At my invitation, renowned Australian installation artist Brad Buckley realized a component of his ongoing interrogation The Slaughterhouse Project: The Light on the Hill in a site-specific work for the UAB Visual Arts Gallery. Professor Buckley was on site for a week working with a team of volunteers to undertake this significant piece.
I invited Carlos Rolon/Dzine to do a large-scale, site-specific installation project at The Visual Arts Gallery of the University of Alabama at Birmingham. Over the course of five days, Dzine created Tokyo Boogie, a 15 1/2 x 7 1/2 foot, acrylic on canvas work covered in Envirotex.
In 2011, I invited James Marshall/Dalek to create a series of large-scale, site-specific installation works at UAB's Visual Arts Gallery. Over the course of more than a week, working with a team of volunteers, Dalek created more than 20 4- x 8-foot acrylic on wood-panel paintings. This video contains an interview with Dalek and a preview and documentation of the process.
In 2011 I began an ongoing interrogation of the ideas that situated the various meanings of the idea of currency over the course of two separate exhibitions - the first played on the idea of what it meant to be "current," or "timely," examining how artists were engaging with contemporary ideas in print media; the second examined the notion of currency as a means of transacting exchanges, a fortuitous notion in the days before cryptocurrencies.
In 2007, working with co-curator Mindi Shapiro and with the support of Tracy Martin, executor of the late Spider Martin's estate, we presented an exhibition of the fashion photography of the late James "Spider" Martin. The exhibition was the first to focus solely on his fashion photography. Martin, best known for his extraordinary photography of the Civil Rights Movement, captured famous images on the Edmund Pettus Bridge on Bloody Sunday. These images, known generally only to commercial clients, represented a large component of his work over the course of his career.