This week: First SF Checks in from SIGGRAPH! Brian haunts the halls of the Anaheim Convention Center at SIGGRAPH 2013. First he sits down with Victoria Szabo, curator of this year’s gallery exhibition XYZN: Scale. Following, he talks with Jackie Morie, founder of the Digital Arts Community about the role of the community in the art world and the technology community.
Then, we talk to Greg Sholette!
Gregory Sholette is a New York-based artist, writer, and founding member of Political Art Documentation/Distribution (PAD/D: 1980-1988) and REPOhistory (1989-2000). His recent books include Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2010) and the co-authored book Itâ€™s The Political Economy, Stupid with Oliver Ressler, (Pluto 2013), which is also a traveling exhibition (New York, NY; Thessaloniki, Greece; Pori, Finland; Belgrade, Slovenia; Chicago, Illinois). The first episode of his graphic sci-fi novel Double City appeared in Frieze magazine (summer 2013), and Chapter 2 in Shifter:21 (Oct. 2013). His most recent installations include: Exposed Pipe/ Ù…Ø§Ø³ÙˆØ±Ø© Ù…ÙˆØ³ÙŠÙ‚ÙŠØ© for the American University Beirut art gallery; Torrent for Printed Matter Books in Chelsea; iDrone for cyberartspace.net; 15 Islands for Robert Moses for the Queens Museum of Art Panorama, and the traveling installation Imaginary Archive (Wellington, New Zealand; Galway, Ireland; Graz, Austria; Kiev, Ukraine). He is a frequent lecturer and seminar leader in the US and abroad, teaches at Queens College and the City University Grad Center, is active in Social Practice Queens, is a member of Gulf Labor Coalition, and serves as an academic adviser for the Home Workspace Program in Beirut, Lebanon.
This week: We talk with artist Amanda Ross-Ho!
Amanda Ross-Ho was born in Chicago in 1975. She currently lives and works in Los Angeles, California. Amanda Ross-Hoâ€™s work is inspired by detritus: the clutter and remnants of daily existence, and the â€˜negative spaceâ€™ of things over looked. Ranging from sculpture, installation, painting, and photography, her work seeks to uncover the subtle beauty of coincidence and anomaly. Working from source material as diverse as newspaper articles, narcotics agency records, life aspiration manuals, and home-craft instruction booklets, Ross-Ho highlights points of cultural â€˜intersectionâ€™ to create extrinsic portraits of contemporary zeitgeist. Throughout Ross-Hoâ€™s work is a sense of de-familiarisation and detachment, a numbing alienation contrived from everyday ephemera. Ross-Hoâ€™s paintings similarly broach the uncanny. Translated from images of doilies or macramÃ© wall hangings, her intricate webs are manufactured in grandiose scale, cut from painted black canvas dropcloths, or carved in sheet rock. Their recognition and domestic symbolism becomes estranged, placed out of context through size and materiality. Construing kitsch with the elegance of minimalism, Ross-Ho presents the sentimentality of tchotchke as emotive voids, displacing homey intimacy to the realm of objective contemplation.
This week: From our St. Louis series! We talk with Roseann Weiss the Director of the Community & Public Arts Department at the St. Louis Regional Arts Commission.
Roseann Weiss is Director of the Community & Public Arts Department at the St. Louis Regional Arts Commission (RAC). In this position, she oversees the Community Arts Training (CAT) Institute – an innovative program centered on the belief that art can amplify the voices of communities, be a key factor in regenerating neighborhoods and be an agent for positive social change. Roseann also leads RAC’s artists’ support programs and creative community initiatives, which include identifying resources for new projects. She has over 25 years of experience in arts leadership in both nonprofit institutions and gallery settings.
The Community Arts Training (CAT) Institute, now considered a national model, provides professional level, comprehensive cross training for artists of all disciplines, social service providers, community activists, educators and policy makers in order to develop partnerships for successful arts-based programs that impact the community at large, and particularly under resourced communities. The program provides skills as well as explores creative techniques to assure success in collaboration and community work.
Roseann has initiated the expansion of the Institute’s scope, including the design of a graduate program and an alternate, place-based model for community arts training. These initiatives were underwritten by the Kresge Foundation.
In March 2010, the Community Arts Training (CAT) Institute presented the first At the Crossroads: A Community Arts & Development Convening. This national conference in St. Louis, underwritten in part by the Nathan Cummings Foundation, attracted a cross section of leaders in arts-based community development. In April 2012, a second arts-based community development Convening, funded in part by the Kresge Foundation, attracted about 300 participants from as far away as Dublin and Singapore.
Before joining the RAC staff, she was Director of Education and Programming for the Contemporary Art Museum St. Louis. In her ten year post at the Museum, she instituted programs such as New Art in the Neighborhood for teens, the critics and curators studio visit and lecture series, and a docent program designed to connect high school students with contemporary art, along with many community collaborations.
Roseann has curated contemporary art exhibitions in both commercial and non-profit galleries, served on arts panels, juries, committees and boards and has lectured about contemporary art and community. She is a founding member of The AIDS Foundation of St. Louis (now part of Doorways) and Critical Mass for the Visual Arts. In honor of her active involvement in the arts community, Roseann received a Visionary Award in 2009. The award is given to those who have demonstrated a unique vision to further the arts in new and innovative ways.
This week: The Amanda Browder Show rolls back into town! Amanda talks to artist Michael Scoggins.
Michael Scoggins was born in Washington D.C. in 1973. Growing up in Virginia and relocating later to Savannah, Georgia where he gained an MFA in painting from the Savannah College of Art and Design in 2006. In the summer 2003 he attended the prestigious Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He has shown extensively, gained international recognition and has gallery representation in Atlanta, Miami, New York, San Francisco, Vienna and Seoul. Michael currently lives and works in Brooklyn, NY.
This week: Our faithful correspondent Patricia Maloney sat down with former US Congressman Pat Williams and his son Griff Willams at Gallery 16 in San Francisco earlier this month to discuss the turbulence of the Culture Wars during the late ’80s and early ’90s. Patricia finally learned how legislating works in a conversation that ran the gamut from explaining Piss Christ to conservative parents and why Poker Jim Butte is the best place to catch some Shakespeare to how the NEA is vital to cultural production in rural communities and why now might be the moment to demand the return of federal grants for individual artists.
Rep. Pat Williams, who served Montana as its U.S. Congressman for nine terms, from 1979-1997, was Chairman of the House Committee that oversaw fiscal authorization for the NEA. He was one of the most vocal champions for Federal Arts Funding and has been credited for saving the NEA at a time when it was threatened with extermination by the religious Right. When the National Endowment for the Arts came under attack for subsidizing what some legislators considered sexually explicit art, Williams led the fight to save the agency. â€œAs long as the federal government can support the arts without interfering with their content, government can indeed play a meaningful part in trying to encourage the arts,â€ Williams told The New York Times. â€œThe genius of the NEA has been that the peer- review panels, made up of local folks, chose art and artists by using criteria based upon quality and excellence, never touching subject matter.â€
â€œHe was a tireless and fearless supporter of the arts,â€ reports John Frohnmayer, who served as chairman of the National Endowment for the Arts during that tumultuous era. â€œHe risked his political career in doing so.â€ Frohnmayer recalls that Williams â€œcalled out the congressional critics of the Endowment for their duplicity and moral posturing.â€