Check out this week’s most awesome podcast interview with Amanda Ross-Ho!
Amanda Ross-Ho’s work is inspired by detritus: the clutter and remnants of daily existence, and the ‘negative space’ of things over looked. Ranging from sculpture, installation, painting, and photography, her work seeks to uncover the subtle beauty of coincidence and anomaly.
Otherwise the week began with a re-post. I found an essay written by Prolapsarian on the internet that seemed interesting. (Maybe especially because I am so often duped by works/albums/movies that try to affect a negative critique of capitalism while in fact propagating similarly dubious hierarchies). It begins as a letter to Goldsmith Students about their MFA show:
I want to write to you about a single gesture that was performed by a great majority of the artworks in the show (although there were some important exceptions). It is a gesture that claims to determine a relation between artworks and “capitalism”. It is of no surprise that under the contemporary situation of global capital, undergoing its most profound crisis in eighty years – creating conditions not only of mass destitution but also of mass resistance and protest – that the relation between art and capital would present itself more explicitly in the new works of art than has been the case in the last decades. But the expression of this relation of art and capital in the work displayed at your show was not only predictable, but questionable on both political and aesthetic grounds. The gesture that I refer to is that of artworks that attempt to parody capitalism, and in this parody hope to effect a critical irony through the apparent distance between the artwork (and its social situation) and the forms of commodity or capital that it parodies. In this gesture the artwork proclaims a radicalism, a dissatisfaction with the actually existing. It proclaims that the object of this dissatisfaction is “capitalism”.
Atlanta Resident, Meredith Kooi, wrote about Chicago this month, covering a recent performance and installation at Tri-Triangle:
Anna Friz and Coppice performed in their audio installation at Tritriangle on 5/25/2013 in Chicago, IL. The two installations and two live performances occupied the gallery as co-existing organisms.  Each stemming from Friz’s and Coppice’s own larger overarching projects, Friz’s Nocturne and Coppice’s A Vinculum Variation are iterations, though it becomes clear that these iterations are not repetitions, but manifestations of differences in space, time, and materiality. The artists filled the spaces above my head and below/around my feet with sounds produced by other bodies: people, instruments, apparatuses, and radios. The two installations created the terrain in which the live performances inhabited. The earthy landscape, coupled with a cloud of respiration, constituted a world of transmission that enabled relationships to form in and between bodies.
Mairead Case is currently embedded in Naropa, where she wrote her latest edition of MAINTENANCE, discussing such works as + Heavenly Breakfast: an Essay on the Winter of Love by Samuel R. Delany (Bantam, 1979), Under Milk Wood: A Play for Voices by Dylan Thomas (New Directions, 1954), Civil Disobediences, edited by Lisa Birman and Anne Waldman (Coffee House Press, 2004), “A poem for record players” by John Wieners (1958) and more:
I’m still in Boulder. I decided to write you from here, even though I need to turn in my portfolio soon eek, because I like the idea of book-review-as-postcard. I am writing you now, before I get back and set this experience against Chicago’s meat and concrete and home. I didn’t want to write starry-eyed, and I didn’t want to write retrospectively. I just want to show you some books I read while I was here, because I found them, living in a city where the sky—not the neighborhood—is what centers.
I posted Saturday’s column “Endless Opportunities” that highlighted (among other things) some publication options in honor of the Printers Ball.
DineLA is happening now, and Adrienne Harris gives a report of her own experience at the Lexington Social Club:
Even though I am very involved in the restaurant world (I work part time in a fancy steak house and I love eating out) somehow DineLA always sneaks up on me. Like the Holiday Season or my birthday, DineLA is always suddenly upon me and I have done nothing to prepare. DineLA is like Brigadoon to me. I…We chose a hip Hollywood venue called The Lexington Social House which turns into a night club after 10:00 pm but serves delicious chilled english pea soup with crab and bacon and bone marrow encrusted filet mignon before the dancing begins.
1. Artist Residency Program is open for applications at the Experimental Sound Studio:
ESS is extremely pleased to announce the next installment of the Artist Residency Program, thanks once again to a generous grant from the National Endowment for the Arts. We will offer four 40-hour residencies through the 2013-14 Artists Residency Program (ARP). Candidates must be US residents; at least three of the residencies are for Chicago area artists, and one residency will be open to a non-Chicago US artist. Each residency includes access to the ESS recording facilities with engineering assistance. http://www.
experimentalsoundstudio.org/ pages/artist_residency_ program/24.php
2. Apply to the Propeller Fund! Gallery 400 at the University of Illinois at Chicago and threewalls announce a call for applications to the Propeller Fund, entering its fourth year as a granting opportunity for independent visual artists, curators, and visual arts groups in Cook County, IL. Applications are due August 1, 2013, with 15 grantees announced in October 2013. A total $50,000 will be disbursed in 2013. More about that on their website here.
3. And this from Edra Soto on facebook: OPEN CALL – WIND CHIME
As part of the events taking place during the Chicago Artists Month, Garfield Park Conservatory will be hosting the exhibition WIND CHIME. Garfield Park Conservatory has made available 30 trees to display wind chimes for this exhibition. THE PURPOSE OF THIS CALL IS TO:• Complement the art & music programs taking place during the Chicago Artists Month at Garfield Park Conservatory.• An opportunity to promote your organization events during the East Garfield Park weekend of art sponsored by Chicago Artists Month and New City.• Strengthen the relationship of the East Garfield Park arts communities.ELIGIBILITY:This call is open to artists with residence in East Garfield Park and artists affiliated to the following neighborhood organizations: Switching Stations, Albany Carroll Studios, West Carroll Avenue Studios, West Side Cultural Arts Council, The Golden Dome, Adds Donnas, Devening Projects, The Hills Esthetic Center, The Franklin, Julius Caesar, Peregrine Program, East Garfield Park GUILDHOW TO APPLY:• Submit a comprehensive sketch on jpg format no bigger than 1240 x 1240 dpi that illustrates your idea accompanied by a word document with that includes: your name, phone number and email; a brief description of the concept and materials you will be using to create your project; your affiliation to East Garfield Park community.• Send applications to firstname.lastname@example.org• Open call starts Wednesday, July 17, 2013 and ends Saturday, August 23, 2013 CRITERIA:• Original, artistic quality. • Safe materials.• Strength of build sculpture /weather resistance. Your work will be exposed to unpredictable types of weather. GPC is not responsible for damaged work.• Works needs to be delivered ready to install. • All sculptures will be displayed suspended high off the ground.
I’m admittedly inspired by today’s Printers Ball (hence the poster above), and as a result the following calls are a bit unusual for a visual art blog. However, I think the following publications could offer interesting avenues for the publication and dissemination of your visual work/research practices/writing. I’m always interested in finding bridges between disciplines. So with that disclaimer in mind:
4. Journal of Artistic Research:
We invite submissions to JAR from all fields and disciplines in which artistic research may be relevant, including areas that may not usually be conceived of as ‘artistic’. Although the journal has emerged as a result of demand in the academic field, JAR welcomes submissions from practitioners with or without academic affiliations.
The key problem for many involved in artistic research is ‘writing’ and its authority. In response to this, JAR introduces a new format for publishing artistic research, the ‘exposition’, a multi-media document that can combine and interlink text, image, film and audio material on one or more scrollable pages. Go here to read more about their submission process and see examples of the work they have published in the past.
5. Cabinet Magazine: Deadlines for forthcoming issues for which we are accepting submissions:
Issue 52 (Winter 2013–2014, with a themed section on “Celebration”): 15 September 2013
Issue 53 (Spring 2014, with a themed section on “Stones”): 15 November 2013
Issue 54 (Summer 2014, with a themed section on “The Accident”): 15 February 2014
Issue 55 (Fall 2014, with a themed section on “Love”): 15 May 2014
Issue 56 (Winter 2014–2015, with a themed section on “Sports”): 15 August 2014
Issue 57 (Spring 2015, with a themed section on “Catastrophe”): 15 November 2014
Details on their guidelines and submission process here.
6. Hobart 15 (a print anthology) — HOTEL CULTURE
We’re reopen for print! And… you know the deal. We rock a theme issue every other issue, which means we’re due for a theme. Our theme: HOTEL CULTURE.
What that means: open to your interpretation.
Reminder: we love both fiction and nonfiction. Oh! Also: art.
Finally: we’re reading everything blind. Don’t put your name on your submission. If your name’s anywhere on the doc, it (and you) will be disqualified. (I guess, also, no need to be clever or impressive in your bio, as we won’t be able to see them anyway.) More info here.
The following article has been circulating around the art-internet of late and I thought I’d repost it here for your consideration.
A Letter to Goldsmiths art students on capitalism, art and pseudo-critique
written by Prolapsarian
Dear Goldsmiths Art Students, I attended your MFA show two nights ago. I apologise to an extent: with so many artworks on display it was difficult to digest any of them. That situation was exacerbated by the fact that so few of the works seemed to have it in them to behave destructively towards the others. Maybe this is where I can begin: that the type of co-operation between artworks, their intellectual co-ordination, is something I find troubling. It didn’t seem to me to be the co-operation of a school thinking together, but instead the co-ordination of the school uniform, of a discipline that had been so fully internalised that all of the artworks, under its authority, might comfortably coalesce. That made those artworks difficult to be with. I want to write to you about a single gesture that was performed by a great majority of the artworks in the show (although there were some important exceptions). It is a gesture that claims to determine a relation between artworks and “capitalism”. It is of no surprise that under the contemporary situation of global capital, undergoing its most profound crisis in eighty years – creating conditions not only of mass destitution but also of mass resistance and protest – that the relation between art and capital would present itself more explicitly in the new works of art than has been the case in the last decades. But the expression of this relation of art and capital in the work displayed at your show was not only predictable, but questionable on both political and aesthetic grounds. The gesture that I refer to is that of artworks that attempt to parody capitalism, and in this parody hope to effect a critical irony through the apparent distance between the artwork (and its social situation) and the forms of commodity or capital that it parodies. In this gesture the artwork proclaims a radicalism, a dissatisfaction with the actually existing. It proclaims that the object of this dissatisfaction is “capitalism”. The modes of making explicit the structure of parody are plural: some take up the bathetic disjunction through a fully instrumental comparison with some hazy far-away classicism or humanism; others exaggerate the shoddiness of capital’s products; others rely on a revelatory mode whereby it is claimed something of capital’s seamy underbelly is exposed; while others are just bits of fixed capital – most often employing the high technologies of marketing – transposed into the gallery-space. But the gesture of this parody common to all of them will, I imagine, be familiar to you. read more
Sara Drake posted a thoughtful essay about Daniel Clowes’ MCA restrospective. Her review opens with a well-considered point about the time line the MCA presents at the beginning of Clowes’ show (“the timeline epitomizes a friction still present between comics and art institutions’ reluctant willingness to accept them as one of their own,”) going on to focus on the show itself:
Comics exhibitions are typically, perhaps even inherently, about process. The work on the walls is unstable and has not yet calcified into it’s final form as a work of art. Clowes’s comics are intentionally built to be read. The focus is on narrative structure and storytelling, as opposed to the flip-side of playing with the visual richness of the medium. Reading desks and large, upholstered nooks with copies of Clowes’s books dapple the space while original pages of his comics span the width of the galleries. The result is claustrophobic in a good way, providing a daunting depiction of the amount of labor involved in comics creation. Clowes’s work is more emblematic of illustration than that of a painter or print maker, albeit his skills as a draftsmen almost render the various changes that occur during printing production invisible: penciling or under drawings are rarely present, Clowes’s adept brush work meticulously cover the initial draft, and the gouache painted covers in the show are breathtaking. The flawlessness of the line work and the confidence embedded in Clowes’s drawings almost seem to undermine the self-doubt and alienation present within his stories.
The week began with our ever fabulous gossip report courtesy of Dana Bassett. Everybody loves Keith Haring, Andrew Santa Lucia covers Logan Hardware, and Anthony Romero published a column about Jay-Z’s performance:
Just when we thought the world was safe from appropriating celebrities (#LoveYouMiley) Jay-Z swags in and tries his hand at the most bodily of professions, Performance Art. This, as you may well know, is NOT his first attempt at a durational performance. HOVA and Yeezus reportedly played Ni**s in Paris a record breaking number of times.* We all did for that matter and in case you were wondering, there are five more works of art from Jay to come. So we can all relax, there’s plenty of newsfeed fodder forthcoming. Word on the street is that there may be images of a Jesus chain in a jar of urine surfacing soon.
Best of Lists in the summer time… WHAT? That’s right. Here is Paul Germanos’ annual top 16 in photos.
Chicago Artist Writers contributed another piece from their most excellent blog. James Pepper Kelly writes about the controversial exhibit, Wierd Dude Energy at Heaven Gallery calling forth other spectral voices to do so:
Walter Benjamin | At the center of this exhibition is man. Present-day man; a reduced man, therefore, chilled in a chilly environment. Since, however, this is the only one we have, it is in our interest to know him. He is subjected to tests, examinations. What emerges is this: Weird Dude Energy (WDE), a layering of men, a group perspective on masculinity.
Thomas Friel also wrote about Jay-Z’s performance at Pace Chelsea last week, reflecting on the performance and place and celebrity via instant, public documentation:
A celebrity’s presence in our space, instead of the media version we tend to see them as confirms our own existence. At the same time, it complicates that existence. We are seen by those we have saw but here unto unseen by. I see (consume one’s image) therefore I am, but when I am seen, what am I? It is mindfuck of Turrell like proportions, as we lose our sense of up and down, left and right. We choke on our own vomit, we are paralyzed. In exchange, or maybe as a symbiotic response, we return them to a mediated image from our cellphone capture. Shrinking them to a 2.5” x 3.5” format, moving at a mere 16fps, they are more manageable as a digital apparition. With Jay-Z rapping in our face – a desire of many to be that close to a living legend, to be acknowledged by He who hath created the current state of Hip Hop – we are quickly overwhelmed, and thus respond with our cell phone’s sad idea of video to return to a sense of normality. It helps us relate to his intangible nature. It is in this way that we treat the celebrity both as a solar eclipse and a stripper at a gentlemen’s club. At at least one point during “Picasso Baby”, a tight circle forms around Jay-Z. We see his professional camera crew which is typically meant to be invisible. They are anything but in the many cell shots taken, reminding us that this is a planned operation, to be dissected and re-edited later. However, their visibility being an anomaly, suggests a future that is somewhat less imminent than the rapidity of the cell phone.
and a list of opportunities….
1. Plan your show proposal for APEX Art in NYC. Between October and November, they are looking for usolicited proposals. What I like about their submission process is that it’s clean and easy, prioritizing clarity and concept over credentials:
• Exhibition proposals will be accepted from October 11 to November 8, 2013.
• Submissions are limited to 500 words maximum, emphasizing and explaining the idea behind the show.
• No catalogs, resumés, cv, or other support materials will be accepted.
2. Artslant offers a once-in-a-lifetime opportunity with its Georgia Fee Residency. If you get this gig you get to go to and live in Paris for free to work on a project. Seriously. Like a situationists’ dream:
The Georgia Fee Artist/Writer Residency has been established in memory of ArtSlant’s Founder who passed away December 8th, 2012. Georgia was dedicated to supporting and investing in young artists and writers, and she had a deep connection with the city of Paris. This residency, which offers artists and writers the opportunity to create work in Paris, has been created in Georgia’s memory.
The goal of the Georgia Fee Artist/Writer Residency in Paris is to support and invest in emerging artists and writers, to provide an opportunity for them to advance their work and explore and engage with the cultural landscape of Paris, to encourage experimentation, and to increase exposure of their work to an international audience.
The Residency is open to visual artists of all mediums, art writers and critics, 24 years or older. Recent graduates are especially encouraged to apply. The selection will be made based on the merit of past work and the potential for future success, the ability to independently develop new work, and the proposed project’s relevance to the city of Paris.
Recipients will be required to maintain a blog, which will be posted on ArtSlant.
The Georgia Fee Artist/Writer Residency in Paris provides the recipient with lodging for 2-3 months in an apartment in the 14th arrondissement, travel to and from Paris, and a stipend to be used for studio space, materials, and other costs. Check it out and learn how to apply.
3. CANNONBALL (FORMERLY LEGALART) IS NOW ACCEPTING APPLICATIONS FOR ITS VISITING RESIDENCY PROGRAM. Applications due August 12.
The Visiting Residency Program provides a platform for cultural producers to think, conduct research, produce new work, engage the local art community, and develop professional relationships in Miami. Who is eligible: Artists of all disciplines, curators, arts writers, scholars, museum professionals, and other cultural producers based outside of Miami-Dade County. More info here.
4. Need a break from the city? Banff Film & Media Artist-in-Residence
Fall: November 18–December 6, 2013
Winter: February 10–March 21, 2014
Apply by September 6, 2013 here: www.banffcentre.ca/film-media/