The Scuola Internazionale di Comics has recently expanded to include a 10th location in Chicago’s West Town and we are looking for a Comics Program Assistant to help us coordinate and schedule our workshops, update our website, and promote our programs. The ideal applicant will have excellent administrative and organizational skills as well as experience in the American Comics market–have you worked at a Comics store, written Comics reviews, or drawn your own comic? We want to hear from you. A strong background in the visual arts is highly desired. Graphic and web design experience is a plus. Knowledge of Spanish or Italian would be highly helpful. Read more about SIdC and how to apply here.
Join us if you dare for a Halloween scare…….
Friday, November 1st, 8pm-midnight
1550 N Milwaukee Ave-Ticket Prices-
This Halloween, ACRE invites you to eat, drink and be scary at our annual benefit at Heaven Gallery. No mere mortal could resist this thrilling evening of drinking, dancing and mischief-making! Featuring devilish cocktails by Hornswaggler,Revolution brews and a black-light inspired menu from our very own kitchen witches, this will be a Halloween to remember. Bid on artist-made raffle items from our unique Cabinet of Curiosities (curated by ACRE, Allison Quinn Peters & Tricia Van Eck) or let your soul be possessed on the dance floor by Brian Kirkbride’s special horror film-inspired DJ set and the ghouls from Chances Dances. Before the night is through, you’ll be bewitched by burlesque dancer Red Rum, frightened by the antics of the mystical Sanjula and mesmerized by palm reader Mister Vibe. Come dressed in your best costume and be ready to howl and party all night!
Purchase tickets in advance at: www.artful.ly/store/events/1792
SPECIAL THANKS TO OUR SPONSORS:
James Elkins’ does it again! Listen to this week’s podcast! Episode 425 yall.
Bailey Romaine wrote about her experience during on a South Side gallery tour with Monique Meloche:
Last month, in the midst of the crazy Expo Chicago extravaganza, I had the pleasure of going on a tour with Gallery Weekend Chicago. GWC was founded by Chicago gallerist Monique Meloche in 2011 and offers annually a weekend of private gallery and museum tours. I went on the Sunday tour which took us down to the Washington Park and Hyde Park neighborhoods on the South Side and made stops at the Arts Incubator, the Smart Museum, the Renaissance Society, and the Logan Arts Center.
The Arts Incubator in Washington Park was the first stop of the day. This space, part of the University of Chicago’s Arts & Public Life Initiative, was conceptualized by Theaster Gates, who is now director of the project. The Incubator is home to an artist residency program, a community arts education program for teens, as well as an exhibition and performance space.
Meredith Kooi reflects on James Turrell using Heideggar as a lens:
Nancy Marmer’s 1981 review of Turrell’s exhibition at the Whitney, James Turrell: Light and Space, focuses on the “chilling art of deception” which is Turrell’s “more rigorous, even didactic, aspect to [his work] that tends to be ignored.”  This attention to illusion or deception isn’t specific to Marmer. From that same year, Wolfgang Zimmer’s review in ARTnews is titled “Now You See It, Now You…”  This is important. Questions about being and truth are glossed over when the work is only described as illusion and deception, simple plays of perception. This is too simplistic to fully describe Turrell’s work. Rather, it is the interplay of appearance, semblance, and phenomenon (in Heidegger’s sense: of something showing itself from itself in itself). It is not a simple either/or situation, where you either see the illusion, or the “true” material conditions of the piece. The totality of this situation of being-with the piece is the truth of the work, its unconcealedness in the disclosure of Dasein, our being as being-in-the-world.
Shane McAdams discusses a painting show in Milwaukee curated by Shane Walsh; on the way, however, he ruminates on the Renaissance with a call for letters from any and all of You:
Our current notion of the renaissance wasn’t codified until Jacob Burckhardt did so in the middle of the 19th century. And the treasures of art that signify that rebirth weren’t substantiated until the wheelings-and-dealing of mercenaries like Bernard Berenson and Joseph Duveen canonized them only more recently. The subsequent narrative about the primacy of Italy has been reinforced by a century of lectures from auditoriums dimly lit by the pale glow from Kodak slide projectors loaded with Fra Angelicos and Mantegnas.
Despite the gospel to which we’ve willingly subscribed, rolling Pico Della Mirandola, Boccaccio, Machiavelli, Cimabue, Giotto, Raphael, Titian, etc. etc., into a tidy narrative that spread Northward, I had to wonder at the Met whether, if we could press ‘reset’ on the Game Cube of Western Civilization, we would end up listening to adjunct professors recite an alternative story of the North, of Erasmus, of the Hussites, of the Hanseatic League, and Martin Luther and Gutenberg…and of course in art, of van Eyck and van der Weyden, with Da Vinci, Tintoretto and Titian relegated to supporting roles?
And once again, the week closed out with a list of job-and-writing type opportunities.
1. Assistant Professor – Art, Media, and Design at DePaul University
The Department of Art, Media, and Design at DePaul University seeks to hire a tenure-track Assistant Professor with an interdisciplinary focus in digital art and in print media beginning Fall Quarter 2014. Candidates should be prepared to teach 2-D studio, digital, and seminar art courses in the department’s core curriculum as well as art courses for majors and non-majors in the university’s Liberal Studies program. Additional experience in interdisciplinary artistic practice in a particular field, such as digital imaging within the Mac platform, book art, and/or traditional and non-traditional non-toxic printmaking, etc. is encouraged. Candidates must have the appropriate terminal degree, expertise in teaching, and an extensive record of exhibition and/or ongoing creative activity. The teaching load is two courses per quarter with three quarters per academic year, and there are service and research expectations. read more and apply here.
2. Director of Communications at the Renaissance Society
The Renaissance Society at the University of Chicago is seeking a Director of Communications to create, implement, and manage an integrated public relations and marketing strategy for all exhibitions, educational programs, events, community initiatives, and all other museum programming. Duties also include managing the department staff and budget, developing outreach efforts to expand the museum’s current visibility and attendance, and overseeing communication campaigns over multiple media channels. The candidate should have an in-depth knowledge of contemporary art complimented by a background in communications. Must be well informed on recent developments in contemporary art both locally and internationally. The ideal candidate will have experience of scholarly and/or critical writing on art. More info here.
3. Comics Program Assistant
4. Henry Moore Institute Critical Writing Prize: £200 Deadline: 30 October 2013
This year we launch a new Critical Writing Prize for an unpublished text of 1,000 words. The Prize is open to anyone. The brief is to develop a text on a single work from the Leeds sculpture collection or archive of sculptors’ papers, which are managed in a partnership between the Henry Moore Institute and Leeds Museums and Galleries. The collection focuses on sculpture made in Britain, spanning 1850 to the present. It comprises sculptures, works on paper and archival materials, with sculptors represented including Auguste Rodin, Keith Arnatt, Phyllida Barlow, Helen Chadwick, Shelagh Cluett, Tony Cragg, Jacob Epstein, John Flaxman, Eric Gill, Daphne Hardy Henrion, Barbara Hepworth, Phillip King, Bruce McLean, Claes Oldenburg, Eva Rothschild, and Bill Woodrow. Essays should be submitted by email with a cover letter indicating which prize is being applied for and course of study, where appropriate, and sent to Kirstie Gregory (Research Programme Assistant): email@example.com
5. Frost Place Chapbook Competition Live, write here for a week, and get published. (Oh, there’s also a $250 prize, publication, and a fellowship.)
The Frost Place Chapbook Competition is accepting submissions through December 31, 2013. In addition to publication, the winner receives a $250 prize, a full paid fellowship to the Frost Place Poetry Seminar (valued at $1,500), and the opportunity to live and write for a week at the Frost Place Museum in Franconia, NH. This year’s judge is David Baker, author of ten books of poems and four books of prose about poetry. Among his awards are fellowships and prizes from the Theodore Roethke Memorial Foundation, John Simon Guggenheim Memorial Foundation, National Endowment for the Arts, Mellon Foundation, Ohio Arts Council, Poetry Society of America, Society of Midland Authors, and the Pushcart Foundation. Each submission must be accompanied by a submission fee of $25. Visit The Frost Place for details on the competition.
The latest issue of SHIFTER comes out this Friday with a launch at MANA Contemporary from 7-10pm, featuring lectures and performances by Simon Leung, Kelly Kaczynski and Zach Cahill, with a Cake Installation by Tara Lane. A Cultural Conversation with Alan and Michael Fleming on Saturday in case you want to sleep over. RSVP here.
Shifter’s 21st issue, Other Spaces, considers the body as a site where architecture’s traditional polarities of private and public collapse. This polarity, mirrored in the distinctions we draw between individual and social freedoms and domestic and political action are challenged every day by spontaneous, collaborative re-imaginings of space.
In this issue artists, writers and critical thinkers reflect upon and imagine those other spaces that are coming to be and that are yet to be imagined in the social transformations of our present. While Other Spaces may appear to be an Atlas, it may just as well be read as a diary.
Number 21 features contributions from Jeremy Bolen, Luis Camnitzer, Tyler Coburn, Julia Fish, Beate Geissler & Oliver Sann, Sheela Gowda, Joanne Greenbaum, Tehching Hsieh, Kitty Kraus, Dan Levenson, Blank Noise, Alison O’Daniel, Sean Raspet, Blithe Riley, Jacolby Satterwhite, Greg Sholette & Agata Craftlove, Lise Soskolne, Mariam Suhail, and Josh Tonsfeldt.
October 20, 2013 · Print This Article
The podcast this week features Duncan live from LA! talking with artist Sarah Conaway. Conaway (b. 1972 York, Pennsylvania) makes seemingly straightforward photographs that invite us to think magically, imbuing mundane objects with mystery and potential. Her recent photographs—printed in a range of sizes and primarily in black and white, with an occasional work in vibrant color—capture a series of actions set up by the artist in her the studio. Beyond the objects or materials that they portray, they express a residue, aura, or presence that we sense but do not necessarily see depicted. All that and more here.
Jesse Malmed kicked off the week in blogland with a mix tape of video clips:
Is this ok? Is this a responsible use of this privilege? How much does Bad at Sports pay its writers? Its readers? I’m like you, reader. I’m in the weeds. I’m in the thick of it. Everyone is paying everyone else too much. Our government runs smoothly but we don’t have any use for it. There are no trains and no one runs for anything, not even office.
Joan of Arc’s Tim Kinsella sat down with me to talk about his participation inEvery house has a door’s latest work, Testimonium. When asked if playing live music in a performance context felt different from playing at a music show, Kinsella replied:
Oh yeah. All the rituals of live music performance are undermined and we love it. The whole catharsis-spectacle is frustrated and maybe we’re grizzled old cynics to find that liberating, but I promise that Testimonium will equally frustrate those expecting a rock show as it will irritate those expecting a performance piece. We’ve done 5 weeks of Joan of Arc regular rock club shows this fall. I just got home yesterday. And I am aware that I internalize certain shortcuts or tricks to keep count. Muscle memory is subconscious and essential — my weight is on my left foot for the 2 and 4 of this song and my hip knocks out on this accent. But the potential promise of a rock show is that everything can blow apart to smithereens at any second. It remains almost constantly on the verge of falling into chaos. Testimonium on the other hand is so controlled. The quiets so drawn out. The blocking so precise. It removes that essential sense of tension and by simply reframing how a band is set up on stage, the entire experience gets broken down to its core components. It’s thrilling and perverse while also so simple.
I reposted a great interview with Wangechi Mutu, via Mother Jones:
“The power for me is to keep the story of the female in the center, to keep discussing and talking about women as protagonists,” Wangechi Mutu said in a video introduction to A Fantastic Journey, her recent exhibition at Duke University’s Nasher Museum of Art. For the casual art fancier who happens upon it, as I did this summer, the exhibition was like embedding in Mutu’s mind: Black globes of crumpled plastic hang on strings suspended from the ceiling, a looping video of the artist devouring cake flickers on the floor, and triumphant warrior women occupy magnificent collage landscapes on the walls.
Thinking about the glutinous art market, Thomas Friel reflects on Lady Gaga and Koons:
Koons is in this rare position of being accessible to everyone but only collectable to a small handful of the richest in the world. As Carl Swanson recently stated in Vulture: “Koons can be the art world’s great populist artisan, even as he operates as its most exclusive salesman.” Everything about the work is right there, so there’s nothing to get. It is perfection and simplicity, the kind of thing that mocks you for looking too hard at it. Since critics are trained to look hard at things, they tend to hate Koons. And its boring to write about art just by describing what it looks like, so people tend to write about his career, his collectors, his record breaking prices at the market, his studio and the process of making his work. This only helps to build a persona around the artist, giving him the superstar flair that these major collectors are after. (And with this week’s art fair, London’s Frieze officially bigger and more bloated than ever, superstars have never been more in vogue.)
Sarah Margolis-Pineo posted a conversation with art documentarians, Half Cut Tea:
A recent trip through LA gave me the opportunity to catch up with Matt Glass and Jordan Wayne Long, the two collaborators behind Half Cut Tea, an ongoing documentary video series featuring emerging artists across the US. Now in its second season, Half Cut Tea has traveled from Boston to Los Angeles and many cities in between, featuring soon-to-be-known artists including Jennifer Catron and Paul Outlaw (New York), Wesley Taylor (Detroit), Beverly Fre$h (Chicago), and Sean Joseph Patrick Carney (Portland). Both Glass and Long have temporarily suspended their individual art making to pursue this collaborative endeavor, which they plan to continue into a third season and beyond. Their motivation is two-fold: firstly, to bring visibility to a generation of younger makers who often are operating outside of traditional art centers; and secondly, to demystify the idea of the professional artist as an unattainable über-genius. Half Cut Tea brings a bit of day-to-day reality to the processes of art making, pursuing artists in their everyday habitats, which, in Glass and Long’s experience, can include calcite mines and jumping out of planes in parachutes. According to Long, the project won’t end until art making is perceived as an accessible occupation, unencumbered by the exclusivity and mind-numbing static of contemporary art speak.
From the world of performance, Hannah Verrill interviewed Michal Samama. When Verrill asks about the dynamic interplay between audience and peformer, “Would you say that there’s a kind of feedback loop in place? A set of information that you receive from your audience by way of their presence, in a specific sense, that comes to influence how you are performing?” Samama replies:
Yes, or you could think of it as a dialogue. It’s about questioning this idea of me as the performer being the authority. Or it’s also about questioning what is your (the audience’s) role here. I started to think more of this idea of performance as a collective event or social event. This is what is unique for performance. It puts into a laboratory this idea of the social event. I do remember one work from a few years ago when this question came up of if I wanted to take my gaze out into the audience or still be in this internal dance-y gaze, and at that point I chose not to. I was too afraid or I didn’t know what to do with it. But now it’s different, and I’ve started to make it more and more what I do. I’m interested in this kind of transformation of images happening during the performance. Part of the transformation of course is the homework that I worked on in the studio—the choreography—but of course part of it is like what you’re saying, the feedback. So in the end there are many more transformations than what I initially thought of because of the presence of the audience.
Jacob Wick reflects on meaning via Juliana Paciulli‘s recent solo show at Greene Exhibitions, “Are you talking to me?”, Andrew Choate‘s poetry, LA snickers, Ann Hamilton, and Agamben’s interpretation of gesture:
It has been important, certainly since the turn of the 20th century, to ask what things – not just art, everything – mean. What does this abstract painting mean? What does this realist short story mean? What does this rock mean? I learned at the Santa Monica police station, from an incredibly chatty technician who gently rolled my finger on the scanner, that the print on my left index finger is of the sort that less than 1% of people have. I asked, laughing, but not really, I felt pretty serious about it – it was my first thought – “what does it mean?” She said, “oh, probably nothing.” If I look it up online – I think it was a double loop or a Peacock’s eye or maybe a tented arch, I wish I remembered or wrote it down, but I didn’t – it might mean that I’m a perfectionist, that I’m indecisive or diplomatic, that I’m independent and inflexible, or that I am “fiery.”
Juliana Driver wrote about the Empire Drive-In (which closes tonight btw):
Empire Drive-In is a full-scale, twelve-night, outdoor cinema and social spectacle. Hosted by the New York Hall of Science, and brilliantly programmed and designed by artists Todd Chandler and Jeff Stark, this project is an ambitious statement on upcycling and participatory culture seen through the defunct theater of suburban drive-in entertainment.
On the surface, Empire Drive-In has plenty of nostalgic charm, but it doesn’t take long to see how the project redirects retro sentimentality into much more nuanced conditions of creative re-use. Made entirely from re-animated waste, including cast-off lumber and 60 wrecked cars salvaged from a Brooklyn scrapyard, the project’s junk aesthetic offers up a critical interrogation of our culture’s throw-away mentality, and the tremendous value that can be recaptured with artistic reconsideration and a little bit of elbow grease. Chandler and Stark offered their impressions this conceptual overtone:
Never fear, Saturday’s endless opportunities are here.
Sunday closed out with reflections on LA’s comedy scene; Adrienne Harris wrote about two new productions, The Virginia Slims’ Ronnie and Lorraine’s Last Reunion Show IV, and Ithamar Enriquez’s Ithamar has Nothing to Say. Conclusion?
…I’ve had to accept that L.A. is not just a film town where people like me are churning out gritty independent drug movies and big budget space films, but there are also tons of people making thoughtful committed comedy shows as well. This is probably not a surprise to anyone else, I mean, Andy Dick came out of The Second City Hollywood so… But for me, I feel lucky to have found some comedy to balance out the darkness of my Breaking Bad addiction.