We wanted to pass this along to our readers, as it seems like a great opportunity all the way around: there are just a few days left to take advantage of Chicago Artists’ Coalition’s Bolt Residency Application / Membership deal – artists who apply for the Bolt Residency before April 22nd (that’s this Friday, folks) will receive a $20 discount on CAC Membership (all applicants must be CAC Members). Full information on the Bolt Residency and application process follows below:
The Bolt Residency is a highly competitive and juried artist program housed in the former FLATFILEgalleries, an 8,000 square foot space in the vibrant, art-centric West Loop neighborhood. Bolt Residency is a one-year artist residency program consisting of nine subsidized studios and professional exhibition space with daily, ongoing professional development programming and support from CAC staff.
All artists applying to Bolt must be current CAC members. Artists who apply before April 22 receive a $20 discount on CAC membership. If you have any questions about membership, please contact the CAC office (773.772.2385) or email Alyson Koblas (email@example.com).
Bolt Residency is an investment in YOUR artistic career, providing ongoing dynamic, in-depth collaborations with prominent curators, cultural institutions, visiting artists, gallery directors, dealers and collectors.
CAC will hold two open houses with tours of the space, every 15-20 minutes. Tours will take place at 217 North Carpenter on Sunday, April 10 from 2-5pm and Tuesday, April 19 from 5:30-8:30pm.
Bolt Residency seeks to create a supportive environment that promotes and evolves artists’ professional and artistic practices; providing ample space for the development of groundbreaking work.
Critical to our partnership with artists in residence are ongoing dynamic, in-depth collaborations with prominent Chicago curators, cultural institutions, visiting artists, gallery directors, dealers, and collectors. Bolt Residency hosts vital services and programs that provide artists with opportunities to build new audiences and meaningful connections to industry and business leaders throughout the Chicagoland area. Bolt Residency engages the Chicago arts community and its public in critical dialogue about contemporary art. CAC programs foster community and stimulate invention, risk and innovative artistic practice.
CAC will work closely with Bolt Residents to:
- Develop a customized professional development plan based on your vision and personal goals.
- Provide one-on-one monthly studio visits and workshops by the following partners (with more to come):
Candida Alvarez: Interim Dean of Graduate Studies/Professor, SAIC
Lynn Basa: Artist and Instructor, SAIC. Author of The Artist’s Guide to Public Art: How to Find and Win Commissions
Elizabeth Chodos: Associate Director, Oxbow, SAIC
Romi Crawford: (Ph.D.) Assistant Professor, SAIC, Former Curator and Director of Education and Public Programs at the Studio Museum in Harlem
Chicago Art Dealers Association
Robyn Farrell: Gallery Manager, Donald Young Gallery
Mark Jeffrey: Adjunct Associate Professor Contemporary Practices & Performance, SAIC. Curator. Artist.
Nancy Jones: Executive Director of Learning and Interpretation, Detroit Institute of Arts (DIA)
Charlotte Marra: Assistant Director, Rhona Hoffma
Monique Meloche: Owner/Director Monique Meloche
Jackie Terrassa: Assistant Director of Public Programs, MCA
- Coordinate open studios and exhibition openings with the West Loop’s gallery walks
- Showcase your studio to interested parties.
- Market exhibitions and special events to the press and arts community.
- Provide full and free access to CAC’s Art.Business.Create (A.B.C), a series of intensive educational workshops and consultations designed to build artists’ professional business skills (worth over $500)
- Offer competitive studio rental rates with the option to share/divide or use space individually.
- Create evaluation and sustainable exit plan, post-residency
Bolt Residency Studios
- (5) Front Room Studios: $455 for 260 sq.ft.
- (1) Private Studio: $525 for 300 sq.ft.
- (2) Back Room: $390 for 260 sq.ft.
- (1) Side Studio: $225 for 260 sq. ft.
- Open floor plan, work-only (non-residential)
- Move in date: June 15, 2011. Security Deposit: TWO months’ rent
April 29 (12pm): Application and supplementary materials are due via email to firstname.lastname@example.org
May 18: Announce finalists selected by jury
May 23-May 27: Finalists interview with CAC staff
May 31: Announce Bolt Residents
June 15: Bolt Residents move in to 217 N Carpenter
Move In Date
Move in date: June 15, 2011. Security Deposit: Two months’ rent.
Submissions are evaluated by a jury of four professional peers from Chicago’s leading cultural institutions: Romi Crawford, Tricia Van Eck, Monique Meloche and Allison Peters Quinn.
Jury selected finalists will be interviewed by CAC staff.
Artists who wish to apply as collaborators or apply to share space must apply individually and send individual fees, application and support materials (collaborators must include a separate page describing your collaborative proposal).
Types of Disciplines: painting, works on paper, photography, new media, installation and film. Sculptors,performers and sound artists are encouraged to apply, but may be limited by materials. Please contact Cortney at email@example.com.
We do not discriminate on the basis of race, religion, national origin, color, sex, age, veteran status, or disability.
Applications are available online by clicking here.
Applicants must be Current CAC members. To check on status or to join, please contact Alyson Koblas at firstname.lastname@example.org. (Artists who apply before April 22 receive a $20 discount on CAC membership.)
Applicants need to reside in the Chicagoland area during residency.
Applications must be emailed to email@example.com AS ATTACHMENTS and include:
- Completed Application (available online HERE)
- Resume (as PDF attachment)
- Work Samples (max 10 images, SUBMITTED ONLY AS JPEG’s, no larger than 72dpi) as attachment. WORK SAMPLES MUST INCLUDE: TITLE, DIMENSIONS, DATE AND MEDIUM.
- Non-refundable $25 application fee (paid via our secure online terminal)
To keep up to date with Bolt Residency, sign up here to receive CAC’s e-newsletter.
This week: A conversation with Ebony G. Patterson & Tumelo Mosaka at Monique Meloche Gallery. Patterson (Jamaican, born Kingston Jamaica 1981, lives Lexington, KY) will have a dynamic mixed-media installation that investigates Jamaican dance hall culture in the gallery’s window facing Division Street. Mosaka included Patterson in his 2007 exhibition Infinite Island: Contemporary Caribbean Art at the Brooklyn Museum of Art where he was formerly Associate Curator of Exhibitions. Recently, Mosaka has become the Contemporary Art Curator at the Krannert Art Museum, Champaign, Illinois. Patterson’s installation Gully Godz in Conversation-Conversations Revised I, II and III will continue through March 26 as our 4th on the wall project.
link to series…
Some exciting, if no-longer-breaking news: as has been rumored for awhile, last week it was announced that artist and Playmobil dragon collector Jessica Stockholder will join the faculty of the University of Chicago’s Department of Visual Arts (DOVA) and will serve as the department’s new Chair. Her appointment will begin July 1st. Stockholder had been a faculty member at Yale University’s School of Art since 1999. She joins DOVA at a time when big changes are in the works, including the new Reva and David Logan Center for the Arts, slated to open in Spring of 2012 and which will house the department as well as studio, teaching, rehearsal, and performance space for a number of campus arts programs. The Logan Center is said to have been a key factor in Stockholder’s decision to join the U of C faculty.
Stockholder’s appointment is part of DOVA’s overall effort to energize a department that is known for its interdisciplinary focus. In the press release announcement, Stockholder emphasized her own history of crossing mediums: “I don’t consider myself either a painter or a sculptor. My work is very pictorial at its core, even though it involves space and material.”
Check out this quick but informative interview with Stockholder conducted by ArtInfo last February. The bit about Stockholder “moving to Hyde Park in Chicago over the summer” pretty much gave the big news away then, but it’s nice to have all the rumors confirmed. Stockholder is a terrific artist, engaging and accessible, too — and for God’s sake, she collects Playmobil dragons — what more could you ask for in a faculty member or Department Chair? DOVA has chosen most wisely, methinks.
Over the last few years, Community Supported Agriculture (CSA) has exploded in popularity. When I moved to Chicago in 2000, there were only a handful of CSAs available to Chicagoans. Now there are dozens. CSAs have become so popular that The New York Times frequently runs articles about what to do with your seasonal surpluses. CSAs work in an interesting way—customers “subscribe” or buy “shares” in a farm’s yield. In this way, farmers know in advance their minimum sales and also have money upfront to purchase supplies. For the buyer this means excellent, seasonal produce (or fruit, meat, dairy) that is usually organic and always high quality. But CSAs are about more than just yummy, healthful food. CSAs are a way for non-farmers to support an activity they find valuable, like independent farming.
Three Walls is applying this same idea to art. Their Community Supported Art program offers six artworks by six different artists, all for the reasonable price of $400, or $350 if you act before April 30th. Various arts groups have done this before. In the 80s, SubPop had their Singles Club whereby each month subscribers received a fresh-off-the-press single right to their mailbox. More recently, I was a subscriber to Featherproof Press’s Paper Egg, a subscription book service. Sadly, Paper Egg didn’t really work out for the folks at Featherproof, but that doesn’t mean it was a failure. People want to support artists. Buying art is hard, though. It’s expensive and often it is hard to know where to spend your hard-earned dollars when you do finally decide to buy an artwork. But this is where the subscription, the food-type CSA model does its best work. Just as we are not exactly sure what each CSA box might yield, neither do we know the contents of a Three Walls CSA box. I mean, anything could be in there. [UPDATE: Okay, so not anything could be in there. There are 12 works in total of which each subscriber will receive 6.]
While not exactly common, Community Supported Art programs are springing up around the country and are a fresh way to explore alternative methods of connecting artists and those who buy art. Do listen to Claudine Ise, Duncan MacKenzie, and Dan Gunn discuss this on the Art:21 Centerfield podcast. The official launch of the 2011 Three Walls CSA is on April 30th from 6 to 9, in conjunction with Art Chicago/NEXT.
April 13, 2011 · Print This Article
I don’t remember the first time I met Noé, but I do remember the first time I saw his work. He and Joseph Clayton Mills performed in a dark room while standing opposite one another. Noé had an accordian strapped to his back and he played, very softly, while Joseph moved closer and farther away. Depending on their distance from one another, something concealed in Joseph’s hand (perhaps a hearing aid?) changed pitch. That performance epitomizes what I’ve seen of Noé’s work. He is dedicated to creating an awareness around silence within a performative space. The manifestation of the body, as a tool for the range of sound is integral, as are the relationships between performative bodies. His ability to instill the necessary parameters for such an awarenes–particularly in collaborative settings–is, to me, remarkable. I wanted to ask him more about that, but felt like direct questions would somehow do away with the very thing I was trying to ask. Consequently I tried to ask around the idea of silence, in order to better understand the way Noé uses sound. Because sound requires space, that seemed a good place to start.
Caroline Picard: How do you think of space?
Noé Cuéllar: Space evokes potential, but also communicates very directly to my sense of placement. I think a sense of placement paves the way for the rest of the senses… it’s like a background sense made up by all the senses. I enjoy compound forms even when the individual pieces can still be recognized, in this case, space is the glue.
CP: It sounds like you think of space as something both sculptural (3-d figures) and linguistic (i.e. compound verbs). I appreciate the idea that space would be some experiential amalgam of those fields, even though I’m not quite sure how that would work. Is that what you mean? What do you mean by compound forms?
NC: Yeah, it’s like our sense of space is happening before we find out how we actually feel. I’m in a room now, but a second ago I was just fine without actively thinking how comfortable it is. I think of artistic expression as a compound form that always involves more than one thing.
CP: How do you use space as a medium for performance?
NC: The outcomes are quite unexpected when the sense of physical space is combined with the spatial sense of the actual sound. I think my work most often expresses rigidity and confines, but space is what can allow [the work] to be experienced with more spread – perhaps more than I would choose to imply in the work itself. I would say I focus primarily on sound, but with a sense of belonging in a space.
CP: I’d love to hear about some examples of how this has occurred in different pieces…
NC: Last year I composed Kilter, a piece for Jeb Bishop (trombone) with accordion, and two speakers inside boxes with hinges that would rattle. I had in mind pressure and magnetic repulsion, yet the site-specific performance gave it a more wide-ranging effect, even in a dark, gritty basement with a short ceiling.
I’ve also been working with Joseph Kramer as Coppice, making site-specific installations and site-variable compositions, recently at the Museum of Contemporary Art, where the space was so large we were able to prevent any of our sounds from becoming part of a whole “surround experience,” but remain dislocated and in motion, scattering the perception of their source.
CP: What, to you, is the relationship between the space inside of an instrument and the space around an instrument?
NC: The outside speaks for the inside.
CP: Can you talk a little bit about your collaboration with Joseph Clayton Mills? I was just thinking of the piece where you stood opposite one another and he kept opening and closing his hand, to change the frequency of buzz that magically manifested and grew stronger the closer you moved to one another. Then too, I think of more “traditional” pieces, where you sit down and perform for a definite period of time…
NC: Working with him is very factual, much in natural state. We share a fascination with the attributes of objects and mechanisms, their hidden sound character and emotional effect. It makes me think a lot about photography, which we also practice on our own. A lot of what we do together is often a simple gesture, “subtlemost” more than “minimalist.” I think we both find that simplicity very lasting.
CP: Will you talk a little bit about the way you use silence in your work?
NC: Silence is space but also glue. It’s an encouragement that is easy to miss. I like using silence as a way of pronouncing presence, or as a bearer of tension, or as a moment to coast on something that just happened. Silences can be essentially the same in different moments, but it is how it is accessed that makes it feel different. It carries the weight of the three tenses, it can be very prominent in itself, while also reflecting personal inner processes. It can even be felt even when sounds are present.
CP: Do you feel like you are interrupting silence? Or are silence and sound variations within the same medium?
NC: My listening is constantly active, therefore I wouldn’t say I interrupt silence with my sound work, but rather bring the sound more forward to emphasize the moment. Silence can be framed between those sounds, but in the end I feel like sound and silence are only evocations of a deeper level of silence – and of sound potential – more than what they simply sound like. The repercussions of focused listening tap on that depth, beyond the temporal.
CP: I know that you regularly collaborate with other performers as well; sometimes you do so in a more traditional improvisation venue (like The Green Mill, for instance) and at other times you seem to locate yourself more definitively within a contemporary art/performance oeuvre. How do you negotiate those different contexts? Does a venue change the work you do?
NC: Venues shape the work more than they change it. What feels right about performances in site-specific and gallery settings is that the audience-performer space is diffused, with more listening nodes available, and open to variation. The stage setting has the advantage of centering a performance as a clear message.
CP: Can you talk a little bit about transcription? Or, how you translate and document your temporal, acoustic sound on a static piece of paper?
NC: I’m interested in some precise musical qualities, but also variable, interpersonal, implicit qualities that happen in the process of working one-on-one with a performer. Transcription varies from one work to another; sometimes I don’t put anything on paper, or very little just for my own reminder. When working with performers I let them write their own parts over a skeleton score I make for them. We talk, try, sharpen, and write.
CP: Do you use that score as a kind of document? I’m thinking about John Cage’s “score’s'” for instance; do they look like that? Or are they more traditional pages of notes?
CP: Can you give me an example?
With Harrow/Dormant I wanted to figure out what my interpretation of a graphic score would be, and what it would be like to suggest sound from a more abstract visual departure. I combined drawings with directions to set a structure on which the performers can stay afloat their own decisions. Julia Miller has been interpreting it with incredible tact several times now, as part of a study for a larger project of hers… which is great because multiple iterations reveal how sensitive interpretation is to one’s standpoint.
(See this video)
CP: How do you think about sound when it is happening?
NC: Sound is a constant vibration that stimulates our impulse to imagine, stir remembrance of events that perhaps haven’t quite happened to us directly. It’s kind of way of keeping check of our experiential ability and our location. It’s a way to be present and also to be somewhere else, beyond our windows.
CP: You enact such precision in your work; I’m trying to understand how you think about that precision, and how you locate the “action” of your work in time and space…so somehow, sound becomes the vehicle for that action, right?
NC: I regard presence and intention very highly as a basis. In my mind those two things almost make sound all by themselves.
CP: But then what does that mean? For sound to be a vehicle? A vehicle for what?
NC: A vehicle for transportation…
CP: It’s also really interesting to think about intention—I’m not sure I understand what you mean by that…it sounds like you’re thinking of your mind as an auxiliary component—and extension of the instrument?
NC: My sister is a graphic designer, and browsed many art and design magazines when I was growing up. I have many vivid memories of her explaining contemporary artworks to me and she would talk a lot about intention. I remember there was an advertisement all white with only one small logo in the middle, and I asked her why they would waste so much space, and she pointed out that the blank space lead our eyes to the logo, that was the focus. That got me thinking about doing only what felt like enough. Insights like that built up very solidly, and I’m reminded of that particular one quite often. The intentional framework for a message.