Working on the installation Sen by artist Lisa Solomon was an all-hands-on-deck affair at the Ulrich Underground. I was one of many on the team and its completion was nothing short of a Herculean effort.
The title, Sen, is the Japanese word for ‘one thousand’. Most literally, this title describes the 1,000 hand-made doilies pinned to the wall. These doilies were made by participants from around the world.
Artist and activist Armando Minjarez has been busy! He’s the driving force behind the ICT Army of Artists, responsible for the Immigration is Beautiful mural – and its loving restorations after it was defaced.
Minjarez also found the time to create an array of sculptural and installation artwork for his solo exhibition Un Recuerdito or, A Small Keepsake. Despite the diminutive in the title, the show takes over the first floor at CityArts.
Since the early 1990s, the hyper-anonymous street artist Banksy has been upending our collective notion of art, vandalism and politics with both formal and informal exhibitions across the world.
The mystique that surrounds Banksy certainly adds to the hype—only a few people have actually seen him—but it’s his artistic lexicon that has carried him from a graffiti writer from Bristol to the force of art that he is today.
I recently traveled to the Salina Arts Center for the maiden voyage of the TYTON - an installation by artist Randy Regier and writer and director Gail Lerner. Both led a workshop-in-residence at the Center. Regier and Lerner worked together and collaborated with the community to create a fictional luxury submarine cruise liner called TYTON.
There has been a lot of performance art in Wichita lately: ProjectvRunaway for WSU Shift Space, George Ferrandi with Harvester Arts, and The Bridge Club brought in by the Ulrich Museum.
For those who may not "get" performance art, you are far from alone. But let me offer this brief explanation: Performance artists craft experiences, instead of paintings or sculptures. It is ephemeral, and while there may be photographic documentation, viewing images and experiencing the performance are two separate things.
This is the final weekend for the exhibition FREE TEXTS by Stephanie Syjuco at the Ulrich Museum.
Syjuco is a recent recipient of the Guggenheim Fellowship and her solo exhibition proves that the re-conceptualized Ulrich Underground is a perfect space for experimentation and contemporary artistic talent.
More than 40 years have passed since the beginning of the modern graffiti movement, and it shows no sign of slowing down. Heightened security in train yards, and technological innovations such as graffiti-proof paints and metals, have moved the scene from subways to the streets. The first writers have either disappeared, or moved their craft from the streets to the art gallery. And an entire generation has grown up in a world that has always had graffiti showing up somewhere in their cities.
On Commerce Street, you can find a number of art galleries, but there is one that I would even hesitate to call a “gallery.” It’s really a restoration workshop with a space for art up front.
The garage-slash-art space seems an unlikely pairing, but every time I walk into Go Away Garage, I’m impressed by either the quality of craftsmanship in the art or the quality of the presentation. Last Final Friday, I was impressed by both.