James Elkins’ does it again! Listen to this week’s podcast! Episode 425 yall.
Bailey Romaine wrote about her experience during on a South Side gallery tour with Monique Meloche:
Last month, in the midst of the crazy Expo Chicago extravaganza, I had the pleasure of going on a tour withÂ Gallery Weekend Chicago. GWC wasÂ founded by Chicago gallerist Monique Meloche in 2011 and offers annually a weekend of private gallery and museum tours. I went on the Sunday tour which took us down to the Washington Park and Hyde Park neighborhoods on the South Side and made stops at the Arts Incubator, the Smart Museum, the Renaissance Society, and the Logan Arts Center.
TheÂ Arts IncubatorÂ in Washington Park was the first stop of the day. This space, part of the University of Chicagoâ€™s Arts & Public Life Initiative, was conceptualized by Theaster Gates, who is now director of the project. The Incubator is home to an artist residency program, a community arts education program for teens, as well as an exhibition and performance space.
Meredith Kooi reflects on James Turrell using Heideggar as a lens:
Nancy Marmerâ€™s 1981 review of Turrellâ€™s exhibition at the Whitney,Â James Turrell: Light and Space, focuses on the â€œchilling art of deceptionâ€ which is Turrellâ€™s â€œmore rigorous, even didactic, aspect to [his work] that tends to be ignored.â€ Â This attention to illusion or deception isnâ€™t specific to Marmer. From that same year, Wolfgang Zimmerâ€™s review inÂ ARTnewsÂ is titled â€œNow You See It, Now Youâ€¦â€ Â This is important. Questions about being and truth are glossed over when the work is only described as illusion and deception, simple plays of perception. This is too simplistic to fully describe Turrellâ€™s work. Rather, it is the interplay of appearance, semblance, and phenomenon (in Heideggerâ€™s sense: of something showing itself from itself in itself). It is not a simple either/or situation, where you either see the illusion, or the â€œtrueâ€ material conditions of the piece. The totality of this situation of being-with the piece is the truth of the work, its unconcealedness in the disclosure of Dasein, our being as being-in-the-world.
Shane McAdams discusses a painting show in Milwaukee curated by Shane Walsh; on the way, however, he ruminates on the Renaissance with a call for letters from any and all of You:
Our current notion of the renaissance wasnâ€™t codified until Jacob Burckhardt did so in the middle of the 19thÂ century. And the treasures of art that signify that rebirth werenâ€™t substantiated until the wheelings-and-dealing of mercenaries like Bernard Berenson and Joseph Duveen canonized them only more recently. The subsequent narrative about the primacy of Italy has been reinforced by a century of lectures from auditoriums dimly lit by the pale glow from Kodak slide projectors loaded with Fra Angelicos and Mantegnas.
Despite the gospel to which weâ€™ve willingly subscribed, rolling Pico Della Mirandola, Boccaccio, Machiavelli, Cimabue, Giotto, Raphael, Titian, etc. etc., into a tidy narrative that spread Northward, I had to wonder at the Met whether, if we could press â€˜resetâ€™ on the Game Cube of Western Civilization, we would end up listening to adjunct professors recite an alternative story of the North, of Erasmus, of the Hussites, of the Hanseatic League, and Martin Luther and Gutenbergâ€¦and of course in art, of van Eyck and van der Weyden, with Da Vinci, Tintoretto and Titian relegated to supporting roles?
And once again, the week closed out with a list of job-and-writing type opportunities.