January 19, 2010 · Print This Article
I don’t think I have ever touched on this before but I love soul music from the 60s. It’s about one of the only things I listen to. For this week’s pick I couldn’t pass up this amazing video of Etta James, who I adore, just rocking it out on Something’s Got a Hold on Me. If your familiar with the her Chess Records release you will immediately see the differences in this performance. Often a belter, James turns it up on this one. I watched it at least five times in a row.
While we are on the subject of soul music I just wanted to mention my new favorite archival based record company who happens to be based in Chicago, Numero Group. I just picked up five albums from them and are so impressed with their, design, sound, and research. There are not too many people turning out records like these. If you are interested in soul music from the Midwest other than Motown I would highly recommend giving them a shot. Plus they recently published their first book, Light: On The South Side, which takes a look at the history of night clubs on Chicago’s Southside through the photographs of Michael Abramson. This year they will also be releasing their first dvd which features the work of Al Jarnow titled Celestial Navigations. Okay, that is all I should say without sounding like I am plugging them too much.
We’ve received a few very interesting announcements and solicitations over the past few days, so we’re passing them along, in no particular order, in the hopes that one or more will be of interest to you. Read on:
Currently seeking submissions. The competition is open to artists, 30 and younger, who are currently enrolled in school in the Chicago metropolitan area. Click the link below for guidelines for the Visual Arts competition.
This competition is a great opportunity for young artists to get their work noticed and to make connections with people in the art world. Past judges have included curators from the MCA, the Art Institute, etc.Â Angel Otero was a Visual Arts competition winner in 2007-2008. For more information, contact Susan Carlson at SPCarlson@gmail.com, or Gina Demke at email@example.com.
2. Upcoming Slot for ThreeWalls TinkerTank Residency
Because of scheduling complications related to the recent renovations at ThreeWalls there is currently a 9 week window in the tinkertank residency program between March 1st and April 30th that they would like to fill. Residenc could take place during any portion of those weeks. Program fees are $150/week. From the website:
“The tinkertank self-directed residency offers creative thinkers and producers a supportive environment in the heart of Chicagoâ€™s West Loop gallery district. threewalls encourages applications from artists working in all disciplines, scholars researching projects in all fields, and other creative researchers working on projects that would benefit from 3-5 weeks of focused time in Chicago connecting to its rich history and lively community.”
There’s a really interesting discussion taking place on Tenured Radical right now about the merits of pursuing a Ph.D. when the job market sucks so badly and there is precious little likelyhood that newly minted Doctors of whatever will find a place in academia after graduation. Tenured Radical, aka Claire Bond Potter, is Professor of History and American Studies at Wesleyan University, Middletown, Connecticut specializing in United States political history, queer studies, and the history of gender, sex and feminism. In a post titled “Playing the Blame Game: Or, How Should Graduate Schools Respond the the Bad Job Market,” Potter writes,
“While I am deeply sympathetic to those whose dreams of a teaching life are discouraged and perhaps dashed by a foul job market that gets only fouler, I am entirely unsympathetic to claims by disappointed job seekers that they have been lied to and bamboozled by the schools that admitted them to the Ph.D. because they were not cautioned at the very beginning of their education that they might not succeed in finding a tenure-track job.
“In fact, I don’t know a single form of professional education that guarantees its graduates a job, whether the market is good or bad, and why Ph.D. granting programs have a special moral responsibility to do this is unclear. But on the job wikis and the blogs there is an emerging consensus that the jobless should have received a waiver of liability with the letter of admission (which Brown University actually used to send its graduate students in English back in the sad old 1980s, and most of us who knew someone who received one were horrified by the practice.) Resentful job seekers , in other words, speak in the language of fraud rather than regret. This I find astonishing, given that an hour of research prior to applying, or accepting an offer of admission, could tell any prospective graduate student what their academic job prospects might look like six to seven years hence.”
Potter goes on to argue (quite persuasively, to my mind) that Ph.D. programs should not allow graduate students to matriculate within three years of having attained the bachelor’s degree, Ph.D. programs should consider devoting at least one year of graduate support to administrative labor, and and that professional associations, particularly in history and literary studies, need to think about accreditation of graduate programs. A lengthy, fascinating and often heated discussion about the issue follows in the comments section afterwards. The full post is definitely worth a careful read, especially if you’re thinking about pursuing a Ph.D. right now (the discussion, while not specifically touching on the art M.F.A. or Ph.d., translates quite readily to that issue too). Related: Duncan’s conversation with James Elkins about the Art Ph.d. on Podcast Episode 191.
Ahoy again, me mateys! Thar be arts in them tharÂ waters. Yarg! And for this week’s briny picks, we’ll be casting broad our ores…or something. Ok, enough of that. But really, we are a bit scattered about for this weekend’s picks. I’ll be driving my trusty Jeep round, dashing through the snow and such. Perhaps, I’ll see yo ass out there? And now…
The True and Trusty Top 5:
1. Matters at Golden
Golden Gallery has impressed me with their selection of work since they opened about a year and a half ago with my buddy Jill Frank’s work. This round looks like more of the same, in the good way. Opening this week is a solo show of Joseph Cassan. And really, anyone who can take Kleenex and a bloody Band Aid, put it together, and make me think of Caravaggio is worth a look in by book. Rock on, dear Golden Gallery.
Golden Gallery is located at 816 W. Newport. Opening reception is Friday from 6-9pm.
2. The Dog and the Wolf at Monique Meloche
I friggin’ love Laura Letinsky. ‘Nuff said. She’s having a solo show at Meloche’s joint. Go see the show.
Monique Meloche is located at 2154 W. Division St. Opening reception is Saturday from 4-7pm.
January 14, 2010 · Print This Article
One aspect of Jeffrey Deitch’s startling appointment to the director’s post at L.A. MoCA that’s undeniably positive: it’s shining a harsh light on the role played by glitz, commercialism, business savvy and showmanship in today’s art museum–not to mention the contemporary art world as a whole. The appointment of a commercial gallery director to this top Museum post has put the issue front-and-center, fueling a much-needed public debate that’s taking place in the art press, the blogosphere, and even among friends and colleagues just sitting around shooting the shit.Â That fact alone is inspiring, even if Deitch’s appointment may, for many, represent something quite the opposite of that.
L.A. Weekly has a feature article on Deitch’s appointment that quotes Gary Garrells, former Hammer Museum chief curator and current chief curator at SFMOMA, a former MoCA curator (speaking anonymously, natch), Andy Warhol Foundation president (and ex-L.A. City Councilmember) Joel Wachs, and MoCA board chair David G. Johnson, and others on the pros and cons of Deitch-as-Director.
All of the critical quotes are provided anonymously, of course. The ex-MoCA curator, for example, had this to say about the Deitch to MoCA transition:
â€œI am not worried about his commercial background, and canâ€™t really judge what sort of management skills he has, but it is his aesthetic judgment that to me is the biggest disconnect. There is no artist on his roster that MOCA would show (the only possible exception is his newest, Tauba Auerbach). His eye seemed fairly in tune in the â€™80s with Koons and Basquiat, etc., but since then he has not been a reliable arbiter of what is important in recent art. Way more flash than substance.â€