INIT for the collar'd shirts
Permanent Research Project (PRP), Dallas, TX
Curated by Mostra
Mostra is a collaboration between Rodney Rogers and Michael Wynne.
Show Statement:
Associations, Awkward, Clansman, Confidence, Dicks, Dictating, Dude, False, Flag, Heroism, Human, Identity, Influence, Instincts, Irony, Male, Man, Masculinity, Meanerdings, Myth-making, Non-verbal, Objects, Organic, Pitfall, Potential, Power, Progress, Real, Regurgitation, Self-made, Snarky, Society, Stuff, Things, Tough, Traits, Unknown, Zealot.
Associations, Awkward, Clansman, Confidence, Dicks, Dictating, Dude, False, Flag, Heroism, Human, Identity, Influence, Instincts, Irony, Male, Man, Masculinity, Meanerdings, Myth-making, Non-verbal, Objects, Organic, Pitfall, Potential, Power, Progress, Real, Regurgitation, Self-made, Snarky, Society, Stuff, Things, Tough, Traits, Unknown, Zealot.
Runaway Boy.
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Art Now: Printmaking
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Is that your Father's watch?
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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.
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.
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 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
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
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