bayoudawn has its eyes on the Biennial.
With a curiosity toward the lack of maelstrom surrounding the announcing of participating artists (kinda like when I wondered ’bout the post 07 coverage), Capital A gives us an inaccurate and incomplete pie chart. Who ate my piece! And where’s my scoop of ice cream?
Jeff Jahn of PORT saw Mr. Lozano’s pie chart.
And although my impression of the list is positive, I have similar doubts as ezimmerman does towards the art. But don’t get me wrong, that thought is based on only a handful of links I clicked on. I’m waiting until I see the works in the spaces before I make any decisions on whether I like what I sees.
What I can and will talk ’bout, is the structure of the Texas Biennial. When looking at other regional biennials, Texas stands out as the only one not sponsored, organized, exhibited by an institution/museum.
I think they should have their history on their site, but Glasstire has them covered for now.
Formed when three artist run spaces joined two artist-centric galleries and a gang of jurors from all corners of Texas. In 2005 they proved they could do it.
Then in 2007 they showed us they were serious ’bout the biennial part. Camp Fig morphed into Okay Mountain, Gallery Lombardi was substituted with an outdoor venue, Site 1808 and Eastside Artist Co-op morphed into Art Palace but didn’t participate.
This go around they have collaborated with the city of Austin’s AIPP in order to bring temporary public art to the biennial. They have collaborated with the MACC and Women and Their Work, three larger organizations, yet still populist spaces.
For the solo shows, Gallery Lombardi returns to join Okay Mountain, Big Medium (the re-christened Bolm Studios) and Mass Gallery, the same space that JR Compton thought was the missing link in 2005, the Fresh Up Club.
See what I’m sayin’? They’re growing, yet they’re keepin’ it real.
I’ll tell you ’bout what I sees.