“SuperMegaMultiplexTexas” by Barbara Strasen and additional art installations
The recently renovated entrance of 816 Congress Avenue completely reworked the plaza and lobby of the building — a project that features a monumental installation by Los Angeles-based artist Barbara Strasen, a painting triptych and related series by Kathryn Henneman, an acrylic and light work by Vasa Mihich, and a 16-foot sculpture by Harold Roach.
Strasen’s enormous lenticular mural extends over the span of the lobby light wall, which is 11.5 feet high and 66.5 feet across. There are two contiguous panels within each section of the light wall (30 sections in all) for a total of 60 “lenticular panels” – a back-lit, translucent sheet of laminated plastic upon which multiple images are printed, viewable in varying combinations depending on the angle and distance from the panels.
The lobby is open for public viewing weekdays 7 am – 5 pm and weekends 12 – 5 pm.
Fiber wall hanging by Elizabeth Busch
Austin Downtown Cruiser
The photo-sculpture is a futuristic transformation of Austin based on the conjunction of old and new, harmony of nature and technology, and the dream of space aviation.
Carved limestone and forged iron sculpture by David Santos and Joe Perez.
Big Chiller Blues
This 5-story Austin Convention Center Parking Garage also houses a Chiller Tower and retail space on the street level. The glass tile pattern that clads two sides of the structure was designed by Ann Adams, an artist who generally works in fiber, to reflect the cooling function of the building. The work was recently recognized as one the country’s best, by the Public Art Network’s “Year in Review.” Medium: Glass tile cladding Photograph by Jean Graham
Handmade shaped ceramic & sandblasted glass
Strange, Stephanie. Artwork, 2010, sculpture, Typewriter keys and metal
Broken china and tile mosaic by Jill Bedgood and Steve Wiman.
These two texturized orbs with colorful halos add dramatic effect to the staircase in level one of the palazzo of the Convention Center. In yin-yang formation, the synthesis of ethereal light with elemental copper deepens the sculptures’ metaphoric message of utility. Medium: Neon and Copper Photograph by Ben Livingston
Acrylic painting on canvas by Jack L. Schuller. Dimensions: 43”x48”
Galvanized steel gates and adjacent fence panels at entrance of Austin Tennis Center
Medium: Cor-Ten Steel. Sculpture by David Deming, dimensions: 54” x 101” x 89”
El futuro is una página en blanca. ¿Qué escribi...
This work is part of the façade of the newly-expanded Terrazas Branch Library in East Austin, and references the cultural legacy of this predominantly Hispanic neighborhood, with its resemblance to “papel picado,” a type of torn paper art. Medium: Aqua Jet cut aluminum Photograph by David Omer
To complement the function of the facility, this earthwork consists of a simple labyrinth in the shape of a fingerprint, composed of low, steel-walled planters landscaped with native Texas grasses. At the center of the “fingerprint” is a small fountain, surrounded by a seating area. Beyond the central planters is an area of low, rolling berms, which echo the fingerprint pattern and radiate across the remaining common lawn areas of the site. Medium: Steel planters, fountain, earth berms, and native landscaping Photograph by Legge Lewis Legge
Fire and the Heart
Art in Public Places commissioned Lars Stanley to help design and create public art as part of the renovation project for Firestation #17. Because of Stanley’s experience as a child, losing a house due to fire, he wanted to honor the courage of these men and women. Fire and the Heart, located on front facade and courtyard, incorporates many firefighter images into his design including an abstract figure of a fireman on the front gate and lighting scones that look like helmets.
For La Raza
Acrylic paint mural by Robert Herrara and Oscar Cortez.
formation, language, memory: formacion, lenguaje, ...
This courtyard symbolizes the Earth’s story carved in stone, forming the Balcones Escarpment – entwined with the human story, both written and oral, weaving the tapestry of our collective past. Engraved on the stones and planter are an excerpt from O. Henry’s Austin-based story “Art and the Bronco,” quotes from survivors of the Battle of the Alamo, a Cuahuiltecan Indian prayer, and a conceptual description of the courtyard engraved in Braille.
Commissioned as one of two paintings by Jules Buck Jones for the Wildlife Conservation Division at Reicher Ranch. The other painting is entitled Jolly-ville Plateau Salamander. “Both of these paintings aim to be simultaneously celebratory and mournful. They have different approaches but a similar goal. The first painting is of the Golden-Cheeked Warbler. In the foreground is a drawing of every Warbler depicted in John James Audubon’s Birds of America. They all have a number written on their body, which corresponds to the plate number they hold in the book. Upon discovering there was no Golden-Cheeked Warbler in the famous Naturalist’s expansive series of bird drawings, I decided to use the warbler’s absence in the book as a metaphor for the potential absence of an endangered species on earth. There are 435 plates in Birds of America. In this painting the Golden-Cheeked Warbler is numbered 436. Ideally, I would like to have the book as part of the piece. The viewer can look at the painting, match the number on any of the birds to their corresponding page in the book and gain a little information on the species. This is of course minus one. When they look up #436, they will realize there are no more illustrations and no information on the Golden-Cheeked Warbler. The feeling of erasure and loss are intentional and hopefully quite potent in contrast to the iconic, powerful presence the Golden-Cheeked Warbler has in the painting.” – Jules Buck Jones
MADE POSSIBLE WITH SUPPORT FROM
Austin Creative Alliance is funded in part by grants from Bloomberg Philanthropies, Texas Commission on the Arts and the National Endowment for the Arts which believes that a great nation deserves great art. We are also grateful for the ongoing support and participation of our members and patrons.