Category: PREVIOUSLY

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.

ORGANIZER’S STATEMENT

The COVID pandemic presents an opportunity to expand our conceptions of art spaces and art shows.

We cannot responsibly host crowds, but Northern-Southern gallery is safe for a single artist, or two, masked and distanced. BATON is a group workshop for a single participant at a time.

The participants’ intentions and actions may pile on top of each other as months pass, lacquers of successive nows. The overall show—for most experienced only as documentation—could encompass the walls in every way they are and as they were. Northern-Southern is an art time-space.

The participants in BATON will be encouraged to experiment, to push the parameters of their practice. They may use the space to install work that want to see in a gallery context, or ignore “art” and just do things. They may hang the work of another artist. They can rearrange what was there previous, or make work that reacts to it or re-contextualizes it. Or all the above.

BATON will never be, it will continuously become, until we drop the baton at the end of our run.

—Phillip Niemeyer, July 2020

April 10, 2021

decay, renew, repeat
wild art in Austin, Texas and beyond

Laura Latimer
Giampiero Selvaggio
Christos Pathiakis
Amy Scofield
André Fuqua
Hannah Spector
Jesse Cline
Michael Muelhaupt
Rachael Starbuck
Cheyenne Weaver
Adreon Denson Henry
Vy Ngo
+
Emily Lee
Jonas Criscoe
Phillip Niemeyer
+
Alyssa Taylor Wendt

subscribe
statement

TOOO is a group show of wild art, installed outdoors in public spaces across Austin, Texas, and beyond, for the month of April 2021.

TOOO builds upon two preceding exhibitions, TO and TOO. TO was an outdoor show of paths and directions considered on the eve of a new lunar year. A month later, as the work from TO half-faded, TOO added new work, new paths. Now all but one work from TO remains. TOOO presents a set of renewed options a generation removed from their origins.

The work is wild art, sculptures and interventions mixing it up in semi-overlooked spaces dispersed across Austin. The art encompasses the experience of searching for the work.

To view TOOO, subscribe for free below. You will be emailed a link to a map and information about the artists and the work on the opening day.

Subscribe to TOOO

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Organizer’s Statement

TOOO marks a year of Northern-Southern’s pandemic programming, mostly outdoor shows of socially distant wild art.

Each exhibition was dispersed in time and space in a new way. LEFT IN LEAVES trickled out at random, day by day. The artists improvised locations and works throughout May 2020. NO OUTLET opened all at once, an August bloom. Street signs were re-purposed as didactics. Each piece was installed at a marked dead end, options at the end of options. Sterling Allen’s PHOTOREALISM was a solo show on an over-lookable un-leased office ground. Allen’s work permeated the leave-behind and refuse, tipping the distinction between art and non-art toward universal transcendence. TO presented directions and paths as work. Work was not deinstalled; it decayed. TOO renewed TO; new works added to the surviving pieces.

TOOO renews TO a second time. Only one work remains from TO: Alyssa Taylor Wendt’s audio meditation on art scenes of the past. A few things hold on from TOO, but they too will fade before the term of the show. The artists in TOOO are a mix of old and new, all making new work. A new generation creates new paths.

We live in motion. Nothing remains still for even a second. We continue continuing, and continually change. Every breathe is a renewal.

The white walls are only in our minds.

—Phillip Niemeyer

March 6–31
2021

paths and directions considered, continued
outdoors Austin, Texas, and beyond

Alyssa Taylor Wendt
Adreon Denson Henry
Emma Hadzi Antich
Laura Latimer
Sean Ripple
Staci Maloney & Michelle Smolensky
Tammy West
Ted Carey
Zoe Berg
+
Emily Lee
Jonas Criscoe
Phillip Niemeyer
Rachel Freeman
-
Amanda Julia Steinback
Amy Scofield & Lisa Hallee
Chris Lyons

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statement

TOO is the renewal of TO, an outdoor show paths and directions considered as art experience installed outdoors, in semi-wild public spaces across Austin, Texas, and beyond. Some works from TO remain, some have changed, and others have faded. New paths emerge; TOO adds four additional pieces.

TOO will be an active concern until April when it will renew as TOOO with additional works.

The work in TO and TOO can most broadly speaking be called wild art. The media encompasses audio tours, trails, portals, sculpture, digital media, instructions, new land-marks, way-finding marks, sibyls, remote running sessions, and care stations. The work asks you to walk with it, around it, between it, by it, to it.

Subscribe, for free to receive a link to a map and information about the artists and works:

Subscribe to TOO

* indicates required




Organizer’s Statement

TOO is the renewal of TO. Some paths faded, and others appear.

At its conclusion TOO will renew as TOOO. The show itself is a path to a future made by present choices.

—Phillip Niemeyer

February 6–27
2021

paths and directions, considered
outdoors Austin, Texas, and beyond

Adreon Denson Henry
Alyssa Taylor Wendt
Amanda Julia Steinback
Amy Scofield & Lisa Hallee
Chris Lyons
Emma Hadzi Antich
Laura Latimer
Sean Ripple
Staci Maloney & Michelle Smolensky
Tammy West
Ted Carey
Zoe Berg

subscribe
statement

TO is a group show of paths and directions considered as art experience installed outdoors, in semi-wild public spaces across Austin, Texas, and beyond.

TO will be an active concern until March 7, 2021, when it will renew as TOO with additional works.

The work in TO can most broadly speaking be called wild art. The media encompasses audio tours, trails, portals, sculpture, digital media, instructions, new land-marks, way-finding marks, sibyls, remote running sessions, and care stations. The work asks you to walk with it, around it, between it, by it, to it.

Subscribe, for free to receive a map and information about the artists and the work on the opening day:

Subscribe to TO

* indicates required




Organizer’s Statement

We approach the tip of a new era, the last waning moon before a new lunar year. The year of the Rat passes. The year of the Ox dawns.

The end of the pandemic feels, hopefully, closer. Sooner than a flinch a new time will engulf us. We will resume, but not from where we left off. If we claim the strength to build anew—where to marshal our efforts? Where to?

TO is the pause before the lurch. TO is the pointed toe leading a pitch.

Work in this show may answer questions, and may propose others. They may also just be enjoyed, and not just in still contemplation. Many of these works ask you to walk with them, or even run.

TO is third in Northern-Southern’s trilogy of group exhibitions of wild art, responses to the Covid Pandemic.

—Phillip Niemeyer

December 2-19
2020

sign-up
statements and images

Photorealism is an outdoor exhibit of work by Sterling Allen.

The entire show takes place on the exterior grounds of an overlook-able, un-leased building on West Anderson Lane. Constructed both in his studio and on site, each artwork exists in conjunction with the surrounding environment, slipping between obvious and invisible.

Subscribers will be emailed links to a map to the site and information about the works starting December 2, 2020. The show concludes December 19.

Sign-up for a map to the site:

* indicates required




Stabbed Growth Seat
2019
Found objects, plywood, nails, epoxy
27½ x 16¼ x 15 inches

Organizer’s Statement

Sterling Allen has been making installations outside for a few years now. Because he does this without formal permission, the pieces must be installed, photographed, and promptly removed. Thus, the installations exist in pictures, and that creates a problem not uncommon in contemporary life. Think of this project as a stretch in two opposite directions: on one hand, Sterling insists on the complex artistic importance of place; on the other hand, he prompts himself to communicate that complexity only in pictures. Photorealism is the first formal outdoor exhibition within this ongoing practice.

—Emily Lee

October 11, 2020 – the future
a new drawing every week until the set is complete

images

Drew Liverman (b. Groton, CT 1979) is an artist in Austin, Texas. His drawing and oil painting balances the moment and its reflection, memory and form, the fast and the careful.

PREMEMBER will be a series of drawings of the places of Austin still here—but for how long?

N-S will release the drawings as Liverman completes them, roughly one a week delivered on Sundays. The show will conclude when he finishes the last drawing in the set.

August 22 – September 22
2020

options at the end of options

Adreon Denson Henry
Amanda Julia Steinback
Amy Scofield
Emma Hadzi Antich
Laura Latimer
Leon Alesi
Mai Gutierrez
Ric Nelson
Sarah Fagan
Saul Jerome San Juan
Sean Ripple
Staci Maloney
Tammy West

images

No Outlet is a gallery of interventions and intentions at dead ends, sidewalk ends, cul-de-sacs, end of paths, and no outlets, dispersed across Austin.

Organizer’s Statement

We can read the signage and roads of our City as texts: fictions, histories, habits, doodles, scripts, tarots…

The “No Outlet” sign marks an end of explicit options. The art made for these stages present new options.

—Phillip Niemeyer

June 26 – September 25, 2020

info

Laura Lit (b. Dallas, Texas, 1979) is an artist in Austin, Texas. Like Gerard Richter, Lit is a polyglot painter adept in several visual languages. Her practice combines a virtuoso hand with an omnivorous eye.

In 2015 Lit showed hyper-realistic oils at Women at their Work, meticulously crafted and sexually charged figure painting exploring the tension between desire and observation. Buoyant, unpredictable, and iconic, her 2018 work for AFTER IMAGES at Northern-Southern are abstracts of what Lit sees with her eyes closed, painted with the lightest touch. In 2019’s LIKEsNESS, Lit returned to the figure and representation but with sculpture: startlingly colored but tender busts of women in repose.

FUZZY FORCES is Laura Lit working now, fast and focused bursts of drawing with colored pencils. Reminiscent of the AFTER IMAGES paintings, the compositions seem sentient, astral manifestations of spirit visitors.

N-S will release the drawings as Lit completes them, roughly one a week. The show will conclude when Lit finishes the last drawing in the set.

Q & A

Q. I have heard you say that these images have no reference. What does that mean?

Laura Lit: I tend to be an over-thinker. An over-planner. Every detail planned out exactly. When things don’t work out, I can be a bit hard on myself. It plays out this way with my art. That’s why I’m always trying new things, to see if there’s a better way. To loosen up, to be more free to make mistakes, and therefore to grow.

It’s also why I like to try things that I previously thought I could not do. When I started out, I thought I was a pretty good drawer, but not necessarily a good painter. So I switched to painting and did that for many years, hardly ever drawing again. I never thought I could do sculpture, but when I figured out what was stopping me (discovering the right materials), I had to focus on doing that for a while. I never thought in a million years I’d be making abstract art and loving it. I thought I didn’t have the creativity needed to make art that was not based on reference material. I was in awe of nonrepresentational artists.

Q. You have so many modes of making: abstraction, realistic painting, sculpture. What prompts the shift from one mode to another?

Laura Lit: I started making a few abstract pieces for Batch simply because I wanted something cool on the walls. To come up with subject matter that was appropriate for the space was too daunting. The images, shapes, and colors just flowed out of me. Since then I go back and forth, but now I don’t want to paint or draw figures or faces any more. That might change in the future, but doing the abstract pieces fulfills me in ways representational stuff could not. Allowing myself to work based on instinct and my subconscious, which is infinite and forever evolving, is different for me and I like it. I could see in the future perhaps turning some of these drawings into sculptures or wall hangings.

Q. What are you looking for in these pictures? Or what could we be looking for?

Laura Lit: With these pieces I am looking mostly to visually represent a feeling or a sensation. For me, it’s a way of processing difficult emotions. Art has always probably served that purpose for me. Using repetition, contrast, and opposing forces is parallel to how we process things psychologically. Colors have inherent psychological meaning, and shapes have their own dynamics. The task is to figure out how to arrange colors and shapes in a way that they interact with each other to create specific sensations, movement, forces, and feelings. Each viewer will have a different response to each piece, as it is dependent on their perception and personal history. One person might see a giant black egg as a warm, calming force, and another might see it as an imposing, menacing force. I encourage people to explore these routes into their subconscious, and what it means to them as an individual. Or they can just enjoy the pretty colors.

MAY 2020

Outdoor Interventions in Austin, Texas

Sterling Allen
Ted Carey
Sarah Fagan
Rachel Freeman
Adreon Denson Henry & Jennifer Henry
Emily Lee
Sean Ripple
Amy Scofield
Meghan Shogan
Amanda Julia Steinback & Staci Maloney
Alyssa Taylor Wendt
Suzanne Wyss

works
info

Left in Leaves is a group show of interventions across the city of Austin, freely left in outdoor public spaces between May 1st and 31st. Organized by Phillip Niemeyer

Reviews and press: Robert Faires for the Austin Chronicle, Jeanne Claire van Ryzin for Sightlines, and Michael Lee for KUT radio.

A zine for LEFT IN LEAVES is available for purchase. It features images and interviews with the artists, and a map of the project.

Left in Leaves, zine, 28 pages, edition of 60

ORGANIZERS STATEMENT

At Big Stacy pool, there’s a regular named Ken. He’s about 72 years old with a silver ponytail and the cliched fitness of a man half his age. He swims a mile, at least, then does press-ups with his feet on the bench. On cloudy, humid days he sets up in the park outside the pool with a custom rig to conjure enormous soap bubbles.

I asked him about it. He told me he learned the art in Guatemala where he surfs and helps leftist groups. There they call him Comandante Burbujas. He built the set up himself, with his own glycerin mixture. On wet, cloudy days, the bubbles can be as big as cars.

I suggested, hey what about a show for kids or something organized. Ken demurred. This is “Arte Puro” he told me. “It is not done for money and can never be scheduled. It just is, free and enjoyed, then gone.”

—Phillip Niemeyer

 

2020

WHERE IS HERE


East Austin
Ages 0 to 100

photos
info

Where is Here is a portrait of a community, circa 2019: photographs of people who live, work, grew up, or frequent the thereabouts of East Austin, one of every age, newborn to 100.

The project was organized by Keyheira Keys & Phillip Niemeyer. The portraits are the work of six photographers, identified in the caption of each photo by their initials:

Arius Holifield – AH
Montinique Monroe– MM
Tyeschea West – TW
Bertie Pearson – BP
Hector Hernandez – HH
Ryan Junell – RJ

 

For Juneteenth 2020, Northern-Southern purchased a full page in The Austin Villager. The Villager is a free and independent newspaper for East Austin published by Tommy Wyatt since the early 1980s.

WHERE IS HERE in The Austin Villager held by publisher Tommy Wyatt, June 19, 2020

ORGANIZERS STATEMENT

Where is Here took a year to plan and a year to execute. The first shoot was February 17, 2019. The last was February 18, 2020. The show opened with a reception February 29, 2020. It closed after a week to do our part to slow the spread of the novel coronavirus. We posted the entire show, and some extras, above.

The people in these photographs have stories. You may know something about someone in one of the photos—tell us! — hello@northern-southern.com We hope, as a next step, to document these stories.

This project is the effort of a collaborative community. We had help from so many: Monique Foley, Angelica at Parson House, all the great people at Conley-Guerrero Senior Activity Center, Luci and Dana at Miller fine art printing, Adrian Armstrong of Brown State of Mind, Six Square, Miriam Conner, Paloma Mayorga and Big Medium, Rachel Freeman, James Turner, Stella Alesi, and Ashley Ellis. Thank you, also, to Michael Lee of KUT.

We hope we have done our little bit to contribute to the history and love of this place.

— Keyheira Keys & Phillip Niemeyer

JAN–FEB
2020

Naomi Schlinke
James Turner

James Turner and Naomi Schlinke paint collages and collage paintings. Making becomes a product of movement, simultaneously improvisational and planned, repetitive and unique.

Schlinke’s recent pieces are self-contained meditations, calm but evocative like a wild ritual or a sacred freedom. Visual and kinesthetic, her practice draws upon her early years as a dancer in 1970s San Francisco. Turner is grounded, humble. He calls his works “drah-rins”. They feel like long walks with old friends.

Visting Hours Saturdays 3–6:30pm

Artist Talk Happy Hour
Wednesday, February 12, 6-8pm
(talk at 7pm)
“12th on 12th”

Show closes after visiting hours, Saturday February 15.

Zine for the show interviewing Turner and Schlinke [pdf]

Press Release [pdf]

NOV–DEC
2019

work (and/or/as) conversation w/

Carter/Reddy
Greg Foley
Karen Gelardi
Rick Griffith
Mykola Haleta
Dev Harlan
Elaine I-Ling Shen
Prem Krishnamurthy
Karel Martens
Meredith Miller
Christina Moser
Meghan Shogan
Simon Walker
Tigress Tile
Transmountain
Cheryl Wing-Zi Wong

WORK PLAY MONEY LOVE WHAT IT IS WHAT COULD BE BOTH NEITHER ART DESIGN surveys creative practices that overlap cultures, primarily professional design and fine art, but also politics, business, spirituality, and social change. Never outliers, just rarely discussed—hybrid art-design practices have blossomed in the twenty-first century. The show is a conversation about art-design as a profession shaped by contradictory pressures and motives. We attempt to find—and share—ways to talk about the ways we work now.

Zine interviewing the show’s participants [pdf]

Press Release [pdf]

Nov 4
Austin Design Week Preview
For Austin Design Week, the show will be presented mid-installation as the backdrop for a open conversation about doing and thinking. Artists and curators will chat with visitors and refreshments will be served. We will talk about how we should talk about the work we do now. — Monday, Nov 4, 2-4pm

Nov 9
Opening Reception
Refreshments and conversations — Saturday, Nov 9, 6–9 pm

Nov 16–17, 23–24
E.A.S.T. Tour #133

Nov 23 — Saturday
Greg Foley <– –> Mike Reddy Q & A
4:30pm

Nov 30 — Saturday
Elaine I-Ling Shen <– –> Meghan Shogan Q & A
4:30pm
Visiting Hours 3-6:30 pm

Dec 7 — Saturday
Visiting Hours — Saturdays, 3-6:30 pm

Post-Play Workshop
4:30pm
Join us at the gallery for an interactive workshop developed by Prem Krishnamurthy and collaborators. We’ll take 30 minutes to imagine the future of work, play, and us.

Dec 11
Last Chance Happy Hour
5–7 pm

Dec 12
Closing

Sep–Oct
2019

HOUSE PLANTS is a suite of shaped canvas that live on the walls like sentient plants, less tamed than coaxed. The paintings are domestic-sized. They expand the spaces around them, nourishing the air of the room. Modernist but winking, folky yet sophisticated, kind, exact, unique and warm. In two words: Brad Tucker-y.

HOUSE PLANTS is Tuckers’s first solo show in his hometown of Austin in over a decade.

Closing Reception with Artist Talk
October 24
Thursday
6-8pm
Talk with Brad Tucker, 7pm
Participate in a new piece of art with Brad by dancing, 8pm

A zine [pdf] with Brad Tucker interviewed by Kate Green

Works list [pdf]

Press Release [pdf]

HOUSE PLANTS installation view, photo by Scott David Gordon