In this week’s roundup we look at a video of crash test dummies (do you remember that horrible band? I know Richard does), the Venice Biennale, and some Nazi zombies, just to name a few. I don’t know about you guys but I’m going on vacay next week. Anyone know anything good to do in Denver?
- OMG. Død snø looks like it’s going to kick some serious Nazi zombie ass.
- Art Observed has a great links roundup to get you (not) in the mood for the Venice Biennale.
- Former BAS guest Francesco Bonami is guest blogging over at The Moment.
- Old GM crash test video from the 60′s are positively terrifying. I laughed so hard at work I think I scared my coworkers and am thankful I grew up in the 80s. Seat belts people.
- Chicago Tribune had a papercraft tribute to Sen. Roland Burris.
- Google introduced the Wave. I watched an hour of the hour and twenty min demo and then asked myself why I had watched it for that long.
- This week I hit a new personal low when I Google image searched “ Maru the Cat” and found an image of myself on the second page.
- Everyone went crazy for The Beatles Rockband intro. And yes I think it does live up to all the hype. Well at least the first half, I am not a big Yellow Submarine fan.
- The Seeker told us about James Felix McKenney’s AUTOMATONS.
- Gary Hustwit’s new Documentary Objectified starts tonight at the Gene Siskel Film Center.
- Seriously WTF?!
I am really stoked to announce that Stephanie Burke will be posting her top picks for shows each week on BAS. All of us at BAS have followed her Gallery Crawl for some time now. For more info and to view the entire gallery crawl each week check out Stephanie’s site. Thanks again to Lauren for letting us know what is going on around town until now, you can still see what she is up to with weekly reviews.
“Stephanie Burke (Nevada City, CA 1984) is a Chicago-based artist and educator. She recently received her MFA in Photography from the School of the Art Institute of Chicago. Recent exhibitions have included her MFA Thesis Exhibition at SAIC, the Rockford Midwestern at the Rockford Art Museum, and That’s What She Said in association with Version09. She maintains a weekly listing of Chicago art events at thegallerycrawlandsomuchmore.blogspot.com.”
“We call for all artists in the U.S. to put down their tools and cease to make, distribute, sell, exhibit or discuss their work from January 1, 1990 to January 1, 1993. We call for all galleries, museums, agencies, alternative spaces, periodicals, theaters, art schools etc., to cease all operations for the same period. Art is conceptually defined by a self-perpetuating elite and is marketed as an international commodity; the activity of its production has been mystified and co-opted; its practitioners have become manipulable and marginalized through self-identification with the term ‘artist’ and all it implies.’ – YAWN
The proposed early-’90s Art Strike is an interesting and largely forgotten footnote in contemporary art history. I encountered it for the first time while doing some research with back issues of Artpaper, the paper of record for the 1980s and ’90s art scene in Minneapolis-St. Paul. A full-page ad reproduced the text of YAWN’s inaugural broadsheet, and listed various resources one could write to learn more. Two ‘Action Committees’ — one in London, one in San Francisco — were listed, as well as YAWN’s mailing address in Iowa City, Iowa.”
This weeks video pick is Gary Panter on VBS.TV. The five part series checks in with Gary to discuss all of the projects he has been a part of including Pee-wee’s Playhouse, Dal Tokyo, and my personal favorite Jimbo. I would also highly recommend checking out the K8 Hardy interview and the comments if your looking for a laugh.
Last month I wrote a post about Wynne Greenwood’s latest performance Sister Taking Nap. Wynne is best known for her performance as the three member band Tracy + the Plastics. Last year she had a solo show at Susanne Vielmetter which consisted of new sculptures and videos. In 2008 Wynne was the recipient of a Genius Award from Seattle’s the Stranger . Wynne was nice enough to answer some of my questions and fill me in on some of her projects.
1) After Tracy + the Plastics were over I had heard that you were doing a new musical venture called libber. I remember hearing that it was like the plastics plus marching bands. What happened to that project? I was seriously stoked when I heard about it.
I did make a short (4 min) performance w/ video and music called LIBBER in summer 2004. I made and performed this for the LTTR Explosion at Art in General, NYC. LIBBER was literally a “breakthrough” moment for me. It was the first, and to date only, time I physically performed through the projection surface. I cut a hole in the sheet and stood behind the sheet, the video was projected from the front onto the front of the sheet that I was standing behind. I put my arm through the hole in the sheet to be the arm of the abstracted girl figure. My real arm became her arm. And it (my real arm) played a real drum.
The story was that this girl has a drum and she’s walking around the city with her drum. The drum lets her know that she can never be nostalgic because the drum is always wanting her to hit it again. And she’s wondering what to do with her life when a marching band walks by and she joins in with them.
At the time I thought I would make this into a band somehow. Not with any video, but with the idea of the abstracted figure, and the idea of an ever-changing make-up of a band, like a marching band. You graduate, and you’re not in the band anymore, but there’s a new person there who brings new and different or maybe similar things to the instrument/role. I also wanted to have the music and performance be very drum-based. But I got weary of using the word “Libber” to be a title for something that was very specific to me and my experience/created experience. And so I changed my music-making “name” to my name, wynne greenwood. And that’s where I’m at now.
2) Big Candy is probably one of my favorite pieces of yours. Was it a precursor to Sister Taking Nap? From the photos that I saw visually they seemed to be linked.
Yeah, I do think Big Candy and Sister Taking Nap are like memories or ideas from the same body. Sister Taking Nap was a smooshing together of two different projects I’d been thinking about for a couple years – one was a performance and the other was a series of sculptures. After I made the Big Candy video, I started thinking about the possibilities of interacting with a sculpture using words and dialogue. For me, the form of “music video” is like a really relaxed (to the point sometimes of negligent) babysitter. There’s no consequences, in a way, maybe because there’s no rules. And I say that while I believe that there are always consequences, though that word is more complicated than its surface.
3) Will there be an audio component released for Sister Taking Nap?
It’s really funny you ask this, because in the middle of performing Sister Taking Nap I thought “oh wow I could have made the audio into a record.” But I’m not going to do that.
4) I noticed that you often have discussed the notion of reality. What type of realities are you interested in creating with your work?
I’m interested in creating realities that are feminist and queer and self-aware. That are interdependent in their structure. Realities that have integrated surfaces and structures.
5) I read an interview for the Stranger that you are a twin. I was wondering if T+P might be a reaction to or at least influenced by having a close sibling?
All of my work has been influenced by this.