This week on the podcast: Duncan, Richard, and Jason Dunda talk to a cast of thousands led by Jen Delos Reyes!
Jen Delos Reyes is an artist originally from Winnipeg, MB, Canada. Her research interests include the history of socially engaged art, group work, band dynamics, folk music, and artistsâ€™ social roles. Hear it all right here.
If you want to revisit costume convos again, JeriahÂ HildwineÂ discusses the dress of personas in every day (art) life:
Of course Halloween has just come and gone, and that is the first thing most people think of when they hear the word â€œcostume.â€ Costume, though, plays an important role in many aspects of life, including art. The word costume can be used to refer to any article of clothing or manner of dress. Usually, though, it implies something outside of the everyday. Depictions of historical costume is an important aspect of art history, whether it is the significance of the color of the Virgin Maryâ€™s dress in an icon, the meaning of the steel gorget in a Rembrandt portrait (e.g. the one hanging in the Art Institute), or the absolutely pippinâ€™ fur collar in Albrecht Durerâ€™s later self portrait (as well as that prison striped number with the lace on sleeves in his earlier one).
New dispatch from Bloomington, Indiana courtesy of August Evans. Evans writes aboutÂ Â Bobcat Goldthwait‘sÂ recent visit toÂ IA, and the connections between Goldwait’s film, God Bless America,Â andÂ Lolita:
I was reminded of this particular exchange during the Q&A session following the film, when Goldthwait, in response to a question as to his rationale behind casting Barr as Roxy, said, â€œWhen she came in to read, she didnâ€™t play it too vampy. Other actresses were sexy, coquettish, doing theÂ LolitaÂ thing. Tara was wearing overalls.â€
Monica Westin interviewedÂ Dieter Roelstraete about his latest curatorial project; it opened this Friday at the MCA:
Only the second exhibition at the MCA organized by Senior Curator Dieter Roelstraete,Â The Way of the Shovel,Â opening tomorrow,Â takes as its basis Roelstraeteâ€™s ongoing observations about the centrality of the language of archaeology, archive, and history to art discourse over recent years. Spanning a wide grouping of artists and mediums (though, not surprisingly, focused in particular on photography and video), the show is ambitious conceptually as well, attempting to cover work that challenges histories, creates its own alternate histories (with starting points ranging from Robert Smithson to histories of Chicago), and takes up the tools and practices of archaeology both metaphorically and literally. I spoke withÂ Roelstraete the week before the show opened about the archaeological imaginary, artistic research, Freud, and 9/11.Â
Mark Sheering wrote about where Fish Mongery and contemporary art intersect:
To respond to the art world with a fish may be a surrealist gesture. But to respond with an entire fish counter, complete with fishmongers in white boots, ice and creative displays of the seafood itself, is surely pushing the 20th century genre to breaking point.Â Such is the effect of the so-called Centre for Innovative and Radical Fishmongery, spotted in public at Sluice Art Fair, London, late October. Amidst the plentiful art for sale, the wares at CIRF included a scrambling pile of langoustine and a sinister-looking hake chewing on a lemon.Â The artist behind the project is Sam Curtis who came to fishmongery by chance in 2006. A part time MFA at prestigious art school Goldsmiths necessitated finding work. By strange twist of fate, he found an opening on the fish counter at luxury department store Harrods.