Mel Chin, The Funk and Wag From A to Z, 2011, a collection of collages, excisedprinted pages from The Universal Standard Encyclopedia, 1954, by Wilfred FunkInc., archival water-based glue and imported artist paper
Linarejos Moreno, Cutting and Rebounding of Threads I,II, III, 2010, inkjetprint on hand-crafted burlap
Joe Cardella, Contemplation, 2012, inkjet on photo paper and mixed media
Celia Alvarez Muñoz, Semajante Personajes/Significant Personalities, 2002-2012,digital holga prints
Installation view
Photo by Timothy Gonzalez/Station Museum of Contemporary Art
Alexander Zemlianichenko, Russian Protests, 2011-2012, inkjet on photo paper
Nazar Yahya, Luminosity, 2011, mixed media on Chinese paperon canvasNazar Yahya, Features of the Hand, 2011, inkjet digital pigmenton fine art paperNazar Yahya, The Witness, 2011, mixed media on Chinese paper on canvas(triptych)
Marina Zurkow, Still from Mesocosm (Wink, TX), 2012, software-driven animation,color and sound, ongoing computer generated
Marina Zurkow, Still from Mesocosm (Wink, TX), 2012, software-driven animation,color and sound, ongoing computer generated
Marina Zurkow, The Petroleum Manga, 2012, 50 banners, solvent ink on Tyvek,commissioned by DiverseWorks
Photo by Mark Francis
Marina Zurkow, Mesocosm (Wink, Texas), 2012, color, animation and sound,software-driven animation in a 146-hour year-long cycle (never repeats),commissioned by DiverseWorks
Photo by Mark Francis
Marina Zurkow, HazMat Suits for Children, 2012, Tychem® TK fabric, acrylic ,Velcro, rubber and mannekin with fabrication by Lara Grant; Tychem® TK fabriccourtesy of DuPont
Snapshot fo Sergey Bratkov's 1991 installation, Being Devoured by Each Other.
Photo by Tyler Rudick
Curators Evgeny Berezner and Irina Chmyreva with a group of reporters from theinternational press.
Photo by Tyler Rudick
Gregory Maiofis, Politics Makes Strange Bedfellows, 200s, bromoil print.Courtesy of the artist.
Berezner leads the way.
Photo by Tyler Rudick
Chmyreva and reporters on the second floor galleries of Spring Street Studios.
Photo by Tyler Rudick
Alexey Shulsin's two Rotating Landscapes from 1991 are set to mechanicallyvibrate on the gallery wall, creating an illusion similar to that of watchinghandheld video footage.
Photo by Tyler Rudick
Anton Belov, director of Moscow's Garage Center of Contemporary Culture, answersquestions from journalists.
Photo by Tyler Rudick
Irina Chmyreva discusses Vladmir Kupriyanov's Cast Me Not (Away) from YourPresence from 1990.
Photo by Tyler Rudick
Valera and Natasha Cherkashin, Mirages of the Soviet Empire, 1997; installationwith silver gelatin prints, newspaper, and watercolors. Courtesy of the artists.
John Waters, La Mer, 2009, Styrofoam, urethane, plaster and latex, Edition 5/5,signed and titled in ink: "La Mer" John Waters
John Waters, Neurotic, 2009, four C-prints, Edition 3/5
John Waters, Plus, 1996, two C-prints, Edition 4/5
John Waters, Bad Directors Chair, 2006, canvas, wood, steel and paint withleather bound script, Edition 1/5 signed, titled and numbered in ink (underfootrest): "Bad Director’s Chair 1/5, J. Waters"
John Waters, Visit Marfa, 2003, offset print, Edition 40/100
FotoFest 1992 Biennial at the George R. Brown Convention Center
Fred Baldwin and Wendy Watriss editing slides in their home dark-room in 1981,soon after their arrival in Houston
FotoFest co-founders Fred Baldwin and Wendy Watriss installing an exhibitionduring the first FotoFest in 1986
Fred Baldwin in China for the FotoFest Meeting Place Beijing 2007
In 1994 at the George R. Brown Convention Center, FotoFest staged the firstpublic exhibition in decades of the “first photograph” by Niecephore Niepce. Thepiece was transported from the Ransom Center in Austin in an armored car and wasaccompanied by armed guards.
Wendy Watriss and master Czech photographer Pavel Banka in 2004
While photographing rural Texas counties for their book, Fred Baldwin and WendyWatriss lived in a small trailer towed by Fred’s Mercedes convertible and parkedoften in an obliging farmer’s pasture, 1971-1972. Here, they parked along sidethe road in rural Grimes County, Texas.
Dziga Vertov, Man with a Movie Camera, 1929, frame from the film; screeningApril 15 at 3 p.m. and 5 p.m. at the Glassell School's Freed Auditorium.
Movie still by Dziga Vertov
A 1979 piece by Sergey Vasiliev from Soviet Winners of World Press Photo,1956–91 on view Houston Community College, Central Art Gallery.
The 2010 documentary Desert of Forbidden Art will be showing at the RussianCultural Center on April 8 at 7:30 p.m.
The Desert of Forbidden Art
Valera and Natasha Cherkashin, from the installation The Fall of Empire,1994-1997; on view in FotoFest's exhibit Perestroika, Liberalization andExperimentation at the Winter and Summer Street Studios.
Vladimir Lagrange, The Alphabet of the Deaf, c. 1960; on view in the FotoFestexhibition After Stalin, The Thaw, The Re-emergence of the Personal Voice atWilliams Tower.