The podcast! This week:Â Duncan and Richard talk to Spencer Finch about his current exhibition â€œStudy for Disappearance.â€
What is the color of the threshold â€“ of that liminal space before day plunges into night? Spencer Finch attempts to answer this question through his most recent body of work created specifically for Study for Disappearance, his fourth solo exhibition atÂ Rhona Hoffman Gallery.
An essay by John Preus about making a table:
Quilting, a designation generally reserved for things made of fabric,Â is the result of surplus parts. It is not quite an assemblage or collage, although that history certainly relates to what is interesting to me about the table. An assemblage has to incorporate disparate parts, disruptions, things that were not meant to be together, a forced marriage, so to speak. Being that all of the table parts are wood, it isnâ€™t suitable to describe it as an assemblage or a collage. And it is not marquetry, which is an image or pattern-making technique using veneers of different colors to develop a picture. Quilting takes parts of other things to make a new thing. I would venture to guess that it comes out of a utilitarian folk tradition in which materials were limited and people had to make do with what was around. That may have been true long ago, but I am sure that quilting happens now more among folks with time to kill, than among low income folks trying to save material, textiles being as inexpensive as they are.
I put together a list of articles written about the Expo art fair spree here.
Britton Bertrand thinks back on 2005:
The years 2005 and 2006 were ok years for Chicago Art. It seemed to be an upswing couple of years when apartment galleries and art interest were peaking. (These things come in waves â€“ Iâ€™d put us in a upward motion now after reaching the bottom in 2011.) The MCA was showing interesting work (a Dan Flavin Retrospective, Deb Sokolow and William J. Oâ€™Brien had 12 x 12â€™s), blogs were percolating with critical activity (anyone rememberÂ panel-house.comÂ orÂ iconoduel.org?) and this new fandangled thing called a podcast had people sitting with their bulky desktops and REALLY listening.
Amanda Browder says GOOD MORNING New York:
â€œGood Morning!â€Â is a fabric installation that will be draped on the facade of the building located atÂ 72 East 4th Street, NYC. All the fabric is donated by people from the neighborhood, as well the generous support from Materials for the Arts.Â
read an interview with Browder about the piece here.
More on the subject of John Preus â€” Thea Liberty Nichols posted an incredible essay about Preus’, who’s work she recently curated at the Experimental Sound Studio:
John Preus is an artist, musician, carpenter, woodworker, and magpie. In the long-standing tradition of Chicago artists scavenging for â€œtrash treasure,â€ he lets serendipity and the thrill of the hunt guide him in sourcing discarded materials. Each new piece is a design challenge, contingent on entropy and surplus, to revive what others have cast-off or given up on. His materials offer up an infinite number of solutions which he is constantly attempting to â€œextract and exploit.â€
Juliana Driever posted an artist profile aboutÂ Â Ernesto Pujol:
Pujol is a site-specific public performance artist and social choreographer. He has a long record of intellectual and interdisciplinary art practices which have dealt with concepts of collective and individual and collective identity, the sacred, social and political issues, and public/private space. Since the late 90â€²s, Pujol has also been working on public group performances, where the focus has rested with action, movement, the journey â€“ and the central concept of the â€œartist-as-citizen.â€ Additionally, he is the founder ofÂ The Field School Project, where Â young and emerging artists are individually mentored in site-specific practices.
Atlanta-based Meredith Kooi writes about a photo show curated around feminism, performativity, and photography organized by the Hagedorn Foundation Gallery:
The works in the show by the artistsÂ Jill Frank,Â MÃ³nika SzilÃ¡di, and duoÂ Double ZeroÂ (Hannah IrelandÂ andÂ Annie Vought) examine how to make a photograph of someone, a person, a woman (perhaps) and what that means.Â One of the organizing principles of the show â€“ performativity, a buzz word indeed especially since the 1990s with Judith Butlerâ€™s work on gender â€“ finds itself in relation to photographs that draw attention to the process of their making. Alongside considerations of gender and femininity as performative gestures, the works in the show investigate the apparatus of photography and imagistic representation itself â€“ Jill Frankâ€™s work in particular.Â Adding to this work by Frank is theÂ Untitled (Projection)Â series byÂ Steffani JemisonÂ presented in her solo exhibition,Â When I Turn My Head,Â in the upstairs gallery at Hagedorn.
Monica Westin posted an interview between YolandaÂ Cesta Cursach and Tolcachir about Tolcachir’sÂ upcoming performance at the MCA:
Â Tercer CuerpoÂ is partly about labor and identity, particularly the disappearance of sustainable, meaningful jobs for people. What happens to these characters, and us, when we must find meaning in our lives apart from a career or calling? The always-already obsolescence of the form of theater makes the piece of interest to representing labor in contemporary performance and medium specificity in dealing with contemporary collapses of space and time. But the company Timbre 4 is also a landmark for contemporary Argentinan art practices; their home base in the working-class Boedo neighborhood of Buenos Aires has become a hotbed and model for independent, experimental theater and performance.
Saturday closed out, as per always, with some Endless Opportunities â€”