Nearly a year into the global pandemic, it’s likely we can all relate to the idea of the imagination as a passport.
Jennifer Steinkamp’s new digital work Eon, recently unveiled as part of the University of Texas Landmarks Collection and commissioned for Welch Hall, the university’s recently renovated science building, invokes these complex ideas not in the form of ephemeral petals, but in massive LED screens.
But now she is the recipient of a grant through the Houston Arts Alliance, and her impending exhibition will debut at the Old Jail Art Center on Feb. 22, before making its way to the Institute for Art and Olfaction in Los Angeles in May, finally landing at Rudolph Blume Fine Art/ Artscan Gallery in Houston in October.
The Dallas-based artist Alicia Eggert, along with collaborator James Akers, recently opened a captivating new work at Houston’s Color Factory, a pop-up space that focuses on “instagrammable,” site-specific installations.
In one more step towards the antiseptic future envisioned largely by sci-fi movies- a future without dust, disease, age or decay-the very language we invent for our technological revolution has become disembodied and etherealized.
The 2013 Hunting Art Prize winner describes the entire universe of a body or an object with subtle tones and pencil marks on translucent Mylar—a surface so delicate that one swipe of his hand could smudge it irreparably. In this way it is reminiscent of Buddhist sand mandalas, an effort of time and “intense study,” as the artist puts it.