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January 16, 2019
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Camiba Art Gallery to Relocate, and Reshape Its Practice

Artist Zoë Shulman gives a talk at her 2018 Camiba Art exhibition "The Allegory of Good and Bad Government." Photo by David D. Bailie.

After three-and-a-half years in the East Austin’s Flatbed building, Camiba Art is relocating, and refiguring its art business practice in the process.

Gallery owner Troy Camp announced today that he will open in a new space in March, in the La Costa Corporate Park, a landscaped complex of one-story buildings in Central Northeast Austin not far from where IH-35 intersects with Highway 290.

Campa said he chose the new location after coming to the realization that the traditional “white-box gallery model isn’t the most efficient and effective way to represent our artists and their work.”

Instead, Campa said, the new space will feature with open areas for exhibiting artwork and a dedicated viewing area for impromptu presentations to clients.

The new Camiba Art will be open for drop-in visiting only two days a week, Fridays and Saturdays from 12 noon to 6 p.m.  Beyond that, it’ll be available by appointment.

And rather than stage a formal program of changing exhibitions, the gallery will instead host bi-monthly events to showcase new work by its artists — happenings that will have an artist-involved component such as a talk or a related performance. The majority of the events will be invitation-only, but anybody wanting to be on the invite list can sign up for the Camiba email list.

Sightlines broke the news in February 2018 that the owners of the 18,400-square-foot Flatbed building on E. Martin Luther King Jr., Blvd., had decided to re-develop the property. For 20 years it has been home to galleries and artist studios anchored by Flatbed Press, who held the master lease. Later this spring Flatbed Press will open in a new location, as will the Austin Book Arts Center, also a current tenant of the complex.

Cambia Art currently represents 18 regional artists — including Rebecca Rothfus Harrell, William T. Carson, McCay Otto, and Zoë Shulman — as well as more than 20 Latin American artists.

The new gallery will also be the site for dinner events to raise money for important causes. Campa has long been long-time supporters of Austin’s Art From the Streets, an organization which brings art-making to people experiencing homelessness.

Camiba Art will remain open at its Flatbed building location through January. Campa has also supported a small project space gallery for four years on East Sixth Street but said he will close that to direct attention and resources to the new gallery. Camiba Art also has an active international art tour business, organizing collector-focused trips to Latin America.

Artist Orna Feinstein with Camiba Art found Troy Campa. Photo by David D. Bailie.

Campa says he took the inevitably of change as an opportunity and to re-imagine his gallery’s role in Austin’s art community. If a crowd inevitably showed up for an exhibition opening, that didn’t necessarily translate into return visits during weekday hours, nor in the necessary sales needed to keep an art business going.

“The new gallery will be designed to be a flexible working consultation and exhibition space that is hyper-focused on presenting our artists directly to collectors, art consultants, and designers,” said Campa.

Camiba’s change in its operations reflect a trend as many galleries face the realities that a business model built along the lines of a storefront retail operation doesn’t fit in art landscape — and market — of splashy art fairs, and increasing online art sales.

In 2017, Houston gallerist Arturo Palacios shuttered his brick-and-mortar Art Palace Gallery after 12 years. Now, Palacios and business partner Hilary Hunt operate as Deasil, an itinerant business that combines art consulting, direct art sales to collectors, and curated pop-up exhibits.

Even in an art world market mecca such as New York, galleries that aren’t in the blue-chip big leagues struggle, and close.

For Campa, it was time to prioritize “functionality over fashion,” he said. “We are doubling down on our commitment to the Austin art community and our dedication to serving it in the best way we can.”

Installation view of “Source Material: William T. Carson & Rebecca Rothfus Harrell,” 2018, at Camiba Art. Photo by David D. Bailie.

 

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Placemaking & Displacement: A Public Dialogue

Detail of John Yancey's mural "Rhapsody" at the Charles Urdy Plaza, E. Eleventh and Waller streets in East Austin street.

Join Sightlines, Big Medium and the Carver Museum 7 p.m. Jan. 17 for  “Placemaking and Displacement: A Public Dialogue at the Intersection of Art, Community and Gentrification”

The free event is at Carver Museum, 1165 Angelina St.

This program is the second part of The Arts & Gentrification panel series started during the 2018 East Austin Studio Tour. This program is being presented in honor of the contributions of Civil Rights leader, Martin Luther King, Jr., and the federal holiday in his name.

“Placemaking and Displacement” is collaboratively sponsored by Big Medium, Carver Museum and Sightlines magazine.

Participants:

Moderator:  Priscilla Hale, Austin native, long-time community advocate, and current Executive Director of Allgo, a statewide queer people of color organization

  • Florinda Bryant, theater artist and arts educator, has worked with Salvage Vanguard Theater, the Rude Mechs, the Vortex, Paper Chairs and Teatro Vivo. She is former managing director of Salvage Vanguard. Her award winning one-woman show Half-Breed Southern Fried was produced as part of the Performing Blackness Series at UT and was directed by Laurie Carlos.
  • Alan García, independent archivist and creator of the Instagram account ATX Barrio Archive, a virtual museum of visual culture that documents Latinx and African American neighborhood history.
  • Xochi Solis, a visual artist sharing her studio time between Texas and Mexico. Her works include multilayered, collaged paintings constructed of paint, hand-dyed paper, vinyl, plastics, and images from found books and magazines. She is also a DJ with and the manager of the Austin chapter of Chulita Vinyl Club, and serves on the programming committee of #bossbabesatx
  •  John Yancey, professor of studio art at the University of Texas, who created the “Rhapsody” mosaic mural that occupies the Charles Urdy Plaza at E. Eleventh and Waller streets in East Austin street.

Read brief overview of the previous panel discussion and view a video of the talk. 

 

https://www.facebook.com/events/349509112270097/

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A New Artistic Moment for the Lamar Underpass

When I meet up with Laurie Frick at “Data Tells a Story,” her vibrant mural installation along the Lamar Boulevard Underpass, she is carrying yard tools: a battery-powered leaf-blower, a pair of loppers.

Laurie Frick gives a talk about her TEMPO Refresh project at 6 p.m. Jan. 22 as part of the Visionary Voices lecture series 

“Data Tells a Story” stretches down each 500-foot-long side of the underpass, where the railroad passes over Lamar Boulevard just north of Lady Bird Lake in downtown Austin. Since the mural was installed in late September, Frick has periodically trimmed the weeds that pop through sidewalk cracks or grow in the low, narrow concrete median.

“I think if a (public) place looks cared for, then people are more likely to respect it,” Frick tells me.

Frick has garnered plenty of respect — and buzz — for her mural installation. The project is the first TEMPO Refresh, an initiative launched last year by the city’s Art in Public Places program which invited an artist to re-imagine an existing public artwork.

Temporarily re-imagine, that is. As the name suggests, TEMPO signifies temporary.

Frick’s piece is due to be up until the end of August, a $50,000 commission from the city’s Art in Public Places program.

Photo courtesy Laurie Frick.

“Data Tells a Story” is an overlay, of sorts, onto “Moments,” a 2003 piece by Carl Trominski. The signature element of “Moments” is enigmatic panels, positioned at varying angles, coated with reflective signage paint and posted along the underpass walls.

Frick, who has an engineering background, uses datasets to drive the compositions of her abstract artwork and so for “Data Tells a Story” she created colorful, drippy lines that undulate across a brilliant turquoise background, each a representation of Austin tourist statistics. One side of the three-block-long mural charts the reason why people visit Austin, the other what they do during their visit. (Tourism was the prescribed theme of the project.)

A staggering 25 million tourists come to Austin each year.

“And all those people come here for the same reasons many of us enjoy living here: Music, food, spending time with friends, enjoying the outdoors,” says Frick, who last year was a visiting artist at the American Academy in Rome.

Pedestrians are now a regular sight along the Lamar Boulevard underpass. Photo courtesy Laurie Frick.

For Trominski’s blue signs, Frick turned to the popular murals around town that in the selfie age have become popular tourist destinations: The “I Love You So Much” mural on South Congress Avenue or Daniel Johnston’s quirky “Hi, how are you?”  near the University of Texas. Frick mined Instagram to create a color palette based on posts of each mural and then gave the color schemes to Sheri Bingham of Iron Thread Design who in turm created distinctive, patterned fabric covers that slip over each panel.  Below each covered panel Frick painted the street address of the corresponding mural — her mural’s loop back to other Austin murals.

Trominski was an emerging architect in 2003 when “Moments” debuted. It has been his only foray into public art. Originally, Trominski envisioned the rectangular blue panels as visual markers that punctuate the movement of travelling in a car along Lamar Boulevard as dips below grade and under a railroad bridge. Solar lights would illuminate the stretch of road under the bridge with a cool blue light, and a color block pattern along the underpass walls, in subtle shades of blue and green, would suggest the impression of being underwater. “Moments” was envisioned as a conceptual and multi-media public installation in an unusual spot in the cityscape, at the time an adventurous departure for Austin’s public art program.

But in reality “Moments” never really had its moment.

Almost immediately after installation vandals stole the solar lights and they were never replaced. Likewise, the very subtle pattern of color blocks became a graffiti magnet and the city’s solution to mitigating the tagging was to simply cover it with grey paint, obliterating the original design in the process. And what wasn’t painted over faded and peeled.

Indeed, the city’s lack of funding for maintenance of its public artworks has also meant “Moments” signature reflective blue panels over the years became dull and shabby. One panel fell off altogether.

Carl Trominki’s installation “Moments” before Laurie Frick’s artistic intervention to the piece. Over the years, city workers painted over graffiti with gray paint, obliterating the original color block pattern.

That “Moments” is actually a work public art mostly disappeared from the public’s conscious. Occasionally that fact would be rediscovered whenever local media, stumped for news, would spin out a “how much money did the city waste on this” feature.

Nevertheless, whether immediately understood as art — or mistaken for a highway department signage paint test — “Moments” is arguably Austin’s most maligned public artwork.

Perhaps understandably, Trominski eschews public comment on it though he embraced the city’s TEMPO Refresh project.

A conceptual installation in an unusual spot in the cityscape, Carl Trominski’s “Moments” was an adventurous departure for Austin’s public art program when it debuted in 2003. But it soon fell into disrepair.

Frick lives in a neighborhood not far from the underpass site and drives the stretch of Lamar Boulevard regularly.

“I’ve always been a fan of Carl’s piece,” she says. “I like the rhythm of the signs, the way they’re all at different angles. It’s about flow, it’s like being underwater, and you’re at the center of the artwork as you go by.”

Frick hired artists Blue Way and W. Tucker to manage the painting of her vast mural, and during the three weeks of installation, dozens of motorists would honk and wave. Some yelled out “thank you” as they drove past.

“People would come by and tell us that their whole experience of this previously dingy place hand been transformed,” says Frick, of the installation process.

Strangers have sent Frick email to express how much they enjoy the brilliant blue artwork, and it is gathering quite its own social media trajectory. Around the holidays, a construction company took staff photo for its Christmas card in front of Frick’s mural, and sent her a copy. “I get feedback on it from the most surprising people,” says Frick.

Laurie Frick during the installation process of “Data Tells a Story,” her temporary intervention on Carl Trominski’s public artwork “Moments.” Photo courtesy Laurie Frick.

Sue Lambe, Austin Art in Public Places manager, said the choice of Trominski’s piece as the first TEMPO Refresh is because the context of “Moments” had changed so radically since its installation.

The abandoned Seaholm Power Plant still hunkered over the southwest quadrant of downtown in 2003. Now, pricey condominium towers and the new central library mark the so-called Seaholm District, a slick — and densely populated — mixed-use urban development.

“In 2003 there was very little foot traffic in this location, and vehicles were able to travel at the speed limit,” Lambe wrote in an email. “Now there is more cycle and pedestrian traffic and people in vehicles often have plenty of time to take in their surroundings, particularly during rush hour.”

Frick pointed out that she painted her data lines with dripping tendrils in order to reward the viewer trapped in congested Lamar Boulevard traffic. “You can see the detail when you’re in stuck in your car — or walking by.”

If traffic once flowed fast underneath Lamar Boulevard underpass, now it’s more often that drivers are at a stand still, making the experience of Laurie Frick’s installation. Photo by Philip Rogers. Photo by Philip Rogers.

Over coffee at a nearby Starbuck’s, Frick muses about the creative freedoms that ephemerality brings vis-à-vis the very public impact “Data Tells a Story” has had.

“There’s less stress artistically with a temporary project — you’re not as caught up in worrying about making choices because whatever creative decisions you’re making are not permanent,” she says.

Though she has created many installations for architectural spaces, this is Frick’s first foray into municipal public art.

“The feedback that (this project) has had has been so surprising — so widespread. It sounds so obvious, but it’s really different to have a piece of mine that’s so public, that so many people see and respond to. I’m still surprised by it.”

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The Weekly Line-up: 1.13.19

Fidencio Duran, "Al Norte, lithograph," 24" x 36", 2002, (Flatbed Press). Image courtesy the artist.

A selected short list of what’s new and what’s good the week of Jan. 13, 2019.

PrintAustin: Fidencio Duran, Prints And Drawings
Esteemed muralist Fidencio Duran has also devoted much time to printmaking during his career. An intimate exhibit features Duran’s prints made Coronado Studios as part the Serie Print Project and at Flatbed Press. Duran’s exhibit is part of PrintAustin.
Opening: 6 to 8 p.m. Jan. 15. Exhibit continues through Feb. 28, Ruiz Public Library, 1600 Grove Blvd.  printaustin.org

See more on PrintAustin

New Music Mixer: Graham Reynolds
Fresh from the premiere of his latest album, “The Sound of Science,” a captivating compilation of new work by international composers, the busy Austin composer takes a break to join the New Music Mixer for a casual talk about everything he’s up to.
5 to 7 p.m.; program starts at 6 p.m. Jan. 15. Friends & Allies Brewing, 979 Springdale Road.

Read: A Socratic Lullaby: Golden Hornet’s “The Sound of Science”

“Heartland”
The latest from Gabriel Jason Dean who impressed with his award-winning “Terminus” and “Qualities of Starlight). A retired midwestern university professor is left reeling after his adopted daughter is killed by the Taliban while teaching children outside of Kabul.  Features Lowell Bartholomee Kareem Badr and Kacey Samiee.
Jan. 17-Feb. 9, Vortex Theater, vortexrep.org

Placemaking & Displacement: Public Dialogue at the Intersection of Art, Community, & Gentrification
Artists, community historians, & activists will explore how an arts community can work positively & proactively in a city where profound economic and cultural displacement has and is occurring. Panelists are visual artist John Yancey and Xochi Solis, theater artist Florinda Bryant, community archivist Alan Garcia, and allgo director Patricia Hale.
7 p.m. Jan. 17, Carver Museum, 1165 Angelina St. Event info

“Jade Walker: Little Soldier”
The first of a two-part exhibition two-part exhibition investigating the human body in collision with disease. In her vividly colored stitched soft sculpture, Walker explores concepts of healing and care-taking runs deep through the exhibition.
Through Feb. 9. Dimension Gallery, 979 Springdale Road, dimensiongallery.org

Keep Composers Weird
The premiere of new music by emerging composers written during their one-week residency in Austin.
1:30 p.m. Jan. 19, Blanton Museum of Art atrium. Free. Event info

 

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On the Mark: PrintAustin 2019 Launches

    Amze Emmons, "Ecology of Possiblities," cology of Possibilities Copying pencil, colored pencil, roll leaf foil on handmade paper, 22x30", 2017. On view at Grayduck Gallery.

    Artists and printmakers Cathy Savage and Elvia Perrin launched the first PrintAustin in 2014 out of a seemingly obvious, though ultimately profound, realization.

    With several well-established and nationally-regarded professional fine art print shops (Flatbed Press, Slugfest Press, Coronado Studio); a couple of nationally-recognized university printmaking programs (Texas State, University of Texas); an internationally acclaimed print collection (the Blanton Museum of Art); and a thriving local printmaking community, why wasn’t there a regular celebration of Austin as the fine art printmaking hub that it is?

    Now launching its annual sixth iteration Jan. 15 through Feb. 15, PrintAustin once again wrangles together more than 50 events in the month-long festival, including 26 exhibits, 10 print demonstrations or workshops, four artist talks as well as a number special events.

    Admission to most happenings is free; some art-making workshops have fees.

    Need an entry point to all the PrintAustin events. Here’s a few recommendations:

    The Contemporary PrintOpening: 7 to 10 p.m. Jan. 18, Big Medium, 916 Springdale Road.
    This year’s PrintAustin juried exhibit was selected by Katherine Brodbeck, assistant curator of Contemporary Art at the Dallas Museum of Art.

    Koichi Yamamoto: Aspect Ratio, Artist’s talk 4 p.m., opening 6 to 8 p.m. Jan. 18, Gallery Shoal Creek, 2232 E. MLK, Jr. Blvd. Exhibit continues through Feb. 23.
    An installation of intaglio printed kites by Koichi Yamamoto.

    Intaglio kite by Koichi Yamamoto

    Amze Emmons: Momentarily & Yoonmi Nam: Arranged FlowersGrayduck Gallery, 2213 E. Cesar Chavez St. Exhibit continues through Feb. 17.
    Two exceptional printmaker create delicate yet quietly bold artworks.

    Women Of Flatbed: A Retrospective, A Discussion2 p.m. Jan. 26, Elisabet Ney Museum, 304 E. 44th St. Exhibit continues through April 28.
    Soon after its inception in 1989, Flatbed Press co-founder Katherine Brimberry realized the dearth of women printmakers. Now half of Flatbed’s printers are women who are celebrated in an exhibit, with Brimberry joining several of them in a panel discussion.

    Judy Youngblood, “Unexpected Moon: Stormy Weather Suite,” soft ground, spit-bite and stage bite aquatint multi-plate etching, 2017

    PrintEXPO + Steamroller 2019, 12 to 5 p.m. Feb. 2, Blue Genie Big Top, 6100 Airport Blvd.
    Check out — and perhaps buy — the reasonably priced work by more than 48 artists at PrintEXPO. And the Steamroller event? Yes, it’s creating very large-scale prints using a steamroller.

    Sightlines is a media sponsor of PrintAustin.

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    Jennifer Holliday, Boz Scaggs and Conspirare Added to Final Texas Medal of Arts Honorees

    Jennifer Holliday

    After rolling the list of honorees in two previous announcements, the Texas Cultural Trust today announced the complete list of honorees who will receive a 2019 Texas Medal of Arts Award.

    Broadway actress Jennifer Holliday; singer, songwriter, and guitarist Boz Scaggs and Grammy-winning choral ensemble Conspirare, join the roster of 2019 recipients. 

    • Film: Matthew McConaughey, Austin
    • Music: Boz Scaggs, Plano
    • Design: Brandon Maxwell, Longview
    • Literary Arts: Stephen Harrigan, Austin
    • Architecture: Elaine Molinar, El Paso, and Craig Dykers, San Antonio
    • Arts Education: Vidal M. Treviño School of Communications and Fine Arts, Laredo
    • Multimedia: Mark Seliger, Houston
    • Visual Arts: Trenton Doyle Hancock, Houston
    • Music Ensemble: Conspirare, Austin
    • Theatre: Jennifer Holliday, Houston

    The Texas Medal of Arts Awards is the signature fundraising event of the Texas Cultural Trust and is held biennially in Austin in odd-numbered years during when the Texas Legislature meets. This year’s celebrations take place Feb. 26-27.

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    Ransom Center to Digitize Papers of LGBTQ Pioneers

    Una Vincenzo, Lady Troubridge, and Radclyffe Hall with their dachshunds Fitz-John Wotan and Fitz-John Thorgils of Tredholt at Crufts Dog Show, 1923. Sport & General Press Agency, Ltd ., Gelatin silver print, Radclyffe Hall and Una Vincenzo, Lady Troubridge Papers, Harry Ransom Center, University of Texas at Austin

    British author Radclyffe Hall and her partner, artist Una Vincenzo, Lady Troubridge, are internationally recognized as LGBTQ pioneers.

    Now, the University of Texas’ Harry Ransom Center will digitize its large collection of materials belonging to Hall and Troubridge.

    Hall’s 1928 novel “The Well of Loneliness,” is widely considered a landmark work in lesbian literature. A semi-autobiographical coming-of-age novel about an an upper-class British young woman who wears trousers, cuts her hair short and goes by the name Stephen, “The Well of Loneliness” was immediately banned for obscenity.

    Hall (1880 –1943), born Marguerite Radclyffe Hall, proclaimed that she wrote the novel in order to put my pen at the service of some of the most misunderstood people in the world.”

    At its most daring, “The Well of Loneliness” describes a night of passion between two women as “that night they were not divided”  and “she kissed her full on the lips, as a lover.”  Hall ends the novel with a plea from Stephen: “Acknowledge us, oh God, before the whole world. Give us also the right to our existence!”

    Alongside Hall’s notebooks and drafts for “The Well of Loneliness, the Ransom Center’s holdings include diaries, letters — including around 650 that Hall wrote between 1934 and 1942 to Evguenia Souline, a Russian émigrée with whom she had an extended affair — and evidence gathered by Hall’s American lawyer before her obscenity trial in the U.S .in 1929.

    “The richness and depth of this material goes well beyond the subsequent censorship and cultural controversies sparked by “The Well of Loneliness,” and we’re grateful to the Council on Library and Information Resources for recognizing the significance of this project,” said Ransom Center Director Steve Enniss.

    Radclyffe Hall’s scrapbook containing clippings about the suppression and censorship of “The Well of Loneliness,” 1928. Radclyffe Hall and Una Vincenzo, Lady Troubridge Papers, 24.3, Harry Ransom Center, The University of Texas at Austin

    The project entails digitizing more than 38,500 images and is estimated to take about 20 months complete. The materials should be accessible online in January 2021. thanks to a Digitizing Hidden Collections grant from the Council on Library and Information Resources.

    The Ransom Center acquired the Radclyffe Hall and Una Vincenzo, Lady Troubridge papers over decades, from 1960 to 1999. Hall’s papers account for about 60 percent of the material and include handwritten notebooks and typescript drafts for 10 novels and 30 short fiction and prose works, correspondence, business papers, photographs, and scrapbooks.

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    Craftsman Style Focus of Preservation Austin’s 2019 Homes Tour

    Exterior of a Craftsman house on the 2019 Preservation Austin tour. Photo by J.D. Lewis.Photo by J.D. Lewis.

    The focus of this year’s Preservation Austin Homes Tour? The Craftsman Style.

    On April 27, some seven Craftsman style homes throughout several Central Austin neighborhoods will be open for the ticketed tour.

    Interior of a Craftsman house on the 2019 Preservation Austin tour. Photo by Casey Woods.

    This year’s tour is coordinated with the Harry Ransom Center’s upcoming exhibition, “The Rise of Everyday Design: The Arts and Crafts Movement in Britain and America,” which opens Feb. 9.

    Preservation Austin’s tour will explore the impact here in Austin of the Arts and Crafts Movement, specifically with Craftsman bungalows — houses for the middle class that nevertheless were ennobled by a simplicity of design and a utility of function. Craftsman style homes feature low-pitched roof lines with a gabled or hipped roof, and deeply overhanging eaves, often with decorative brackets under the eaves.

    Exterior of a Craftsman house on the 2019 Preservation Austin tour. Photo by Casey Woods.

    The April 27 tour will include access to seven homes from this still-popular architectural era.

    Early-bird tickets are available through April 1 at preservationaustin.org/events ($25 for Preservation Austin members, $35 for non-members). Standard pricing will be available online from April 2 through April 26 at noon ($30 for Preservation Austin members, $40 for non-members). Event-day tickets will be available at all tour locations.

    Interior of a Craftsman house on the 2019 Preservation Austin tour. Photo by J.D. Lewis.
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    Texas Book Festival Announces 2019 Dates

    Photo courtesy Texas Book Festival.

    Pencil it in.  For its 24th year, the Texas Book Festival will be held October 26 – 27, 2019. And once again, it will be staged in and around the Texas State Capitol in downtown Austin.

    An estimated 50,000 attend last year’s fest. Also in 2018, the TBF gave more than $100,000 in grants to Texas public libraries. Through its Reading Rock Stars literacy program, TBF provided 10,635 books to students in Title I schools across Texas.

    Can’t wait for the Texas Book Festival? Read some of our recent interviews with Austin-based writers: 

    Always Changing: Fernando A. Flores On Writing Fiction That’s Totally Fictive

    Amy Gentry: Being Awake in Paranoid World

    Kendra Fortmeyer: Telling Stories Worth Telling

     

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    The Weekly Line-up: 1.6.19

    A'lante Flamenco

    A selected short list of what’s new and what’s good the week of Jan. 6, 2019.

    “Amor Fati”
    Restlessly creative, award-winning Austin flamenco choreographer Olivia Chacon is always infusing the centuries-old flamenco tradition with new ideas. Now, Chacon aligns all the romance, death, passion and grief of a great flamenco song with the elements of the ancient Greek myth of Orpheus and Eurydice. A’lante Flamenco’s premieres  “Amor Fati,” a fresh spin on the famous tale of the two lovers fated to be separated by death — or perhaps not.
    Jan. 11-13, 18-20. Rollins Studio Theater, Long Center. thelongcenter.org

    “Breakfast at Joe’s”
    Austin theater artist April Kling Meyer debuts her first play, a very contemporary riff on Truman Capote’s “Breakfast at Tiffany’s.”
    Jan. 10-12, 17-19. Ground Floor Theatre, 979 Springdale Road. groundfloortheatre.org

    “Welcome to Paradise”
    Austin Playhouse presents its co-production with Los Angeles’ Ruskin Theatre Company of a new bluegrass musical, about what happens when a Hollywood producer shows up in down-on-its-luck Southern coal mining town.
    Jan. 11-Feb. 3. Austin Playhouse, austinplayhouse.com

    Borderless: Lisa Ragbir and Deborah Roberts
    Chaitali Sen started the interview series “Borderless: Conversations About on Art, Action, and Justice” to examine the power of words and the role of art in our changing our world. This month, the conversation is turned over to writer and curator Lise Ragbir and esteemed visual artist Deborah Roberts, about the connection between text, literature, visual art, and social justice.
    7 p.m. Jan. 11. Malvern Books, 613 W. 29th St. malvernbooks.com

    Read: Chaitali Sen: On Breaking Down the Borders In Your Mind

    Read: More Than One Things: Lise Ragbir

    Read: Deborah Roberts Faces Down Venus and Her Stereotypes

    Amze Emmons: Momentarily & Yoonmi Nam: Arranged Flowers
    In tandem with the upcoming PrintAustin celebration of all things fine arts prints, Grayduck Gallery hosts a pair of artists — Amze Emmons and Yoonmi Nam — who each create delicate yet quietly bold print artworks.
    Opening: 7 to 11 p.m. Jan. 11. Exhibit continues through Feb. 17. Grayduck Gallery, 2213 E. Cesar Chavez St. grayduckgallery.com

    Yoonmi Nam, “Kitsune Mokuhunga” Photo courtesy Grayduck Gallery.
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