Actor James Franco, star of Milk and Spiderman and other movies you’ve probably seen, is playing an artist right now on the soap opera General Hospital (I remember cutting school when I was a tween to come home and watch this show during its Luke n’ Laura heyday). For Franco, the guest-starring role, which is featured over 23 episodes, is a kind of experiment: an attempt to insert performance art into a long-running daytime serial.Â Franco writes about the experience, and its relationship to performance art, in the Wall Street Journal this week. Don’t miss this article. It’s fascinating to read the perspective that a Hollywood actor brings to the types of performances that are enacted in other cultural spheres–the art world as well as the highly stylized narratives seen on daytime television. [Read more]
Last week I reviewed the second installment of the New People Artist Series, Yayoi Kasuma: I Love Me.Â The people over at NPAS were nice enough to hook us up with three gift packs that include stickers, buttons, and a copy of their first release to the series, Traveling with Yoshitomo Nara.
Directed by KojiSakabe, Traveling with Yoshitomo Nara follows Nara as he travels while opening his largest installation to date, (possibly ever) AtoZ. Much like Yayoi Kasma, I was very familiar with Naraâ€™s practice but not with the artist himself. As we follow him to fan club meetings where woman shower him with affection (many times leaving the artist speechless) to his studio where he creates his distinctive portraits of young girls, we get an insight in the world that Nara both lives and creates in.
If you would like to win one of the three copies please email me at Megonli@gmail.com with the header New People Artist Series. The first three contestants will receive a gift pack.
To purchase a copy ofÂ Traveling with Yoshitomo Nara or for more info on New People Artist Series please visit their site.
Start. A continuation of thoughts from the end of mini dutch. November, 2009.
mini dutch ended a two year run in July, 2009. Subsequently, I moved to Los Angeles. Not to pursue a career as an artist or curator in a more viable city, but to be near my mother who was diagnosed with ovarian cancer. This is pertinent because it sets up my inability to be as involved in the art scene as I was in Chicago.Â At least, for the time being, I long for the tight knit community I felt forced to leave, and detest the highly commercial and impenetrable community that I have not been inducted into. I feel confident that I will find myself in a much more optimistic mood after the unpacking ceases and I can start going to gallery openings, panel discussions, and lectures regularly again. I know that I now live in a city with a larger art presence, with a lively art market and community, but I am still am at a complete loss over leaving Chicago and my contemporaries. My thoughts have recently been drifting toward Chicago and its unique culture of the apartment gallery. What purpose do these spaces serve the city, and what did mini dutch do for me? [Read more]
Editors’ Note: This week we’ll be running some of the essays written for Floor Length and Tux’s “Untitled Circus” event this past weekend. A number of essays on Chicago’s thriving domestic/apartment gallery art space scene were solicited from local writers/artists/curators involved in the running of such spaces, and we’re posting some of them here on Bad at Sports as a way to extend the discussion. Please feel free to email us with your comments at firstname.lastname@example.org, or if you’d like to contact the folks at FLAT directly, you can email Erik at email@example.com.
Guest Post by EC Brown
As pleased as punch as I am with the latest uptick in domestic artspaces â€“ especially in contrast to my experiences in Chicago through the 90’s and early 2000’s â€“ I prefer to perceive these activities as formative stages, collectively inching toward something that hasn’t already waxed and waned in the past. What has been unique about these events is not so much a change in the way that artists operate, but in the comfort level of the guests. Folks seem willing to allow homegrown spaces to fulfill their needs for viewing (or confronting) art, rather than only appreciating these events in deference to commercial and institutional spaces. Nevertheless, the author vs. spectator dynamic remains intact, and the imprint of the commercial gallery template has proved sometimes indelible, sometimesÂ unproductively.
Potentially, artists and aficionados alike could cultivate a crowded and long-lasting game that wrangles space, atmosphere, scheduling, social relations, archives and marketing schemes as a holistic medium. I do prefer the word game over discourse. Not to suggest zero sum games under strict protocols, but rather the heated intensity of competitive engagement –Â a fervent clash between dissonantÂ operational models, temperaments and philosophies. At present, there are too few players on the field for a city this size, and the general social atmosphere is congenial and a bit measured â€“ not quite a passionate crucible to compensate for the absent pressures of a lively commercial system. [Read more]
On this week’s pick we bring you a preview to a performance by Emily Lacy at LACMA. I am heading out to LA in the next couple of weeks for the holiday and am really psyched if I can check this out. Lacy will be in residence at the Pavilion for Japanese Art over December and January where she will be performing a piece entitled Temples of the Mind. Lacy has stated that, “throughout this process an entire album will be recorded on-site at LACMA, mysterious radio transmissions will be available over the internet, and mystical reckonings will occur inside a tiny Hermitâ€™s Cabin, where performances transpire for just 1 to 2 people at a time. I hope to create something like a sanctuary, a fountain of sound shooting skyward, for your very own two-month temple.”
Unframed, LACMA’s blog, recently interviewed the artist about why she choose that specific location, her process, and work with Machine Projects. [Read more]