This week Duncan and Richard talk to Julie Rodrigues Widholm and a number of the artists from the hot hot hot new show at the MCA – Escultura Social: A New Generation of Art from Mexico City.
Duncan talks to Packard Jennings about his residency at ThreeWalls.
Richard is turning into Ed Anger.
THIS WEEK: Superstar gallerist Jack Hanley is interviewed by Brian and Marc. Our own beloved Mike Benedetto reviews Terry Gilliam’s Tideland and is responsible for the intro to this week’s show. The London bureau’s Christian and Emily talk about lots of gallery shows.
Jeff Wall, people! Canadian superstar Jeff Wall is interviewed by Duncan and Richard when he was in
Chicago for the opening of his huge new show at the Art Institute of Chicago:
June 29-September 23, 2007
Chicago talk to Terri and Joanna at the Printers Row Book Fair.
Finally, Amanda is leaving for
Allright so my computer is fairly f-ed and therefore this show note will be even less witty than usual. A bunch of post-its are wedged between the keyboard and the video processor to hold it in place. Curse you IBM.
Duncan and Marc LeBlanc talk to Caleb Lyons of Old Gold Gallery and formerly of Art Ledge.
Duncan talks to artist Lisa Boumstein-Smalley about her new show at the Alfedena Gallery.
Brian Andrews and Marc LeBlanc talk to Justin Hansch about Justinâ€™s Museum of Contemporary Art. We collectively apologize for the crappy sound quality on this one but we are working to correct the problem.
Sarah corrects BAS on their grammar.
This Week: Guest interviewer Lisa Dorin talks to German artist Jana Gunstheimer (see the blurb shamelessly lifted from the AIC website, below). ALSO we get two different perspectives on the fight over the Public Art Program and how they handle the selection and approval process. Kathryn talks to Olga Stefan Executive Director of the Chicago Artists’ Coalition at Monday’s protest rally, and
Richard spent a lot of time chuckling to himself about the music cues in this weeks show.
German artist Jana Gunstheimer combines her academic training in ethnology with a refined figurative drawing practice to observe and comment on aspects of her own culture. Gunstheimer responds to the transformations she sees taking place in contemporary German society including postindustrial desolation, drastic unemployment, and rising levels of aggression among people of her generation by way of a semi-fictional organization she calls Nova Porta. Complete with a logo, Web site, and an actual membership, the organization offers People without Social Function a semblance of structure through group cohesion and rigid hierarchy.
Adopting impenetrable rituals, tireless evaluation procedures, and managed leisure, the organization’s stated goal is risk management and its activities are driven, if not wholly fabricated, by the artist. Under the conceptual framework of Nova Porta, Gunstheimer effectively parodies hierarchical structures, bureaucracy, and, most importantly, society’s need to define oneÃ¢ï¿½ï¿½s worth in terms of work.
Focus: Jana Gunstheimer is the artist’s first solo museum exhibition in the