The Black Months II

About 10 years ago in 2010, I published a mix along the theme of this excerpt from A.S. Byatt’s novel Possession:

Today the storytelling beings. Everywhere in Brittany the storytelling begins at Toussaint, in the Black Month. It goes on through December, the Very Black Month, as far as the Christmas story.

The original Black Months mix consisted only of 60s/70s psych, rock, and folk; The Black Months II is much more eclectic but nonetheless consists of my usual melange of jazz, medieval, dark wave, tech house, Italo disco, library, new age, medieval, experimental, and of course psych and folk. To complete your autumn music experience, listen to my other mixes including Dancing In the Dark, Silk ‘n’ Sweater, and — should you want to continue the mood to the December holidays — The Dead of Christmas and There Will Be No Miracles Here. I bid you good darkness.


  1. The Banshee – Henry Cowell [1925]
  2. Tamara – Adam Wysocki [1933]
  3. Naked When You Come – The Lollipops [1966]
  4. Behind The Moon – No Entry [1969]
  5. No Parking – Gold [1970]
  6. Untie Me – The Tams [1962]
  7. You’re Dead – Norma Tanega [1966]
  8. Astral Cowboy – Curt Boettcher [1969]
  9. Sad Are The Days – HIGH RISK [1974]
  10. Goodnight Jack – Saint Etienne [1998]
  11. So – Hareton Salvanini [1973]
  12. Flow my teares – John Dowland [1596]
  13. Hello Goodbye – Modern Art [1983]
  14. Starknight – Bob Salton [1982]
  15. Strange Day for Dancing – Moral Support [1984]
  16. Azure – Blaukoma [2018]
  17. Plateau – Motohiko Hamase [1986]
  18. She weepeth full sore – William Lawes [1648]

Main artwork: Mel Odom, cropped and modified by me
Tracklist artwork: C.H. Page and Son architectural rendering of the Wooten mausoleum at Oakwood Cemetery in Austin, Texas

Warmly Persuasive at Tiger Strikes Asteroid Los Angeles

I have some work in an upcoming show at Tiger Strikes Asteroid Los Angeles, located in the venerable Bendix Building. It was such a pleasure meeting curator Andy Campbell in person for a studio visit, years after he selected one of my projects for The Destroyer magazine in 2012.

Warmly Persuasive: ICOSA in LA
September 7 – 29, 2019
Opening Reception: Saturday September 7, 7-10pm

Tiger Strikes Asteroid Los Angeles
Bendix Building
1206 Maple Avenue, 5th Floor, #523
Los Angeles, CA

Community can be the warmly persuasive word to describe an existing set of relationships, or the warmly persuasive word to describe an alternative set of relationships. What is most important, perhaps, is that unlike all other terms of social organization (state, nation, society, etc.) it seems never to be used unfavourably, and never to be given any positive opposing or distinguishing term.

Raymond Williams, Keywords: A Vocabulary of Culture and Society

Identifying community as the warmly persuasive term for being in relation to one another, the English theorist Raymond Williams rightly put his finger on community’s promise and its most common deception. Anyone who has been part of an intentional community, a collective, a consciousness raising group, a support network, or any other such organization knows that community rarely lives up to its promise—internicene fighting, power trips, and hurt feelings are mainstays of the social work of community formation and maintenance.

And yet: the potential benefits remain enticing enough to risk failure.

Investigating the terms of artistic affiliation and group structure, this exhibition features artist-members of the ICOSA collective in Austin, Texas, and aims to reflect one model of self-organization in our era of protracted economic precarity. The questions ICOSA poses via its very existence are simple and dire: how can artists create community, drawing upon commonalities while acknowledging—and fostering—difference? How can non-profit forms of governance benefit (or perhaps hinder) the artists that assemble under its administrative rubrics?

In the case of ICOSA, its mission is twofold: to provide community amongst its membership (monthly meetings keep members informed and accountable), and to generate exhibition opportunities (staging duographic exhibitions of its membership throughout the year). To accomplish these things ICOSA is organized as a 501(c)(6), unlike many other non-profits, including Tiger Strikes Asteroid, which is a 501(c)(3). The difference is slight but significant; a 501(c)(6) is considered a business league, whose primary aim is to serve the common interests its membership, while a 501(c)(3) is classified as a charity, and is meant to serve the interests of a general public. All ICOSA members are board members, and thus have a stake in the doings of the organization [this is atypical of non-profits, which often have a separate, smaller board culled from its ranks].

The works in this exhibition, taken from the roster of all current members of ICOSA in good standing, are installed to reveal networked relations between artists within this particular community. Hung in dramatic relation to the bureaucratic documents important to ICOSA’s founding the exhibition provides both a snapshot of the current members’ artistic practices, and the organizational peculiarities of the larger collective.

Warmly Persuasive includes work by: Leon Alesi, Amy Bench, Darcie Book, Shawn Camp, Carlos and Yevgenia, Jonas Criscoe, Erin Cunningham, Rachelle Diaz, Terra Goolsby, Sarah Hinreisen, Mark Johnson, Amanda McInerney, Matt Rebholz, Tammie Rubin, Jana Swec and Suzanne Koett*, Lana Waldrup-Appl, Alyssa Taylor Wendt, and Jenn Wilson.

Warmly Persuasive: ICOSA in LA is curated by Andy Campbell, Assistant Professor of Critical Studies at USC-Roski School of Art and Design, with assistance from ICOSA members Jenn Wilson and Amy Bench.

* not a member of ICOSA.

Virgo Aesthetic Mix

A sunny late summer musical harvest. Pure, polished, immersed in nature. Welcome to Virgo season.

  1. Painting – Jeff Resnick [1978]
  2. Love and Dream – Ariel Kalma [1970s]
  3. Ar Verjelenn – Les Soeurs Goadec [Breton Traditional]
  4. Sewnetuwa – Hailu Mergia [1985]
  5. Tropiq – i:cube [1999]
  6. Office Lady – Toshiki Kadomatsu [1982]
  7. Systems Breaking Down – Anna [1982]
  8. Sports Men – Haroumi Hosono [1982]
  9. Just be faithful (to me) – Manuel Darquart [2018]
  10. Colder Than Ice – Grant Miller [1985]
  11. 3 Rules – Tiga [2016]
  12. Private Life – Grace Jones [1985]
  13. Sa Fosca – Joan Biblioni [1989]
  14. Feel – Tabo’s Project [1986]
  15. Tropical Exposition – Hiroyuki Namba [1982]
  16. O viridissima virga – Hildegard von Bingen [12th century]



Opening: April 26 at 7pm. Juror talk & awards given at 8:30pm.
Exhibition on Display: April 26, 7pm-11pm and April 27, 1pm-11pm
5&J Gallery
Lubbock, Texas

Presented by Charles Adams Studio Project, CASPFEST is an inaugural two-night festival of art, film, and music, which aims to showcase exceptional contemporary arts. The national art exhibition is juried by Christina Rees, the films curated by Paul Allen Hunton and Jonathan Seaborn, and the music will feature bands from across the state of Texas.

I’ll be in attendance on opening night. Honored to be included in this national show and excited to be a part of a brand new art event!

Vignette Art Fair Wrap-Up

I participated in the third annual Vignette Art Fair, an “alternative” exhibition featuring female-identifying and non-binary artists from across the state. It event was definitely “alternative” in the sense that it was in an alternative space! The Women’s Museum, located in a beautiful Arts & Crafts/Art Deco-era building in Fair Park, was in operation for just over a decade and closed in 2011. Prior to the museum’s opening in 2000, the structure was almost a total loss. Its future also remains uncertain. Rather than having a fun pop-up vibe, the space had the sense of a defunct mall, only much sadder in the #metoo-era because of the lofty ideas it once stood for.

My disappointment continued when I saw my 2D works were crowded in with that of several other artists in what I’m guessing used to be the museum’s gift shop. Meanwhile in the same room, other walls were almost completely blank. Rather than looking salon-style or intentionally unbalanced, the effect ultimately felt disorganized and chaotic.

I was dealt another blow when I found out (after searching the entire building three times), that my video piece, Apple Harvest, had been cut due to “space issues.” I’m really not sure how that happens in a massive three-level exhibition hall, but whatever. I would have been more understanding had a representative contacted me in advance to explain the situation and apologize, no matter how brief the missive.

But those are just my personal concerns relating to the physical setup and should be taken with a grain of salt. The entire exhibition of 78 artists with hundreds of pieces was installed in only two days, so it’s highly likely that many other details were overlooked. The key takeaway here is the simple fact that this behemoth of mind-boggling aesthetic diversity can forge on, in spite of any hiccups along the way. As female-identifying and non-binary humans, we should cheer each other on when opportunity knocks and celebrate each other’s accomplishments.

Indeed, the camaraderie and pride among the artists was palpable. I met new colleagues and got to know my existing art friends even better. I’m sincerely happy that so many other women seized the opportunity to lead and participate in this undertaking, because it means there’s hope. Through my experience viewing the vast array of contemporary art in Texas, I left Dallas with a great sense of confidence, almost mission, in continuing my practice.

New Work at Dontworrybaby Playhaus @ Unit C

Apple Harvest

New work by Rachelle Diaz
ASMR audio by Cromo Fragrance House
Presented by Dontworrybaby

Tuesday, March 12, 2019
Sponsored by Tito’s Handmade Vodka and Topo Chico

Unit C Studio & Gallery
1710 E 2nd Street
Austin, Texas 78702

Apple Harvest is a one night only exhibition of my recent photography and video work, plus a site-specific interactive installation with accompanying ASMR soundtrack. By RSVP only at I’m looking forward to this one!

Chiaroscuro: probing mystery, seeking clarity and EAST 2018

Chiaroscuro: probing mystery, seeking clarity

ICOSA Gallery
901 Springdale Rd. Building 2, #102
Austin, Texas 78702

Friday, October 19, 7-10pm

October 19 – November 18, 2018
Fridays & Saturdays 12-6pm

November 10 – 11 and 17 – 18
Saturday & Sunday 10am-6pm

Chiaroscuro: probing mystery, seeking clarity is the first opportunity for this year’s ICOSA collective to show together. It’s a show of miscellanies: bits and pieces of new or recent work, a quick glance at what is brewing, a preview of what’s to come. Selected by Annette DiMeo Carlozzi, an Austin-based curator, the exhibition introduces new and ongoing members of the reformulated collective and some of the themes ICOSA’s 2018-19 calendar of collaborations will explore in their new space.


Leon Alesi, Amy Bench, Darcie Book, Jonas Criscoe, Kate Csillagi, Erin Cunningham, Bug Davidson, Rachelle Diaz, Terra Goolsby, Sarah Hirneisen, Mark Johnson, Dameon Lester, Amanda Linn McInerney, Teruko Nimura, Matt Rebholz, Tammie Rubin, Lana Waldrep-Appl, Alyssa Taylor Wendt, Jenn Wilson and Carlos Carillo/Yevgenia Davidoff.

Silk ‘n’ Sweater Mix

A softly knit mix for Fall.


  1. Shadows From Nowhere – Blue Gas [1983]
  2. Childhood Portrait – M. Grechuta [1982]
  3. Waitin’ – Zenit [1986]
  4. In A Landscape – John Cage [1947]
  5. Crow – Yasuaki Shimizu [1981]
  6. Romance – Hiroshi Suzuki [1975]
  7. So Low – Carol [1981]
  8. Laura – Brian Bennett [1973]
  9. What You Are – Pete Brandt’s Method [1980]
  10. For Where Have You Been – Honeybus [1972]
  11. Bubble Gun – Hefner [2000]
  12. Cool & Get Up – Quartz [1979]
  13. Grey Skies – Turquoise Days [1984]
  14. Find It In Your Eyes – The System [1983]
  15. Audio Trip – Dreamatic [1991]
  16. Illusions – Optik [1991]
  17. Autumn – Richenel [1982]

Are You Doing Your Part / In Your Life?

Excited to be a part of ICOSA’s first show at Canopy! My generative pieces Tide and Scream for 2018 were selected for install in the front window. I’ll be gallery sitting from Fridays 3-6pm on August 3rd and 12-3pm on August 24th – come out, say hey and pick something up from our gift shop. I also re-designed the ICOSA website back in June.

The Scream

Friday, July 27, 7-10pm

July 27 – August 25, 2018

Please join ICOSA Collective for the inaugural exhibition at our new space in the Canopy Complex showcasing the work of 11 new members: Leon Alesi, Amy Bench, Darcie Book, Rachelle Diaz, Sarah Hirneisen, Mark Johnson, Dameon Lester, Tammie Rubin, Lana Waldrep-Appl, and collaborative duo Carlos Carillo/Yevgenia Davidoff. Curated by Sean Redmond, editor of fields magazine, Are You Doing Your Part / In Your Life? explores personal and communal responsibility in the context of artistic pursuit. Together the work will question what it means to enshrine something and strip it of its practical value, devoid of functionality yet imbued with creative power.

Sean Redmond is the editor in chief of fields, an arts and culture journal that celebrates the up-and-coming and the unsung. fields explores the stories behind the artists’ work while promoting progressive change necessary to foster a more just and compassionate society. Sean has curated various art shows in Austin, and his writing has appeared in Pitchfork, Newcity, The Hypocrite Reader, Fjords, Rubberneck, and elsewhere.

Leon Alesi
Amy Bench
Darcie Book
Carlos Carrillo/Yevgenia Davidoff
Rachelle Diaz
Sarah Hirneisen
Mark Johnson
Dameon Lester
Tammie Rubin
Lana Waldrep-Appl

Pump Project Closing Party

“What we, or at any rate what I, refer to confidently as memory – meaning a moment, a fact that has been rescued from oblivion – is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw.”
—William Maxwell, So Long, See You Tomorrow 

Unfortunately I forgot to post about Pump Project‘s farewell fundraiser before it happened, so this will just be more of a wrap-up! The local art community came together for a homecoming of sorts on June 23rd to say goodbye to the old orange warehouse that has been Pump Project’s home since 2005. Hugs were shared, kegs were floated, and time suspended as past and present converged in the ether. These days in Austin, with the built environment constantly in flux, landmarks vanishing around us, we experience memory and reality in the same moment.


My contribution was the closing party graphic, which is only fitting considering I designed the logo and print invitations for the Pump Project launch party in 2007, a rebrand from the former name of Shady Tree Studios.

My studio, May 2007

I also set up a slideshow that ran during the event, thanks to contributions from artist members and friends over the years. The photos can be viewed here.

The good news is that later this year, Pump Project will be relocating to a long-defunct industrial/shopping center behind the HEB at Riverside and Pleasant Valley (another rapidly gentrifying area), with a custom buildout, gallery, meeting/community area, more studio capacity, an outdoor workspace, parking, and perhaps most importantly, air conditioning. Other arts organizations and amenities in the immediate area will make it a creative destination.

I look forward to this next chapter for Pump Project’s hub of leaders and artists. If the hundred or so people who came to closing party (as well as the countless folks who weren’t able to attend or have moved on from Austin) proved anything, it’s that it truly takes determined, sustained, collective effort to make change.