The Show kicks off with Caroline Picard discussing a Three Walls/Green Lantern project that breaks American indie arts ground. A communication resource for art like this country has never seen. It will blow your mind.
ALSO, NOT FOR THE FAINT OF HEART. Seriously, if you react negatively to the phrase blow job or the f-boom stay the hell away.
Jason Dunda and Teena McClelland (from the Alliance of Pentaphillic Curators) are back, along with Kathryn, Christopher Hudgens in a rare on mic appearance, Duncan, Terri and Serena all providing team coverage of opening extravaganza 2007.
You are mentioned in this episode, seriously, no name drop list this week because you know you are in here, someone is talking about you, maybe something good, maybe something bad, youâ€™ll just have to listen.
Mike B. is back with 28 somethings later.
Direct download: Bad_at_Sports_Episode_107-opening_shots.mp3
This episode is full of drama and mystery. Is this the middle of the end? Will Duncan and Richard ever work together again? Is the closing to this weekâ€™s show the saddest thing ever on a podcast? Are squid the new deer?
This week Clare Britt from Fraction Workspace returns and discusses La Biennale di Venezia with Duncan and Joanna. Listen closely and you too can be on the cusp of the hot new trends.
Our new Washington D.C. correspondent Katy Chang checks in from the San Diego Comicon. She is the only other JD/MFA weâ€™ve ever met. Itâ€™s like Highlander, eventually she will have to duel Richard to the death. There can be only one.
AND, if that werenâ€™t enough action, Joanna and Terri discuss Douglas Couplandâ€™s book Hey Nostradamus!: A Novel. A high school shooting in Vancouver, I thought our neighbors to the north were pacifists.
The closing is the saddest thing ever on Bad at Sports, weep for Duncan.
This week Clare Britt from Fraction Workspace stops by to give the run down on a couple of the European shows with Duncan and Joanna. Namely Documenta and Munster. She will be back next week To consider Venice.
Also the fine and wacky folks from The Alliance of Pentaphilic Curators show up to encourage Philip von Zweck’s friends to explain why it should have been them while they “roast the bastard” in recognition of the sizable grant he won this year.
The opening and closing songs of this week’s show are there largely to amuse Kaveh Soofi.
If you don’t get it, you don’t, sorry.
The show opens with a bang! Britton Bertran’s car is hit and we are the witnesses.
And as you listen to this week’s intro designed specifically to irritate Duncan, pause a moment and say to yourself…”Seriously? Episode 104?” Richard’s parents have called us both to mention how happy they are. Here we are poised on the cusp of another Bad at Sports season and this week Duncan is joined by friends of the show Lane Relyea and Claire Pentecost to interview/interrogate French American Theorist and Art Critic Brian Holmes.
As we roll over the two year mark we once again are faced with questions about the Bad at Sports Project. We know what we think but once again we want to hear from you. Please email your thoughts about the show and your hopes for it’s future to email@example.com please use the header “Hope Chest.” Thanks in advance for taking the time to help us get better.
Piet Zwart Institute Bio for Brian Holmes-
Brian Holmes is an art and cultural critic, activist and translator, living in Paris, interested primarily in the intersections of artistic and political practice. He holds a doctorate in Romance Languages and Literatures from the University of California at Berkeley. He was the English editor of publications for Documenta X, Kassel, Germany, 1997, was a member of the graphic arts group Ne pas plier from 1999 to 2001, and has recently worked with the French conceptual art group Bureau d’Ã©tudes. He is a frequent contributor to the international mailinglist Nettime, a member of the editorial committee of the art magazine “Springerin” and the political-economy journal “Multitudes”, a regular contributor to the magazine Parachute, and a founder of the new journal “Autonomie Artistique”. He is currently preparing a book in French, entitled “La personnalitÃ© flexible: Pour une nouvelle critique de la culture.”
Theo Hakola is a god among men.
Duncan and Terri talk to Carol Becker about the School of the Art Institute, the future of arts education, and her new position at Columbia University.
ALSO: THE INCREDIBLE RETURN OF MIKE AND THE 30 SECONDS MOVIE REVIEWS with bonus seconds.
Dean of Faculty and Senior Vice President for Academic Affairs at The School of the Art Institute of Chicago.
She is the author of numerous articles and several books with many foreign editors. Her book publications include: The Invisible Drama: Women and The Anxiety of Change; The Subversive Imagination: Artists, Society, and Social Responsibility; Zones of Contention: Essays on Art, Institutions, Gender, and Anxiety; and most recently, Surpassing the Spectacle: Global Transformations and the Changing Politics of Art.
Prelude to published interview taken from the book, Conversations Before the End of Time by Suzi Gablik.
â€œIn 1994, Carol Becker was appointed dean and vice-president for academic affairs of the School of the Art Institute of Chicago, having been a former chair of the graduate division before that. She received her Ph.D. in literature at the University of San Diego, where she was a protÃ©gÃ© of Herbert Marcuse. A lecturer in women’s studies since the late 1960s, and a writer on psychoanalytic theory and cultural politics, she has been mulling over the obsolete attitudes and strategies of the art world for a long time, particularly the issue of the artist’s responsibility to society, which she claims is a sensitive issue that makes everyone uncomfortable, defensive and insecure. Becker feels that many artists simply refuse to address the issue at all. Artists often choose rebellion, which alienates them from their audience, and then become angry at the degree to which they are unappreciated. In part this is a consequence of the way we educate students in art schools, envisioning the artist as a marginalized and romantic figure who, she claims, operates “out of what Freud calls the Pleasure Principle while the rest of us struggle within the Reality Principle.” Students need to think about their work, she feels, not in isolation, but in relationship to the public and to an audience that has not been addressed in art school pedagogical situations. American art students, like most American college students, Becker claims, have not been trained to think globally or politically about their position in society. In a sense, art has seceded from American culture so completely that it has lost its effectiveness and become a subsidized bureaucracy of self-serving specialists.â€