Sometimes, they look like the grandmothers and mothers who might have taught you to sew a long time ago, but increasingly, they look like men and young people and punk rockers and people who also run marathons on the weekend.
Hosted by the Austin Area Quilt Guild, the show has taken place every other year since 1980, and the event returns to the Palmer Events Center, 900 Barton Springs Road, on Sept. 28-30.
The theme this year is “World of Color,” and you can see the more than 350 quilts on display — and the quilting, fabric and sewing vendor booths, as well as live demonstrations — from 10 a.m. to 6 p.m. Friday and Saturday and noon to 5 p.m. Sunday.
This year, they also have a special exhibit featuring 46 miniature quilts that are also competing for prizes. Tickets cost $10 online and $10 at the door. Children 12 and under are free.
From a release:
Through the Capital of Texas QuiltFest, AAQG is able to share its mission (preserving the art form and heritage of quilting and promoting excellence and education in quilt-making) with the greater community around us. Through the show, we share our art medium with others and widen their horizons to appreciate quilts in new and unexpected ways.
By displaying these quilts for the public to view and enjoy as well as conducting live demonstrations of various quilting techniques, the AAQG is fostering growth and appreciation of this art form. Visitors will find that quilts aren’t just something made for the bed anymore. They find themselves astonished by the artistry of these quilts. Our members come from diverse cultural backgrounds, and those themes can be seen in their displayed quilts. There is truly something for everyone to appreciate and enjoy at the QuiltFest.
Here are some of the quilts that will be on display this year. You can find out more about the show at captxquiltfest.org.
Big Medium, which marshals some of the city’s most precious visual art resources, could not have chosen a more timely winner for its $15,000 Tito’s Prize.
A musician, artist and curator, Steve Parker has been involved in some of the city’s outstanding collaborative projects, beloved by the public as well as critics and colleagues, including work on the city’s much-discussed grackle population.
The prize comes with a solo exhibition at the Big Medium Gallery, Oct. 19-Nov. 18, as well as a key spot on the East Austin Studio Tour (Nov. 10-18).
“Parker exemplifies the way contemporary artists push beyond the boundaries of genres and media towards the pursuit of creativity,” Mellard says. “His strong artistic practice in new music performance, in sites ranging from parks to parking lots, has expanded into public sound sculptures and more recently installations. His generous approach brings together groups of trained performers and even invites curious members of the public to participate in his scores.”
In comparison, top ticket prices at the Museum of Fine Arts-Houston are $23; San Antonio Museum of Art are $20; Dallas Museum of Art are $16; Fort Worth’s The Modern are $16; Fort Worth’s Kimbell Art Museum are $14; SMU’s Meadows Museum of Art are $12.
The Menil Collection in Houston and Blaffer Art Museum at the University of Houston are free. Also, the Kimbell’s magnificent permanent collection, as opposed to its special exhibitions, is free.
Admission to the Blanton remains free on Thursdays and to certain subsets of visitors. It also remains closed on Mondays.
It’s time. The Austin Critics Table Awards nominations came out this morning.
The gathered minds invented new categories, both under the heading of Theater: Periphery Company, recognizing the theatrical body of work by companies outside of Austin proper, and Improvised Production, recognizing mainstage projects by area improv troupes.
That puts the number of official categories this year at 29 (7 theater, 5 design, 5 dance, 6 classical music, 6 visual arts). Critics also promise at least 11 special citations.
Creek Show, the annual procession of light art staged by the Waller Creek Conservancy, turned a corner of sorts last year.
What started as mostly elegant minimalist efforts along downtown Austin’s eastern waterway went maximalist in 2017 with masses of pink flags for “Night Garden” by Daniel Woodroffe (lead), Kim Harding, Francisco Rosales, Ethan Primm and Kevin Sullivan.
UPDATE: Credits for “Night Garden” appeared incorrectly in a previous version of this post.
The designs for year five — the free event will be Nov. 9-17 — were recently announced and promise to continue the large-scale experience. In 2017, more than 20,000 people attended Creek Show, sampling the kind of attractions planned for a transformed Waller Creek. For 2018, Creek Show will be in a different section of Waller Creek — between Ninth and 11th streets — and include Symphony Square, where the “Creek Show Lounge” will be located.
Here’s a look at early renderings of what’s planned for 2018, along with the teams behind the designs:
For the past five years, the Art Dinner at Laguna Gloria has benefited the Contemporary Austin. Hosts expertly employ the arboreal setting on the grounds of the Clara Driscoll villa to create an elevated atmosphere at dusk and into the evening. This year, that effort included the passage of the S.S. Hangover through the lagoon with members of an Austin music collective playing a dirge-like piece.
Visual and musical artists do love a bit of theater!
Guests were in no hurry to pass up cocktails at key points in and around the villa, but the seated dinner took place under tents on the front lawn. Happily, I was placed next to designers Lydia G. Cook and Geoff Fritz from the Cambridge, Mass. firm of Reed Hilderbrand Landscape Architecture. They helped explained the company’s master plan for the Contemporary’s Marcus Sculpture Park, including connectivity to nearby Mayfield Park.
The modest but tasty dinner arrived courtesy of restaurateur Tyson Cole along with chefs Ed Sura of Uchiko and Joe Zoccoli of Uchi. (Note to other Austin charity hosts: You don’t need a big slab of animal protein to satisfy.) The evening climaxed with an unusually civilized live auction featuring work by artists close to projects at the Contemporary.
“When all was said and done, we raised more than $500,000 in the live and silent auctions,” reported the museum’s spokeswoman, Nicole Chism Griffin. “One hundred percent of these funds will go to support exhibitions at both of our locations. We also raised $325,0000 toward the purchase of Ai Weiwei’s “Iron Tree Trunk.” Our goal had been $100,000 for the evening! This $325,000 will go toward fulfilling the Edward and Betty Marcus Foundation’s challenge grant of $500,000 (for the purchase).”
I hear that some guests danced till the wee hours.
Some notes on the Austin Symphony‘s recent concert at the Long Center.
• One way to fill a house: Schedule Beethoven‘s Fifth. It is the duty of artistic leaders such as Peter Bay to expand tastes and lead audiences in new directions. Still, the Fifth — if well done, and it was — satisfies and enlightens with each fresh interpretation. It comes with the added benefit of a standing-room-only crowd.
• I’ve tried to sit in every part of the Long Center house since it opened 10 years ago. Row 4 on the orchestra level was not the right place to take in the concert’s opening piece, Michael Torke‘s “Bright Blue Music.” All I heard was the lower range of the strings and all I saw were the polished shoes of the musicians.
• Turns out the same seat was ideal for Leonard Bernstein‘s “Serenade (after Plato’s Symposium) for Solo Violin, Strings, Harp and Percussion.” Here, only the strings really mattered and they came together beautifully in conjunction with violinist Vadim Gluzman‘s playful then profound solo turn. Booked as part of the “Bernstein at 100” celebration, this near-concerto is a gem to revive more often.
• Bay has proven time and again that he can take epic forms to ever higher heights. Last season, it was Mahler‘s Sixth, an almost brutally difficult symphony to get right. With Beethoven’s Symphony No. 5 in C Minor, the challenge instead is overfamiliarity. Bay and his always advancing ensemble treated the first movement with rhythmic clarity, the second with architectural balance, the third with taut force and the final movement with bristling brilliance.
Margo Sawyer, the Elgin-based artist whose art intersects sculpture and architecture, has won a coveted Guggenheim Fellowship.
The John Simon Guggenheim Memorial Foundation recently announced 173 fellowships (including two joint fellowships) in arts and sciences for 2018. This honor comes with up to $45,000 to support one of the winners’ future projects.
“The Guggenheim Fellowship would allow me time and resources to cultivate designs of spaces transcendent,” Sawyer says. “Public places that foster contemplation.”
Sawyer, 59, has been on the University of Texas art faculty for 30 years. For decades, she has transformed old brick structures in Elgin into multi-use arts spaces.
She is the niece of Harlem Renaissance painter Aaron Douglas and her father was one of the first African-Americans to serve in the U.S. diplomatic corps in the 1950s. He met her British mother in Accra, Ghana. Her grandfather founded the NAACP in Topeka, Kan. and helped initiate the legal action that became Brown v. Board of Education, the Supreme Court decision that struck down school segregation.
Sawyer grew up the U.S., U.K. and Cameroon. In 1973, her mother took her to Egypt during the Yom Kippur War.
“I was about 15 and it was an experience that made me the sculptor I am today,” Sawyer says. “We were the first and only 17 tourists allowed in the country. I spent 30 minutes alone in Tutankhamun’s tomb — an obsession as with many people ever since. The experience at Abu Simbel, where the monuments are carved into the living rock, a union of sculpture, architecture and painting united, has been my modus operandi all my life.”
She is currently working on a glass colored spiral immersive sculpture for the U.S. Embassy in Kosovo.
“The viewer will be enveloped in a pool of color,” Sawyer says. “I just completed windows for a private chapel and also I’m working on a commission for the University of Houston all with hand-painted glass being made with Franz Mayer of Munich, who did the exquisite windows for Ellsworth Kelly‘s ‘Austin.”’
Sawyer realizes this is a big turning point during a long career of many achievements, including many works placed in private homes, museum collections and public spaces, along with wide recognition in the Austin arts community, including the Austin Critics Table designation as 2015 Artist of the Year.
“This is an amazing moment for me,” she says. “I have been making sculpture since I was 14 years old, and am honored that I have been a sculptor throughout my life. This year feels transformative and the recognition is monumental, a testament to the personal commitment and belief in the vision I have created.”
Top arts news of the week: UT opens Ellsworth Kelly masterpiece at the Blanton Museum of Art. Although museum members, directors and backers have peeked inside the chapel-like building on campus, everyone can see it during regular museum hours beginning Feb. 18. Check into the Visitors Services desk in the east wing of the museum first. And go on a sunny morning for the best light show.
“Patches of color drip ever so slowly down the walls, then pool onto the smooth black granite floor. On sunny days, the tall white barrel vaults swim with jewel-toned iridescence.
“Not only do the intense hues migrate minute by minute, they alter from day to day according to the position of the sun above “Austin,” a phenomenal new building that doubles as a monumental work of art on the University of Texas campus.”
The much-anticipated opening of Ellsworth Kelly‘s’ “Austin,” a phenomenal new building that doubles as a monumental work of art on the University of Texas campus, is not until Feb. 18. But now we can give you a look inside.
Designed by late American modern artist Kelly, the $23 million project created by the Blanton Museum of Art instantly takes its place as a crown jewel of Austin art.
Scroll down to see more photos, read what some people are saying about the work and to find out how you can see “Austin” for yourself once it opens.
“It will be a bold new landmark for the university and the city,” predicts Blanton director Simone Wicha, who spent years putting together “Austin,” colloquially known as the “Ellsworth Kelly Building” or just “The Ellsworth” or sometimes “The Kelly.” “Inevitably, it will change the way the world sees Austin.”
“Ellsworth Kelly’s ‘Austin’ culminates the career of one of the greatest of modern artists,” says Richard Shiff, an art professor who directs UT’s Center for the Study of Modernism. “Kelly conceived of (it) as a single aesthetic experience. ‘Austin’ is culture in a pure form. Its appeal is universal.”
“‘Austin’ not only showcases Kelly’s early appreciation of historical European art and architecture,” curator Carter Foster says, “it also marries this passion with the transformative themes that he would discover over the course of his life. I hope that, with the help of this exhibition, everyone who visits the work will come away with the same sense of awe that I do.”
“The opening of ‘Austin’ further cements the Blanton as an international cultural destination,” Wicha says. “The broad geographic support we received for this project is reflective of the audience we anticipate visiting Kelly’s monumental achievement.”
HOW TO SEE ‘AUSTIN’
Starting Feb. 18, Ellsworth Kelly’s ‘Austin’ will be open during regular Blanton hours; entry is included with museum admission. Go to the Visitors Services desk inside the museum’s east wing to obtain tickets. Find out more at blantonmuseum.org.