| John M. O'Quinn Gallery |
Dan Havel & Chuck Ivy
Dirty Secrets from the Cataract Cinema
In conjunction with Fotofest 2010, Lawndale Art Center presents the work of two artists exploring the visual and emotional potential of salvaging old film images and re-mixing them to create digital prints and short films in the John M. O'Quinn Gallery.
Dan Havel revisits images discovered in an abandoned X-rated movie theatre and shoe shine shop in downtown Houston during his installation of a site-specific work made for the 1996 FotoFest Biennial. The work mixes the naughty and kitschy images of x-rated film plots with the abstract expressionist effects of decay. The work seeks to redefine the context of its origin as adult films and introduce the viewer to a fluid landscape of images altered by the entropic effects of water and time on the film emulsion. The colorful, faded surfaces are cracked and scratched, with fractals of pooled emulsion intertwining and framing the various figures, stories, and locations in the films. Primarily known for his large scale sculptural installations, this current body of work introduces the Houston audience to a rarely exhibited and long standing tradition in Havel's career of exploring the use of found images and objects. Havel seeks to expose the visual and contextual transformational power of entropy. It also marks the artist's first experimentation with digital images and video formats.
Chuck Ivy's work asks the question, "How much time can a single image represent?" Ivy has written software to reduce segments of feature films into a series of still images, each representing an average of light and color from approximately one minute of running time. The resultant images are as much a function of the parameters of his program as they are of the editing within the original film. The fluid images explore the territory between sharp frozen moments and the blur born of long exposures, revealing unexpected beauty as they snatch a hint of recognition from the brink of abstract noise.
Dan Havel is a Minnesota native who lives in Houston, TX. His work has been exhibited both nationally and internationally. Havel is best known for site-specific installations that explore the visual and conceptual aspects of transformation. Havel received his BFA from Southwest Minnesota State University, Marshall, MN and MFA from Minnesota State University, Mankato, MN. His recent exhibitions include "Open 24 HRS", Icebox Gallery, Mpls., MN, 2008; House Divided, DiverseWorks, Houston, TX, 2006; Sculpture Now, Texas Survey, Williams Tower, Houston, TX, 2006; and HomeWrap, Poissant Gallery, Houston, TX, 2004. Havel is recipient of numerous awards including Public Art Design, Houston Metro Light Rail Stations, scheduled for completion in 2010; Fellowship Grant, Cultural Arts Council Houston Harris County (CACHH); Residency, "The Barn", Montauk, NY; Public Art Design Team, Hike and Bike Trail Project, CACHH; New Forms Initiative Grant, "Alchemy House", National Endowment for Arts; Jerome Media Art Grant; and Pollock Krasner Foundation Career Assistance Grant. Havel is also a long time collaborator with artist Dean Ruck, whose well know projects include the transformation of two houses formerly housing Art League, Houston, titled "Inversion" and the two-part sculptural intervention titled "Give and Take", included in the exhibition "No Zoning: Artist Engage Houston" at the Contemporary Art Museum, Houston.
Chuck Ivy is a research artist and copywright, a photographer, musician, and, generally speaking, a man of many hats-mostly fedoras. A native Texan, Ivy graduated from Houston's High School for the Performing and Visual Arts in 1988 having majored in vocal music. He played bass guitar with Houston-based Celtic folk band Ceili's Muse throughout the 1990's. His serious pursuit of photography began in 2000 after he and his wife moved to Los Angeles. Ivy received his Associate of Arts degree in Commercial Photography at Santa Monica College in California before returning to Houston. He earned his Bachelor of Fine Arts in Photography/Digital Media from the University of Houston in 2009, where he is continuing work towards a Master of Fine Arts degree. In addition to his ongoing pursuits in the visual arts, he has lately returned to his musical roots, becoming one of the most recent members of Beans Barton & the Bi-Peds, a band which combines music, poetry, performance art and theatrical elements.
Mad Girl, 2007-08
The Love Scene from THX-1138, 2009
site: interventions, observations, & simulations
In conjunction with The Society of North American Goldsmiths (SNAG) 2010 Conference and Fotofest 2010, Caroline Gore exhibits work creating a link between photography and jewelry in the Mezzanine Gallery at Lawndale Art Center. Gore responds to spaces where she lives and travels, imbuing value and beauty through materials used and created sites of origination for adornment. Gore adhered gold foil to the streets, and on other parts of the environment to create a wearable or simply a signifier of adornment for the environment. The resulting jewelry sourced from this process functions on multiple levels, as a way to share the site-specific experience through wearability.
Caroline Gore received her MFA from East Carolina University (Greenville, NC) and a BFA from Virginia Commonwealth University (Richmond, VA), and she is an assistant professor of art at Western Michigan University in Kalamazoo, MI where she lives and works. The outcomes of Gore's studio practice vary in media, scale and implementation - ranging from small-scale wearable pieces to large sculptural installations. In addition to exhibiting internationally, she lectures on the placement of current conceptual patterns in the metals/jewelry field and teaches workshops on making processes from ideation to implementation. www.carolinegore.com
On Via della Bella Donne, 2006
Photographic reference to site- specific work
Selected environment, 24k gold
Brooch: Sourced from, on Via della Bella Donne
Sterling silver, 24k gold
5.7 x 5.7 x 0.6 cm
Grace R. Cavnar Gallery
Jonathan C. Leach & Ariane Roesch
Jonathan C. Leach and Ariane Roesch transform the Travis Street entrance and the Grace R. Cavnar Gallery as a place of transit through the use of colored light and fabric to create a structural dynamic that moves the viewer through this transitional space while creating spatial shifts and color vibration. Both artists' individual practices focus on communication, architectural structures and human interaction. The site specific installation takes into account how visitors and staff move through the space during exhibitions and openings. The use of directional lines in both artists' work traces pathways within space, serving not only a formal but also a symbolic function. For this collaboration, Leach and Roesch would use a band of fabric rather than lines. Strings and wire will shape and pull taught the fabric to weave it through the hallway and gallery space.
The hard line geometries of Jonathan C. Leach conjure memories of our manufactured world -- billboards, parking lots, and telephone polls. Having moved from his hometown of Lexington, KY in 1994 to attend The School of the Art Institute of Chicago, Leach was influenced by the city's dynamic landscape. He realized the impact of commercial saturation and architectural forms on his daily experience and sought to convey his impressions in his paintings. In 2007, he moved to Houston, where the impact of industry on the city's environment continues to inspire him. He has recently exhibited two solo shows at the Galveston Art Center, TX and Sonja Roesch Gallery in Houston, TX. He currently has a mural up at 13 Celsius in Houston, TX.
Ariane Roesch was born in 1984 in Wuerzburg, Germany, and moved to Houston, TX, in 1996. Roesch received her BFA from the University of Houston in 2007 is currently working on her MFA at the California Institute of the Arts in Valencia, CA. Her work has recently been exhibited at the Houston Fire Museum in Houston, TX and Snatch Block Projects in Brooklyn, NY. She co-curated Mechanical Perception, an exhibition with UH Alumni from the Photography/Digital Media Program, shown at the FotoFest Headquarters, Houston, TX in 2008. Roesch is also the co-founder of SKYDIVE, an artist-run alternative space focused on hosting artists working in a range of art practices that push the limits of their material forms.
Ariane Roesch & Jonathan Leach
Tip Toe, 2009
Since completing an artist residency at the Oregon School of Arts and Crafts in 1996, Anne Allen's work has turned from jewelry making towards drawing, where she continues to explore her interest in pattern, handicrafts, design and the decorative arts. Sources include hairnets and netting, machine-made lace and doilies, wallpaper and textile patterns and ancient jewelry forms. Allen is interested in the way commonplace, mass-produced items point to the handmade, art origins in their decorative history, and how the banal comes from what once was beautiful.
Laureate explores through a series of drawings, the form, function and decorative aspects of select coverings and jewelry for the head. The subjects range from hairnets and lace mantillas from today, to the delicate forms found in the gold diadems of Greek and Etruscan antiquity. The exhibition includes large wall drawings executed in gold ink or graphite, along with smaller, life-sized drawings on paper in silverpoint, gouache and gold leaf, with added select collage elements.
Anne Allen grew up in Fort Worth, TX, and has lived and worked in Los Angeles, CA, Portland, OR and New York's Hudson Valley before returning to Texas in 1999. Allen received her M.F.A. in metals from the State University of New York at New Paltz and her B.F.A. in painting and printmaking from the University of Texas at Austin. Allen is a 2009, 2008 and 2007 finalist for the Hunting Art Prize. Solo exhibitions include Deft Touch, Mighty Fine Arts Gallery, Dallas, TX, February-March, 2009; Openwork, Studio 832, Dallas, TX, March-May 2008; Enduring Pattern, Gallery 414, Fort Worth, Texas, 2005-06 (with Elaine Taylor), Four or Five Large Drawings, the Gallery at Rivendell, New Paltz, NY. Group exhibitions include Methodical Markings, Artspace 111, Fort Worth, TX, May-June, 2008; The Drawing Room, Galveston Arts Center, May-June, 2008; The Office, Fort Worth Community Art Center, 2007; Small, NRH Gallery and Big, NRH Gallery, and Schema: A Drawing Show, Carillon Gallery, Tarrant County College South. Allen is currently a Project Manager with the Fort Worth Public Art (FWPA) Program. A curator and arts administrator, Allen served as Director of the Arlington Museum of Art (AMA) from 2001-2007, and as Executive Director of The Old Jail Art Center in Albany, Texas, 2000.
Acrylic on paper
50 " x 60 "
Lawndale Art Center is a nonprofit alternative exhibition space
dedicated to the presentation of contemporary art in all media,
with an emphasis on the work of Houston area artists.
Monday-Friday, 10-5; Saturday, 12-5; Closed Sunday
Exhibitions open on Friday, March 12, 2010
and will remain on view through Saturday, April 17, 2010.
For additional information, please contact:
Programs at Lawndale are supported in part by The National Endowment for the Arts, The Houston Arts Alliance through the Houston Museum District Association and City Initiatives Program, The Texas Commission on the Arts, Houston Endowment, The Brown Foundation, Inc., Andy Warhol Foundation for the Visual Arts, The Cavnar Foundation, The Cullen Foundation, The Wortham Foundation, Inc., John M. O'Quinn, Cecily Horton, Ann W. Harithas, Jonathan and Barbara Day, Diana M. Hudson and Lee Kaplan, Anita and David Garten, Mary and Roy Cullen, Karen J. and David A. Sobotka, Daniel K. Dubrowski, Jenny and Mark Johnson, Andrew C. Schirrmeister III, Samantha Schnee, Continental Airlines, Target, Art Colony Association, other contributors, memberships, benefit events and many volunteers.