The Greatest Op-Ed of All: The Dobrzynski-Durston Proposal

August 27, 2013 · Print This Article

Guest Post by James Pepper Kelly

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Imagine that a writer named Judith H. Dobrzynski boards a plane. She’s ambivalent about her recent op-ed for the New York Times, “High Culture Goes Hands-On,” in which she mourned the loss of a classic, passive museum experience. The response was decent (63 comments and a spot on the “most-emailed” list), and the negative response didn’t go much beyond baseless ad hominems (“crank,” “elitist”). But real-world impact? Judy sighs. She tries not to think about institutions these days, their obsequious rush to digitize, crowdsource, and create a “fun experience” for all. Instead, she thinks about real change: about her upcoming fellowship at the Salzburg Global Seminar in Austria, and how she helped influence the country’s new Holocaust restitution laws. Judy sinks back into her business class seat (being a Fellow has perks!), orders a tomato juice and relaxes, thinking of all the reading she’ll be able to catch up on in the air.

Imagine that a writer named James Durston is excited. He’s boarding the brand new Boeing 797 Dreamliner and is going to be live tweeting the experience from business class (dimming windows PLUS free booze!). He’s got way too much editing to do, but right now he’s feeling good about his latest op-ed for CNN Travel, “Why I hate museums.” Sure, only 400 comments (something like 10 times that many for the “fat tax” piece) but he did score official responses from the Art Institute of Chicago and the American Alliance of Museums. He makes a mental note to re-stir the pot with a follow-up in early December. James tosses his bag in the overhead and sits down, mentally composing a tweet about the woman beside him and WHY anyone drinks tomato juice on planes?? Still, he did use SeatID–they must have something in common. He’ll save the introduction for later when he runs out of content for his posts.

Imagine that now, today, both look back and still wonder what happened. They remember the start—the Eyjafjallajokull volcano waking up, their flight being grounded in Greenland, the nervous stewardesses plying them with drinks, and more, and more. The introductions, the argument, and then the gradual, dizzy belief that their two opinions needed to be reconciled. Had to be, in fact. What if this was the end of world? Reconciliation–for humanity, for the future. So they set about writing the op-ed of op-eds, tapping out the characters on James’s phone. Finally an op-ed truly for everyone. The Dobrzynski/Durston piece appeared on a brand new WordPress site, shocking the likes of Robert Connolly, Dana Allen-Griel, Dennis Kois, Ed Rodley, and all the other voices of studied moderation stuck further back in economy, sipping orange juice, thoughtfully biding their time. As Judith and James know, sometimes the world needs action. We should thank them for reminding us of that. Below is the full transcript of the Dobrzynski-Durston article.

Hilleströminre

The Greatest Proposal for hi-fiving high culture

The current institutional climate is unsustainable. And no fun. Most museums are in grave financial straits, mostly because there are better things to spend money on. It’s time for institutions to become the friendly, self-supporting, no-gift-shop entities they always should have been. The following is a list of proposals we urgently urge to be effected.

1. We’ve heard about museums, especially smaller, local ones, creating wonderful exhibitions on tight budgets. Maybe so. Those people sitting back in economy can really chew your ear off with examples. We both enjoy periodic visits to the provinces, and writing about them too,  but let’s be honest—it needs to start in New York or Hong Kong. Trickle-down culture is real.

2. Institutions claim to generate 7 public dollars for every $1 invested. (Right. Where’d they get those numbers?) The people of Detroit did vote to raise their own taxes to support the DIA—it’s called millage, James—but that’s an exceptional case. Ann Arbor residents were forward-thinking enough to reject a new art tax. Bleeding heart art lovers need to be realistic: public funding = not the answer. Private funding = yes.

3. Museums do need to sell off work—that’s called deaccessioning (thanks, Judy). Some call up the auction houses and rush the work out the door on a stretcher. Others are models of ethical responsibility–the Indianapolis Museum of Art, for example, lists all the work being sold on its site along with reasons for each sale. That’s good, but not good enough. They should show their reasons, not just tell us about them. Imagine if the DIA did something like: [pic of Diego Rivera mural] = [pic of 25 million open lunchboxes with PB&J, apple, milk]. #Prioritize.

4. Old vases are boring (especially ones from Iran, imo). They should be sold to established patrons of the arts and other old rich people. Who else cares about/truly appreciates them anyway? Same goes for anything  more than 30 years old or that doesn’t inspire transcendence. If in doubt, just tweet us a pic.

5. In the spirit of compromise, museums should divide their days between different audiences. On Wednesdays through Saturdays they should distribute free popcorn and edamame, fill the gallery with animals from a local petting zoo, and encourage full interaction—touching, smelling, licking—with the entire collection. On Sundays through Tuesdays, the cicerones will make sure that no more than four people are in any one room at the same time, monitor how fast individuals walk, and confiscate any and all electronic devices. Individuals will be required to spend set minimum amounts of time contemplating each piece. If any individual fails to adhere to these measures, they will be required to write an essay explaining why.

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6. Eliminate gift shops and cafes. They’re so bourgeois.

7. To generate revenue, offer paid chances to feed the animals and the option to limit the gallery to even less than the standard four people (on respective days, of course). Employ local actors who will alternate between impersonating art world authorities, historical figures, and general celebrities.

8. Reenact the creation and history of items throughout the week. It will be a little like Dante’s Inferno, each actor trapped in a different area, telling his story over and over again (Judy’s description, my idea). For example, one of the actors can be Leonardo da Vinci: put the Mona Lisa on an easel in front of him and have him paint and tell the sad story of Lisa over and over to the general audience. Add drama when appropriate, regardless of accuracy. Reach out to Hollywood and book publishers, offering to add their narratives to the “official” institutional version in exchange for sponsorship.

 9. Fully integrate work on display with life by created rentable, themed rooms, e.g. The Birth Room, The Death Room, etc. True art lovers will be able to pass with their eyes locked on an original Georgia O’Keeffe, or to bring a new being into the world under Van Gogh’s sunflowers, or to make love under the Venus de Milo. Anyone attending that day will be able to watch. Both sides will pay—

Phone’s about to die, got to post now. Whatever happens, this is the truth. Follow me online!

Imagine that that this is how the op-ed ends. The volcano went back to sleep and the sky over the Atlantic cleared. Fifteen hours later the Boeing landed at Heathrow, the passengers half drunk and half hung-over, but otherwise unscathed. There, Judith H. Dobrzynski and James Durston seem to have parted ways, never to collaborate again. Judy went back to lucid commentary on the art world, James to commissioning and writing popular travel articles.

If the phone had been fully charged, how would the Dobrzynski-Durston op-ed have proceeded?  What unfortunate circumstance might the expert commentators have leant themselves to next?  Whether “real people” can or can’t actually afford to collect art? Would we be more prepared to address how an elderly Romanian woman destroyed several masterpieces in an effort to protect her son? How much change to give beggars outside famous institutions? The alleged difficulty Chicago’s south siders have had in visiting Theaster Gates’s Dorchester Projects, even as the art star is lauded for the project’s success at Art Basel?

What further op-ed wisdom could we have learned from? We can only imagine.

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James Pepper Kelly likes words, images, and the plants in his apartment. He writes for ArtSlant and Bad at Sports, and he serves as Managing Director of Filter Photo. He is currently studying to be a pataphysicist. For a little while, back in the early ‘00s, he was really good at Ms. Pac-man.




Episode 417: Claire Doherty

August 27, 2013 · Print This Article

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This week: Part one of the Open Engagement conference 2013 series. Caroline Picard talks to Caire Doherty!

 

Claire Doherty is Director of Situations. Claire initiated Situations in 2003 following a ten-year period investigating new curatorial models beyond conventional exhibition-making at a range of art institutions including Ikon Gallery, Birmingham, Spike Island, Bristol and FACT (Foundation of Art and Creative Technology), Liverpool. Claire has worked with a diversity of artists including Lara Almarcegui, Uta Barth, Brian Catling, Phil Collins, Nathan Coley, Lara Favaretto, Ellen Gallagher, Joseph Grigely, Jeppe Hein, Susan Hiller, Mariele Neudecker, Cornelia Parker, Roman Ondak, Joao Penalva and Ivan and Heather Morison. She has advised a range of organisations as curatorial consultant including Tate, Site Gallery Sheffield and is author of the public art strategies for the University of Bristol and Bjorvika, Oslo Harbour.
In 2009, Claire was awarded a prestigious Paul Hamlyn Breakthrough Award as an outstanding cultural entrepreneur. Claire directed One Day Sculpture in 2008-9 with David Cross, a year-long collaborative series of 20 commissioned, 24-hour public artworks across New Zealand. In 2010, she was Co-Curatorial Director of Wonders of Weston for Weston-super-Mare.
Doherty lectures and publishes internationally. She is editor of Contemporary Art: From Studio to Situation (Black Dog Publishing, 2004); Documents of Contemporary Art: Situation (Whitechapel/MIT Press, 2009) and co-editor with David Cross of One Day Sculpture (Kerber, 2009), with Paul O’Neill, Locating the Producers: Durational Approaches to Public Art (Valiz, 2011) and with Gerrie van Noord, Heather and Ivan Morison: Falling into Place (Book Works, 2009). She was also an external advisory member of the Olympic Park Public Realm Advisory Committee and a Fellow of the RSA.




Unique, But Familiar: the Personal Island of Proteus

August 26, 2013 · Print This Article

Proteus-Header

Guest Post by Paul King

The sole page of Proteus’ help screen begins “Move with WASD. Look around with the mouse.”

No other controls exist, besides the space bar. Instead of offering a traditional jump, it commands the player’s avatar to sit, peacefully, for as long as they might. The help screen’s final instructions begin with what seems like half of a warning: “Each island is unique, but familiar.”

To move past the title screen and into the game, you begin by clicking the silhouette of a distant island. After fading, the screen opens from a murky black into a gently disappearing elliptical shape, as though you were slowly opening your eyelids. You’ve awoken in what appears to be an endless ocean, a muted sea-green punctuated by the gentle lapping of white reflections. In the distance, you begin to make out the outline of a shrouded landmass. As you trudge towards it, the only anchor in the game’s ceaseless sea, you can practically feel the sunlight of the raincoat-yellow orb shining in the sky.

Everything in Proteus is rendered in a blocky, colorful style that should be familiar to everyone who’s ever seen an early pixelated video game. (Think the “ball” of pong, or the sharp edges of Mario.) But the style isn’t due to a lack of processing power or graphical method; instead, the world’s lack of texture translates into a picturesque canvas of flat colors, almost as though you were gazing directly into a visual interpretation of one of Brian Eno’s ambient tracks.

As you climb onto the shores of your island and walk past the flat browns of tree trunks and across the rolling green hills dotted with single-color flowers and blocks representing dandelions, an ambient soundtrack erupts. These are the changing environs and characters, and your interactions with them feel as though they were entirely up to you.

When somebody completes any video game, they tend to have finished a universal experience. Though the person playing it might have preferred a different gun, or tactic, or motorcycle, their journey is usually one shared by all other players. Certain blockbuster titles, usually role-playing games, offer choice and varied game paths as a selling point. There, you might choose to be a thieving elf that sneaks through danger, or a devil-may-care warrior slaying all in your path. Ultimately, however, the same challenges are present.

Proteus doesn’t exactly offer a challenge. There are no tests of dexterity or hand-eye coordination; there is only your movement through and consideration of the world, your journey. Pass by a stone obelisk and hear a great deep bass noise burst and fade slowly into a background of crickets. Chase a frog and hear its hops become the staccato twang of a distant guitar, or reach a mountainous peak above a plateau of raining clouds and listen to an uplifting crescendo.

Some sound origins are obvious. The crickets cricket, and leaves fall like soft glass. Still, there are other tones I’m uncertain about. Perhaps it was my position on a specific hill, or maybe it was the shadow of a pink-tufted tree.  Proteus’ soundtrack—a constant soothing orchestration of hidden instruments—is only one of the complex machinations behind deceitfully simple visuals.

Each island in Proteus is procedurally generated. Algorithmically, one comes together in a way that is unique, but familiar, placed together by a machine, or equation.

At a certain point, the boxy sun sets and is replaced by the moon. Night arrives, marked by a deep blue and a subdued soundtrack. Slowly, the bright dots of the island’s airspace—be they fireflies, wisps, spots of cotton—swirl and gather, until finally, they culminate in a furious whirlwind at the center of a circle of stones. As you approach it, time speeds up. Clouds and stars race above you, the trees around you begin to shudder and dance. The music, now faster, eggs them on. Enter the circle and soon, the screen fades to white, almost as if signaling an end to your time on the island, a quiet release from the frenzied energy. But then island returns, rewarding a patient moment of darkness in the same way a morning welcomes those just stirring from sleep.

The colors have changed slightly, and the music with it. In the air before you dances a swarm of bees. Above you the calm sphere of the sun now has flaring tendrils, shining down harder than before. Vibrant collections of flowers have sprouted up since you walked into the mystical circle of stones and its swirling puffs.

Proteus-Summer

Usually when a game environment transforms, dangers arrive. Night might reveal prowling tigers, shambling zombies, or some spooky other. Proteus remains peaceful, instead signaling the end of its day and condensed season with frenetic motion. Though you act as a catalyst in the seasonal change by entering that swirling circle, you can’t help but feel a small component of a greater cycle;  a piece in an action that comes from a living, breathing land mass. The whole island, player included, enters a chrysalis and emerges anew.

Often, a game’s digital world exists solely as a static landscape with one-sided interaction. Usually, it is up to us as individual players to act as the experimental component or the dynamic instrument. But though we, as individuals in a programmed world, might be dynamic, we all fulfill the same role. We are the same cog that fits into a developer’s machine, makes it turn linearly through its universal paces. This tends to result in an identical experience for all who play the same game.

There are pieces of Proteus that hint at an identical experience. You awake in an ocean; you climb ashore a distant island; you swirl through the seasons. But since each island is procedurally generated, no two islands or games will ever truly be the same.

At a certain point during my night in Proteus, a white owl appeared in a tree, staring at me before taking off and flying to the next tree; later, I walked towards the crude ruins of a tower to find myself teleported to another crumbling monument.

Proteus-Owl

I learned later that others retelling their experiences on the game’s forums had not encountered the owl. Instead, one account was dominated by a dark figure that appeared after the night sky had turned red, only to run off, while making sure the player was following. Some played with constellations; some sat in solemn graveyards. While we had all played Proteus, it became clear that we did not share the same experiences; we all wandered through different worlds, encountering familiar aspects in a unique way.

The main difference between unique play in Proteus and role-playing games is agency. In a massive fantasy or space world, the player is given what appears to be wide path to play how they wish. They move through a static world and sculpt it in a pre-designed fashion. Ultimately, the developers of these games give players the gift of agency, the ability to move through that world and shape it.

This also forces the game to be reliant upon the player. Even if a game’s narrative is linear, it depends on the player to advance it. For example, a programmed character within a game may walk a programmed path, forever, until a player enters and engages its route. By interacting with that non-player character (NPC), the player has helped it fulfill its destiny, and furthered the action of the world. The expectation is that the world exists at the behest of the player, and the player is often imbued with the power of a god who may alter the world.

While Proteus as a game—and product— exists for the player, its world isn’t reliant upon a specific player experience. Because it isn’t static, differences occur, many and obviously, around the player. Because the world is produced dynamically, the player must act as a static element with practically no control. And though each player may in turn approach the game in an identical capacity, once the island is generated, it is a fresh, dynamic world each time, reducing the potential for a homogenized experience.

The largest contributor to this success is the way in which Proteus plays with music. The endless cacophony (both aural and visual) that permeates the atmosphere is so incredibly active. As a player explores, animals or flowers don’t change course like an NPC. Instead, they react naturally, not as though they were born for your experience, but almost as if the opposite were true. When you approach an area that produces a sine wave—be it a tree, a slope, or some other mystery—the feeling isn’t that Proteus or the object in Proteus has begun to play for you, but that the sound, or owl, or structure was always there, and you just happened, through a chance generation, to wander into it. Starting a game of Proteus is not like listening to a pre-recorded album, but like listening to the chaotic throng of generative music. And though you might begin and stop Proteus at will, there’s no guarantee that the island’s music will follow.

 

Paul King is a poet, writer, and video game enthusiast currently living in Chicago, IL. He grew up in Austin, TX and graduated from Bard College with a BA in Liberal and Written Arts.




EDITION #16

August 26, 2013 · Print This Article

The scene at Iceberg Projects Saturday.

Art Lovers Gravitate to Rogers Park Galleries

Rogers Park was the place to be Saturday night with killer back to back openings taking place within blocks of one another. The weather couldn’t have been better and both shows had robust turn outs. Unioned Labors at the aptly named Bike Room featured not one but three different collaborative projects from duos. Small and whimsical, this show packed a big punch. Alberto Aguilar & Alex Bradley Cohen filled the space’s hallway with a mural pieced together with delightfully bold and colorful paintings on cardboard and complimented by a playful soundtrack. Inside the gallery itself a video of Aguliar’s & Cohen workin’ it out in the Bike Room’s backyard that shared a similar soundtrack. Amanda Ross-Ho and her father, Ruyell, used one of his playful abstractions that reads “Less is Not More” to adorn one of Ross-Ho’s signature oversized t-shirts. The most somber offering, Frank Piyatec & Judith Geitchman‘s rhythmic black and white text and abstractions were arranged into a giant checkerboard.

Oren Pinhassi, Untitled, 2013.

Naama Arad, Marfa, 2013.

Rhoades Scholar, curated by New Capital‘s Chelsea Culp and Ben Foch at Iceburg Projects, was similarly sparse yet arresting featuring one piece each from young guns Murat Adash, Naama Arad, Marie Alice BrandNer-Wolfszahn, and Oren Pinhassi. Adash also staged a performance where sightseers focused attention on various objects and people in the Iceberg space during the opening. Particularly mind blowing were Arad’s and Pinhassi’s work. Pinhassi’s backpack looked like it was dipped in papier-mâché and wrapped in a chalk-covered blackboard. The mutant backpack was placed open and empty on the floor revealing that crappy red nylon that’s suppose to be water proof but never really keeps anything safe. Despite all this there was definitely something magnetic about this unassuming backpack combining school daze nostalgia with the sculptural sensibility of Rachel Harrison and Kate Ruggeri. Naama’s sumptuous oil pastel drawing also pulled on our heartstrings by pairing a technique learned in grade school with stunning use of color and line. This rug inspired work was not your grandma’s tapestry.

Work by the family Ho.

Definitely recommend going to the ends of the Red Line to check out these shows. Also recommended: beef patties from the Caribbean American Bakery on the way.


Iceberg Projects open by appointment.

The Bike Room open by appointment.

Caribbean American Bakery located at 1539 W Howard Street.

The Weatherman Report

Max Ernst, Humboldt Current, 1951-52. Oil on canvas, 36 x 61 cm. Photo: Foundation Beyeler.

The scene at Iceberg Projects Saturday.

Better Luck Next Time leads to Hilarity, Danger

Fed up with the lack of cable television at the Steuben Lodge, ACRE residents and staff took matters into their own hands last weekend recording live the first ever episode of “Better Luck Next Time,” a newlyweds-style game show for artistic duos. Hosted by Carlos Danger and Vanna Ruffino, collaborators were pitted against each other to see who’s vibin’ the hardest.

Hosts Carlos Danger and Vanna Ruffino.

Carlos Danger valiantly and hilariously lead the unwilling contestants to reveal some of their deepest gripes with one another. Points were awarded on a somewhat unconventional basis after the audience mutinied against the show and its producers, demanding sympathetic half-points for weary contestants. Danger and Ruffino were ultimately able to win over the unruly mob and the pilot was a huge live success.

Live from the Chalet Studio.

Lucky to see this early preview, WWT? has heard that there are plans to put the show into syndication in Chicago.

Dispatch from ACRE

After Tom Friel’s poetic piece on the ACRE experience last week, we know we don’t have to tell you how awesome it is to retreat into the woods for two weeks.

“Please” and “Thank you” rumored to be in use in Steuben.

Colin Dickson’s installation on the property. Photo courtesy of the artist.

Good feelings abound.

What’s sah-rong?

When it feels so right?




Week in Review: Disseminating Utopia In Multiple Visions

August 25, 2013 · Print This Article

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On the podcast this week, Bad at Sports celebrates 8 years, wrapping up the latest season with the Artist as Arbiter panel from CAA 2013. Featuring moderators: Duncan Mackenzie and Shannon R. Stratton, along with panelists: Anthea Black, Laurie Beth Clark & Michael Peterson, E. G. Crichton, Reni Gower, and Philip Von Zweck. That’s all right here.

Samantha Bittman, The Longest Distance Between Two Points, 2011, Acrylic on hand-woven textile

Samantha Bittman, The Longest Distance Between Two Points, 2011, Acrylic on hand-woven textile

The week began with a great essay by Robert Burnier on the subject of bodies in space, beginning with minimalism, reflecting on Hesse, Samantha Bittman and more as a way to reflect on Burnier’s own artistic practice:

As I was walking through the Modern Wing at the Art Institute of Chicago not long ago, I noticed a late Donald Judd, Untitled, 1989, on view. A wall-mounted, boxy, red and black sculpture, vacillating between image and object, I found myself walking around it, going from side to side, taking it apart in my mind. Despite its seeming simplicity, the work drew me deeper into the implications of its facture. From a slight distance, it looks virtually immaculate – by the standard of most artistic mark making, it is. Of course this was typical of minimalist work from this artist and others of the 1960s. The shapes have a certain predictability verging on total blandness, like a Steelcase office desk. One reads about the importance of the gestalt of this experience from artists like Robert Morris, which he believed lead to a more holistic, unified apprehension of the object. “Unitary forms do not reduce relationships,” he says. “Rather, they are bound more cohesively and indivisibly together.”[1] On the one hand, the rectangles empty out the object, being everything and nothing, though they might lead to some kind of mathematical spiritual reverie. Yet on the other, in this particular work by Judd, we can perceive a distance from aspirations toward a unified experience in a few ways. Looking closer at the surface – the fasteners, the corners, the paint – I feel a certain fascination for its proximity to, and utter failure to join, that virtual phantom world of forms. The “resemblance” to an imagined perfection makes the distance from this realm seem all the greater. 

Paul Germanos posted a collection of his photos, capturing Chicago Art this summer.

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I always think of San Francisco as a place built on idealistic fancy. With its identity still fixed to the 60s, combined with the more recent influence of dotcom entrepreneurs make it a specific site with a specific history. But also, it is simply as far west as one can get before crossing a sea. News from San Francisco via Jeffrey Songco who walks and talks the Mission neighborhood, covering a variety of exhibits currently on view:

Sprinkled throughout this urban grid are several art venues.  From private galleries to non-profit spaces, the Mission is an eclectic mix as diverse as its inhabitants.  The tech folk have yet to share and indulge their economic prosperity with the artistic community of the Mission, but eventually some kind of connection will be made.  Until then, these art venues continue to produce and shape an active voice in the shape of San Francisco’s cultural identity albeit in the shadow of technology’s spotlight.

gloATL. Liquid Culture at Goodson Yard. Photo by Ralph Williams. E37 Photography. http://e37photography.blogspot.com

gloATL. Liquid Culture at Goodson Yard. Photo by Ralph Williams. E37 Photography. http://e37photography.blogspot.com

Meredith Kooi continues to post on performative movement from her Atlanta roost, thinking this time about Utopia:

This July, I participated in the gloATL Summer Intensive. gloATL is an Atlanta-based dance company that creates physical installations for the public. During the Intensive, there were six of these installations that focused on the concept of utopia for a series of “utopia stations” that was part of its series Liquid Culture: a collection of gestures and sensations from an asphalt perspective that had occurred during the summer for the past few years; this summer was the last of these installations. Lauri Stallings, the choreographer and founder of gloATL, considers these performances installations – physical and public installations; the series is described as “physical installations [that] are unveiled as public utopia stations for arriving, leaving, and staying for awhile.” [1]

ARGUS: Organic Visual Archive at Johalla Projects. Organized by James Pepper Kelly, with Filter Photo. Johalla Projects is located at 1821 W. Hubbard St. Suite 209. Reception Sunday, 3-7pm.

ARGUS: Organic Visual Archive at Johalla Projects. Organized by James Pepper Kelly, with Filter Photo. Johalla Projects is located at 1821 W. Hubbard St. Suite 209. Reception Sunday, 3-7pm.

Stephanie Burke’s TOP 5.

Photo courtesy Lisa Walcott. Used with permission.

Photo courtesy Lisa Walcott. Used with permission.

Thomas Friel writes about his experience at ACRE this week, also in reference to Utopia:

Utopia as a reality is impossible to sustain, as human drama will eventually overcome and surmount a perfect existence. Some asshole always finds a way to get his agenda to the top of our concerns. Instead, what may be proposed here is a part time utopia: a form that allows a brief exposure to a utopian system in a format that seems possible. Likewise, the temporal nature of the system actually allows it to thrive, as human nature never gets the chance to ruin it. Able to geographically remove ourselves from city life we could fit within a more fulfilling life in this part time utopia; a utopian model which recognizes the inevitable failure of utopias. In the span of a two week residency, utopia can exist. We started to get it. Hammering it home was Ukiah, a six person artist collective from the Bay Area, who leave their day jobs once a week to build a cabin out of fallen timbers and mud on a ranch property. What does it mean to have a part time or temporary utopia in the context of art? Does this mimic how art is often made, in spurts of spare time, extracted from the pressures of the real world? Could a model of a part time utopia be sustained on a personal level? Is the idea of utopia important to the creation of art? Is its manifestation proof that art can create social change, or merely a distraction from art making? Do you really want to live forever? Alphaville lyrics reprinted without permission?

Tracy Marie Taylor at the Sub-Mission : 9-11-57 : Sep 13 – Oct 26, 2013

Tracy Marie Taylor at the Sub-Mission : 9-11-57 : Sep 13 – Oct 26, 2013

Once again, closing out the week with a slew of opportunities waiting to be bestowed upon you.