This week: Duncan talks to Chris Johanson and Jo Jackson from Ox-Bow this summer!
“Johanson was born in suburbanÂ San Jose, CaliforniaÂ in 1968. He has no formal training in art, learning some technique by painting skateboards and houses. He moved toÂ San Francisco, California‘sMission DistrictÂ in 1989, where he became a member of the local art community, initially drawing cartoons on lampposts and bathroom walls using blackÂ Sharpies.” from Wikipedia.
Through out the nineties Johanna (aka Jo) Jackson found herself in art school in Maryland and later at SFAI but with her artistic sympathies moving toward aÂ similar “street informed” aesthetic.Â In the lateÂ ninetiesÂ and early “aughts” She and Chris both became associated with the SF Mission Â school along withÂ notablesÂ Barry McGee and Margaret Kilgallen. Both were featureÂ prominentlyÂ in the documentary and publication “Beautiful Losers.” Â In 2004 they bought a home and moved toÂ Portland, Oregon. They now split there time between Portland and LA.
Both areÂ particularlyÂ rad people.
This week: Special correspondent Philip von Zweck in conversation with artist Zachary Cahill.
USSA 2012: The Orphanage Project
September 9-October 15th, 2011
Opening reception: Friday, September 9th, 6-9pm
Artist talk: Thursday, October 6th, 7pm
Gallery Hours: Tuesday-Saturday, 11am-5pm
Much of contemporary art is motivated by the relational â€“ a position-cum-buzz-word that has grown to frame nearly every studio and post-studio practice. From performance to installation to sculpture to craft, art is reaching its hand out to the viewer in an attempt to create relationships, at once an attempt at articulating a use-value while making a bid for social relevancy. Peppering these practices is much debate about labor and art, with practices designed to both visualize labor or to celebrate a kind of anti-capitalist leisure. In either case, art is struggling to find its place with-in the demands of a capitalist market, ostensibly cut-off from the promise of other origins via the institutions of the market and the museum.
Zachary Cahill proffers a solution to use-value by his creation of an Orphanage here in Chicago. The Orphanage Project, out of which Cahillâ€™s fall SOLO exhibition arises, looks to examine the position of the ultimate â€œotherâ€ â€“ the mythic Orphan, torn from any root or history and presumably set-free to self-author. Cahillâ€™s Orphans are models, â€œmodes of beingâ€ that The Orphanage Project wishes to make relatable through its study in human capital and the condition that awaits all. Cahillâ€™s attempt â€“ whether a failure or temporarily on-hold â€“ is documented through a series of sketches and a few published conversations. For threewalls, Cahill reproduces a few elements of this project, granting access to Cahillâ€™s long-term study.
Circumnavigating the relational through both the formation of the Orphanage and the work done therein, Cahill challenges the idea of relatedness or lack-there-of through the perhaps the ideal red herring: the creation of an institution that both houses potential and has the potential to house everything and all.
This week, Brian, Patricia, and Art Practical contributor Mary Anne Kluth sit down with artist Elaine Buckholtz and gallery president Richard Lang at Electric Works in San Francisco where Buckholzâ€™s solo show, Light Making Motion: Works on Paper and in Light, was recently on view. In her review, Kluth notes that Buckholtz, whose primary medium is light, â€œis a generous guide, making instructive objects that allow her audience to come to discoveriesâ€ about the â€œexperience of vision as a phenomena unfolding in timeâ€¦ focus[ing] attention on shifting, fleeting, elusive sensations.â€ In this conversation they talk about that generosity, the installations on view, working with Meredith Monk, and the pleasures of going off the cliff, Wile. E. Coyoteâ€“style.
Buckholz received her MFA at Stanford University and has shown at the Swiss Technorama Museum, Winterthur, Switzerland; Pierogi Leipzig, Germany; the Wexner Center For The Arts, Columbus, OH; the Sun Valley Center for the Arts, Idaho; the Claremont Museum, Claremont, CA; Stanford University, Palo Alto; California College of The Arts, Fusion Art Space, the Luggage Store, and Yerba Buena Center for the Arts, San Francisco.
You can read Kluthâ€™s full review on Art Practical here: http://www.artpractical.com/review/light_making_motion_works_on_paper_and_in_light/
This Week: Has it really been 6 years? Really?
Wow. Duncan and Richard have a rambling bout of personal abuse as the intro and then get on to the good stuff.
Richard talks to Peter Zegers and Jill Bugajski about their work on the stellar new show at the Art Institute of Chicago Windows on the War, Soviet TASS Posters at Home and Abroad, 1941-1945, and on the accompanying catalog.
Overview: During World War II, the Soviet Union’s news agency, TASS, enlisted hundreds of artists and writers to bolster support for the nation’s war effort. Working from the TASS studio in Moscow, these artists and writers produced hundreds of storefront window posters, one for nearly every day of the war. Windows on the War: Soviet TASS Posters at Home and Abroad, 1941-1945 is a monumental exhibition centered on these posters, which have not been seen in the United States since the Second World War.
Impressively large, between five and ten feet tall and striking in the vibrancy and texture of the stencil medium, these posters were sent abroad, including to the Art Institute, to serve as international cultural “ambassadors” and to rally allied and neutral nations to the endeavors of the Soviet Union, a partner of the United States and Great Britain in the fight against Nazi Germany. In Windows on the War, the posters will be presented both as unique historical objects and as works of art that demonstrate how the preeminent artists of the day used unconventional technical and aesthetic means to contribute to the fight against the Nazis, marking a major chapter in the history of design and propaganda. While the exhibition’s focus is primarily on the posters, viewers will also find their rich historical and cultural context revealed through photographs and documentary material illuminating the visual culture of US-USSR relations before and during the war.
Windows on the War is not only a fascinating glimpse into one of the most significant government-sponsored cultural efforts of the 20th century but also a major scholarly undertaking that brings these posters into the public eye for the first time in six decades. Catalogue: The exhibition is accompanied by a 400-page catalogue featuring essays by Peter Zegers, Douglas Druick, Jill Bugajski, Konstantin Akinsha, Adam Jolles, and Robert Bird as well as by an extensive online initiative that will bring hundreds of these unique works to the public for the first time since the war.
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This week: We talk to artist David Hoffos. Next, we talk with Joe Lanasa about the Fulton Street Collective.
In 1994, David Hoffos received a BFA with great distinction from the University of Lethbridge. Since 1992 Hoffos has maintained an active exhibition schedule â€“ with over 30 solo exhibitions, including Catastrophe, 1998 (Illingworth Kerr Gallery, Calgary; FundaciÃ³ Joan MirÃ³, Barcelona; Or Gallery, Vancouver; and Blackwood Gallery, Mississauga) and Another City, 1999-2002 (Southern Alberta Art Gallery, Lethbridge; TrÃ©panier Baer, Calgary; Joao GraÃ§a, Lisbon; The Art Gallery of Ontario, Toronto; and MuseÃ© des Beaux-Arts, MontrÃ©al). In 2003 Hoffos (with TrÃ©panier Baer) launched the first phase of Scenes from the House Dream, a five-year series of linked installations. The entire series is set to begin its cross-Canada tour in the fall of â€™08. His single-channel work has been shown in festivals in over twenty countries, and he recently represented Canada at the 48th Oberhausen Short Film Festival, Germany. A survey of his installation work debuted at the Edmonton Art Gallery in December, 2003. His first theatre piece â€“ Hoffos/Clarke Conspiracy (with Denise Clarke/One Yellow Rabbit) â€“ debuted at Calgaryâ€™s High Performance Rodeo in 2006. He has just completed scenic and visual effects design for the Decidedly Jazz Danceworks production wowandflutter. Hoffos has been invited to several residencies, including three at the Banff Centre. The artist has received awards including 2nd place in the inaugural Sobey Art Award, December 2002; the 2004 York Wilson Endowment Award; Images Grand Prize, 2007; and a Long-Term Visual Arts Project Grant, 2008. David Hoffos lives and works in Lethbridge, Alberta. He is represented by TrÃ©panier Baer, Calgary.
About Fulton Street Collective:Â In the early 1990s, Anna Fermin and I were struggling singer-songwriters on the northside of Chicago, rehearsing in a corner room of a print-shop business owned by Don and Janeen (who also managedÂ our budding musical careers). Â Â We were the epitome of poor, downtrodden, and struggling artists.Â Â One day Don and Janeen decided they wanted to leave the stress of Chicago, and relocated to the Pacific Northwest coast of Washington state. They gave their business to a â€œcollectiveâ€ of printers.
The printers business didnâ€™t do very well and one day they informed Anna and I that we had to leave the veryÂ next month.Â By this time Anna was developing a popular fan base in Chicago with her unstoppableÂ talent, in alt-country bands (AnnaBoy and Trigger Gospel), and I was turning my angst-ridden, heartÂ and soul-wrenching songs into rock anthems and road-house dance parties (Fulton St. Saints, JLB).
We didnâ€™t want to jinx anything by leaving our sacred practice venue, so we put ourÂ heads together to figure out how to keep the space. We negotiated with the building ownersÂ (Industrial Council of Nearwest Chicago), which provides small businesses incubator environmentsÂ in the neighborhood.
Anna suggested that we could create an environment geared towards artistsÂ and other creative people by purchasing the 2nd and 3rd floors. So we did. Â We worked, mostly byÂ ourselves, to completely gut the 2nd floor of the building (we whitewashed the walls with a sprayÂ painter that left us spitting out white paint still to this day). Â We then put an ad in the newspaper forÂ artists, and before long, the 2nd floor filled up, and so we expanded to the 3rd floor, which is nowÂ very active as well.