Rachel Perry Welty’s signature work Karaoke Wrong Number (2001–04 and 2005–09) showcases the “business of living” through the purposeful, facilitative transmission of messages. As in her previous work, Welty recycles found media, but rather than reusing physical objects, she appropriates auditory material in the form of others’ words.
By subjecting fragments from the film Rashomon by Akira Kurosawa to the mirror effect, Provost creates a hallucinating scene of a woman‘s reverse chrysalis into an imploding butterfly. Papillon d’amour produces skewed reflections upon love, its lyrical monstrosities and wounded act of dissappearance.
Landmarks, along with a few sister institutions of Austin’s Cultural Campus (ACC), will participate in a spring Concert Crawl on Sunday, 6 April. This innovative and fun music concert series is co-presented with the Butler School of Music.
Patty Chang’s feminist takes on identity are ever-present in her work. In Contortion, she masquerades as a Chinese acrobat by working with a partially hidden double. As she lies on the floor, a Mona Lisa grin aimed at the camera, her double’s legs bend over her head.
A seemingly invaluable object – a white rectangular panel – is placed in the middle of a black box theater. A group of nine, each wearing an article of metallic gold clothing set upon the task of ripping it apart. They tear it to shreds, taunting, fighting and climbing all over each other to greedily gather every last shard of it for them selves. As an independent yet related work to After the Fall, Goldrush posits a cathartic aftermath that is at once apocalyptic and suggestively orgiastic.