Highs in the 80s Mix

Usually I like my mixes to create a specific ambiance or take the listener on a guided sonic journey, but this is just a random mix of 80s boogie, post punk, pop, minimal, Italo, and more. Some recent favorites, longtime guilty pleasures, and forgotten tracks I rediscovered while putting together a background soundtrack for Pump Project’s closing party a couple of weeks ago. Here’s to shade trees, cold drinks, and the crushing anxiety of existence in a degenerate world.

Previous summer mixes: 2017, 201620142013, 2011, 2011.


  1. Skyfire – Ehri Ohono [1981]
  2. Roof Garden – Al Jarreau [1981]
  3. You Got Me Hot – Aquai [1985]
  4. Slow Motion Kisses – Furniture [1989]
  5. Into Your Eyes – Chris Taylor [1984]
  6. Wait Forever – In Tension [?]
  7. Show Me – Starpoint [1982]
  8. She’s Got the Beat – The Judy’s [1981]
  9. One on One – Hall & Oates [1982]
  10. Beauty & The Beat – Ivy [1983]
  11. Transformation – Nona Hendryx [1983]
  12. Walkin Down The Subway – Exxess [1984]
  13. Elegance of an Only Dream – Felt [1985]
  14. Too Late for Goodbyes – Julian Lennon [1984]
  15. Down on the Street – Shakatak [1984]
  16. Smile on My Face – Tres [1985]
  17. Jeena Bhi Kya Hai Jeena – Bappi Lahiri [1985]
  18. NEO-PLANT – Koharu Kisaragi & Ryuichi Sakamoto [1986]
  19. Stolen Love – Advertising [1978]
  20. Underwater Girl – The Tweeds [1978]
  21. Stepping In the Light – Another View [1980]
  22. Ma Boom Fey (Zanzibar Mix) – Cultural Vibe [1986]
  23. S&M (Sexy Music – Rated X) – De De [1983]
  24. Infectious Smile – The Delmontes [1980]
  25. Sending All My Love Out – Emerson [1988]
  26. Din Daa Daa – George Kranz [1983]

ICOSA Fundraiser

I’ve hit the ground running as one of ICOSA Collective‘s newest members with a Kickstarter fundraiser that ends next week. The venerable orange warehouse that formerly housed ICOSA’s gallery – and Pump Project Art Complex as of the end of this month – has officially been sold after only 6 months on the market. The good news is that ICOSA has secured new headquarters at Canopy in Art.Science Gallery’s previous space. In fact, I just spent a sweltering Sunday helping move materials and equipment.

The Kickstarter is to help defray costs of demo and buildout, which will include a gift shop area, storage, and new bar. There are lots of great art perks available. In addition, Fields magazine is generously donating 50% of sales of their new Spring/Summer issue at their reading on Thursday, June 14th at Big Medium to close out ICOSA’s fundraising campaign. Join us for lit, art, and a good time!



I’m excited to announce that I’m one of ICOSA gallery + artist collective’s newest members. Be sure to check out These, our precious scars: Erin Cunningham & Alyssa Taylor Wendt, the final show at ICOSA’s Pump Project location, which opens Friday, April 27, 7-10pm.

Also opening on Friday at Pump is PRIMA MATERIA, a group show curated by Erin Cunningham, Alyssa Taylor Wendt, and the ICOSA Collective. Once of my Rooms pieces was selected for the exhibition.

Curated around the idea of alchemy, the ICOSA Collective brings us PRIMA MATERIA, a group show of Austin artists whose work explores a sense of mysticism, teleportation, clairvoyance and the magic of metallurgy. Shown in conversation with Erin Cunningham and Alyssa Taylor Wendt’s show these, our precious scars, the group looks at change as a positive force and one that could yield bigger discoveries and treasures, as with the alchemical practice. As our community is aware, Pump Projects will soon be relocating due to the sale of the current beloved space. This exhibition celebrates ICOSA’s last show in the physical space and affirms the strength of the art community to persevere and gild the seeds of future endeavors.

Participating artists include: Steve Brudniak, Lisette Chavez, Rachelle Diaz, Chris DiRaddo, Aaron Flynn , Mai Gutierrez, Sarah Hirneisen, Andrea Faye Hyland and Emily Cayton, Jieun Beth Kim, TJ Lemanski, Kyle Nutter, Amy Scofield, Prakash Spex, Wes Thompson, Bruce Lee Webb, and Sally Weber.

Exhibition: April 27-May 26
Gallery Hours: Saturdays 12-5pm, or by appointment

dadageek Student Showcase

I’ve been taking a Processing glitch art class with dadageek for the past month. Tonight, students from all classes will be showing their work at the dadageek Student Showcase. Should be a fun evening of tech, sound, interactive art and more.

Saturday, March 3
Atmosphere Coworking
Free with RSVP

For my coursework, I decided to juxtapose imagery from the 50s (specifically relating to women and home) with the techiness and distortion of glitch, as it feels like this era is being dredged up and trying to be imposed on us again. Although the adage “History doesn’t repeat itself repeat itself, but it often rhymes,” is attributed to Mark Twain, there’s no definitive evidence he actually said it. However he did write (and I like this much better, especially as it relates to glitch aesthetic), “History never repeats itself, but the kaleidoscopic combinations of the pictured present often seem to be constructed out of the broken fragments of antique legends.”


While HTML and CSS are certainly not unfamiliar territory (and being Java-based, Processing isn’t that much different), I’ve never really coded from scratch. It’s been an interesting experience to dust off the old high school math skills and work exclusively with code. I’ve always been quick to grasp mathematical concepts and processes, but struggle when it comes to putting them into action. I prefer to observe how everything works in different scenarios before I feel comfortable in working the operations myself. So while I’ve quickly discovered the are limitations to creating glitch art in Processing, ever the perfectionist, I also have to remind myself the files are called sketches for a reason. You can certainly make cool finished pieces with a lot of practice, but as with any other art form the main part of the journey is learning from your drawings.

I’ll post stills and animations on the main part of my site soon.

2018 People’s Gallery Exhibition

My photo/assemblage “Vigil” was accepted into the 2018 People’s Gallery Exhibition at Austin City Hall. The piece was also chosen for the official postcards and major social media images. The People’s Gallery is designed to showcase the work of regional artists and to encourage public dialog, understanding, and enjoyment of visual art. Each year, the Cultural Arts Division issues a call for artworks to Austin-area artists, galleries, museums, and arts organizations, and presents a year-long exhibition of works by over 100 local artists.

Opening Reception
Friday, February 23 6-9pm
Austin City Hall
Free and open to the public

Visitors to the reception are invited to meet the participating artists, and to enjoy light refreshments and live music by the Austin Community Steelband. Remarks by Austin Mayor Steve Adler and others will begin at 6:30 p.m. “Vigil” is displayed on the 2nd floor of the building.

2018 selection panelists were arts educator and artist Teruko Nimura; artist and Preparator (Blanton Museum of Art, University of Texas at Austin) John Sager; and artist and Professor of Art, St. Edward’s University Tammie Rubin.

Screen Printing Class

In January, I took my first screen printing class at the Artist’s Screen Printing Coop (ASPCO) in East Austin. It was a four-week introductory course that met once per week. We learned how make 1-color prints on both paper and fabric. It was a lot of fun and Amanda, the instructor, was great!

I’m not really interested in making multiples of merchandise to sell, but rather in experimentation and incorporating it into my visual art somehow. Although I do graphic design for a living and put a great deal of pressure on myself to accept nothing less than perfection (hey, I’m a Virgo), and to a lesser degree with my artwork, I was surprised that I was able completely let that slide and just enjoy the process of attempting ides I’ve had for awhile, but didn’t want to execute as paintings, drawings, or designs.

I’m sure y’all have seen people wearing “The Future Is Female” t-shirts around. That design was created in the mid-1970s in NYC, and although that probably felt true a generation ago, based on recent events, I think it’s pretty obvious women are done waiting. The future is now. That’s why I say “The Future Is Indigenous” is next on our horizon. In order to survive climate change, we have to find ways to live respectfully and responsibly with our environment the way indigenous people all over the world have been doing for thousands of years.

I call this the All-Sleeping Eye (or Insominati) pillowcase. Printed on thrifted/vintage pillowcases.

Vintage clip art collage on vintage fabric.

Blast From The Past: Vision Riot

Pump Project recently set up a closed Facebook group for former tenants, aka “alumni.” It’s been fun sharing photos and memories with my old studiomates going back 10 years! David de Lara, an upstairs neighbor and fellow pre-Pump OG member (Shady Tree Studios circa 2005!), uploaded a wonderful video he put together from one of my first productions, Vision Riot. So thankful he shared this as I was too busy running around to take any event photos as it was happening. Enjoy!

Good Mourning Tis Of Thee

Two of my Rooms pieces were selected for Co-Lab Projects‘ final exhibition at DEMO Gallery, Good Mourning Tis Of Thee. So humbling to be included in a show following Claude Van Lingen’s incredible retrospective. The curators did an outstanding job on selecting and displaying the work, utilizing every facet of the historic venue. It’s truly a must-see experience.

Official Press Release

Good Mourning Tis of Thee, an expansive art installation directed and curated by the multimedia artist Alyssa Taylor Wendt and Co-Lab Projects’ Executive Director and Curator Sean Gaulager, will show work from over 65 artists and performers from Texas, New York, Detroit and Seattle. This interactive exhibition will address topical issues such as grief, loss, death, architecture and urban development. Staged in an old building shell in downtown Austin currently being used by Co-Lab Projects as their gallery space, visitors will be able to move through areas devoted to themes of mourning, darkness and transformation and occasionally interact with durational performances both during gallery hours and at designated events throughout the run of the show. The show is especially relevant as the building is slated for subsequent demolition to make room for a planned development on this site.

The concept behind this show, conceived of by Miss Wendt, looks at death as a positive agent and component of change. American culture has few rituals around death or processing death and she hopes that the artists involved will bring their own ideas, superstitions and rituals around mortality, as well as those of different cultures and belief systems. We all have the capacity to use such markers of change as vehicles for new beginnings and transformative magic. In a time when the country is grieving so many things we take for granted and grappling with an unpopular and oppressive political administration, we need to look for avenues of transformation and how we can use the alchemy of art and community for processing such grief. Referencing such exhibitions as Mike Nelson’s “A Psychic Vacuum”, produced by Creative Time in New York in 2003, the curators are using an existing building in its purgatorial state with a specifically built art environment so that the two are indistinguishable and each portion of the show is subjectively ambiguous, pushing questions about space and perception rather than providing dogmatic answers about how to look at art. Visitors to the exhibition will be guided to move freely in between the curated areas of the building in no particular order, ending with the message implied by the title, that each one of us is a source of positive change through cycles of ending and new beginnings.

Curated by Wendt and Gaulager, with a generous grant from the city of Austin and the Cultural Arts Division, they have chosen a specific group of installation artists and performers to create the immersive environment including: Jon Brumit; Chris Carlone; Gail Chovan; Maggie Douglas; Michael Anthony García; Oren Goldenberg; Joshua Goode; Brooke Gassiot; Hollis Hammonds; Ryan Hawk; Geoff Hippenstiel; Scott Hocking; Jules Buck Jones; Joseph Keckler; Jardine Libaire; Marne Lucas; Colin McIntyre; Angelbert Metoyer;  Landon O’Brien; Matt Rebholz; Cristin Richard; Benjy Russell; Seth Orion Schwaiger; Elizabeth McDonald Schwaiger; Julia Solis; Michael E. Stephen; Terri Thomas; Bruce Lee Webb; Alyssa Taylor Wendt; Steve Wiman; Matt Winters; Rachel Wolfson-Smith and many others. Their contributions are sexually, ethnically and artistically diverse and will help illustrate the diversity necessary to understand and broaden our thinking about difficult subjects such as death and change. Theses artists will work with the main space and the basement to create a large variety of installed works from video to sculpture to mobiles addressing death and grief.

The curators have dedicated a large salon style space in the main gallery called the Bardo Salon.  Comprised of 2D works by over 40 artists that illustrate death and sorrow in various presentations, they hope to create a space for contemplation and conversation. In addition to additional work from some of the aforementioned artists, contributors include: Michael Abelman; Butch Anthony; Toni Ardizzone; Shawn Camp; Livia Cocchi; Erin Cunningham; Alex Diamond; Rachelle Diaz; Dan Estabrook; Stefany Anne Golberg; Amy Guidry; Frank Haines; Katy Horan; Lindsay Hutchens; Madeline Irvine; Tlisza Jaurigue; Rebecca Marino; Robert Melton; Cynthia Mitchell; Christos Pathiakis; Lacey Richter; Beth Schindler; Lauren Silberman; Brad Walton; Jason Webb; YOUNGSONS and Marcus Zilliox.

Performances and events will take place both on designated evenings, listed in our public programs below, as well as durationally during gallery hours. Performers include: Chris Carlone; Marnie Castor; Michael Anthony García; Ryan Hawk; Joseph Keckler; Travis Kent; Jardine Libaire; Marne Lucas; and Sandy Smiles (Frank Haines).

Alyssa Taylor Wendt has a long history with both visual art and performance. A unique project for Austin, this exhibition explores both issues of urban redevelopment and those surrounding death and grieving. Our fear of death and the lack of concern for history and preservation in an age of rapid development and gentrification will be addressed through photography, video, sculpture, sound, painting, installation, drawing and performance.

This project is funded and supported in part by the City of Austin through the Economic Growth & Redevelopment Services Office/Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future. Visit Austin at NowPlayingAustin.com.


Summer 2017 Mix

Just a quick mix I put together over the weekend. Unfortunately I lost all the music downloaded since 2014 when I transferred to a new laptop earlier this month. Didn’t realize it till after I’d already wiped the old one. Argh!!


  1. Soul Sauce – Cal Tjader [1964]
  2. Ur Life One Night – Unknown Mortal Orchestra [2015]
  3. Friend Zone – Thundercat [2017]
  4. Feelin Love (Psychemagik Remix) – Paula Cole [2010]
  5. Summerdays – Weekend [1982]
  6. Goodnight Jack – Saint Etienne [1998]
  7. Riddles of the Spinx – Vinyl Williams [2016]
  8. Turn Me On – Dinner [2016]
  9. Malibu Fun – Midnight Magic [2016]
  10. Feel Up (Extended Version) – Grace Jones [1981]
  11. Love Island – Fatboy Slim [1998]
  12. Carmine – Fit Siegel [2015]


West Austin Studio Tour

The 2017 West Austin Studio Tour (aka WEST) is May 13-14 and 20-21. After volunteering with Big Medium and enjoying outings as a tourgoer for a number of years, I’m excited to participate as an artist this time around. I’m located at #307, the southernmost point on the tour. Hopefully that means a lot of visitors will start at the furthest location and work their way north! I’ll be set up in my garage studio showing work from my latest series, From These Parts. I’ll also be firing up the ol’ scanner to revive my 2010 portrait series, Thru A Scanner, offering to take guests’ live scanner portraits for free/donation.

My history in participating as an artist with the East Austin Studio Tour (aka EAST) goes back to 2006, when my studio at Pump Project was still Shady Tree Studios. Having seen EAST grow and evolve over the last decade, as well as being involved on both tours in various capacities, I have to say I find WEST to be less frantically paced than EAST. Although it covers a larger territory, as a tourgoer I’ve been able to cover Austin from top to bottom in one day including planned and unplanned stops. While most people are familiar with East Austin as the main creative hub, WEST is a one-of-a-kind opportunity to (re)discover the central parts of the city with hidden art gems tucked away in mid-century tract neighborhoods and industrial business parks.

And don’t forget to support Due West, an evening of art and entertainment celebrating the official kickoff of WEST at the Dougherty Arts Center on Thursday, May 11th. Pick up a beautiful printed catalog (still the best way to plan your tour) and enjoy delicious food and beverages from some of Austin’s finest establishments.