Episode 351: David Salle

May 21, 2012 · Print This Article

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This week: David Salle! Great conversation. Listen. You. Now.

Episode 350: Sam Gould

May 14, 2012 · Print This Article

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This week: Duncan and Abigail talk to Sam Gould.

Sam Gould is co-founder of Red76, a collaborative art practice which originated in Portland, Oregon in 2000. Along with his work as the instigator and core-facilitator of many of the groups initiatives, Gould is the acting editor of its publication, the Journal of Radical Shimming. He full-time visiting faculty within the Text and Image Arts Department of the School of the Museum of Fine Arts Boston, as well the Director of Education for the Institute of Contemporary Art at the Maine College of Art in Portland, ME. Formerly Gould was a senior lecturer at the California College of the Arts in San Francisco, Ca. within the Graduate Fine Arts Dept. for Social Practice. He is a frequent guest lecturer at schools and spaces around the United States and abroad, and has activated projects and lectures on street corners, in laundromats, bars, and kitchen tables, as well as through collaborations with museums and institutions such as SF MoMA; the Walker Arts Center; the Drawing Center; the Bureau for Open Culture; Institute for Art, Religion, and Social Justice at Union Theological Seminary; ArtSpeak; Printed Matter; the Cooper Union; the New Museum/Rhizome; Manifesta8; and many other institutions and spaces worldwide. He was one of nine nominees for the de Menil Collection’s 2006 Walter Hopps Award for Curatorial Achievement, is a founding “keyholder” of MessHall in Chicago, IL., and was the 2008 Bridge Resident at the Headlands Center for the Arts.

Episode 349: Suzanne Lacy

May 7, 2012 · Print This Article

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Suzanne Lacy (born 1945) is an internationally known artist, educator, writer, and former public servant. She describes her work, which includes “installations, video, and large-scale performances”, as focusing on “social themes and urban issues.” She also served in the education cabinet of Jerry Brown, then mayor of Oakland, California, and went on to become an arts commissioner for the city.

Episode 348: The Art Practical Sound Issue

April 30, 2012 · Print This Article

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This week: And now for something completely different!

This week’s episode comes to us from our friends at Art Practical, whose current issue delves into the rich history of sound art in the San Francisco Bay Area. The included essays and interviews constitute a fraction of the rich and varied world of experimental sound. Here, Art Practical’s contributing editors Catherine McChrystal and Kara Q. Smith offer an all-audio version of that issue with samples of work by the artists profiled in that issue, including:

Maryann Amacher, Joshua Churchill, Paul DeMarinas, Chris Duncan, Jacqueline Gordon, Aaron Harbour, Shane Myrbeck, Pauline Oliveros, Ethan Rose, and the San Francisco Tape Music Center.

The Bay Area’s technological reign has established San Francisco as a destination for sound artists and experimental composers seeking to advance their practices through the genesis of new mediums. They explore sound’s capacity to conflate sensory experience; from the earliest days of sound art, artists and experimental musicians discovered in the genre a medium that is inclusive, participatory, disruptive, and that could embody their political goals. This episode explores how sounds are both aural and physical, producing reverberations that register in our ears and bodies and that locate or disorient us in space.

You can check out the articles included in Art Practical’s Sound Issue here.

Episode 347:Katharina Fritsch

April 24, 2012 · Print This Article

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This week: We talk to artist Katharina Fritsch!

Richard says “cock” and “Hologram Tupac” a whole lot.

Katharina Fritsch is known for her sculptures and installations that reinvigorate familiar objects with a jarring and uncanny sensibility. Her works’ iconography is drawn from many different sources, including Christianity, art history and folklore. She attracted international attention for the first time in the mid-1980s with life-size works such as a true-to-scale elephant. Fritsch’s art is often concerned with the psychology and expectations of visitors to a museum. Gary Garrels wrote that “One of the remarkable features of Fritsch’s work is its ability both to capture the popular imagination by its immediate appeal and to be a focal point for the specialized discussions of the contemporary art world. This all too infrequent meeting point is at the center of her work, as it addresses the ambiguous and difficult relationships between artists and the public and between art and its display—that is, the role of art and exhibitions and of the museum in the late twentieth century.” The special role colour plays in Fritsch’s work has roots in her childhood visits to her grandfather, a salesman for Faber-Castell art supplies, whose garage was well-stocked with his wares.

Her most recognized works are Rattenkönig/Rat King (1993), a giant circle of black polyester rats, included in the 1999 Venice Biennale. Other works include Mönch (Monk) (2003), a stoic, monochromatic male figure, made of solid polyester with a smooth, matte black surface; Figurengruppe / Group of Figures (2006-2008), an installation of nine elements; and Hahn (Cock) (2010), a 14ft (4.3m) cockerel in ultramarine blue to be shown on London’s Trafalgar Square in 2013.

In her working process, Fritsch combines the techniques of traditional sculpture with those of industrial production. While many of her early works were handcrafted, Fritsch now makes only the models for her sculptures and then hands these over to a factory for production, to near-pathological specifications. She uses these models to create moulds, from which the final sculptures are cast in materials such as plaster, polyester and aluminium. Many are made as editions, meaning that multiple casts are taken from one mould.[5] For the duration of some of her exhibitions, Fritsch has made her multiples available for sale at the respective museums.