This week: Lisa Boyle talks about her gallery’s recent move. She schools our listeners on how emerging artists should and should not approach galleries. She tells us about the fascinating game(?) Bird Horse Muffin which totally blows Richard and Duncan’s tiny little minds.
Michael Benedetto: our new 30 second film critic reviews The Proposition.
Richard, Duncan and Amanda review shows at Kavi Gupta, Carrie Secrist (during which Richard apologizes to Missy), they talk about why they were mystified by their shabby treatment at Kraft/Lieberman gallery AND why Mark Rowland of Rowland Contemporary knows how to treat gallery patrons right, and lastly Kasia Kay Art Projects Gallery. The phrase “Shitty Drawing” is thrown around way way way WAY too much. Wow.
AREA Chicago Infrastructure Lecture
#3: Community Land Trusts and Housing Strategy
a presentation and discussion with San Francisco based Author-Organizer James Tracy
October 22, 2006 2pm-5pm
at In These Times offices
2040 N. Milwaukee Ave. Chicago, IL 60647
Concerned about land-use and affordable housing? Wondering who has the right to the city?
Join the discussion!
Over the past decade, Community Land Trusts (CLT) have grown in
popularity as an affordable housing model. The CLT has the potential
to build consensus across the political divide-combining homeownership
with progressive vision of affordability and participatory democracy.
As the CLT movement grow, organizers are faced with several key
questions: How can we work to preserve communities in an era of
rapid-fire (and seemingly permanent) gentrification?; How can CLT’s
preserve resident control against very real pressures to
bureaucratize?; and in an era of cuts to the social safety net will
CLT’s work to challenge privatization or simply become a tool of it?
Richard interviews Amanda Browder, Chris Walla, Aris Georgiades and Gail Simpson about Art 44/46: Curated by Stuart Keeler, Art 44/46 is a public art exhibition that will be featuring a variety of artists who are showing pieces publicly. Some are performances, some are sculptural pieces, some are video installations, etc.!
All in the 44th and 46th Wards of Chicago. The wards are roughly between Clark and Broadway (and up Broadway) , and Belmont and Diversey. Please check the website for more info.
October 3, 2006 · Print This Article
Curators of a contest that stirs debate over the nature of art have a prime shortlist for 2006
If not for the exhibition labels, visitors to Tate Britain’s latest show would never know that the nondescript office tucked away at the rear of a series of galleries was a work of art. Nor would they realise that a cherry stone, a dirty cottonwool ball and other bits of debris in a display case were a sculpture.
But these are exhibits in the Turner Prize 2006 exhibition, and curators are once again courting controversy.
The Tate has allowed one of the four contenders for the £25,000 award to re-create a real office – complete with a staff of three, filing cabinets, desks and computers.
It is an installation and performance work that curators hailed yesterday as worthy of Holbein, the revered 16th-century master who has his own exhibition in the same building. The artist is Phil Collins, 36, whose Shady Lane Productions is a “fully functioning office” with a real-life receptionist and researchers who are trying to trace people who have been scarred by their 15 minutes of fame on television reality and talk shows. They will be there from Monday to Friday only, as they get the weekend off.
Yesterday morning, they appeared not to be doing much beyond sitting around, reading newspapers and chatting – a typical office, it might be said. Their conversation cannot be heard as the room is sound-proofed.
“It is the first time we have had live work as part of an exhibit,” said Katherine Stout, a curator. “This project investigates the relationship between the production of art and its wider social context.” As critics peered through the windows of the office, observing the researchers as if they were animals in a zoo, she insisted that it was art.
Gair Boase, her fellow curator, drew parallels between Collins and Holbein, noting how each produced “challenging” work in their day. “Holbein was about history and understanding what happened in the past,” she said. “Collins makes us think of the world today.”
Asked whether he would prefer to own a Holbein paintings or Collins’s office, Stephen Deuchar, director of Tate Britain, said: “I’d have the office – with a Holbein on the wall.”
Much of the iconic British work of the 1990s is now in US collections
By Cristina Ruiz and Louisa Buck | Posted 26 September 2006
LONDON. Frank Gallipoli, a commodities trader based in New Canaan, Connecticut, has bought several major pieces from Charles Saatchi’s 1997 “Sensation” exhibition. His purchases include Marcus Harvey’s 1995 portrait of Myra Hindley, Gavin Turk’s 1993 self portrait as Sid Vicious, Pop, and works by Chris Ofili, Jake and Dinos Chapman, Gary Hume, Jenny Saville and Simon Patterson. Mr Gallipoli is one of at least five US collectors who have bought art originally shown in “Sensation”.
As the Royal Academy in London inaugurates “USA Today”, a new show of work by American artists drawn from the collection of Charles Saatchi, we reveal where many of the works originally exhibited in “Sensation” are today.
is the owner of Marcus Harvey’s 1995 portrait
of serial killer Myra Hindley