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.
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.
1. Mills College is looking for an Assistant Professor of Painting and Drawing. Review of applications will begin October 30, 2013, and will continue until the position is filled.
The Department of Art and Art History at Mills College seeks a full-time, tenure-track Assistant Professor of Painting and Drawing to teach graduate and undergraduate level courses. An MFA degree or equivalent is required. Candidates must be practicing artists with strong exhibition records, capable of conceptual criticism in all mediums including painting, sculpture, photography, video, intermedia, and new genres. They must be dedicated teachers and mentors at both the undergraduate and graduate levels. Teaching will include undergraduate studio courses; therefore candidates must demonstrate proficiency in the technical as well as theoretical and historical aspects of their fields. Full-time faculty must also advise students, participate in curriculum development, and serve on department and college committees. To apply, please go to mills.interviewexchange.
com. About Mills College
Mills College is located in the San Francisco Bay Area on 135 beautiful acres in the foothills of Oakland, California. Additional information about Mills College can be obtained on our website at www.mills.edu.
2. RU & GALAPAGOS: NATURAL SELECTION – 6 MONTH RESIDENCY FOR NYC ARTISTS IN SWITZERLAND (DEADLINE: OCT 21ST, 2013).
RU and Galapagos has partnered with IAAB, the International Exchange and Studio Program of the Canton of Basel, Switzerland, to each year offer an artist from New York City the opportunity to spend six months near Basel, in the Swiss countryside town of Riehen. In turn, RU supports a Swiss artist in NYC for 6 months. The studio is situated in one of the old estate buildings on the “Berowergut”, just next door to the Beyeler Foundation. When the barns located on the “Berowergut” have been renovated and the Kunst Raum Riehen has been installed, the old coach house at the back was converted into a two-storey live-in studio. The residency program is generously financed by private and public sponsors. The iaab offers a 700 square foot working and living space from January 1st to June 30th 2014, an allowance of $1,200 per month while in Switzerland to cover day to day living costs and a plane ticket to Switzerland with return to New York. In Switzerland the artist will also receive a ‘half tarif’ public transport card for all public transportation in Switzerland…and lots of chocolate! More info about iaab: www.iaab.ch
3.Chicago Alternative Comics Expo (CAKE) 2014 is now accepting exhibitor applications; the application process will close on 11: 59 P.M. CST on December 15, 2013
Starting Tuesday, October 15th, CAKE will be accepting artist’s exhibitor applications for the 3rd Annual Chicago Alternative Comics Expo. The event is a unique opportunity for artist exhibitor’s to showcase and sell their art and last year’s event hosted over 200 exhibiting artists, attracted over 2,000 attendees and featured award-winning comics guests such as Chris Ware and Phoebe Gloeckner. CAKE’s 2014 event will take place on Saturday, May 31st and Sunday, June 1st at the Center on Halsted, 3656 N. Halsted Avenue. Confirmed special guests include Mexican cartoonist Inés Estrada and Chicago native Anya Davidson, with more announcements to come. All applications will be reviewed by a jury and applicants will be notified of the jury’s results by January 20th via email. A guide to the 2014 Exhibitor Application process can be found here: http://www.cakechicago.com/2809/a-guide-to-our-2014-exhibitor-application/
4. High Concept Laboratories announces THE LIVING LOOP PERFORMING ARTS FESTIVAL APPLICATION:
We are accepting applications for performers and performances wishing to be considered for participation in a new festival to take place in the Loop, in the Summer of 2014. A $500 stipend and extensive visibility will be provided each of the 12 participating performances. The mission of the festival, presented by Chicago Loop Alliance and High Concept Laboratories, is to showcase Chicago’s diverse performing arts community in the heart of the city. The event will showcase a dynamic series of weekly performances in site-specific locations throughout the Loop. We’re looking for exemplary performers and performances to participate in this one-of-a-kind inaugural festival, featuring one performance each week for a total of twelve weeks June-August 2014. Visit the website for more information. The deadline for submissions is January 1st, 2014.
5. Call for writing via Gaga Stigmata:
After nearly four years of intensive critical-creative output and interaction with popular culture, Gaga Stigmata, in its current journal incarnation, will be coming to an end at the strike of midnight on January 1, 2014.In these final months, we are requesting submissions in the following three veins:
(1) Any new essays on Lady Gaga’s ARTPOP era
(2) New essays on any pop cultural phenomenon that manifests what we call a “stigmata effect” – that is, the blurring of lines between superstar and fan, between high and low art, between art and interpretation, between the “original” and the “copy.” In particular, we are interested in essays about about Miley Cyrus, Kanye West, Jay-Z, Ke$ha, Lana Del Rey, and Katy Perry, but you are not in any way limited by this list.
Additionally, we are also seeking essays that explore new pop cultural phenomena such as the aesthetics of new media forms (e.g. Twitter, Tumblr, YouTubers, .gifs, Vines, Instagrams, etc.)
We are also interested in essays that explore manifestations of the stigmata-esque intersection of the “art world” and the “pop world” in contemporary culture.
(3) Any essays about Lady Gaga that have previously been published elsewhere. (We would like to create a one-stop on-live archive of the best Lady Gaga scholarship and creative criticism ever published; we will of course give credit to the original source of publication).
You are welcome to write traditional essays, and/or to use a creative-critical format for your work. Youtube videos, photoshopped images, memes, and .gifs can all feature in your work. You are also welcome to submit more than one piece during this final incarnation of the journal, after which the journal aspect of the project will move into an archival stage. More info here.
6. If you’re curious about how futures trade, check out Pocket-Guide-to-Hell’s latest reenactment at The Chicago Board of Trade on Sunday, October 20th at 3pm:
THE PIT is a free and fun site-specific performance that uses costumes, props, music-and you-to tell the story of commodities trading and the futures markets in Chicago. THE PIT combines a scene from Frank Norris’s 1903 novel The Pit, about an attempt to corner the wheat market, with the form of a sports event, an idea from Bertolt Brecht. Play-by-play announcer Alex Keefe (WBEZ) and color commentators Tim Samuelson (City of Chicago cultural historian) and Mike Gorham (economist at IIT) narrate the frenzied trading in the PIT. Reporter Niala Boodhoo (WBEZ) interviews traders and members of the public alike as the corner in wheat collapses. With marching band music by Justin Amolsch and concession-based commodities by Maggie Hennessy. And the national anthem sung by L. Wyatt. And 1890s commodities traders played by volunteers from SlowFood Chicago, Northwestern University Press, Paddy Long’s, Public Media Institute, Civic Lab, Archeworks, MAKE magazine, the Hideout, and Architecture for Humanity. The PIT is part of the Chicago Architecture Foundation Open House event and has been co-planned by Ingrid Gladys Haftel. More on that here.
7. Speaking of reenactments — consider Town Bloody Hall:
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LET’S DRINK, LET’S EAT, LET’S PLAY
A Proximity Art, Food and Radical Hospitality Mini Fest
October 18-20, 2013
@ Co-Prosperity Sphere, 3219 S Morgan Street, Chicago, IL
We are hosting three special events to celebrate the release of the
Food and Art Issue of Proximity. Our three course event takes place at
the Co-Prosperity Sphere which is being turned into a series of
installations and environments each day.
Join us for the potluck edition of Proximity Magazine, wherein we
investigate the intersections of art, food, politics and socially
engaged practices. In this issue we followed our noses and inhaled the
simmering pot of radical hospitality as a strategy for making art. Our
investigation into how the boundaries of art and food have been
blurred, smoothed out and ingested is revealed through the practices
of many local artists, activists and chefs. Our menu offers a survey
of projects that are presented as profiles and discussions about the
role of food in our lives. A veritable feast was found within
Chicago’s art ecology, now lets sit down and eat.
Friday, October 18, 2013, 8-11pm
Co-Prosperity Sphere, 3219-21 S Morgan St, Chicago, IL
Come to our magazine release party and get a hot-off-the-press copy of
Proximity, meet some of the featured artists in the magazine and enjoy
some bread, and alchemical craft beer creations of your own choosing.
Features installations by PREP,Edra Soto, Hardcore Craft Beer
presents Alechemy, Bread & Beer and the return of the Hornswagglers!
Complementary beverages by Stone Brewing Company. Other beverages
provided by Founder’s Brewing Company & special guest brewers. The
Hornswagglers bar will be coming out of retirement for the evening
serving their signature cocktails.
Saturday, October 19, 2013, 7-10pm
Co-Prosperity Sphere, 3219-21 S Morgan St, Chicago, IL
Admission: $45 by RSVP Only ( Limited Seating)
Join us at our pop up eatery in the Co-Prosperity Sphere for a special
Prix fixe dinner with Chef Chris Reed from The Rice Table.
When the Dutch expanded their empire to Indonesia, they were enchanted
by the native cuisine it discovered. Excited by this new world of
creative cooking, their appetites increased, and so to the number of
dishes at the elaborate table. Thus began the birth of the Rijsttafel,
which highlights the various delicacies. The Rijsttafel was brought to
The Netherlands, and now this fascinating culinary event in all it’s
glory, can be enjoyed by you — right here in Chicago.
The Rijsttafel consists of a treasure trove of Old World delicacies,
brought to life and executed to perfection. For this special occasion
we have compiled a 12 dish dinner comprised of classical offerings
from the West Java province of Indonesia. This evening is a ticketed
event at $45.00 a seat and includes 2 complimentary drinks provided by
Maria’s Community Bar, additional drinks
RSVP and purchase tickets here: http://proximity-ricetable.
Photography by Ben Syverson
Beverages curated by Maria’s Packaged Goods & Community Bar
Audio selections from: Dj Joe Bryl
Presented by The Rice Table & Maria’s Packaged Goods & Community Bar
Sunday October 20, 10:30am – 2pm
Co-Prosperity Sphere, 3219-21 S Morgan St, Chicago, IL
Admission: (Suggested admission $10 per family)
Our LET’S PLAY program is for kids and adults.
At this family-savvy happening, you will find the Kite Collective’s
Shadow Forest installation, make visual poetry windchimes with the
Kite Collective to take home, boogie to the beats of a Future Hits
electric set, cross paths with SHoP’s portatable Froebelian learning
center, learn more about Be the Change Charter School and play with
Cultural ReProducers. Eric May, a featured artist from Proximity’s new
issue, will be serving his signature E-Dogz to attendees. This event
is part of Co-Prosperity Sphere’s “Urban Operating System.”