Exhibition Dates: February 6-28, 2020 Opening Reception and Gallery Talk: Thursday, February 6, 5-7pm
Titled Exurb, this exhibition focuses on the subject of landscape in which Bajuyo and Brown extend their investigations beyond formal aesthetic elements to include questions of historical context, politics of ownership, and environmental impact.
Leticia Bajuyo transforms suburban stereotypes into symbols and visual markers that delight and at the same time spur a critical stance as she crafts an irony inflected dystopian vision of the suburban fantasy.
Jason Brown creates artwork that engages viewers in a conversation about the environmental cost of energy extraction from the earth as it relates to wants and needs in a consumer culture.
In addition to exhibiting their individual artworks, in response to the Jacksonville area, Bajuyo and Brown created collaborative, site-sensitive installations to facilitate a conversation about landscape in suburban/exurban developments.
Work in Progress is an exhibition of work by current graduate students enrolled in the TAMUCC MFA Studio Art program. The exhibition will display work in progress across a range of disciplines spanning painting, sculpture, ceramics, photography, printmaking, and installation by MFA candidates Maclovio Cantu IV, Clarissa Gonzalez, Payton Koranek, Laura Monahan, Robert Neal, Jacqueline Negreros, Emmanuel Sanchez, Jamie Speck, and Carlos Israel Villarreal.
Exhibition Dates: February 6 – February 21 Opening Reception: Thursday, February 6, 6:00 – 8:00pm
Beginning 42 years ago, the faculty of the Department of Art + Design at Texas A&M University-Corpus Christi have coordinated the Oso Bay Biennial, representing the various disciplines practiced in the department. For 2020, Oso Bay XXI will focus on artworks and techniques that connect and contribute to the interdisciplinary nexus of Sculpture and three-dimensional artmaking, including installation and ceramics.
A primary component of this year’s biennial will be a national juried exhibition at the Islander Art Gallery, co-sponsored by TAMU-CC, Texas Sculpture Group and Midsouth Sculpture Alliance, and juried and curated by Sculpture Month Houston founder, Dr. Volker Eisele.
Oso Bay XXI is centered in the notions of process, invention, and adaptation in conjunction with tradition, refinement, and commitment, to foster ongoing connections within the interdisciplinary nexus of Three-Dimensional Artmaking.
Open to all artists 18 years and older, the Islander Gallery invites artwork that utilizes traditional and/or contemporary methods of creating objects. In recognition of the title of Oso Bay XXI – Matter Matters, entries should visibly consider a third dimension (even if a narrow or variable one) and be created in a manner that the matter, materials, and techniques used matter to the concept, experience, and outcome of the artwork.
The exhibition will conclude with a symposium on April 24-25 and will include closing receptions, three panel discussions, several art bursts featuring the creative community of Corpus Christi, a talk by Houston-based curator and Oso Bay Biennial XXI exhibition juror Dr. Volker Eisele, and a keynote address by artist and UT Austin Professor Beili Liu.
The symposium and all related events are open to the public.
– Entry Deadline: February 15th, 2020 – Entry Fee: The entry fee is $30.00 for up to three artworks. OR Artists who are active and paying members of Texas Sculpture Group and Midsouth Sculpture Alliance at the time of entry and throughout the exhibition (if selected) are exempt from paying the entry fee. – Notification: March 1st, 2020 – Delivery or Shipping Deadline: Friday, March 27th, 2020 – Exhibition Dates: Friday, April 3 – Saturday, April 25th – Pick-up or Return Shipping Deadline: April 25th (following the closing reception) – May 2, 2020
SUBMISSION REQUIREMENTS – All mediums accepted: 2D, 3D and video work – The works must be of original design and execution. – Work must be original; no reproductions. – All work submitted must be available for exhibition dates and must be gallery ready. – Artists are welcome to include an optional brief statement with details about material, process, and concept. – Recent works are preferred, but there is no restriction for the creation date.
WORK REQUIREMENTS – The size is limited to artwork that fits through a standard door with no dimension longer than 72 inches. – Total weight of work must not exceed 150 lbs unless the artist is on site to personally deliver, assist the gallery staff with installation, and pick-up artwork. – Floor-based works must be firmly stable. – Large-scale and multi-piece installations must be installed by the artist. – The gallery has a limited number of pedestals. Pedestals can be reserved with gallery staff upon acceptance. If artwork requires a pedestal with unique dimensions, the pedestal must be provided by the artist.
WALL-MOUNTED WORK REQUIREMENTS – All wall-mounted work must be equipped with wire, D-rings, or French cleat(s) for hanging (or note method of presentation upon entry). – Wall-mounted 3D work should be ready for hanging and artists must supply all appropriate installation materials (including instructions, templates, or guides). – Total weight of wall-mounted work must not exceed 50lbs.
VIDEO REQUIREMENTS – For accepted video work, the artist is responsible for providing all necessary display and viewing equipment, including, but not limited to: display monitor, screens and screen supports, DVD player, USB drive, mounting hardware, remote controls, batteries.
On Friday, October 18, Steve Prince welcomed us to his exhibition ‘Kitchen Talk’ at the Islander Art Gallery. Before his lecture, I had the opportunity to sit down and interview him. He opened up about his personal life, religion, culture, politics, and most importantly, his work. Prince is a Virginia-based artist whose work exemplifies his interests in art, music, and religion, addressing issues of social injustice through a metaphorical language of faith, hope, and creativity
A lot of your works deal with love,
social injustice, and faith. Were any of these paintings based on personal
experience? As far as love and faith, I do not see those things broken
apart. Personal experience is what I create with. This is my faith, my love for
humanity, and my love of self. My work is dealing with historical facts and
truths through a spiritual lens. I have created my symbology for my work to
communicate this and challenge our ideas. I want people to challenge themselves
and others on how they look at the world and how we look at each other.
What is your creative process for
starting a new drawing or print? A playground for the creative process I go through is my
sketchbook. This is where I practice my drawing daily. I draw anything I see:
people, places, nature, etc. Most of my days, I interact with people, so a lot
of my drawings consist of people I meet, my girlfriend, my friends, world
events. My work has a lot of information compacted into a space that tells a
narrative. This forces the viewer to have to sit through and analyze my
drawing. My drawings tell stories that each viewer may see differently.
When starting your career in art was
there an event, a person, or idea that inspired you to pursue this dream?Yes, several people helped inspire
me. The very first person to inspire me to become an artist was my brother. He
is an artist as well. When I was young, I would constantly watch him draw. Then
fast forward to high school, I had an art teacher. She saw that I had talent,
so she would pull me aside and work with me. Then in college, I had a mentor
named John Scott. He was the key person to pull it all together for me. I saw
him as a family man, a professor, and a person who was involved with the
community. I quickly saw the impact he had on others, which inspired me even
Has the current political, cultural,
or religious climate influenced your artwork? I see the past, present, and future
as an ongoing continuum. I see the past five years just the same as I see the
past 10 years or 30 years. Let me know which decade you think is good. Each
decade you go back had its own challenges. You can’t go back to America’s
infancy and think those are the good days. They were all warped with a lot of
challenges, and some deep philosophical social issues that this nation was
built upon. So, if I say what has happened in the past two years as far as
social and political issues, they are no different than what has already been
going on. What is important is being conscious and aware of things. I think too
often in the President Obama years everyone thought we had moved to a
post-racial era. Then with this past presidency, it seemed that we went back in
time. This idea of the post-racial era never existed. This was a time of smoke
and mirrors, and people fell asleep on what really was going on around us. My
work aims to bring awareness. I am going back in time and forward in time to
show people connections. I do this to show the work that we must do to overcome
In your designs, I have noticed a
frequent amount of symbolism. Does this come naturally or is it a conscious
is a conscious effort. So much of what I do to develop in terms of symbolism
comes from reading, studying, looking at other artist’s work, hearing stories,
and spirituality. I take all this information and create my own symbolism.
What advice would you give to an
aspiring artist trying to make it in the industry? When I talk to a lot of students,
they often express to me a level of fear of the unknown, what comes next.
Students often ask themselves what the purpose is of being an artist and what
should I say as an artist. These are all great questions you should be asking
yourself. These questions allow the opportunity for you to be open and honest
with yourself. You will be able to realize who you are and what questions you
will want to answer as an artist. As a college student, I continue to work and
study. You are very fortunate to be able to take time and study this stuff. How
many other people who want to be artists have the time to study this stuff?
Many aspiring artists do not have this luxury of being in college. With this
privilege of being an artist comes a lot of responsibility. What are you going
to say through your work? What are you going to speak to? The first person you
should speak to is yourself. You are the first recipient of the work.
For the second year in a row, in collaboration with Jim Moore, director of PAC, Leticia Bajuyo’s sculpture students have created freestanding artworks for the Texas A&M University-Corpus Christi’s Annual Furgason Bravo Series.
Displayed in the PAC lobby for patrons to enjoy before the shows, each piece was influenced and inspired by the unique music of Las Cafateras, this year’s first BRAVO performance, with the architecture of the PAC, and/or the idea of performance. Bajuyo is a strong supporter of interdisciplinary opportunities and encouraged the students to use their work in steel to be complimented by additional materials as they planned, designed, and created these unique sculptures.
These sculptures will be on display October 2019-January 2020.
full gallery of the 2019 Top 50 Photographers HERE
Photolucida is an arts nonprofit based in Portland, Oregon whose mission is to provide platforms that expand, inspire, educate and connect the regional, national, and international photography community.
Critical Mass is an annual online program that makes connections within the photography community. Photographers at any level, from anywhere in the world, submit a portfolio of 10 images.
Through a pre-screening process, the field is narrowed to a group of 200 finalists who go on to have their work viewed and voted on by over 200 esteemed international photography professionals.
From the finalist group, the Top 50 are named and a series of awards are given. In the past, awards have included a monograph award, residency awards, solo show awards, and group show inclusion. Critical Mass 2020 will open in May, and remain open for submissions for about four weeks.
Eric Fuertes works at the School of the Art Institute of Chicago where he is the Manager of the Columbus Digital Fabrication Studio. He creates complex artistic devices that mechanize the process of art making utilizing interdisciplinary, traditional, and digital techniques. His artwork explores socio-political commentary and ideas about production, democratization, and fallacies in contemporary culture.
2011 MFA Northern Illinois University 2007 BFA TexasA&M University – Corpus Christi 2004 AA Del Mar College, Corpus Christi, Texas
Eric Fuertes will be presenting Thursday, October 31, 2019 at 4:00-4:50 pm in the Sculpture Studio 116 in the TAMUCC Center for Art. This artist talk if free and open to the public.
For newly arrived Assistant Professor of Art Richard W. James, crafting sculpture usually begins with a found object and an idea. It could be a pair of boxing gloves or a boat motor or a lap harp, but each project has its own evolution as it develops. For his intricately detailed mixed media oeuvre, James has been named the 2019 Chrysalis Award recipient.
Established in 2016 by the James Renwick Alliance, the Chrysalis Award is meant support emerging artists who demonstrate excellence and a commitment to artistic innovation. Winners receive an unrestricted $5,000 award to be used for future works of art. James was named the sole recipient of this 2019 award due to his unique vision and voice.
James will accept the Chrysalis Award and give a speech at the JRA Distinguished Artist Series event on Nov. 17 in Washington, D.C. Across the country, James’ work can be found in various private collections. Here, at the Island University, interested students can register for any one of his classes.
Exhibition Dates: September 21 – December 14, 2019 Opening Reception: September 21, 2019
Extending through all the galleries in the Beeville Art Museum, Keystones features a large-scale installation connecting three of the museum’s galleries along with smaller sculptures, drawings, glass pieces, and works made of grass and turf through the museum.
The exhibition title, Keystones, refers both to conceptual connections across the entire exhibition and to the archways in Bajuyo’s installation one can enter. As with almost all of her large-scale pieces, swirling vortexes accentuate the art, suggesting infinite space, black holes, and celestial light. Bajuyo describes how influences such as outer space, black holes, and the edges or borders of transition manifest in her studio practice, and how the thin line of an event horizon on the edge of a vortex, a point of no return, an excellent visual for examining value allotment and changes in perception.
The Beeville Art Museum is located at 401 E. Fannin, Beeville, Texas It is open to the public 9 a.m.-5 p.m., Monday through Friday and 10 a.m. – 2 p.m. Saturday. To contact the museum, please call 361-358-8615 or visit our website at www.bamtexas.org.