Annie Miller: smells like marcelle

Annie Miller — smells like marcelle

February 21 – May 18, 2019

Annie Miller’s paintings abound with slippages and reflections and explore the erotics of the gaze. smells like marcelle includes large-scale paintings, a video installation and a site-specific wall drawing. Here, fragments of vision separate and mirror themselves, switch angles, saturate and bleed color. As one moves between the paintings and videos motifs recur like fetishes or obsessions and the careful eye might capture a moment of familiarity or a sense of déjà vu. In her wall drawing, the gesture of a grand pair of disembodied hands offers an invitation to look behind the curtain, at a private world within.

Annie Miller‘s work explores a space of sensuality and desire; the longing to touch, to penetrate, to hold and make contact and the inherent failure or displacement of this longing. Miller holds an MFA in Painting from The University of Texas at Austin and a BFA in Painting and Drawing from California State University Fullerton. She has exhibited throughout the country and currently lives and works in Austin, Texas where she is a lecturer in Studio Art at The University of Texas at Austin and Texas State University.

Organized by Jessi DiTillio, 2017–18 Visual Arts Center Curatorial Fellow

Images  |  Essay  PDF

Christina Coleman: positive images

colorful dots on a blank wall

October 4, 2018 – January 26, 2019

The word “positive” holds multiple meanings—it describes the beneficial and affirming, but also refers to scientifically verifiable data. In the space between these meanings, how might we ascertain the value judgements hiding within the rhetoric of objective knowledge? Christina Coleman’s recent body of work draws on the aesthetics of statistical graphing to question the visual rhetoric of social science. Coleman mobilizes the tools and products of African-American haircare as materials for drawing in space, constructing conceptual installations that vacillate between abstraction and representation. The elegant appearance of this data both evokes and frustrates our efforts to understand the human phenomena to which it refers.

Christina Coleman is a visual artist working in sculpture, drawing, and installation. Utilizing various materials ranging from commercial hair products to traditional fine art tools, Coleman works through subjects including the body, space, identity, and abstraction. She holds a B.A. from the University of California at Los Angeles and an M.F.A. from the University of Texas at Austin. In the summer of 2011, she was an artist-in-residence at the Contemporary Artists Center at Woodside in Troy, NY. From 2016 to 2017, she served as co-curator at de stijl | PODIUM FOR ART, a gallery in central Austin. Her work has been exhibited in solo and group shows in Central Texas, most recently including I Know Why the Caged Bird Sings at the George Washington Carver Museum and Cultural Center, The First Horizons of Juno at MASS Gallery, and A Spatial Continuum in Black at Texas A&M International University.

Organized by Jessi DiTillio, 2017–18 Visual Arts Center Curatorial Fellow

Images  |  Essay  PDF