October 13, 2013 · Print This Article
“Art world badass, gallerist, curator, writer, swell mofo” Mat GleasonÂ brings in Episode 423 of the Bad at Sports podcast; during the show, people are called Ninny! Art school is shit-talked! TMZ! Lawsuits! Artists traded like sports players. All that and so much more here.
The week began with Edition #18 ofÂ What’s the T?Â from our very own gossip columnist, Dana Bassett. Bassett begins with good advice about “How to stay relevant through the weekend”, the weather report, the failure of Aiken’s Station to Station, and Feminism in digital art. As Bassett says, “Just some light reading to distract you from the shutdown and Miley Cyrus.”
For the first time in history, says Nicholas O’Brien, Phillips organized an art auction for Digital Art.”The auction, entitledÂ Paddles On!, Â is of particular significance because it is not only the first auction for Phillips, but also the first primary market auction to occur at any major international auction house to only feature digital art works” :
All coincidence of overlapping interests and timing aside, whatÂ Paddles On!Â presents to audiences â€“ both familiar and new â€“ is that artwork made and distributed through digital networks must now become more vocalized and represented within a contemporary art market. Many recent signposts have been pointing to this moment â€“ the heated conversation aroundÂ Rhizomeâ€™s booth at the ArmoryÂ in 2011, the outrage of artists and academics railing against Claire Bishopâ€™s misinformed â€œDigital Divideâ€ essay in Artforum, the development of theÂ Art Micro PatronageÂ project byÂ The Present Group, the selling of digital art byÂ AFC at NADAÂ this past year, just to name a few. But now it is happening, and already over half of the works have been bid on throughÂ Paddle8Â â€“ a sign in and of itself that now seems to be the time.
Kevin Blake interviewed Carl Baratta in anticipation of Baratta’s upcoming show at Sidecar Gallery. When asked about his relationship to abstraction, Baratta replies:
I was trained initially as an abstract artist. Itâ€™s kind of weird because traditionally an art student gets trained in figurative stuff and then they are allowed to meander into other modes of painting. In undergrad, I had a bunch ofÂ former students ofÂ NYC AbEx painters as my professors (students of Al Held for example). The figurative painters I did end up taking taught me how to find and extrapolate forms from what was around me. So basically literal abstraction.The work Iâ€™m doing now isÂ me backing out of pure abstraction and color field painting into something more figurative. Navigating between these two things is a major theme in my studio.Â Paint isÂ always first to me even when Iâ€™m trying to figure out the shape of a nose or a chicken, so it naturally is always first and foremost in my mind. I canâ€™t help it, I was brought up that way.
This week Jeffrey Songco interviewedÂ Lacey Haslam of Oakland-based BLOCK Gallery and artist Kari Marboe “regarding their newest project titledÂ Latham Memorial Fountain Unveiled.” When asked what “site specific text based work” was, Marboe replied:
Artworks designed conceptually and physically for a particular space, and in my case made with text. For example, during our thesis exhibition I worked with Dena Beard to find a public and easily accessible spot outside of the Berkeley Art Museum to place a piece. She suggested taking over one of the panels outside of the museum on Bancroft which is normally used for internal advertising on upcoming exhibitions or events and found a 4â€™x4â€™ panel that was available during the time we needed. So I wrote a piece that talked about being exactly in that space, the motions of coming in and out of the museum, in poem form so people could sit down on one of the benches across from the work and enjoy it for a while. The label for the work was displayed right as you were walking out of the museum, so people were stopping and asking, â€œwhere is this piece of art, itâ€™s not the Calder, where is itâ€.Â Another piece I worked for that show was with the East Bay Expressâ€”Â
TheÂ Jerome Foundation FellowshipsÂ have supported emerging artists since 1981. The fellowship comes with $10,000, studio visits from professional critics, technical assistance, and a culminating exhibition. It is one of the premier individual artist awards in Minnesota. The opening was full of people wanting to see that work, to support that legacy of emerging artists, to see who the Jerome Foundation had selected as the artists to continue watching, but I wanted to say, â€œCome out from the gallery. Come out to experience the real world around us. The work in the exhibition is good and interesting within the gallery, but it has truly come to life as I have lived with it outside, in the real world.â€
Curious about Birmingham? Mark Sheerin interviewed Ikon Gallery curator Stuart Tulloch:
â€œIf youâ€™re in London, youâ€™re still thinking about people who are in London, and in a sense the angleâ€™s still provincial,â€ he says. â€œLondon will think about whatâ€™s relevant to be shown or to be seen within London, and in some ways Birmingham removes you from that…This is an amazing place, with an enviable reputation and an international reputation,â€ he says with no hint of spin, â€It can say â€˜This is interesting. Hereâ€™s something youâ€™ve never seen before. Letâ€™s bring this person from the other side of the world to share something with Birminghamâ€™.â€
Terri Griffith waxes on life works via a $1.99 copy of Jonathan Biss’ long essay about playing through the Beethoven catalogue:
If we are lucky, our work becomes larger than we are and takes on a life of its own. Sometimes we know this at the outset and sometimes we come to know as the work moves forward. Iâ€™m thinking here of Walt Whitman and hisÂ LeavesÂ of Grass, which started as a slim and youthful volume of poems. Whitman revised this modest book until, on his deathbed, book had grown weighty, to over 400 poems. Over his lifetime, as Whitman had hoped, the work had grown with him.Â Pianist Jonathan BissÂ might similarly be embarking on this sort of lifeâ€™s work. At 33 he is undertaking to record all of Beethovenâ€™s Piano Sonatas, a project scheduled to take nearly a decade.
Sara Drake interviews the oh so lovely Anya Davidson who just released her first full length comic:
Chicago-based artist and musician, Anya Davidson, has recently debuted her first full-length comic book, School Spirits. Up until now, her modest print editions make her work difficult to come by outside of the defiantly small world of alternative comics. Davidson is probably one of the few artists for which it is appropriate to combine words like brush pen and bad-ass in the same gust. Her stories are often eclectic mash-ups of metal fantasies, female overlords, science fiction, collected vernacular and whatever else gets whirlpooled away into her consciousness. Her newest creation, a high school story that follows the friendship of two teen girls and their fanatical love of a metal band, is a keen understanding of comics as an art form synthesized with Davidsonâ€™s own radical tendencies.
Opportunities y’all â€” with such delectables as a Full Time Tenure Track position at the University of Iowa’s Film Department, APEX art’s open season for curatorial projects, Emergency Grants (offering emergency funds to artists for art projects) and open calls for the Journal for Artistic Research and gomes. Blammo.