semigloss. Magazine is a Los Angeles-based print arts publication which incorporates visual and text-based content from global artists and writers that range from constructed images to theoretical essays to sculptural installations to vinyl records, each issue focused on a certain concept or theme within the context of contemporary art thought and practice. Published for nearly 4 years, semigloss. is intended to operate as a curated, physical archival document of the artistic ideas and work generated in order to transmit them collectively to the community via a growing list of distributors and venues. This list includes/has included CentralTrak, That That, Goss-Michael Foundation, The Reading Room, Fort Worth Contemporary Arts, Conduit Gallery, Oliver Francis Gallery, Oil and Cotton, Nasher Sculpture Center, McKinney Avenue Contemporary, David Shelton Gallery, James Turrell Twilight Epiphany Skyspace at Rice University, Contemporary Arts Museum Houston, Menil Collection Bookstore, B4BL4B in Oakland, Printed Matter, and print fairs in Dallas, Los Angeles, and Baltimore.
Originally meant to archive the creative proliferation of the North Texas region specifically, semigloss. has evolved over the past several years to acknowledge the importance of opening dialogue with the creative community not only locally, but nationally and internationally as well. After successfully producing three print issues (entitled "Place", "Ephemera", and "Failure", "Future", and "DB14" respectively), In particular, the most recent installment, the “Sound”, was released in 2016 with a corresponding immersive installation at the Contemporary Arts Museum of Houston and the Nasher Sculpture Center, and B4BL4B in Oakland, as well as presented via a listening event at the James Turrell Twilight Epiphany Skyspace at Rice University. semigloss. has grown to represent a diverse and expansive collection of talented, thoughtful contributors, the likes of which one might find in a thorough, thought-provoking group exhibition in a gallery or museum. In this case however, the exhibition additionally functions as an art object itself and is able to be distributed more freely to a receptive public due to not being confined to a physical space.