I’m a week behind in the Week-In-Review Department, and as result today’s post will feature not only this week’s posts, but last week’s as well. Two for the price of one.
This week Â on the podcast, Amanda Browder spoke with Michael Velliquette and Oliver Warden;Â Velliquette has a show up atÂ DCKT Contemporary, and Warden talks about GLOBALL Last week: Scandal! Economics! Wendyâ€™s ads from the 80â€²s!! BAS talked to Oliver Ressler and Gregory Sholette about Itâ€™s the Political Economy, Stupid..Â
Caught Between The Privatized Marriage Market And The Corporatized Labor Market: The Zero-Sum Binary Of The (Failed) American Dream? Virginia Konchan reports:
Cultural treatments of what Jeffrey Eugenides (qua Austen) termed the â€œmarriage plotâ€ of fiction include post-romantic polemics (Laura Kipnisâ€™ 2004Â Against Love), arguments for and against biological and gender essentialism, chick lit and post-feminist writings, and queer and trans literature (as well as post-9/11 and world literatures reframing the metaphor of war as between cultures and races, rather than genders).Â Â Keeping pace with the culture industryâ€™s manufacture of fantasy, Hollywood continues to churn out variations on the theme of marriage, whether representative, in the US, of market demand and actual statistics, or not, in reality TV (The Bachelor; Wife Swap) and, in film, such as the 2013 rom-comÂ Austenland,directed by Jerusha Hess (an adaptation of Shannon Haleâ€™s novel, based offÂ Pride and Prejudice,Â about a British resort recreating the Austen era, to fuel the obsession that every womanâ€™s platonic doubleâ€”Mr. Darcy, aloof yet smoldering with passionâ€”awaits us just around the corner).
Follow Jeffrey Songco as he walks to drop off his rent check. In this particular instance, he stops off at the library to check out the five (!!!) exhibits they have up concurrently, includingÂ A Little Piece of Mexico: The Postcards of Guillermo Kahlo and His Contemporaries:
The exhibition makes a fantastic case that the cultural identity of Mexico was shaped by the popularity of the photo postcard at the turn of the 20thÂ century.Â With images from international photographers like Guillermo Kahlo, Abel Briquet, F. Leon, and CB Waite, the exhibition honors the iconic images that undoubtedly shaped the current contemporary branding of Mexicoâ€™s visual identity.Â The significance of this show to the local Mexican and Mexican-American population is palpable, while also revealing the countryâ€™s heavy influence on San Franciscoâ€™s own architecture and landscape design.
From the Twin Cities â€” where it isÂ also cold â€” Eric Asboe writes about aesthetic [ir]ationality with a nod to Cocteau:
I gravitate toward artwork that can only be consumed through time, that makes me think, that forces my mind in new directions and challenges my notions of what the world is. I know how to live with that work outside its context. I know how to carry it around with me as it informs the rest of my life because it has already existed in my mind through successive moments. I have a harder time knowing how to live with artworks that are immediate, nebeneinander. It might thrill me to my core, but where does it live in my brain when I leave? Why does it still influence me as I continue through my days? Its momentary nature belies its potential impact. The moral erection, the immediate, nonrational responses I have to those works shifts that impact away from my rational mind to a place I cannot see, a place all the more profound because it is unplumbable.
A post about documenta13 participants from Chicago, by Chicago’s own, Daniel Tucker:
Through my study of Chicago, I have observed that this turn towards â€œthe socialâ€ is less of a turn, and more of a ever-present fascination. It has also been observed today, as well as in reflections on history that the work in Chicago has always been more serious than elsewhere. In a dialogue held at the South Side Community Arts Center, respected photographer from the Black Arts MovementÂ Bob Crawford spoke to his experience doing a photo show in New York City, where he observed that â€œthe Chicago photographersâ€™ work was usually more political. And the New York photographersâ€™ work was a little more â€œart,â€ narrowly.â€Â Deeply familiar with the Chicago artists and authors participating in documenta13, I traveled to Kassel last summer to see their work and consider my hometown art scene in relationship to this massive global event. Below are a few scenes from that trip.
MAINTENANCE: Â Mairead Case reflects on her ongoing series of literary insight:
Last May, when I wrote MAINTENANCE #1, I quoted the interview Bartholomew Ryan did with Mierle Laderman Ukeles, forÂ Art In AmericaÂ in 2009. Maintenance, she told him, ‘is trying to listen to the hum of living. A feeling of being alive, breath to breath.’ Thatâ€™s still my lodestar for this column. …Â I write about ‘the people [the writers, the editors, the publishers] who are taking care and keeping the wheels of society moving.’ I try to pay attention. Here where Our Scene is so rad and vibrant but also so segregated by neighborhood, schools, tone, etc., this is something we can always fail better at.” She goes on to review,Â AfrosonicsÂ by Harmony Holiday,Â Guy Davenport!,Â Manifesto Items 2Â by David Lasky (self-published, 2013),Â Women, The New York School, and Other True AbstractionsÂ by Maggie Nelson (University of Iowa Press, 2007),Â Like Someone In Love: An Addendum to Love DogÂ by Masha Tupitsyn (Penny-Ante Editions, 2013), andÂ The Crisis of Infinite WorldsÂ by Dana Ward (Futurepoem Books, 2013).
Edition 20 from Dana Bassett featuresÂ The Central Techno Authority, Brett Nauke,Â Oneohtrix Point Never,Â Brandon Warren Alvendia, LVL3, Miss Pop Nails,Â Carson Fisk-Vittori, Derek Fretch and more HERE>>>
Autumn Hays reflects on recent Queer and Trans performance panels â€”
We could go on to talk about the subject of the word Queer as discussed during the roundtable â€œNew Queer Aestheticsâ€ in late October.Â Queer New York International Arts Festival (QNYI) Â had come to Chicago to exhibit aÂ Queer FestÂ as an extension of the one in New York atÂ Defibrillator Performance Art GalleryÂ . The Chicago show featured artistsÂ Suka Off,Â Bruno Isakovic,Â Gabreiela Mureb,Â andÂ Keijaun Thomas.Â Queer fest distinctly pulls itself away from other Queer festivals which they feel are accepted ideas of the term Queer. As one of the festivals curators, Zvonimir DobroviÄ‡, explained, the festival seeks to redefine and challenge preconceived notions of the term Queer. Not all work is made by the LGBT community and instead is defined loosely by a sort of norm-challenging ascetic.Â
Thomas Friel interviewedÂ Â Arturo Herrera!
Purveyor of melancholy cartoon moments, amorphous shape and line, melting abstract symbolism and form fluidly, Arturo Herrera creates new meanings from global popular culture and the discarded memories available at thrift stores. With gorgeous abstract dialogue, he cuts into our subconscious, seeking dark realities in the seemingly innocent imagery of childhood. Yet this is globally corporate sentiment which he makes us aware of; in homage to past Modernist movements, he hopes to awaken our senses from the dreamy haze they reside. References to Pollack appear as dripping webs of networked possibilities in immigration halls, allowing art to be the key to success in the cutthroat Americas. Simple gestural brush strokes, epic in scale on institutional walls, have the purity both the Ab Exs and cartoonists long for. With clear precision and acute awareness, Herrera depicts the line between the Surrealistâ€™s dream and the failure in Dada. Partaking, we become the tight rope walker and must balance accordingly between his worlds and Artâ€™s past. For his upcoming exhibition at Corbett vs. Dempsey in Chicago this December, he reveals new work within the intimacy of the printed book; showcasing several altered found books in a sensibility all his own; muted yet powerful, melancholic yet strong, abstract yet concrete, visceral, tangible. In this, he enlivens us to the subjugation our senses experience in the digital age.
Regarding critical art writing, LA Correspondent Jacob Wick continues his homage to the Mama’s and the Papas with his latest West Coast dispatch:
The not-so-recent hullaballoo over the use or misuse of English inÂ e-fluxÂ press releases, which started with the dubious assertion thatÂ a language separate from English was being used in the online listserv/journalÂ inÂ Triple CanopyÂ and fizzled out with anÂ entire issue ofÂ e-fluxÂ journalÂ dedicated to half-assed rebuttalsÂ of that thesis provides some useful fodder.Â e-fluxÂ is a listserv that serves some 90,000 readers across the world, and to which are submitted press releases from everywhere, all of them in English, some of them in better English than others. These press releases are generally written in a similar tone and register, a tone and register that is relatively uniform throughout early 21st-century art writing in English. These press releases, because they strive to make sense with and to each other, constitute a discourse. This is not in itself a problem.Â Neither is the quality of English in use, nor whether this use constitutes a separate language â€“ which of course it doesnâ€™t, thatâ€™s ridiculous, if anything it might constitute aÂ sociolectÂ (unless we are going to start talking about International Baseball English or something) â€“ or even that English is being used (lingua francas are importantÂ if a global discourse is to be established, right?).