This week: The AMANDA BROWDER SHOW! Amanda and Tom start 2010 off with an interview with Miami artists Alain Guerra and Neraldo de la Paz about their collective Guerra de la Paz (awesome composite of their names) about their work, and how clothing can be more than just a shell over one person’s nubile body..but a story and a basis for sculptural exploration.
Then, Mike Benedetto returns!!! He offers up a meditation on Steven Seagal, Lawman.
Guerra de la Paz is the composite name of Cuban born, American artist duo Alain Guerra (born 1968) and Neraldo de la Paz (born 1955), who have been collaborating since 1996. They are based in Miami.
Guerra was born in Havana and de le Paz in Matanzas. Guerra de la Paz work in sculpture, installation and photography. Their work references the politics of modern conflict and consumerism alongside symbols of faith; they often use old clothing to build their sculptures.
This week: recent addition to the BAS family Anna Kunz talks to indie rock legend Lou Barlow (Dinosaur Jr., Folk Implosion, Sebadoh, Sentridoh, and his own solo work) about the creative process, his music, and other exciting stuff. Lou recently released a spectacular new album out Goodnight Unknown. Richard will kick himself for a long time that he wasn’t there for this interview. Bad at Sports congratulates the Barlow family on the addition of a recent bundle of joy! The baby thing is catching kids, watch out. Before you realize it everyone you know will have a couple ankle biters running around.
Clipped from Wikipedia, and redundant:
Lou Barlow is an American alternative rock singer, songwriter and multi-instrumentalist.
A founding member of the groups Dinosaur Jr., Sebadoh and The Folk Implosion, Barlow is credited with helping to pioneer the lo-fi style of rock music in the late 1980s and early 1990s. Barlow was born in Dayton, Ohio and was raised in Jackson, Michigan and Westfield, Massachusetts. [Read more]
This week Duncan and Richard interview Monica Bonvicini about her work and her show Light Me Black which is the current Focus show at the Art Institute of Chicago. Well, it was largely Richard as he would not shut up and Duncan had to be wheeled into the interview on a gurney due to his case of swine/bird/monkey flu/pox, and therefore did not have the strength to lift the stun gun of containment which is typically used in these situations.
The following text was shamelessly lifted from the Art Institute’s web site.
November 20, 2009–January 24, 2010
Overview: Equal parts beautiful and menacing, Monica Bonvicini’s sculptures, installations, videos, and drawings provoke an acute awareness of the physical and psychological effects of institutional, particularly museum, architecture. Favoring industrial materials that reference the modernist canon, such as metal and glass, often combined with the trappings of sexual fetishism—leather, chains, and rubber—Bonvicini confronts the power structures and contradictions inherent in built environments.
Text quoted from a variety of sources, including literature, psychoanalytic theory, popular music, and architects’ own words, adds yet another layer to her wry commentary. More than any other artist working today, her projects aim to expose the disparity between the sexy, utopian, and avant-gardist claims of certain—largely male—“starchitects” and the realities of the spaces they create.
The first Focus exhibition in the museum’s new Modern Wing, Bonvicini’s project brings together three works that directly engage the Renzo Piano–designed building both formally and conceptually. Created specifically for the Art Institute, Light Me Black, an immense sculpture comprising 144 custom-made fluorescent lighting fixtures suspended from the ceiling, recalls the emphasis on light throughout the Modern Wing. In the now-iconic 1998 installation Plastered, re-created at the Art Institute, the entire gallery floor is constructed out of unfinished drywall panels that progressively crack and fragment as visitors move through the space.
The third part of the exhibition consists of three glass panels depicting altered renderings of earlier sculptural projects by Bonvicini and invoking the building’s glass-curtain façade—replicated in a smaller scale in Gallery 182. The three discrete elements work together to acknowledge the aesthetic achievements of the building while hinting at its potential vulnerabilities. [Read more]
This week: Guest interviewer Anna Kunz (accompanied by Pamela Fraser) talks to Carroll Dunham about his show at He Said/She Said and more!
American painter. He completed a BA at Trinity College, Hartford, CT, in 1971 and later settled in New York. Initially influenced by Post-Minimalism, process art and conceptual art, he was soon attracted to the tactility and allusions to the body in the work of Brice Marden, Robert Mangold and Robert Ryman. Spurred on by the revival of interest in Surrealism in the 1970s, Dunham began to make abstract, biomorphic paintings reminiscent of the work of Arshile Gorky and André Masson, executed with a comic twist enhanced by lurid colours and the suggestion of contemporary psychedelia.
In the 1980s he began to paint on wood veneer and rose to prominence in the context of a broader return to painting in the period. Age of Rectangles (1983–5; New York, MOMA) is a highly abstract composition of differing forms, symptomatic of his work at this time: geometric sketches co-exist with eroticized organic shapes while the forms of the wood veneer show through the surface of the paint to suggest surging forces.
Towards the end of the 1980s he began to move towards single, dominating motifs; wave-like forms were particularly common. In the Integrated Paintings series he applied paint-covered balls and chips to the surface of the canvas to further develop the sense of organic life. Mound A (1991; priv. col.) is typical of Dunham’s work of the early 1990s in which his forms began to resemble mounds of live matter, covered in orifices. Around 1993 his paintings began to feature schematic, cartoon figures which suggest the influence of Philip Guston. [Read more]
This week, another in the series of interviews Duncan and Christian did at the Banff Centre while they were on art vacation, Jonathan Watkins!
Jonathan Watkins (born 1957) is an English curator, and is currently Director of the Ikon Gallery in Birmingham. Watkins emigrated to Australia with his family in 1969 and studied Philosophy and History of Art at the University of Sydney, where he later taught. He was curator of the Chisenhale Gallery in London during which period this relatively small local gallery became an internationally known centre of excellence – many of the Artists shown at that time later going on to major acclaim including a number of Turner Prize winners, Watkins later moved to the Serpentine Gallery from 1995 to 1997 and worked in a freelance capacity as curator of the Biennale of Sydney in 1998. Watkins now lives in Birmingham, England. He currently directs the Ikon Gallery, and recently unveiled plans for a new museum of modern art in Birmingham. [Read more]