2500 Summer Street
3rd Floor
Houston, TX 77007
713-869-5151
info@deborahcoltongallery.com
www.deborahcoltongallery.com
628 East 11th Street
Houston, TX 77008
713-850-8527
no email.com
www.mackeygallery.com
301 East 11th Streett
Houston, TX 77008
832-618-1845
dan@texascollaborative.com
www.texascollaborative.com
303 East 11th Streett
Houston, TX 77008
713-862-2532
no email.com
www.redbudgallery.com
301 East 11th Streett
Houston, TX 77008
713-869-4770
wayne@digimg.com
www.ggalleryhouston.com
223 East 11th Street
Houston, TX 77007
713-869-5151
dan@texascollaborative.com
www.texascollaborative.com
703 Yale
Houston, TX 77007
713-626-0175
no email.com
www.koelschgallery.com
5102 Center Street
Houston, TX 77007
713-8689-9337
no email.com
www.poissantgallery.com
314 east 13th Street
3rd Floor
Houston, TX 77008
281-898-0444
lazer8productions@yahoo.com
Mackey Gallery has recently ventured into the region of art fairs to further advance and aid in the careers of artists represented, including Art Basel Miami Beach and Arteamericas, which were specifically chosen for their range in clientele.
Mackey Gallery is a member of the Houston Art Dealers Association and has participated in the annual exhibitions of Art Houston and the biennial exhibitions of Fotofest Mackey Gallery also has a new vein, OFFsite (in process of non-profit status) which is dedicated to progressive media representing performance, video and installation artists. OFFsite is a roving project designed to gather the audience in alternate venues according to the proposed project for a one night only viewing. Recently, OFFsite exhibited the video, La Edad de Oro (The Golden Age) by Jose Angel Toirac (Cuba). This triptych video installation was produced and funded by Arizona State University and was recently shown at the Whitney Museum of Art as well as AlucineArte Film Festival, Toronto and at the Habana Bienal VIII / Ludwig Foundation in Cuba.
4710 Lillian Street
Houston, TX 77007
713-862-6343
no email.com
www.xx.com
The gallery has shown metal folk art by 84 yr. Dallas artist Gladys Gostin, a rare 1876 History Timeline of the world Document, Puff, a show dedicated to smoking paraphernalia, master prints by noted artist Dan Mitchell Allison, ceramics by Sally Saul of New York, paintings by John Berry, an installation by nationally famous and published "The Art Guys," . In 2001, the controversial national show Sextablos caused an uproar from a racial, vice and sacrilegious standpoint. Well known artists such as Lucas Johnson, George Herms & Isaac Smith have also had solo showings.
FOTO FEST 2008 -
March 8, April 3, 2008
Greg Davis
opening reception
Sat. March 8, 6 to 9 PM
"Reflektierende Gegenwart"
and "Subject to Change"
"Reflektierende Gegenwart" (Reflected Presence) Images from Berlin and Beyond – Birgit Langhammer
Elinor Carucci, Allison Hunter, and Suzanne Banning,
March 8-April 3 / Sat-Sun Noon-5pm, or by appointment
Opening Reception Staurday
March 8, 6pm-9pm
Born 1950, Hong Kong. He has been residing in the US since 1971.
His recent diptychs shown at the G Gallery interpret China's complexity-reflecting traumatic change at all levels of society. Images of the remnants of the Cultural Revolution revealed through traces on the walls of the older parts of Guangzhou are juxtaposed against images of current idiosyncratic behaviors of today's China. Faded and layered Communist party slogans and Chairman Mao portraits contrast the ironic modernity of this ancient kingdom.
Pok Chi Lau have over 50 solo and 70 group international exhibitions. He can be contacted by email:
pclau@ku.edu or tel. 785-841-6931. His website is www.goldenmountaindream.comChristian Erroi
I was born in Aarau, Switzerland, on the 18th of March, 1973. My family moved immediately to Bari, southern Italy and then to Milan when I was 3 years old. As a little child I was fascinated by nature, a passionate reader of Gerald Durrell=s expeditions all over the globe, and sure I was going to become a biologist when I grew up.
In 1984 I came to New York City for the first time, where I attended the 6th grade. My science teacher at the time, Mr. Mueser, further stimulated my love for animals and habitats, and suggested I should use photography to document my findings.
When I was 14, I moved to Lugano, Switzerland, where I started high school, and began to be interested in art and history. Soon after, I started to suffer strong headaches accompanied by sight problems and loss of consciousness. These phenomena happened more and more frequently, and I started to visit neurologists all over Europe, as well as seeking alternative cures, just to alleviate the problems.
I came back to NYC to visit a noted specialist, was thoroughly analyzed, did all sorts fo tests and biopsies, and, unfortunately, failed once more to discover the cause nor a way to halt what was happening.
I went on having strokes for approximately 10 years, each causing loss of memory, sight loss, some paralysis, as well as having to learn how to read and write over and over again.
I then started to attend a school for disabled people. During that troubled decade, what terrified me the most was my inability to communicate through words, which had completely lost meaning and significance to me.
I started again to communicate through images; photography rescued me where words failed. My interests shifted again, and, while biology still thrills me, a sense of urgency has driven me to photography. I worked as a photographer in Lugano, studied a year at the International Center of Photography, and I am currently working as a photographer in NYC.
William Steen
Essay
PHOTOGRAPH THE IMPOSSIBLE
Much of my photographic work involves devices, such as words, that attempt to distill or pare down the extraneous content of an image. I respond to the way language (abstract signifier) is assumed directly into the mind as a thought rather than say a portrait, or a landscape, that is seen as being external and separate to the viewer. As such, it provides a kind of side-ways glance, redirecting photography’s inherent outward focus toward a more reflective inward gaze of measuring a moment. To illustrate, I recall an episode in India when a Tibetan abbot, exasperated by a group of tourists taking photos of a precious ceremonial bell, suggested they photograph the sound of the bell instead. His chastisement became for me a challenge of sorts. I made a cyanotype work (Memory & Feeling) consisting of a list of intangible items, impossible to photograph, such as Noise, Chaos, Nothing, Kansas, and Sound of Bell. Accepting the challenge, I completed a black and white photographic sequence attempting to capture the paradoxical “sound of bell”.
My intent is to use language as a means of achieving a kind of breach of meaning, enabling personal insight. A recent series entitled, Satori (Japanese word meaning “awakening”) explores this ambivalent terrain of language. It depicts enigmatic phrases (for example, found titles of works of art) that are reminiscent of the blank truth expressed in the Zen literary forms of haiku and the koan. The typed white letters on a silvery iridescent foreground, or is it a background, is a negative of the printed page. This inversion is a kind of replication of thought or ideas already internalized in the mind of the viewer. The brevity and enigmatic nature of the language is meant to subvert the search for meaning within the work.
In the end, my work is about more than seeing. It is a kind of penetration, not just of the surface or depiction of a thing, but a grasp of its essence, of the experience during that very moment when the clear sound of the impossible rings in the mind.