Author Archives: Alison

Artists Sometimes Make Public Art

Some cities figure out how to gather up money from citizens to hold a competition for artists to apply for making public art for their city. When an artist gets a city “gig” they can go at it and do all sorts of things as long as they follow the rules established by the city. Then once the work has been completed the artist has the opportunity to be so very proud of their work. Sometimes they find that there is a collaboration between them and the public, such as the drawing/text here as seen in this photo. The F is so flowey. The U so elegant, the C is direct, and the K very bold. The scribbleys bring a sense of humor to the work and the T in the word That is such a throwback to the ’80’s when cheerleaders used to spell our football teams name “Gimme a T!” As for the remaining characters of the drawing/text well I will leave it to the viewer to enjoy dive into deciphering that.


June through August 2016

On sabbatical, hiatus, furlough, leave of absence, recess, break, time off, terms typically used by those who are doing just that from a job or work or something they are doing to take leave of. As for me, my hiatus, has been more like a gap or opening between my life pre-graduate school and about a year following. Something inside me shifted. I’ve stopped trying to figure out why; it just did. In the process of this shift one significant friend died, one moved away, my paternal grandmother passed away (carrying with her stories we will never hear), I seemed to have lost a great deal of my passion for many things, and I felt overlooked, misunderstood, under appreciated, and an absolute loserfailureidiotfatslobtoopolitenotworthyourtimeartistreject. Perhaps my solution was to move. I’ve always dreamed to move back to Seattle. Jim is open to it. But that could be running away. What about NYC, LA, OKC, Chi-Town, or anywhere else but Texas!?!

I’ve been isolating myself from those I know, well those I’ve been socializing with at art openings and such. Tiring of the bullshit that can happen. Not blaming anyone really, but myself; getting caught up in my insecurities. Taking risks and chances, doing things to “help” me seem interesting. No more. This isn’t real. Not me. I hate that this was done to me, to you. I’m not really self-righteous, I’m a true introvert and shy and better at home making art, writing, having pot lucks and small groups over for dinner, or doing yoga and meditating. Or better yet, hiking in the woods or swimming in a clear stream or the waters of the South Pacific. I’m not lonely at all. The air is sweet.

Here’s the thing. I’m just more me now. It fits.

More to come.


March Through May

At times we creatives experience a kind of emptiness, a sense of creative sterility or perhaps a period of brain rest. This describes how I have been overall during the past few months. It is easy to slip into feelings of guilt or shame especially considering the money spent on graduate school. Yet those two agitators must quickly have their say and then be successfully calmed so that we can say so long for now you killjoys you malcontents! In this process, I am able to see what is actually happening. I am reading, watching, listening, laughing, hiking, gathering, creating, living each and every day. Sometimes it looks like lying on the couch to watch a documentary or read a good novel. Others could be stirring a pot of milk on the stovetop until it reaches 185 degrees fahrenheit and then spoil it with a culture in order to transform it to a yummy treat. In addition, working for another aids in the process of my walking through the haze.

There is more to come. For now – done here.

SB+C Beefhaus



Slow Art?

image from

Wanderers is a collaborative project between Neri Oxman + Mediated Matter Group, Christoph Bader & Dominik Kolb to create four digitally grown and 3d printed wearables.image from

What Is The Future of Art

An article in has me thinking. Curious to know what you all think.


Acting Out

A conversation on the square with Lucy Lippard, chats about the interesting interactions with others regarding performance art with Rebecca Belmore, and numerous talks with other artists who both perform as well as make objects happened Dec 2-4th @”Acting Out:  A Symposium of Indigenous Performance Art” in Santa Fe, NM. See review/story:

Young artists Anna Tsouhlarakis and Merritt Johnson, both Native, as well as a talk by Dr. Kate Morris on the work of Kent Monkman and his “Casualties of Modernity” project were presented during the symposium. There is something intriguing about Johnson’s Youtube (Exorcising America) addressing otherness, alien, place, space, and longing; along with a wink at the ridiculousness of everyday life and our expectations of others. Check them all out.

Anna Tsouhlarakis        Merritt Johnson

“Performing the Body” a panel and discussion addressed the influence, politics, and impact of using the physical body as a medium for actions, including the associations and perceptions that audiences may have of an artist’s body.unpack the influence, politics, and impact of using the physical body as a medium for actions, including the associations and perceptions that audiences may have of an artist’s body. Panelists were : Lori Blondeau, Artist; Muriel Miguel, Gloria Miguel, Artists and
Co-founders of Spiderwoman Theater; and Adrian Stimson, Artist. Blondo and Stimson, Natives from Canada, make their own work as well as collaborate in projects such as “Canadian Idol No More” and other spoofs that stand as comic yet interventionist works dealing with racism, prejudice, and language. Currently I am searching for ephemera, including images, text, video or reviews of a work entitled ” We Want To Look Like Barbie, That Bitch Has Everything”.  I found an interesting paper here on Van City Art’s website.

The most memorable moment was a performance by Guillermo Gomez-Peña. From “Guillermo Gomez-Peña, whose performances are characterized by the artist’s freakish charisma, linguistic exuberance, and gender-bending antics, was on hand to lead a radically compressed version of the two dozen workshops he conducts every year throughout the world with his troupe, La Pocha Nostra.” Gomez Peña is known for asking provocative questions about how Native and Chicano lives are represented in the dominant culture while using heavy dollops of satire, pop culture, and absurdism to keep his work accessible to audiences outside the art world. Gómez-Peña has written 10 books, many of which expand his idea of connecting art to active citizenship. “I call it ‘imaginary activism,’ ” he said. “It’s a place where Latinos occupy the center and Anglos are seen as exotic and non-mainstream. It’s a place where there are no passports and no borders. I use multiple languages like English, Spanish, Spanglish, and invented languages as well.”

Otherness, Embodiment, Ritual, Native Practice, Identity, Conflict, Misrepresentation, Marginalization, and the like.

Acting Out


Much Needed Break and Salads

Back to the blog…six months away from here proved to be one of the best reprieves for me. Learning to flow rather than fight on the things that don’t matter so much to save energy for the things that do.

The first post will be a bit of fluff but beautiful all the same. This blog is an inspiration to me. The blogger is a photographer, artist, and as she mentions in her blog “growing my own vegetables, cooking, writing about food and feeding my friends.”

Find her here: salad

I am currently willing to aspire to grow my own vegetables. For now herbs and simple edible plants that do well mostly taking care of themselves; like “rocket arugula” shown in this pic. Dave’s Garden is one of my go to websites about plants. More information about rocket arugula can be found here:  Dave’s Garden

backyard rocket arugula (early morning before the bees enjoy it)



The Value of Empty Space

Yesterday afternoon I joined several people in the ongoing dialogue on the topic of value, specifically the value of the artist/curator in the art industry. Chagrin I missed the weekly conversations which took place at Central Trak beginning April 18th yet caught up in a way as the walls void of “art objects” such a paintings, drawings, and the like were full of an alternative visual stimulator, text. The words included complaints, desires, and ultimately solutions related to the topic at hand.


wall 3


Thanks to a problem, artist and independent curator Leslie Moody Castro, rather than forcing a curatorial exhibition with objects and artifacts, decided to “produce weekly articles that explore the relationships between value and the visual arts in Dallas, the United States, and even internationally.  Thus, CentralTrak’s exhibition space will be “empty”, and will be a metaphorical and conceptual reflection of the intellectual property, capacity, and the time spent curating an exhibition with little, or no existing budget.” (Central Trak website)

Leslie and Heyd

Thus, conversations began at Central Trak, taking on the role as an incubator for discussions. The public was invited via their website and a variety of social media sites. As far as I understand there have been a core group of people who have attended every conversation while many took part in at least one or two. To catch me up Moddy Castro pointed me toward each wall where thoughts, ideas, rants, complaints, desires, and solutions were given validity. These ephemeral feelings and hopes typically get squelched or even disappear under the weight of everyday life. Yet it seemed to me that this time they did not. There on the wall, as if objects and even artifacts created by a variety of artists in the area an “exhibition” of sorts proclaiming truths often shared yet typically set aside to honor what has always been, a struggle.

Central Trak Director, Heyd Fontenot, served as moderator and collaborator alongside Moody Castro. Intelligent, honest, vulnerable, thoughtful, and with years of experience in working with others as liaison, agent, curator, and leader/supporter both created an atmosphere which allowed me to feel comfortable and willing to share my thoughts openly and equally as honestly. It seemed to me others must have experienced a similar sense as most in attendance pressed thoughts of particular passion and desire for the arts in Dallas.

Several big ideas regarding how to create change in the dynamic of art venue, patrons, and the artists, especially local artists. Discussions revolving around the Dallas Art Fair and how to respond to its success and it failures. Do we ride on the coat-tails of the fair or do we create works or a dialogue of criticism of the venue/event. Someone brought up the reality of differing opinions about venues such as the fair many don’t see the fair as extravagant or unrealistic while many do, stating that some of that expense could go to scholarships, grants or support for local artists. A response to this was the statement I won’t forget, “this isn’t a competition is about ecosystem”.

A woman sitting in the back with her adorable dog pressed the idea of making one thing happen so that all these efforts, thoughts, ideas, and energy don’t fall flat one more time. Needing to leave the gathering early, this long time supporter of Central Trak, reiterated please don’t conclude the time together without scheduling one action.  Discussing a few possibilities both Darryl Ratcliff and an artist he has been working with brought us to an understanding of how much a casual gathering around a meal is worth. Ratcliff reminded us that the issue of our need to build trust among one another – artists, gallerists, collectors, patrons- is one of the most important steps to building community. Another valuable thought related to the idea of a meal or pot-luck was made by Central Trak artist-in-residence K Yoland, meet in a variety of locations to help others feel included.  So it was set, Ratcliff and artist friend will take on this first gathering around the table, a pot-luck, Sunday, June 7th. A Facebook event will soon be posted.

After a few disappointments following grad school, this has given me some hope. Thanks guys.

Read more detail about the conversations here:

Leslie Moody Castro Interview       By Leslie Moody Castro      Witness To Change

The Conversations on Youtube:


In Support of Artist’s Freedom of Expression

 Gavin Delahunty, Contemporary Art Curator at the DMA

Gavin Delahunty, Contemporary Art Curator at the DMA

On Monday, April 13, from 12:30-2PM, the Dallas Arts District Museums collectively re-staged Cuban artist Tania Bruguera’s participatory artwork, Tatlin’s Whisper #6. Members of the general public including staff from surrounding museums were provided a platform to step up and speak freely. Most who spoke, did so for the artist. Bruguera faces  potential incarceration by the Cuban government. In December 2014 Burgera was arrested when she attempted to stage Tatlin’s Whisper #6 in Cuba. Now the government marks her as a “counter revolutionary” and dangerous to the country. She faces sentencing of no less than three years of imprisonment.

Museums, art organizations, and other art related venues restaged Bruguera’s performance piece in response to a call for action by Creative Time director Anne Pasternak.  The directors urged us all to  join in support of Bruguera and other artists around the world who face criminal charges and violence for exercising their basic human right to free expression.

#YoTambienExijo ” a civil platform for peaceful promotion of civil, political, economic and cultural rights in Cuba, from an open and plural civil society” ( was created to collectively aide in ” the promotion, respect and peaceful restoration of civil rights of the Cuban people through public actions concrete in different fields: artistic, cultural, civil, among others, driven from a civil society open without exclusion for political, religious affiliation or any other”. Through this collective effort there is hope for change not only in Cuba but in all other countries where the basic human right to free expression is repressed. The call to action on behalf of Bruguera and others is one way to address the issues of oppression and any political rule that suppresses the freedom of speech.

A group of no less than 20 people gathered at the Nasher like many others around the world. Most of those who spoke out at the Nasher read from several texts that Bruguera’s sister, Deborah, sent me to hand out for reading. My reading came from this text:


“Tania Bruguera’s intervention at the beginning of January 2015, was a bid to restore the voice of civil society and art in the process of transition that Cuba will partake in the near future. However, a loss of an important historical opportunity resulted from the defensive reaction of the Cuban authorities, to her wish of creating a moment of public freedom. The artistic community from the continent and, in particular, those who recognize themselves with the traditions of the left, should support, as a basic element of the verve of our societies, the artistic activism stemming from artists as Bruguera. In a complex context of political views and considerations over the future of the continent, it is reasonable that her performance could be controversial: that is the nature of all artistic action. But, above divisions and sectarianism, we share the common basis to think that a free culture is essential for the development of our societies. Please, support this letter to ask the Cuban authorities to rectify their position concerning Tania Bruguera. So that the discussion about her work, belong to only to the realm of critics’ debates.”

Many took to the platform provided by the Nasher and spoke honestly, fervently, and directly. There was a Cuban artist who spoke from her heart about the problems she has experienced herself in her native Cuba. She shared a few stories related to the ways in which the Cuban government continues to suppress artists voices. Her hope is that as a result of President Obama’s desire to re-establish diplomatic relations with Cuba things will change; that her people will gain possession of their country, own lives, and all the rights that humans inherently possess.

Others spoke out similarly giving their support and proclaiming their desire for change and reformation in Cuba. My hope is that this isn’t the only means we take to affirm our backing not only for Cuban artists but for the citizens of their nation.

Update from Deborah:

She tells me that there is comfort in knowing that at least the government feels the pressure and they know what the movement in support of Tania is doing.  Deborah so hopes this will finish soon and is happy to report that there are forty European Deputies who have signed a letter of support.

 Stand up and speak out in support of artist’s freedom of expression.

Noah Simblist

Noah Simblist, writer, curator, artist and an Associate Professor of Art at Southern Methodist University.

Leigh Arnold, Assistant Curator, Nasher Sculpture Center

Leigh Arnold, Assistant Curator, Nasher Sculpture Center


Justyna Gorowska @ Cydonia

Cydonia is a contempory gallery in Dallas that has caught my attention. The owner and director Hanh Ho is delightful, intelligent, educated, witty, interesting, and understandably passionate and dedicated to her mission “supporting the careers of emerging artists whose practices have international relevance and to show artists that have cultural and historical significance, conceptual rigor, or are the singular voice of their generation”. Dallas has a new gift in Cydonia.

For the exhibition Ho brought in Polish born artist Justyna Gorowska to show seductively captured stills from prior documented performance work and live work which the artist performed the evening of Friday, April 17th. This body of Gorowska’s work is based on her discovery of and artistic connection with photographic work by Francesca Woodman. Ho describes the Polish artists affinity as one of understanding and identification. Gorowska isn’t interested in copying Woodman’s work but responding as a means of what I deem as artistic kinship.  Viewers of Cydonia need not necessarily be familiar with Woodman’s photographs but Ho states that it might aid in understanding Gorowska’s process and work in this series.

Rome 1978

Francesca Woodman

As an artist that makes and directs performance I am interested in knowing something about another artists practice and intention. This can be important in experiencing the work. Here from Cydonia’s website on Gorowska:

Justyna Gorowska is a performance artist whose practice is focused reconciliation of the post-humanistic condition. Her practice explores a new model of living where humanity can evolve past its privileged place in the universe, where the individual can become one with her reality, as the artist poetically describes, “as water in water.” Delicate, precious objects, videos, installations and performances are founded upon the belief that culture creates humans, that culture is but another level of nature created in evolution. Art is biological. Obsessed with creation of taut emotions in her viewers, Gorowska uniquely finds the precise movements and actions to tease out and control the viewer’s sensitivity, reminding us of our most primal and perhaps, evolved desires. The bedrock of existence for all life is different than the basis for survival. There is no violence, there is no competition for resources because her goal is to reconstruct a “lost vision of the world.” She insists we should reinterpret what it means to be human when we think that culture is the antithesis of nature, that which seems wild, uncivilized, or depraved. For her, ethically, all living, sentient beings are part of culture.

As in Woodman’s photographic work, Gorowska’s video stills rarely if ever reveal her face. The artist is not interested in fashioning her body as celebrity, superstar, or model but as human.  During a gallery visit the day after Gorowska’s live performance I gained even more understanding of the artists process as Ho described her work.

“This work goes beyond mymicry. In order to re-stage Woodman’s actions you have to, in the best way possible restate the best way to feel the emotion of the work. A copy is a copy but this work goes beyond that because Gorowska is restating the emotion and sensation of Woodman’s photographs”, says director Hah Ho. Gorowska’s sensitive work is based on a very intuitive process which provides for her a way to respond to Woodman’s work yet make it her own.

Francesca Woodman

Francesca Woodman

Friday evening the gallery was filled with people, many with connections to the University of Texas at Arlington and other artist friends and acquaintenances from the Dallas/Fort Worth area. Prior to the performance we were informed not to take photographs during the performance, something I have come to respect in the age of social media.

Gorowska performed live at Cydonia among her enchanting black and white video stills of her performing elsewhere, a haunting video of work made prior in response to the Woodman photographs. Here I digress just for a moment. Often performance artists are included in exhibitions among the work of other artists, as if we were the entertainment for the evening. Why must performance art not be given it’s own space as a sculpture or installation or exhibition of paintings? Performance art is work. It is the work of artists who have invested just as much of themselves in the creation of the work as object makers or those working in new media.

Although Gorowska performed among work, it was her work thus it seemed cohesive and not distracting to have objects and digital media sharing the space with her body. We, the audience watched quietly, not through the screens of our smart phones but with our eyes directly on the artist.  Gorowska’s piece was short but seemed to linger in the room, in the air, in the imaginations of us all. I was mesmerized by her work.

The Lily | The end of the wall where Gorowska sat

Performance art is experiential and one of the most confrontational fine art medium. The art and the viewer are on similar planes, the third wall (the stage) is collapsed, and the art (the body) is the medium, the performance or “act/action” the work. This type of work also challenges conventional notions of art such as painting and traditional forms of sculpture. It is a means of  dematerialization of the art object and the departure from traditional media. Yet the body being the work of art too is the ultimate of material. Performance art has a sort of antipodal personality which continues to intrigue and challenge me. One of the reasons why I continue to make and support others who make this type of work.

Words on paper cannot provide the experience viewers may have had during the live performance of course, thus my intent in describing Gorowska’s performance at Cydonia is an attempt to present her action through my lens. That evening the barefoot artist walked into the room dressed in a loose fitting black shift. Entering the room from a separate space in the back of the gallery she carried a single white calla lily and placed it stem down on the floor and leaning on a short interior wall then she left the room. Gorowska returned with a camera on a tripod placing it on the floor facing the lily. This act most likely was not intended as part of the live work but her movements allowed me to consider it. Once the camera was set she undressed with ease embodying only a hint of what felt like hesitation. Her slim naked body appeared to float across the cold cement floor over to the wall where she sat, her back against the wall, knees folded up to her chest and long slender arms wrapped around them. She situated her long wavy hair behind her ears and then looked down. After a few moments she began to speak, almost chant. She uttered phrases including the words never and able to indicating a finality to something. Later I learned that these words were for Woodman, who took her life at the age of twenty-three.

This work was a final performance dedicated to Woodman, thus ending Gorowska’s work in response to the artist’s photographs. According to Ho, Gorowska is not interested in pursuing the work of another artist to create a new work. She is making work that is related to something very different as she ends this series.

Gorowska’s exhibition at Cydonia continues through May 8th. If you missed the live performance a video of that work will soon be displayed among her other work. Contact the gallery for more information.

Also see: Francesca Woodman Page on Artsy’s website:  Francesca Woodman

Cydonia167 Payne St Dallas / Fort WorthTX  2142964848