THE ARTStop <strong>10</strong>s continued from p.23<strong>Top</strong> <strong>10</strong> Dances WithComplexity of 2012b y JonE llE sEitzIn chronological order:sharon marroquín,<strong>The</strong> Materiality ofImpermanence1) ‘INVASION OF THE NEW GRRL ORDER’ (FuseboxFestival) Allison Orr’s sweaty crush of girl-rockers anddisparate groups thwarted attempts to approach it froma single perspective.2) ‘SOUL PROJECT’ (Fusebox Festival) Ferocious, colorfulrepresentatives of imaginary geography stretchedcontexts of culture and significance.3) ‘THE MATERIALITY OF IMPERMANENCE’ (SharonMarroquín) A dance about breast cancer, but also aremarkably thorough work about life, crisis, joy, family,change, and grace.4) ‘CATALYST’ (Dance Repertory <strong>The</strong>atre) University ofTexas students were, intellectually and artistically, up tothe challenge presented by works from David Justin,Yacov Sharir, and Ohad Naharin.5) ‘UNTO LOVE’ (American Repertory Ensemble)Poignancy skyrocketed when choreographer and retiredballet dancer David Justin dusted off his technique andartistry to dance with Oren Porterfield in this moody duet.6) ‘TWO TO ONE’ (Tapestry Dance Com pany) This duetbetween New York tap genius Michelle Dorrance andMishay Petronelli was superfresh and thrilling.7) ‘SOMEBODY ELSE’ (Big Range <strong>Austin</strong> DanceFestival) Ellen Bartel’s ensemble piece reminded us ofthe inevitable and our responsibilities to each other.8) ‘MARE CRISIUM’ (Shay Ishii Dance Company)Amanda McCorkle’s devastating solo was sandwichedbetween samples of “Moon River.”9) ‘SOLO SYMPHONY’ (Forklift Dance works) Incidentalmoments of disconnect between conducting, or movement,and music presented a dark side – like a loss of a languageonce possessed – thereby underscoring the exceptionalityand magic of music-making and physical response.<strong>10</strong>) ‘BOUNTIFUL’ (Kathy Dunn Hamrick DanceCompany) Vibrancy and depth were sustained in worksby Hamrick, José Luis Bustamante, and Lisa Kobdishand Mariclaire Gamble.t o d d V . W o l f s o n<strong>Top</strong> <strong>10</strong> Visual Arts of 2012by a n D y CampbE ll1) THE RE-EMERGENCE OFMASS GALLERY Expect. Epic.2) AMOA-ARTHOUSE Howdoes an institution come outof a censorship-addled spateof firings, resignations, and amerger? We’re still unsure,but recent/current exhibitions(Jill Magid, Nick Cave, AndyCoolquitt, Michael Menchaca)are shining beacons.3) ‘THE RULES OFBASKETBALL’ (BlantonMuseum of Art) Curated byRegine Basha, this exhibithad diminutive video andexpansive photo works byPaul Pfieffer alongside JamesNaismith’s original rules ofthe game.4) EAST & WEST With a West<strong>Austin</strong> Studio Tour added tocomplement the long-successfulone in East <strong>Austin</strong>, we nowhave two anchor, multisitearts events per year. Nextyear adds the next iteration ofthe Texas Biennial to BigMedium’s heady brew.5) CO-LAB No one – and I mean noone – rotates shows and supports anemergent local art scene like SeanGaulager.6) ‘CRUZ ORTIZ: HECHO FARM’ (UTVisual Art Center) In this showcurated by Kate Green, Ortiz, a highschool teacher in San Antonio, tookup space in the VAC with aplomb, fillingit with paintings, print/work parties,and a pirate radio station.7) MEXIC-ARTE MUSEUM’SPROPOSED NEW BUILDING BYFERNANDO ROMERO Museum asMayan calendar – it’s RobertVenturi’s “duck” taken on a Mexicanvacay. Good or bad, it struck a chordand ignited online debate.8) ‘PASTELEGRAM’ Helmed by ArielEvans, this print/online arts publicationis a focused study of one artistper issue.9) APARTMENT GALLERIES Granted,this trend began several years agowith Katie Geha’s SOFA Gallery, butnow we can add Forus Gallery, CaitlinMcCollom’s Red Space, and JoshuaSaunders’ Eleven Seventeen Garlandas well.<strong>Top</strong> <strong>10</strong> From Visual Art in 2012 by w aynE a lan bREnnEREvery show I saw this year was worth seeing – which isn’t always true, depending on how much one sees and where one sees it.As a regular arts reviewer for the <strong>Chronicle</strong>, I saw a lot of exhibitions, peered into quite a few studios, and ranged across the city todo this. We could just reprint all the reviews I wrote, but that would be even farther from the “<strong>Top</strong> <strong>10</strong>” format than this is – and eventhat wouldn’t hide how I’ve yet to visit the much-buzzed-about Wardenclyffe Gallery and haven’t been back to Co-Lab’s powerhouseof art since Jamie Panzer’s sizzling Bullshit Detector in February. And, of course, EAST is beyond any mere list. So, OK, in no order:Rescue in Flight by Randall Reid1) ‘RANDALL REID:RESURRECTING THE PAST’(Davis Gallery) Graphic relics,deconstructed andreframed in fresh new ways.2) ‘ANN WOOD: VIOLENTDELIGHTS’ (Women & <strong>The</strong>irWork) A sculptural naturedocumentary, by way of TobeHooper and AlexanderMcQueen.3) ‘SODALITAS: CORE’(GrayDUCK Gallery)Sampling veins of pure beauty.4) ‘STEVE BRUDNIAK: BACKFROM SAMSARA’ (<strong>Austin</strong>Community College RioGrande Gallery) Arcanetechnosculpture, like artnouveau gone industrial.5) ‘TOM HUCK: HILLBILLYKAMA SUTRA’ (SlugfestGallery) <strong>The</strong> kind of handmadeprints that make youwant to squeal like a piggy.Four Horsemen of the Apocalypse (08)by paul pfeiffer, 2005<strong>10</strong>) ‘THE KING JAMES BIBLE: ITS HISTORY ANDINFLUENCE’ (Harry Ransom Center) While thecurrent Norman Bel Geddes show is more, uh, fun,this exhibition showcased what the HRC does sowell: marrying literary and visual history in deeplystudious ways.6) ‘RIGOBERTO A. GONZALEZ:BAROQUE ON THE BORDER’(Mexican American CulturalCenter) Narcocorridos, illustrated invast tableaux.7) ‘2012: THE DRAWING ANNUAL’(Tiny Park) This is what talentdraws when it’s honed by skill andbrains.8) ‘JENNIFER BALKAN: PEEP HOLES’(Wally Workman Gallery) Brilliantportraits in oil, stunningly presented.9) ‘WAYNE WHITE: BEAUTY ISEMBAR RAS SING’ (Domy Books) Ifbeauty’s really embarrassing, thisshow’s face must’ve been crimson.<strong>10</strong>) TWO EXHIBITIONS AT SALVAGEVANGUARD THEATER GALLERYSorry, conflict-of-interest fans, buteven though I curated the Fuseboxenhanced“Food Porn” show by KaciBeeler and co-curated (with ShannonMcCormick) the “PresidentialLosers” group show, I’ll be damnedif they weren’t among the mostfierce and delightful of the year.24 T H E A U S T I N C H R O N I C L E JANUARY 4, 2013 a u s t i n c h r o n i c l e . c o m
HEALTH CARE EDUCATIONSTART LEARNING THE SKILLS YOU’LLNEED TO HELP OTHERS AS ADENTALASSISTANTJob placement assistanceFinancial aid availablefor those who qualifyDay & evening classesavailableCall now or visitwww.chcp.edu800.318.9576OTHER PROGRAMS AVAILABLE:Diagnostic Medical UltrasoundLimited Medical Radiologic TechnologistMedical AssistantPersonal Fitness TrainerONLINE PROGRAMS AVAILABLE!For more information about our graduation rates, the median debt of studentswho completed the program, and other important information, please visit ourwebsite at http://www.chcp.edu/disclosures and www.bls.gov/soc/.6505 Airport Blvd., Suite <strong>10</strong>2<strong>Austin</strong>, TX 78752CLOSING JAN 13!This exhibition is organized by the Blanton with guest curatorRegine Basha. Major support is provided by Suzanne DealBooth and David G. Booth, Jeanne and Michael Klein, the LindaPace Foundation, Kenny and Susie Jastrow, and <strong>The</strong> TapestryFoundation. Travel is provided by United Airlines.RIGHT: Paul Pfeiffer, Four Horsemen of the Apocalypse (07), 2002, digital duraflexprint, 48 x 60 in., Collection Glenn and Amanda Fuhrman, New York, Courtesy <strong>The</strong>FLAG Art Foundation, ©Paul Pfeiffer. Courtesy Paula Cooper Gallery, New York<strong>The</strong> University of Texas at <strong>Austin</strong> | MLK at Congress<strong>Austin</strong>, TX 78701 | blantonmuseum.org | (512) 471-7324facebook.com/BlantonMuseumofArta u s t i n c h r o n i c l e . c o m JANUARY 4, 2013 T H E A U S T I N C H R O N I C L E 25
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