The NADA New York city art fair is from May 18-21 at 548 West 22nd, near 11th Avenue, a block from the Highline.
We’ll be on the 2nd floor, P22, with new paintings by Michelle Marchesseault and Christine Heindl, and woven sculpture by Donya Stockton.
Prem Krishnamurthy‘s Department of Transformation is an endless work[as-play]shop. It will be in Austin for five days as part of Fusebox 2023, April 12-17.
What is the transformative potential of art? How can art & design both give and take? How can art & design create space for many voices?
Sign up at fuseboxfestival.com
◐ Opening Night Talk – Wednesday evening at the Carver
◐ Generosity – Thursday lunch at Kinda Tropical
◐ Juxtaposition – Friday afternoon at Northern-Southern and the Lady Bird Lake Trail
◐ Bumpiness – Saturday night at Ani’s Day and Night
◐ Cook-out – Sunday day at Föda
hosted by Föda and Northern-Southern
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.
Keyheira Keys
x
Cranky Granny's
Kicking It ATX
RDC World
Hera Rum
“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.
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Saturday Performance, March 4
8pm
complimentary cocktails by Phillip Niemeyer
limited seating
PURCHASE TICKETS
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Saturday Rehearsal Matinee, March 4
3pm
free
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Sunday Matinee, March 5
4pm
free
Katherine Vaughn is a dancer and performance artist. Ryan McKerley is a potter. They are friends and former roommates.
Alyssa Taylor Wendt
Charles Degeyter
Christos Pathiakis
Emma Hadzi Antich
Jaime Zuverza
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.
an art show about hell holes
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press:
Of Portals and Peepholes: Northern-Southern’s ‘Going Down’ — Barbara Purcell for Glasstire
Photos by Tyeschea West
Northern-Southern’s first art fair. Laura Lit at NADA Miami. Email if you would like a preview, and we’ll send you one.
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.
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.
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.
read more:
Outer Middle ‘zine [pdf]
photos by Tyeschea West:
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:
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:
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
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
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:
Drew Liverman
J. Johari Palacio
live painting
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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.
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
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:
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.
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
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.
