3rd Coast Biennial 2022
July 15 - August 26th, 2022
2022 Juror: Mark L. Smith
Third Coast National Biennial, established in 2007, is a prestigious juried exhibition of new works of art from all over the US. This year, 552 works of art were submitted by 200 artists. Of these, 53 works of art by 50 artists were selected for exhibition by juror Mark L. Smith PhD.
Mark Lesly Smith, PhD is the owner and operator of Mark L. Smith Studio & Gallery in Johnson City, Texas. A former art department chairman and an associate dean, he is a member of the Austin Arts Hall of Fame, the co-founder of Flatbed Press in Austin, and co-author of "Flatbed Press at 25" published in 2016 by U.T. Press. He currently serves as an art advisor to the Lyndon B. Johnson National Historical Park’s Cabinet Oak Project and developer of the park’s upcoming artist residency program. Smith is also a practicing artist — concentrating on collage and calligraphy —and will be exhibiting his Hope Suite prints at the Neill-Cochran House Museum in Austin, June 2 - December 18, 2022. Additionally, he will be presenting a large-scale projection of the Hope Suite on the eastern facade of the LBJ presidential library in Austin in a project called "Hope After Dark" on the evening of September 22.
I was impressed by the quality of the works submitted. Most showed a high range of talent and excellence in concept and in presentation. Also, I was encouraged that so many of the artists addressed current social issues in their work. It is difficult for any artist juror to eliminate good works that one likes personally. One must choose between respect and pleasure. There is a finite amount of space for the exhibition, so, not all outstanding works could be included. Hopefully, there is some aesthetic coherence to those selected, a commonality of beauty, intelligence, craftsmanship, and mindfulness.- Mark Lesly Smith, PhD, June 16, 2022
After Mark had some time to view the exhibition and enjoy the works in person, he wrote a second Juror's Statement:
Jurying the 2022 Third-Coast Biennial was an existential experience in three ways. Firstly, I was delightedly surprised at the high quality of most of the submissions. Almost all of the works were created with much talent, mindfulness, and with professional craftsmanship and presentation skills, There are no amateur artists in this show; every one is a professional, no matter how they make their living. Their techniques range from drawing, to printmaking, to painting, to sculpture, to wood working, to pottery, to photography, to installation art, to film making.Secondly—as an art historian—I was totally engaged by the wide array of art historical styles in the show. The Renaissance is represented by an etching so exquisite that it competes with Albrecht Durer. Moving fast forward, there is classic modernism. There is Surrealism, there is Abstract Expressionism; there is realism, graffiti, conceptualism, Dadaism, and minimalism. A professor of modern art could teach their whole semester’s class in this exhibit.Thirdly, I was deeply moved by how many of the applicants—and so many in the show —are dealing with the biggest issues of our time: Racism, environmentalism, climate change, sexism, A. I., and on and on. The heart and mind are hard at work in so many of the works, These artists are dealing with psychology, philosophy, politics, mysticism, metaphysics, sociology, architecture, futurism, physics, optics. The show is a survey of the current zeitgeist.I hope every artist and every art lover can see this show. I guarantee that you will fine it deeply inspiring on many levels. I am honored to have been a part of it, and I take my hat off to the exceptional job of installing that was done by the K Space Contemporary staff and board. - Mark L. Smith, PhD, August 6, 2022
We are honored to have Smith's expertise in the selection of this show. Chosen works are listed below. Congratulations to the selected artists!
Best of Show:
Residential Panopticon 02 by Christian Stiles
Forgiveness and Redemption by James Ehlers
Re:Peat Burn (Video) by Anne Yoncha