Chelsea Weathers

  • LaToya Ruby Frazier, Edgar Thomson Plant and The Bottom, 2013, color photograph, 42 1/4 x 63 1/8”.
    interviews January 22, 2015

    LaToya Ruby Frazier

    The photographs and text in LaToya Ruby Frazier’s first book, The Notion of Family (2014), depict the story of three generations of women—Frazier, her mother, and her grandmother—whose lives parallel the rise and decline of the steel industry in Braddock, Pennsylvania. Here, Frazier discusses her documentary photographs, which portray how the town’s industrial activities have left physical traces on the landscape and residents. Frazier’s latest exhibition “Riveted,” will be on view at the ISESE Gallery, the John L. Warfield Center for African and African American Studies, at the University of

  • View of “Byzantine Things in the World,” 2013.
    picks June 11, 2013

    “Byzantine Things in the World”

    In this exhibition, Byzantine functions less as a historical or stylistic category than as a gambit for interacting with the material world: To be Byzantine is to allow things—not necessarily artworks, but all manner of objects—to be affecting in new ways, and to alter how one relates to things inside and outside the museum. The 159 works on view range broadly across time and media, and their presentation is resolutely eclectic and ahistorical. Each gallery houses items that date from various centuries and range in scale from miniature to larger than life size. This curatorial approach is meant

  • Emily Roysdon, Pause, Pose, Discompose (detail), 2012, mixed media, dimensions variable.
    picks October 24, 2012

    Emily Roysdon

    Upon arriving in Austin a few weeks prior to the opening of her current exhibition, Emily Roysdon enlisted several people from the local arts and queer communities to participate in foraging for materials, assisting with printmaking, and acting in the short video that is the centerpiece of “Pause, Pose, Discompose.” Although assembling the show’s components may have been spontaneous and a bit disorganized—neither of which is particularly inappropriate, given the site-specificity of her previous works—the resultant installation seems far from ramshackle or unplanned. The untitled silent video

  • Left: Cover of “Our Kind of Movie”: The Films of Andy Warhol (2012). Right: Douglas Crimp in his office at the Guggenheim Museum with a poster of Ultra Violet, ca. 1970.
    interviews April 02, 2012

    Douglas Crimp

    Curator and critic Douglas Crimp is a professor of art history at the University of Rochester. His latest book, “Our Kind of Movie”: The Films of Andy Warhol, which has just been published by MIT Press, is a collection of essays about Andy Warhol’s films, and the first book-length study of Warhol’s cinematic corpus since the artist pulled his movies from distribution in the early 1970s. Here Crimp explains how Warhol’s films show us a different side of Warhol, and addresses the works’ relationship to queer culture. On April 2 at 7 PM, The Kitchen will present an evening of readings and screenings

  • Amanda Ross-Ho, UNTITLED NOTHING FACTORY, 2011, mixed media, dimensions variable. Installation view.
    picks February 24, 2011

    Amanda Ross-Ho

    As part of her six-week residency at the University of Texas’s Visual Arts Center, Amanda Ross-Ho enlisted the help of a small army of eager volunteers to help construct UNTITLED NOTHING FACTORY, 2011. The enterprise was open to whoever wanted to join, and participants could work as little or as much as they wanted at three different stations set up in the large vaulted gallery, making paper out of discarded documents from the offices of UT’s fine arts department, stretching canvases, or shaping pots or figures out of the massive amount of raw clay on hand. Cameras installed high above the action

  • View of “Cosmos,” 2010. From left: Emilie Halpern and Eric Zimmerman, You Are Here (Endlessly), 2010; Emilie Halpern, 2061, 2008; Emilie Halpern, Feather Lips, 2010; Eric Zimmerman, The Velocity of the End (From Here to There), 2009; Eric Zimmerman, There I Was (Nothing Is the Rule, Something the Exception), 2010; Emilie Halpern, Cosmos, 2010.
    picks June 05, 2010

    Emilie Halpern and Eric Zimmerman

    A cosmos is a view of the universe as a system, an entity with its own intrinsic logic. “Cosmos,” Emilie Halpern and Eric Zimmerman’s collaborative exhibition, also follows a rigorous system of order––the show is dense, and the universe the artists present is one built by accretion. Images and concepts constantly overlap, and though “Cosmos” comes close to feeling like a hermetically sealed vacuum, the works’ subtle playfulness and the gallery’s airy spaciousness provide ample breathing room.

    The layout of the exhibition itself reads like a Venn diagram. Each artist has filled two small rooms

  • Travis Kent, Spheres, 2009, color photograph, 8 1/2 x 11".
    picks February 08, 2010

    Travis Kent

    Travis Kent’s recent photographs in “Hope You’re Well,” his first solo exhibition, are devoid of irony. Though many of the images approach cliché––the back of a head against a pristine rainbow, a hipster couple kissing in the trash-laden kitchen of a house party, a crocodile in a murky swamp––the artist has avoided the critical distance necessary to qualify his photographs as aloof commentaries on his subjects.

    What is ironic, however, is that Kent achieves such earnestness through the spontaneity of his approach. Each photograph is a carefully composed snapshot. This may at first seem like a

  • Ricci Albenda, Garden, 2009, acrylic on multiple panels. Installation view, library of the Rachofsky House, Dallas.

    Ricci Albenda

    HOW DOES A HOUSE SPEAK? Le Corbusier’s famous declaration that a house is “a machine for living” may preclude any notion that a house—particularly an exemplar of austere postmodernism, such as Richard Meier’s Rachofsky House in Dallas—could say anything in the way of messiness or chaos or incongruity and subjectivity. The Rachofsky House sits moored to the ground, a tightly composed network of right angles, white planes, and plate-glass squares and rectangles. But of course, true to Meier’s ideals, the structure is not blind to its surroundings; it drinks them in and exposes the inside

  • Greely Myatt, I gotta learn to talk (detail), 2006, steel, acrylic on paper on canvas, 106 x 65 x 7".
    picks October 29, 2009

    Greely Myatt

    To mark Greely Myatt’s twentieth year working and teaching in Memphis, his work is featured in nine venues around the city for nearly four months. This proliferation of exhibitions offers a vast retrospective view of his output, much of which suggests or actively engages in dialogues––between the artist and art history, the art and its imagined audience, or notions of fine art and the craft tradition.

    One motif that appears repeatedly in Myatt’s work is the cartoon speech bubble. He fashions these from found pieces of wood, scraps of metal from discarded signage, old cookie and baking tins, and