A Day for Detroit: Martin Lewis

August 14, 2013 · Print This Article

The Arc Welders at Night, Martin Lewis, 1937. Medium Drypoint printed in black ink on blue-green laid, 10 x 8 in. 25.4 x 20.3 cm Sheet: 14 3/8 x 10 3/4 in. 36.5 x 27.3 cm

The Arc Welders at Night, Martin Lewis, 1937. Medium Drypoint printed in black ink on blue-green laid, 10 x 8 in. 25.4 x 20.3 cm Sheet: 14 3/8 x 10 3/4 in. 36.5 x 27.3 cm

 Every hour, we’ll be posting images from the Detroit Museum of Art’s collection. This gesture is part of a larger, Internet-wide effort to reflect on the institution’s resources in the hopes that it might, in some small way, counter any proposal for future deacquisition. For more information A Day for Detroit has been covered here, on the Daily Serving. Please consider joining the Detroit Institute of Arts as a member. Or, join us today and post pictures from the DIA collection today on your blog, facebook, or twitter feed.

Repost: The Ghosts of Place by Dylan Trigg

August 13, 2013 · Print This Article

The following essay by Dylan Trigg was published by The White Review.

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THE GHOSTS OF PLACE

’So I turned around for an instant to look at what my field of vision onto the sea had not offered up: the heavy grey mass where traces of planks lined up along the inclined ramp like a tiny staircase. I got up and decided to have a look around this fortification as if I had seen it for the first time, with its embrasure flush with the sand, behind the protective screen, looking out onto the Breton port, aiming today at inoffensive bathers, its rear defence with a staggered entrance and its dark interior in the blinding light of the gun’s opening toward the sea.’ – Paul Virilio, Bunker Archaeology

IT IS OCTOBER 2010 AND I AM IN THE KITCHEN OF AN OLD HOUSE IN SUSSEX. FROM THE KITCHEN, A DOOR LEADS TO THE HALLWAY. SUDDENLY THE DOOR BEGINS TO SWAY FROM SIDE TO SIDE. AT FIRST, I THINK NOTHING OF IT AND PUT IT DOWN TO A BREEZE FROM ANOTHER ROOM. BUT THEN THE SWAYING BECAME MORE DELIBERATE, AS IF A PRESENCE WERE TRYING TO COMMUNICATE FROM AFAR. THE DOOR MOVES TO ONE END, PAUSES FOR A SECOND, AND THEN PROCEEDS TO RETURN TO THE OTHER SIDE. TO AND FRO IT MOVES, UNTIL SUDDENLY, AND WITHOUT WARNING, IT STOPS. AS I STAND TO INVESTIGATE, AN IRIDESCENT LIGHT FILLS THE HALLWAY, AND A TALL SILHOUETTE CLAD IN BLACK SLOWLY CROSSES THE LANDING BEFORE DISAPPEARING INTO THE BRICK WALL. IN RESPONSE, THE SKIN ON MY BODY BECOMES CLAMMY WITH ANXIETY, WHILE THE HAIRS BEGINNING AT THE BASE OF MY HEAD AND EXTENDING TO THE LOWER REACH OF MY NECK RECOIL, AS IF THEY HAD GRASPED SOME KIND OF HORROR THAT I WAS STILL IN THE PROCESS OF EXPERIENCING. ONE MINUTE LATER, I AM ON THE STREET.

Disturbed by the vision, I look at the house from the vantage point of the outside. If the figure has come to me in a moment of private intimacy, then I am sure it would not follow me down the stairs and onto the other side of the street, and thereby expose itself to the public gaze. On the contrary, I am fairly convinced it is still inside, likely oscillating between the landing on the hallway and the kitchen, where – so I assume – it may have once encountered some kind of trauma that led it to being affixed to this place in time.

How many other people had seen the figure since the conception of the house in the fifteenth century? Numerous people no doubt through the centuries, each of whom will have had their own story to tell. In addition, all of these people will have had their own interpretation of the figure, from the seventeenth century interpretation of spectres as restorers of social injustices of the living to the nineteenth century interpretation of the such sights as a figure of death that refuses to die, thus offering hope that in an increasingly secularised age, life after death remains possible.

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In all this, I may well form part of a historical community that will have encountered this vision in this particular place, 70 High Street, Lewes, Sussex. What did the figure want from us all: to testify to its mournful existence, to become its voice, or simply in the act of affecting another person, to remind itself that it still holds the power to form an alliance with the living? And why did it choose us? Are we in some sense more receptive to the troubled dreams of those who refuse to die than other people? Did the figure sense an anxiety within each of us that renders our senses more attuned to ambiguous forms of life?

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What is a ghost? The question has gained a particular value in the last decade or so owing to the influence of Derrida’s concept of hauntology, a pun on ontology referring to the spectre of Marxism. As it is understood in a post-Derridean context, the concept refers to a broad range of cultural phenomenon characterised, above all, by a certain collapse in the spatio-temporal order, signalling the radical collision of old and new. It is a Ballardian vision of time, in which the end has already occurred and we are now – perhaps unknowingly – living in its shadow.

The term figures in a variety of mediums, from the archival restoration of ‘abandonware’ and ‘dead tech’, to the music of both Caretaker and the retro pastiche of Belbury Poly together with the associated Ghost Box Music label. In films, the theme is evident in works such as Peter Weir’s Picnic at Hanging Rock (1975) and Nic Roeg’s Don’t Look Now (1973). Alongside these mediums, the image of the urban ruin being reclaimed by wild mangroves, the drained swimming pool of an abandoned hotel, and the decommissioned remains of war bunkers would all be central motifs for the hauntologist. In each of these forms, the hauntological aesthetic plays out in terms of an appeal to the uncanny: that is, to the re-emergence of what was originally repressed, but only now—through an accidental rupture in the present – comes to light. Such an aesthetic has its roots in Freud, and can then be mapped out in the work of surrealists and their usage of anachronism, before then resurfacing in Walter Benjamin’s philosophy of history, which will later re-appear once more in the works of W. G. Sebald, and in a contemporary guise, in artists such as Cyprien Gaillard and Gregory Chatonsky. (read more)

EDITION #15

August 12, 2013 · Print This Article

Work by Jen Stark at the Chicago Fashion Outlet.

Art Exhibition Opens at Rosemont Outlet Mall

An opening like no other took place on the last day of July at the freshly minted $250 million dollar Fashion Outlets of Chicago in Rosemont. Featuring 11 artists curated by miami based Primary Projects, the Fashion Outlet and newly formed collective, The Arts Initiative, did it up luxury outlet mall style at the preview of the various murals and installations throughout the mall. With work by Jen Stark, Jim Drain, Cody Hudson, Daniel Arsham and Bhakti Baxter, the art contained within might make this the edgiest mall ever.

Sam Vinz, Claire Warner and Aron Gent under the Friend’s With You inflatables installation at the Chicago Fashion Outlet.

A collision of Chicago’s and Miami’s most noteworthy in the arts, attendees danced the night away under the deft entertainment of DJ Sinatra and many many top shelf bars.

Friend’s With You’s Sam Borkson and fellow artist, Jim Drain, lovingly embrace at the reception.

Curious what was in the gift bag? A hat from Roxy, an iPhone 5 case from Coach (too bad I’m still only on that 4), a “The Arts Initiative” water bottle, a leather cuff from Ports, a security neck pouch from Samsonite, a “Fashion Outlets” pen and even a scarf from The Limited. Totally killer.

Drain’s completed mural.

Definitely recommend (even sans the gift bag).

Reading is Fundamental

  • Wait, I thought it was 2013!? If you like your iPhone and the internet, you would probably enjoy this sweet little read from the Summer 2013 issues of Artforum, 2011: Michael Sanchez on Art and Transmission. This recommendation comes from a bar, but is better than that makes it seem.
  • Trends Totally Trending: Not often is a gossip column the subject of gossip, but What’s the T? was recently featured in Art Info’s “In the Air: Art News and Gossip” spot for EXPO CHICAGO’s partners and special exhibitions. That’s right! WTT? is going IRL. We hope you’re as excited for The Expo Register as we are. Stay tuned y’all.
  • Total badass gets her due: Who knew that Ileana Sonnabend was so completely rad? She asked for a Matisse instead of a wedding ring. I mean, really. Thankfully, this piece by Kelly Crow for the Wall Street Journal sheds light on the major gallerist and collectors fascinating past. Sonnabend fans will be pleased to know that the MoMA just released plans for “Ileana Sonnabend: Ambassador for the New,” an exhibition which will feature some of Sonnabend’s most noteable discoveries and longtime friends.

Time to Slip at Gallery 400

We heard a rumomr that the upcoming TIMESLIP film screening is not to be missed. Featuring 11 films by 10 makers, the screening is curated by Jesse Malmed and includes work by Jillian Mayer and Lucas Leyva, J.J. Murphy and Hollis Frampton.

From the horses mouth: This is going to be great. Time travel in the expanded field. Time-based media in the multiverse. Dream baby, trypp central, 2 Live Crew (seri), ducks, Adam and Eve, Judy Garland, hella headies, the first computer film, time tunnels, and on. And, like your mind, this is FREE. Surprises guaranteed.

Screening from 7:30-8:30, Thursday August 22nd at Gallery 400.

Who Wore it Better, Better?

Ron Ewert and Mike Kloss of the Hills at MCA First Friday last week VS Yuri Stone and Zachary Kaplan at Medium Cool on Sunday.

The Weatherman Report

John Marin, Movement, Sea, Sky, and Ledges, 1940, Watercolor on paper, 15 1/4 × 20 3/4 in

Demdike Stare

Empty Bottle, Full on Bass

A Miami Techno Transplant’s take on the Demdike Stare Concert last Saturday

I’m here reporting from the Empty Bottle, celebrating my Chicago life’s one week anniversary the way I prefer to spend all mildly festive occasions, by melting my brain with whiskey and dark techno. Tonight I’m all excited because I get to see one of my favorite bands live for the first time: DEMDIKE STARE. The duo is well known for merging occult, black magic vibes with droning electronics and sparse, off kilter beats. Demdike Stare have evolved their sound throughout the years from super dark horror movie vibes to dark worldly ragas and, finally, their latest releases reflect maturation of all these sounds with a bit of straight forward dark techno tastefully sprinkled in.

Needless to say, I’m fucking pumped.

I arrive at the venue “Miami time” which turns out to be just when shit starts everywhere. My circadian rhythm must be super on point today and I show up just as the first act, Stave, is going on. The set is some heavy industrial tech vibes. I am feeling it. A cigarette. Duane Pitre is up next delivering on some soothing melodious drone incorporating guitar loops and electronics. Lots of people are talking and not really listening but the vibe is right and everyone’s sonic palette is cleansed.

I’m in the ally evening out my buzz and the walls start to pulse. Demdike-fucking-Stare. I run inside. They spend the beginning of the set evolving drones, feeling out the crowd, reacting. What does the spirit of the crowd say? Probably something like, “TECHNO!” The bass kicks into 4/4 and as the crescendo of the track “Dysology” hits everyone knows its getting serious. The visuals that accompany their live set become more frantic. The main themes of the video include babes and esoteric rituals, everyone approves. Just as my mind is about to transform into pure jelly, the set ends abruptly, like all good things in life. And everyone goes home to dream about robots and witches. The End.

The view inside of Praire Production.

Medium Cool and Partly Cloudy.

Shame on you if you didn’t make it out to Sunday’s Medium Cool Art Book Fair, we know you heard about it. Rising like a pheonix, the fair was organized by Ria Roberts and brought out the most delicious coffee-table eye-candy ever seen in the West Loop.

These button’s were seriously trending.

Limited edition poster by Carson Fisk-Vittori

Fashionistas, Chelsea Clup and Ben Foch modeling the necklaces by Vincent Uribe and Noël Morical they picked up at LVL3’s booth.

Trendsetter, Hamza Walker, models sunglasses (obviously) by Josh Reames from the LVL3 booth.


Issue Press‘s booth featuring a “Book Box” vending machine, manned by George Wietor.

Sofia Leiby‘s SCRAP HEAP booth featured scraps and ephemera from Chicago artists’ studios.

Week in Review : Blind Trust in Luck

August 11, 2013 · Print This Article

“In the air I can already feel the lateness of things, the way Autumn is waiting at the back of this month.” Helen McClory,

David Linneweh

This week on the podcast, we discuss David Linneweh’s  podcast Studio Break and his kickstarter campaign “Remembering Place.” Linneweh has been described as one who paints “unpeopled, architectural landscapes always carefully rendered on bare wood supports. Sometimes the buildings are taken apart and reassembled – fractured almost beyond recognition. Other landscapes are left incomplete with empty spaces that demand completion in viewers’ minds. What could this mean in early 21st century America?” Listen to it all here.

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Monday began with Jeriah Hildwine’s reflection on critical framework:

Metaphorically, then, the frame can serve more as an unconscious bias, changing an image indirectly, by the context of its presence, and without the viewer’s conscious awareness. When you see something in a given frame, that frame alters what you are seeing, but does do without your knowledge or consent. It takes alertness and training to become aware of the influence of the frame, and even with this awareness, its influence may not be negated. To return to the initial example, seeing something in a Modernist frame may mean unconsciously minimizing the political, activist, Conceptual, gendered, or other meanings of a work, and perhaps emphasizing the rapturous and sublime, along with overt formal analysis which is the ostensible goal of this frame. If the intention is to directly change the meaning of the subject, then the frame may be the wrong metaphor; perhaps a lens is intended instead.

from Kyle Herrington's studio

from Kyle Herrington’s studio

Word from Indianapolis this week comes with love from Wendy Lee Spacek. Spacek describes a series of events and art shows that she attended this month, including 4th of July fireworks, Ai Wei Wei’s traveling exhibit at the Indianapolis Art Museum, an installation at 100 Acres Park at the IMA called Flock of Signs by Kim Beck, a studio visit and much much more:

Later in the month I was lucky to be able to visit the studio of one of my favorite Indianapolis artists Kyle Herrington. Kyle has several shows coming up in September, so there was plenty of new work to see. One show is called Backyard Phenomenaand chronicles Herrington’s struggle with being thrust into new found adulthood, which culminated in him turning thirty and buying a house. His anxieties about something catastrophic happening to his house has translated into sculptural pieces as well as paintings. We talked for quite a long time. I admire Kyle’s commitment to making everysingleideathathehas. I think it is what has allowed him to make such a large body of work with what I see as having very consistent and complete conceptual ideas in relatively short time frame (just one year). Kyle’s work makes reference to sci-fi logic, modern obsessions with the apocalypse and celebrity and mashes them altogether into a funny, but kind of scary reality.

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Stephanie Burke’s Top 5, y’all.

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With regard to dreams and flags, Eric Asboe writes about Gamut Gallery‘s Flag Show curated by Lauren Thorson:

My favorite dreams these days are the ones closer to life, the walks down familiar streets, the supermarket with fluorescent lights. In the morning, they are clearly dreams too, but I wake to contemplation instead of surprise or relief. Those closer to life dreams linger in my brain longer, maybe because they are easier to remember, maybe because they blur the line between my waking and dreaming lives. The flashier dreams make more of an immediate impact, but the normal dreams burn much longer and slower.

Flags are meant to be visible and memorable, to represent some message, some place, someone. The artists in Flag Show use flags to call attention to the reality and complexity of waking life. Adam Setala’s I Promise To Not Kill You layers visual and textual cues to confuse who is safe from whom. Brian Walbergh’s White Flag for Misplaced Teenage Angst #1 and #2 carry the weight of personal and societal histories in their visibly heavy denim. Lea Devon Sorrentino questions the differences between long-distance and digital communication with #Semaphore.

Work by Gavin Turk at Kling & Bang

Work by Gavin Turk at Kling & Bang

Heralding from Brighton, UK, art writer Mark Sheerin posts about a group show in Reykjavik:

It is more than 1,000 miles from Luton, England, to Reykjavik, Iceland. But Dominic from the UK town appears to love a good caper. Why else would he put together a group show on very little money in one of the most far flung and expensive cities in Europe?

“It was done on a wing and a prayer,” he tells me on the phone from his Luton studio. “The art was just really, really ambitious considering we didn’t have much money to play with. It’s amazing what you can do with a cardboard tube and a delivery van.”

Five artists took part. And the show has just run for a month at gallery Kling & Bang. Along with Dominic, the full bill included Gavin Turk, Mark Titchner, Laura White and Peter Lamb. The show went by the name London Utd. “It’s kind of doing what it says on the tin,” says Dominic, whose eponymous town is just a twenty minute train ride from the UK capital.

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Terri Griffith posted a little something on the Illinois Railway Museum:

Good public transit is the hallmark of a civilized city. One of the things I love most about Chicago is the train system. Both the Chicago Transit Authority’s “L” and the Regional Transportation Authority’s Metra are fantastic examples of how efficiently people can be transported from hither to yon. You can, if you wish, take this with a grain of salt seeing as I hail from the Pacific Northwest where public transportation is craptastic, save for the stellar ferry system. But it’s more than just getting to work or the grocery store that makes me loves these trains—it’s the history. Most people would find it impossible to conjure an image of Chicago without also envisioning the elevated train line that rings our downtown. This is why last weekend, my friends and I headed to Union, Illinois to visit the Illinois Railway Museum.

The week closed out with Saturday’s Endless Opportunities.

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Endless Opportunities: Of the Job, Performance, School and Travel Sort

August 10, 2013 · Print This Article

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1. Oxbow Development Coordinator

Ox-Bow is seeking a Development Coordinator. This full-time position based in downtown Chicago with occasional trips to the Saugatuck, Michigan campus.

The Development Coordinator works with the Executive Director and Development and Marketing Director to implement and support key initiatives (appeals, events, cultivation and stewardship activities, etc). This position’s primary responsibility is to provide integral support for Ox-Bow’s fundraising and donor marketing efforts (with annual targets of $1.5 million and growing) and join a vibrant, creative Ox-Bow team. The Development Coordinator reports directly to the Development and Marketing Director. (more here)

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2. New Urban Arts in Providence, Rhode Island  is accepting applications for a new Director of Programs.

We seek a candidate who believes in the power of creative practice and lifelong learning. The complete job posting follows.

Founded in 1997 with seed funding from the Echoing Green Foundation and Brown University’s Swearer Center, New Urban Arts is a nationally recognized arts studio and gallery for high school students and emerging artists in Providence, Rhode Island. Our mission is to build a vital community that empowers young people as artists and leaders to develop a creative practice they can sustain throughout their lives. We have been recognized as a national model for engaging underserved teenagers through the arts.

The President’s Committee on the Arts and the Humanities has given New Urban Arts a Coming up Taller Award, the nation’s highest honor for youth arts and humanities programs. We were one of only nine organizations selected to participate in ARTOGRAPHY, a multi-year national Ford Foundation-initiative documenting and disseminating the artistic and organizational practices of exemplary diverse community-responsive arts organizations. Each year we serve over 300 high school students, 25 emerging artists and 2,000 visitors through free youth programs, professional development, artist residencies, public performances, workshops and exhibitions. We have a permanent staff of six and an annual operating budget of over $450,000.

The Director of Programs designs, manages and oversees year-round arts mentoring programs for high school students and emerging artists. S/he connects with the community (especially high school students, artist-mentors, parents, and school personnel) to create a learning environment that conveys a sense of belonging, risk, and responsibility. S/he works closely with the executive director to assess the effectiveness and ensure the feasibility of programs. S/he strives to foster a rewarding workplace that is stimulating, trusting, and results-oriented, where the mission of New Urban Arts can thrive. The Director of Programs reports to the Executive Director. (more here)

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3. Go to Paris and get paid for it via The Georgia Fee Artist/Writer Residency.  Application period closes August 16th.

The Residency is open to visual artists of all mediums, art writers and critics, 24 years or older. Recent graduates are especially encouraged to apply. The selection will be made based on the merit of past work and the potential for future success, the ability to independently develop new work, and the proposed project’s relevance to the city of Paris. Recipients will be required to maintain a blog, which will be posted on ArtSlant.

The Georgia Fee Artist/Writer Residency in Paris provides the recipient with lodging for 2 months in an apartment in the 14th arrondissement, travel to and from Paris, and a stipend to be used for studio space, materials, and other costs.

For Frequently Asked Questions on eligibility, submission guidelines and materials, please check here.

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3. a.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context.  NEXT CALL FOR PROJECTS: APPLY BEFORE THE 1st of SEPTEMBER 2013

 

a.pass offers a one-year artistic research training program at post-master level for artists and theoreticians, based on the principles of self-organization, collaboration and transdisciplinarity. a.pass participants develop an independent artistic research project, with a personalized curriculum in a shared and collectively created research environment. 
 
The a.pass artistic research center develops, documents and archives tools for qualitative and relevant artistic research practices. The research center uses this growing archive to communicate and interact with the artistic and educational field and functions as a forum for the development of a critical approach on artistic research. a.pass emphasizes the relation between the research practices and a broader societal field, and encourages engaged transdisciplinary practices.

In the context of its artistic research center, a.pass offers a tailor-made PhD trajectory fo
r doctoral students that gives the possibility to develop the practice-based part of their PhD research in collective research environment. More info here. 
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4. MAYDAY an intensive workshop on the praxis of PERFORMANCE ART by VestAndPage (VERENA STENKE & ANDREA PAGNES) at DEFIBRILLATOR GALLERY on Monday 9th – Friday 13the September 2013 from: 6 – 10pm each evening, with a final presentation of the participants on Saturday, 14th September. While the workshop does cost money to participate, there are a few select scholarships available, and those who sign up before August 17th pay $75. Thereafter it is $100. Space is limited to 15 students. Find out more about the workshop and instructors by going here. 
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5.  SOMA: a different take on the MFA approach (and one that comes with funding). English speakers, there is a catch: you have to learn Spanish. Application deadline:  October 23, 2013

Calle 13 #25 Col. San Pedro de los Pinos, 03800 Ciudad de México.  SOMA offers a two-year program for training contemporary artists based on continuous exchange between young artists and established professionals through courses, workshops, one-on-one critiques and studio visits. SOMA’s faculty comprises artists, theorists, and curators with extensive experience in their fields, both nationally and internationally. This program is for students who have already completed a bachelors degree in visual arts or related studies. All students accepted into the program area are granted a scholarship of 80 percent of the total cost of attendance. Check it out here. (All classes are conducted in Spanish.)