Art Now: Printmaking
Ann Arbor Art Center, Ann Arbor, MI
Juried by Tyanna J. Buie
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Mud Manifesto: Point 1 was selected for an exhibition titled, Art Now [Printmaking], juried by Tyanna J. Buie. Additional prints from the portfolio, Mud Manifesto, are below.
These prints were made in Stanwood, WA at the Pilchuck School of Glass. Pilchuck's printshop specializes in Vitreography and Serigraphy. While working as the Print Coordinator, I harvested dirt from under the shop. I then mixed the dirt with transbase, easy wipe, and linseed oil. The matrix used was a 3/8" sheet of float glass. To check out Pilchuck School of Glass, visit: http://www.pilchuck.com |
Point 2
Point 6
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Point 3
Point 7
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Point 4
Point 8
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Point 5
Point 9
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Is that your Father's watch?
the Safe Room Gallery, Dallas, TX
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Point #4 From the Mud Manifesto
Our personal mud is descendant from our Father’s mud. Our Father's mud exists as a descendant of his Father’s mud. The actions of each generation’s mud are a repetitive derivative of the previous mud. Is that your Father’s watch? was an installation that consisted of a non-linear printed narrative and a carpet of dirt. The narrative spoke about travel, exploration, and the collection of artifacts/knowledge that are acquired through this process. The title seeks to acknowledge the viewer’s heredity, whether biological or spiritual, to question the individual’s genealogical influence on their personal explorations. I published the zines with Texas Christian University's printmaking area head, Rachel Livedalen and her amazing Risograph. The zine contains 14 images from the past 10 years and consist of drawings, maps, performance documentation, landscapes, objects, and text. To see Rachel's work, check out: http://www.rachellivedalen.com The Safe Room: http://saferoomgallery.com |
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Mud is Mud
the McKinney Avenue Contemporary, Dallas, TX
Point #10 From the Mud Manifesto
Mud is mud no matter if it is concrete or clay.
The Mud Campaign consists of an online platform and a series of ongoing site specific exhibitions. The online platform acts as a growing archive of images posted by anyone with an internet connection, while the exhibitions focus on collaboration and local community involvement.
Mud Campaign on Instagram: https://www.instagram.com/mudcampaign/
The first exhibition, Mud is Mud, brought awareness to the national statistics of homeless LGBTQ+ youth, bridged connections between Dallas/Fort Worth LGBTQ+ youth and DFW art communities, and raised funds for Youth First, a program of the Dallas Resource Center. Youth First is one of the only LGBTQ+-focused youth programs in North Texas and provides life skills through educational, recreational, and behavior health services.
Mud is Mud, was launched in conjunction with the McKinney Avenue Contemporary’s New Urban Landscape Series. The exhibition was made possible by the MAC, 4 ACRE Press, Wild Pony Editions, The University of Texas Arlington Glass Department, and about a dozen additional artists who donated their time and skills.
The MAC: http://the-mac.org
4 ACRE Press: http://www.sydwebbstudios.com/our-story/
Mud is mud no matter if it is concrete or clay.
The Mud Campaign consists of an online platform and a series of ongoing site specific exhibitions. The online platform acts as a growing archive of images posted by anyone with an internet connection, while the exhibitions focus on collaboration and local community involvement.
Mud Campaign on Instagram: https://www.instagram.com/mudcampaign/
The first exhibition, Mud is Mud, brought awareness to the national statistics of homeless LGBTQ+ youth, bridged connections between Dallas/Fort Worth LGBTQ+ youth and DFW art communities, and raised funds for Youth First, a program of the Dallas Resource Center. Youth First is one of the only LGBTQ+-focused youth programs in North Texas and provides life skills through educational, recreational, and behavior health services.
Mud is Mud, was launched in conjunction with the McKinney Avenue Contemporary’s New Urban Landscape Series. The exhibition was made possible by the MAC, 4 ACRE Press, Wild Pony Editions, The University of Texas Arlington Glass Department, and about a dozen additional artists who donated their time and skills.
The MAC: http://the-mac.org
4 ACRE Press: http://www.sydwebbstudios.com/our-story/
This drawing was created by a LGBTQ youth in conjunction with the Mud Campaign Project. Learn more about the Mud Campaign at www.mudismud.com
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mud rising
the Gimp Room, Houston, TX
The mud philosopher
mud rising was the private and sacred space of a man who believed and practiced his life based on the Mud Manifesto. Based in an alternative gallery space, the Gimp Room contained artifacts of the inhabitants that once lived in the building. mud rising capitalized and appropriated that history creating an installation where art and space could not be directly separated by the viewer.
The Gimp Room at the Glass Peacock: http://sallyglass.com http://emilyannpeacock.com/home.html
mud rising was the private and sacred space of a man who believed and practiced his life based on the Mud Manifesto. Based in an alternative gallery space, the Gimp Room contained artifacts of the inhabitants that once lived in the building. mud rising capitalized and appropriated that history creating an installation where art and space could not be directly separated by the viewer.
The Gimp Room at the Glass Peacock: http://sallyglass.com http://emilyannpeacock.com/home.html
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H is for human, M is for mud.
500X Gallery, Dallas, TX
The Mud Manifesto Conception
H is for Human, M is for mud. utilized the words of Kurt Vonnegut, “Lucky me, Lucky mud” to set the tone for an installation highlighting life, space, and artifacts. This exhibition generated the ten points of the Mud Manifesto.
500X Gallery: http://www.500x.org
H is for Human, M is for mud. utilized the words of Kurt Vonnegut, “Lucky me, Lucky mud” to set the tone for an installation highlighting life, space, and artifacts. This exhibition generated the ten points of the Mud Manifesto.
500X Gallery: http://www.500x.org
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Work
Beefhaus, Dallas, TX
action 7: | WORK
This collaboration between H Schenck and Alison Starr explores the systems and aesthetics of social navigation though work. Alison Starr’s scripted performances explore not only the movement of the body but the influence of the persons who drive them. Through the use of the person as object, a conceptual body, and Starr’s innate ability to select a concise cast of individuals to play specific roles, her performance work is able to surpass the social/physical limits of her own body and address a wide range of topics/audiences.
H Schenck uses a methodological aesthetic in conjunction with everyday objects/video recordings to explore the normalcy and struggle of navigating social structures. Individuals' constructed identities are in constant flux, dependent on their location, other people, state of mind, current financial status, etc. Schenck investigates the gray areas surrounding individuals’ ability to choose their identity, society’s categorization of individuals, and the flexibility or non-flexibility of individuals to move from group to group. Schenck’s work, while being derived from his own personal experience, allows viewers to associate their own modes of navigation in regards to these struggles.
Seeking order, place, and beauty.
The relationship of turning labor into work,
work into navigation,
and navigation into a bridge for social understanding.
Alison Starr: http://www.alisonstarr.org
This collaboration between H Schenck and Alison Starr explores the systems and aesthetics of social navigation though work. Alison Starr’s scripted performances explore not only the movement of the body but the influence of the persons who drive them. Through the use of the person as object, a conceptual body, and Starr’s innate ability to select a concise cast of individuals to play specific roles, her performance work is able to surpass the social/physical limits of her own body and address a wide range of topics/audiences.
H Schenck uses a methodological aesthetic in conjunction with everyday objects/video recordings to explore the normalcy and struggle of navigating social structures. Individuals' constructed identities are in constant flux, dependent on their location, other people, state of mind, current financial status, etc. Schenck investigates the gray areas surrounding individuals’ ability to choose their identity, society’s categorization of individuals, and the flexibility or non-flexibility of individuals to move from group to group. Schenck’s work, while being derived from his own personal experience, allows viewers to associate their own modes of navigation in regards to these struggles.
Seeking order, place, and beauty.
The relationship of turning labor into work,
work into navigation,
and navigation into a bridge for social understanding.
Alison Starr: http://www.alisonstarr.org
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