LOCATION is organized by Phillip Niemeyer & Adreon Henry

THANK YOU: Stella Alesi, Rachel Freeman, James Turner, and Beth Nottingham

July 20, 2020 – July 24, 2021

BATON

an additive show by relay

Brad Tucker
Adreon Henry
Dan Hurlbut
Ric Nelson
Emma Hadzi Antich
André Fuqua
Naomi Schlinke
Leon Alesi
Matt Steinke
Sev Coursen
Dawn Okoro
Vy Ngo
Transmountain
Tyeschea West
Jimmy Luu
James Turner
Stella Alesi
Emily Lee
Phillip Niemeyer
Rachel Freeman
& ...

images
statement

Beginning July 2020, Northern–Southern gallery hosts an ever-evolving installation by a series of artists working in turn. BATON is a continuous installation by relay. Work has been added month-by-month. Some objects were moved around, but little left. New work is still being added.

BATON began last summer in the midst of an indefinite lock down. The artists mingled in the space, distanced by time. The show began sparse, like country land about to become a town. Large works spread out without concern for space. Now, a year in, the gallery is dense with overlapping intentions. Work adjusts, converses, and layers: a community.