Numbers 23:23 (What hath God wrought!), 2018
Solar powered shipping container, smoke machine, programable timer, lock and chain
Solar Studios at Rice University, Houston Tx
Act I: Waiting Room (detail), 2017
Charcoal drawing, beta fish, candy bowl, succulent, sign-in book, bell and pen.
Act III: Columns (1-3), 2015-2016
Artificial turf, black beauty abrasive, plaster, cement, wax, chocolate, bacon fat, Vaseline, clay, resin, foam, glass, ink, debris, found objects, speakers, and record player
Wonderwall (karaoke booth), 2014
Shower curtains, shower fixture and caddy, iPad, microphone, headphones, speaker
Wonderwall was a site-specific installation that consisted of a karaoke booth that mimicked a shower stall. Individuals were instructed to sing along to the music they heard threw headphones as the lyrics appeared on a monitor in front of them. The a-cappella vocals were audible throughout the gallery space during the exhibition. Each performance was recorded and layered into a single track, creating the illusion of a choir.
Several Ways to Start a Fire, 2013
Twigs, rope, steel wool, battery, magnifying glass, aluminum can, chocolate, underwear, close pins, condom, water, and hardware
Purification Station, 2013
Plastic, Trinity River water, pecan & rose artesian charcoal, white marble chips, beach sand from Exotic Locations™, pump, and glass beverage dispenser
50″w x 61″h x 35″d
Road Agent, Dallas, TX • 09.07
Beastly Words explores the fundamental flaw of language as an expression of our deepest selves, and the contradictions of language as image. Pained, repetitive words and phrases are subdued and channeled into new forms, given life as watery zebras, muscular tigers, an anthropomorphized WWII fighter plane, and breathless track runners.
Brown first creates film negatives from mysterious scrawlings recovered from a university library trash can—the aching and robotic exercises of an unknown author. Brown’s subsequent use of older photographic techniques to recontextualize the images, through Cyanotype and Van Dyke processes, naturally limits his palette to a calming range of organic browns and blues, fading or deepening depending on exposure to light. He imposes a more natural and visceral world on the underlying fumbling language, as well as foiling the hyper-Photoshopped slickness of our mass-media world.
Road Agent, Dallas, TX • 04.06
“Boys will be boys”— or so the saying goes. In Bradly Brown’s first exhibit at Road Agent, he offers theatrical photographs that toy with questions of how young men construct their identities as they gradually mature into adulthood. In several of Brown’s photographs the artist and his friends playact with plastic animal masks hiding their faces. An Arcadian narrative unfolds, juxtsposing homoerotic yearnings with a suggestive menance. The most striking photo of the show, however, extends beyond a beautifully rendered, but simply conceived drama. Dominated by rich orange hues, a fractured and deteriorating wall opens into a small room that houses a solitary schoolboy, hands tied to a chair. This luxuriously colored photograph and the threatening mystery it encapsulates is as viscerally enticing as it is emotionally unsettling.
—Flash Art Magazine, Matthew Bourbon
HOMECOMING! Committee is: Christopher Bond, Bradly Brown, Ryan Goolsby, Courtney Hamilton, Timothy Harding, Shelby Meier, Devon Nowlin, Kris Pierce, Gregory Ruppe, Alden Williams, Briana Williams, and Tiffany Wolf.
HOMECOMING! Committee seeks to establish initiatives and venues in which all manner of creative individuals can operate as co-collaborators engaging in the practice of this agency. Interactive and participatory, HOMECOMING events create an environment to springboard artists into action and build networks for future collaborations. This fortification of creative resources will reposition the artist as an individual that shapes cultural discourse, rather than a member of society that merely reacts to it.
For More Information about HOMECOMING! Committee, please visit homecomingcommittee.com
SELECTED HOMECOMING! EVENTS:
Launch Party, 2011
Hands on an Art Body, 2012
Post Communiqué , 2013
Friskt kopplat, hälften brunnet. (Quickly connected, half burned.), 2013
The Eagle has Landed, 2013
(Please visit www.semiglossmag.com for more information)
semigloss. Magazine was a Texas-based arts publication founded by Sally Glass and Bradly Brown in 2012. The magazine highlighted international artists and writers and produced content that ranged from editorial and theoretical essays to interactive installations and vinyl records. Each issue focused on a certain concept or theme within the context of contemporary art thought and practice. Published for nearly 3 years, semigloss was intended to operate as a physical archive of the artistic idea but quickly expanded beyond the publication.
In 2016, the last issue, “Sound”, was released as a vinyl record with a corresponding immersive installation at the Contemporary Arts Museum of Houston, the Nasher Sculpture Center in Dallas, and B4BL4B in Oakland, as well as a listening event at the James Turrell Twilight Epiphany Skyspace at Rice University.
Volume 1, Issues 1-4
Volume 2, Issues 1-2
Semigloss: Sparkling Prose
By Jimmy Fowler Fort Worth Weekly January 22, 2014
Fort Worth new media artist Bradly Brown has had the kind of “urban artsy” college-and-career trajectory that the twenty-something characters on an HBO show often enjoy. The El Paso native studied photography as an undergrad at UNT and then lived in New York City for 10 years as a self-taught graphic designer/art director for the indie music label Table of the Elements. He returned to Fort Worth in 2011 to pursue a master’s in sculpture at TCU and co-founded the North Texas art collective HOMECOMING! Committee. In the middle of all that happy creative chaos, he andSally Glass, artist in residence at the University of Texas at Dallas, co-founded Semigloss, a quarterly publication of visual art and contemporary thought by local and national artists and writers. Glass (the editor-in-chief) and Brown (the art director) just released their fourth issue last month, with a glossy silver holographic paper cover laser-cut by artist Kris Pierce(also a member of HOMECOMING!).
Explaining the inspiration for Semigloss, Brown said that Glass “had spoken on a local panel about the state of the arts scene in Dallas. Someone made the comment that there aren’t any local publications [dedicated to the visual arts scene]. So [Glass] and I talked about it, and we thought, ‘Well, if something is missing, we need to put it out there.’ ”
Brown and Glass released four 9-by-12-inch issues of Semigloss last year, each with a different overarching theme. December’s issue was devoted to the future and included visual contributions from North Texas artists like Christopher Blay and Devon Nowlin as well folks from New York City, Berlin, and Mexico City. Articles in the magazine include an overview of a New York City interdisciplinary conference on the future of government surveillance, the criminal justice system, and the labor economy; a profile of two “queer” New York filmmakers who’ve created a feature-length lesbian porn film; and an interview with longtime Dallas artists Tom Orr and Frances Bagley. In between the stories are lots of minimalist, collage-like graphic artwork from Blay, Nowlin, and artists like Detroit native Jeff Gibbons and Mexico City’s Debora Delmar Corp. The mag, in short, is a grab-bag of different styles, approaches, and opinions organized under one broad umbrella theme and presented in a sleek, high-quality paper format. Brown describes Semigloss the publication as “a portable gallery space” and each issue a different exhibition of contemporary artists and writers. Brown and Glass’ ambitions for both the publication itself and the artists it serves have changed significantly since the first issue came out.
“The first and second issues were exclusively about North Texas artists,” Brown said. “That was the reason we started the magazine in the first place –– we wanted it to represent this particular scene. Then we started talking to artists and learning about things that were going on around the country. That’s when we decided that if we want North Texas artists to be on the same level as New York or Los Angeles artists, we needed to make the playing field level. We needed to group them together. So Semigloss has become a publication about international artists that’s coming out of North Texas and includes North Texas artists.”
Semigloss has met with a surprisingly warm reception among the big and small galleries and museum spaces in Dallas that have agreed to sell it, including the Nasher Sculpture Center, the Goss Michael Foundation, Conduit Gallery, and soon the Dallas Museum of Art. Despite the heavy presence of Fort Worth artists between and behind the pages, the magazine isn’t available anywhere in Fort Worth, a glaring omission that Brown said will be fixed this year.
Each issue has grown larger in page count and number of contributors while still managing to pay for itself through ad sales and donated talent. This year Glass and Brown will establish an online version, shrink the magazine’s physical dimensions, and experiment with publishing in various media, including (possibly) an all-audio issue made of downloadable MP3s and vinyl records. Brown credits his working chemistry with Glass for the relative ease with which Semigloss is planned and produced.
Glass, he said, “puts out the calls to the contributors and does all the communicating” with the artists and writers, he said. “My job is to take the content and figure out the most appropriate way to display pieces in the magazine. We talk about what we like and what we don’t like, but ultimately I have complete trust in her. I don’t mind when someone like [Glass] makes the important decisions because I have my toes in a lot of different projects now. I don’t want to be responsible for everything.”