Department of Art and Art History Exhibition

Adam Crosson prepares for inaugural exchange program with Royal College of Art

Wed. August 27, 2014

Artist stands in front of work in exhibition space
Photo by Daniel Cavazos

This fall Adam Crosson, M.F.A. candidate in Studio Art, will take part in the inaugural year of an exchange program between The University of Texas at Austin and the Royal College of Art in London. Crosson was also recently selected for the 2014 Umlauf Prize, which recognizes outstanding achievement in sculpture. As part of the prize, Crosson will present an exhibition that opens September 5 at the Umlauf Sculpture Garden and Museum.

We asked Crosson to talk about his work and future projects over email before he travels abroad.

Please describe your work.

The majority of my work is catalyzed by an interest in mobile spaces of transit and systems of transportation. I am interested in the psychological and social dynamics within these spaces and systems.

How has your work changed since you started the program?

My graduate committee as well as other faculty members, visiting artists and curators, and my peers have all been instrumental in the evolution of my work. A pivotal moment occurred when my committee chair, Kristin Lucas, suggested looking into the work of Dan Graham, which ultimately led to the discovery of Marc Augé's theory of the non-place.

This discovery created an opportunity for me to investigate my work through an established theoretical lens. I keep searching for the unknown to continue changing and evolving my work. Recently, I discovered the Keatsian literary idea of negative capability. This involves being comfortable with the unknown and leaving certain things unresolved.

My undergraduate architectural training is a blessing and a curse. Design processes in architecture can be seen as a series of logical codifications away from the self. Over the past year I have slowly begun to loosen the reigns of logic that were ingrained from architecture school.

In a studio visit with Rob Storr and Heather Pesanti this past spring, they suggested I spend time with Sol Lewitt’s sentences on conceptual art. The first sentence states, “Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.” This was a profound discovery for me. It gave me a pass to radically undo my approach to making and become increasingly experimental with concepts, forms, materials, and processes.

Industrial sculptures hanging on wall and placed in gallery space.
Courtesy of the artist

You talk about putting yourself in unfamiliar environments to break your routine in order to increase your sense of your surroundings. Can you tell us how you began to work with this idea?

I think routine is ad infinitum. It is inevitable—ultimately it fuels a sort of conflict for me. When I was eighteen, I lived on the island of Kauai for six months where I spent time hitchhiking and camping. Eventually, I ended up caretaking for an older gentleman with a couple of friends. These experiences were out of the norm for me, and I learned a great deal from them. I learned the importance of vulnerability.

Being in an unfamiliar environment provides an opportunity to question one’s routine and one’s cultural and social norms and then to view these from the outside. It is a disruption and that disruption or destabilization is a part of the kind of vulnerability I seek. When I am vulnerable, it becomes a kind of overwhelming state that disturbs my routinized consciousness and creates a precipice.

Mass transportation systems are interesting to me because they allow passengers to either practice or escape routines. The same train an individual takes to work might be the train one would take to the airport to embark on a time of leisure. Michel de Certeau refers to this mix of imprisonment and freedom as an ‘incarceration-vacation’. I am interested in the cyclical nature of these spaces, of them being so normal but so dynamic with an ever changing cast of characters all the while traveling through space.

Participating in these systems is to fuel a combative balance of expectation and disruption—of things going as planned and things going awry. In these spaces, one has to negotiate control and vulnerability on a quotidian scale.

How does this play into your work?

I use materials and forms associated with buses, trains, airplanes, and airports as well as other modes of transportation. My processes range from casting techniques to metal fabrication, digital fabrication, and video work. These processes become methods for investigating objects and situations within spaces of transit and transport.

For example, I have used techniques of casting in order to construct objects relating to the subterranean and infrastructural. I have employed digital fabrication techniques to construct objects that investigate ephemeral or abstract qualities and I have combined steel fabrication with deconstructed off-the-shelf lights and fans to reference the incessant circulatory nature of these systems. Up to this point I have used video as a way to investigate my personal experiences within these spaces, but I am eager to push this further.

In your travels, how do you combat a sense of familiarity after being in space for a while?

There is always something so familiar but never quite the same, and I am interested in those subtle shifts of a ubiquitous setting. The bus or train is a publicly accessible space in which cycles of commuting are briefly recorded in the trash, detritus, and belongings left behind. It is a mobile space constantly being recomposed. Riding the bus or train, I am in a passive state of observation where I give up my identity as Adam and play the role of passenger. It is interesting to attempt to carry this state of mind further into other parts of my life. It is important for me to find the fiction in familiarity.


Industrial sculpture with flourescent light in exhibition space
Courtesy of the artist

What do you hope to experience while you are in London?

My hopes are to challenge the current state of my practice through an immersive experience and to have an opportunity to show my work abroad. Having conversations with other M.F.A. students at a residency this summer opened my eyes to alternative ways an M.F.A. student can hold a practice within an academic setting.

I plan to reevaluate my own practice in an urban academic setting. Being at the RCA will allow me to get plugged into some interesting communities around London. I am excited to have a multitude of museums, contemporary art galleries, and project spaces.

Ultimately, I think it should be a search for more questions.

What is important to you to accomplish while you are at the RCA?

It is important for me to question the current state of my practice and I plan to utilize the students and faculty members at the RCA to do so. I will continue in my conceptual interests and test those interests in a European urban center. It is hard to say exactly what will come out of the experience, but I am going to take full advantage of being around so many sculptures students in a compressed space.

From what I understand, at the RCA there is a large studio space that gets subdivided into individual studio allotments. The degree of privacy is up to the individual student and I am really interested in what it will be like to work in that sort of open setting. I have just started a book, Reading the Everyday by Joe Moran, and his introduction focuses on London’s bus culture which is of interest to me. I plan on a visit with Joe Kerr, a professor at the RCA who is interested in transportation systems and mobility. He is also a bus driver, and I plan on taking a ride with him. It could be the most theoretical bus tour one could imagine.

I want to get to London and react to my surroundings, identifying familiar and foreign trends within everyday commuter culture, and see where that leads me.

Shelley Wood included in two person exhibition

Wed. August 20, 2014

Black and white photograph of a sheep in a field
Image courtesy of the artist

Shelley Wood (B.F.A. Studio Art, 1986) was included in a two person show at Photo Méthode Gallery. Texas Soil is on display through August 22.

Jamie Panzer included in group exhibition at Davis Gallery

Wed. August 20, 2014

Black and white collage with hands, man's head, and drawing
Image courtesy of the artist and Davis Gallery

Jamie Panzer (M.F.A. Studio Art, 1993) is included in a group exhibition at Davis Gallery (Austin, Texas). Face Value "explores how we perceive faces and interpret personal identity through traditional portraiture, collage, and elemental images."

The exhibition will be on display September 6 - October 18 at Davis Gallery.

New York Times and Gallerist review alumnus exhibition

Fri. August 8, 2014

Man standing in front of painting in gallery
Photo by Drex Drechsel, painting by Aura Rosenberg.

Isaac Lyles' (B.A. Art History, 2004) most recent curatorial project, New Hells, at Derek Eller Gallery received reviews from the New York Times and Gallerist.

The exhibition will be on display through August 8.

Barry Stone exhibition at the Galleries at the Lamar Dodd School of Art

Wed. August 6, 2014

Black and white photograph of old sport car in driveway
Image courtesy of the artist

Alumna Katie Geha, Director of the Galleries at the Lamar Dodd School of Art (Georgia), invites Barry Stone (M.F.A. Studio Art, 2001) to present Hum. The exhibition is a multimedia project that places images from 80’s metal magazines, cloud pyramids, and broken Camaros alongside a 16-minute suite of music composed of the sounds of sampled roto-tom double-bass drums ripped asunder like a sinking galleon giving way to hazy balladry and carpeted walls of guitar.

The exhibition will be on display August 18 through September 3. An artist lecture and performance will take place on Wednesday, September 3.

Barry Stone lives in Austin, TX and is an Associate Professor of Photography in the School of Art and Design at Texas State University-San Marcos. He is a founding member of the photography collective Lakes Were Rivers and is represented by Klaus von Nichtssagend Gallery (New York) and Art Palace (Houston). ​

Katie Geha (Ph.D. Art History, 2012) is a writer, curator, and art historian living in Athens, Georgia. She is the director of the Galleries at the Lamar Dodd School of Art. She received her M.A. from the School of the Art Institute of Chicago.

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