This week: Happy 2012! We kick off the new year with Mark Staff Brandl reporting from Venice 2011!
A Venice Biennale 2011 extravaganza. Mark Staff Brandl is in the City of St. Mark. Brandl, the Central European Bureau and VaporettoShark, traverses and discusses his way through this huge international festival with sporadic assistance from Peter Stobbe, Claudia Tolusso, Manuela Gritsch, Elisabeth Payer, Tamara Remus, Lucas Malsch, Adam Vogt, Sarah Rohner, Johanna Gschwend, Marc Bless, Manuel Ackermann, Chandra Marquart and others from the Art Academy of Liechtenstein. He covers many of the national pavilions at the Giardini park, discusses much of the Centrale and even works his way through all of the massive Arsenale. Furthermore, at the end Dr. Mark and Dr. Peter visit and discuss some thrilling old paintings at the Accademia, the wonderful Venetian Museum and go to a retrospective of Julian Schnabel in the Museo Correr, located in the Piazza San Marco. Whew. Viva la Serenissima!
This is the 54th incarnation of this show, probably the most important contemporary art exhibition. It takes place once every two years, the first Biennale being held in 1895. The Exhibition this year, titled ILLUMInations was curated by Bice Curiger; it is the largest yet, spreading over 108,000 square feet between the Giardini and the Arsenale, and features 83 artists from all over the world. The Accademia art museum is situated on the south bank of the Grand Canal, within the sestiere of Dorsoduro. It was founded in 1750 and contains among a huge number of others, works by Bellini, Guardi, Giorgione, Pietro Longhi, Lorenzo Lotto, Mantegna, Tiepolo, Titian, Veronese, Vasari, and Mark’s great favorite: Tintoretto. The Museo Correr is the civic museum of Venice and extends along the south side of the Piazza. It holds art, documents, artifacts, and maps that chart the history of Venice across the centuries. It has also has shown one person exhibitions of contemporary artist such as Anselm Kieffer, Lucian Freud, Francis Bacon, and Enzo Cucci.
This week: Living legend, innovator, visionary, Carolee Schneemann.
Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, â€œLooking at Men, Then and Nowâ€ [LINK:Â http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition,Â Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently publishedÂ Millennium Film Journal #54: “Focus on Carolee Schneemann.”Â Art Practicalâ€™sÂ Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work.
Carolee Schneemann [LINK:Â http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including inÂ Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK:Â http://www.henryart.org/exhibitions]
An abridged transcript of this interview appears inÂ Art Practical’sÂ “Year in Conversation” issue, which you can see here:Â Â http://www.artpractical.com
This week: Put on your footie pajamas, get a cup of hot coco, and eavesdrop on Max’s bedtime story. There is enough hamming it up here to make a vegetarian squirm.
This episode is squeaky clean and safe for the kiddies.
This week: This week we talk with artist, writer, and WhiteWalls co-founder Buzz Spector!
Buzz Spector is an artist and critical writer whose artwork has been shown in such museums and galleries as the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Contemporary Art Chicago, Corcoran Gallery of Art, Washington, DC, and the Mattress Factory, Pittsburgh, PA. Spector’s work makes frequent use of the book, both as subject and object, and is concerned with relationships between public history, individual memory, and perception. He has issued a number of artists’ books and editions since the mid-1970s, including, most recently, Time Square, a limited edition letterpress book hand altered by the artist and published in 2007 by Pyracantha Press and ABBA at Arizona State University in Tempe. Among his previous publications are Between the Sheets, a limited edition book of images and text published in 2004 by The Ink Shop Printmaking Center in Ithaca, NY, Details: closed to open, an artistsâ€™ book of photographic details from images in the Swarthmore College Peace Collection, (List Art Gallery, Swarthmore College, 2001) and Beautiful Scenes: selections from the Cranbrook Archives (Cranbrook Art Museum, Bloomfield Hills, MI, 1998).
Spector was a co-founder of WhiteWalls, a magazine of writings by artists, in Chicago in 1978, and served as the publication’s editor until 1987. Since then he has written extensively on topics in contemporary art and culture, and has contributed reviews and essays to a number of publications, including American Craft, Artforum, Art Issues, Art on Paper, Exposure, and New Art Examiner. He is the author of The Book Maker’s Desire, critical essays on topics in contemporary art and artists’ books (Umbrella Editions, 1995), and numerous exhibition catalogue essays, including Conrad Bakker: untitled mail order catalogue (Creative Capital, Inc., 2002) and Dieter Roth (University of Iowa Museum of Art, 1999).
Spectorâ€™s most recent recognition is a 2005 New York Foundation for the Arts (NYFA Fellowship. In 1991 he was awarded a Louis Comfort Tiffany Foundation Fellowship, and in 1982, 1985, and 1991 he received National Endowment for the Arts Fellowship Awards. He is Dean of the College and Graduate School of Art in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.
This week: Bad at Sports changes in to 88.5 “the shack” for NADA Miami where we were kindly and patiently hosted by Ox-Bow and Jonas Sebura and Alex Gartelmann (who let us set up our lunacy in their sculptural installation).
We talk to John Riepenhoff, artist, gallerist, awesome person (who has work in a show at Western Exhibitions opening this Friday).
Then Art Practical sums up the fair(s) and Patricia expresses her desire to cross genre to breed with a sandwich. Which is odd in that early in the show, and uknown to Patricia, Richard expresses the crushing sadness caused by the loss of a sandwich when Abu’s on Farwell changed owners and became awful.
This show is a fucking masterpiece, stop reading this and listen.