In this essay, I analyze Araki’s experimental work published before his iconic photobook “Sentimental Journey.” The Museum of Fine Arts Houston’s exhibition “For a New World to Come” toured to the Japan Society and Grey Art Gallery in New York, and the catalogue was published by Yale University Press.
Andy Coolquitt makes objects and environments that exist in symbiosis with human relationships. During the 1990s, his life and work revolved around an expansive studio/artist commune/performance space/living sculpture/party place on the east side of Austin, Texas, where he continues to live, work, and host events. Intrigued by social contracts, Coolquitt creates artwork that facilitates conversation and interaction, augmenting the energy and frictions generated by individuals forming a community. He chooses materials that show the wear and tear of practical use, and, over the years, he has refined an artistic practice based on the collection, study, and reuse of things scavenged from the streets around him. Since his 2008 solo exhibition iight in New York City, Coolquitt’s work has gained a wide national and international audience.
Andy Coolquitt is the first comprehensive monograph on the artist’s work. Published in conjunction with a solo museum exhibition at Blaffer Art Museum, this volume displays the full range of Coolquitt’s work over the past twenty-five years, including images of site-specific installations that no longer exist. Accompanying the color plates are an introduction and chronology of the artist’s work by exhibition curator Rachel Hooper, an essay tracing Coolquitt’s connections to other contemporary artists and designers by Frieze magazine senior editor Dan Fox, an in-depth exploration of Coolquitt’s concepts and process by art writer Jan Tumlir, an interview with Coolquitt by director and chief curator of White Columns Matthew Higgs, and Coolquitt’s biography and bibliography.
As Cynthia Woods Mitchell Curatorial Fellow at Blaffer Art Museum at the University of Houston, I commissioned a new work by Berlin-based filmmaker Amy Patton. Her film, an adaptation of Upton Sinclair’s Oil, was featured in the 2011 Berlin Biennial.
This catalogue was published in conjunction with an exhibition at Blaffer Art Museum at the University of Houston, the Migros Museum für Gegenwartskunst, Zurich, and Ausstellungshalle zeitgenössische Kunst Münster.
As Cynthia Woods Mitchell Curatorial Fellow at the University of Houston, I helped the Center for Land Use Interpretation establish a field office on Buffalo Bayou. This catalogue documents our collaboration and the CLUI’s work with university instructors and students.
With Jayme Yen, I co-authored a lexicon of suburban terms for the 2008 Walker Art Center exhibition “Worlds Away: New Suburban Landscapes“– winner of the Society of Architectural Historians’ Philip Johnson Exhibition Catalogue Award.
Terrie Sultan and Mary Christian mentored me as an editor on “Chantal Akerman: Moving through Time and Space,” which included essays by Bill Arning, Rina Carvajal, Klaus Ottmann, and Claudia Schmuckli.
This essay on photographer Yto Barrada was one of several that I authored in the catalogue for the 2007 group exhibition “Brave New Worlds” at the Walker Art Center.”