Hey ya’ll, I’m reporting to you from afar. I’m gonna keep this short, ‘cus I’ve got to get ready to spend a week in the woods hiking, shooting, canoeing, and watching zombie movies. Mmmmm…Chopper Chicks in Zombie town. But I digress. Here is my Top 5 for this weekend. Enjoy ’em, since I can’t.
1. Aspen Mays explodes your brain with science!
In her first solo show, Aspen is showing off all her art/science craziness. Aluminum foil spaceman, check. Fireflies in the camera, check. You won’t be disspointed. Opens Friday at Golden gallery, 7-10pm.
2. Geometry and mold spores at Thomas Robertello Gallery.
This stuff just looks strange. The title is what caught me, the show is called “Taxonomies.” But with ceramic mold spores from Sarah Hicks and geometric paintings from Peter Barrett, it seems worth a look. Check it out Friday from 5-8pm.
3. The faculty has shown good taste at SAIC.
The faculty at SAIC has passed down their opinion on what’s good and what’s not. Surprisingly (well I was surprised), I mostly agree with them this time round. You can go see new work by Sarah Belknap, Joseph Belknap, Tif Bullard, Yu-Hang Huang, Merideth Lacina, Alison Rhoades, andIsabelle Schiltz at the Betty Rhymer for the Annual Faculty Exhibitions Committee Picks show (I don’t think this is the real title, or whether there is one, so I spliced this together. ) Opens Thursday from 4:30 to 7pm.
4. Artist dresses up as volcano, spends day reenacting Day in the Life of a Volcano.
Do I actually need to say anything else? The afore mentioned peice (by Eliza Fernand) is part of Post Scarcity, a new show at 65Grand curated Thea Liberty Nichols. Opens Friday, from 7-10pm.
5. Performing in the bedroom…
The Second Bedroom that is. Anni Holm is doing an installation called Sleeping Around. If you’re in Bridgeport, head over Friday night.
Sorry for the lack of pictures and links, the zombies are coming!
Here’s the scoop on the “top secret” Matthew Barney/Elizabeth Peyton “Blood of Two” project I blogged about on Monday. There are a couple of pics of the event, which featured local Hydra fishermen and other laborers as part of the performance, in the report from the NYT’s “The Moment” blog. A few choice excerpts:
“The evening before Mondayâ€™s sunrise arrival and unveiling of â€œBlood of Two,â€ the collaboration between Matthew Barney and Elizabeth Peyton, and the inauguration of the Slaughterhouse, the Greek billionaire and art collector Dakis Joannou hosted an exclusive dinner for the Barney and Peyton on the island of Hydra in Greece.
Held in an open air restaurant, where casual glamour and sophisticated simplicity were the order of the evening, the dinner drew the gallerists Jeffrey Deitch, Emmanuel Perrotin and Javier Peres; the artists Maurizio Catelan, Rirkrit Tiravanija and David Byrne; and David Teiger, a MoMa trustee, and long time collector, who entertained the audience with a speech dedicated to Joannou. The notable attendees feasted on mutton head….
At dawn, the crowd waited patiently on a winding cliffside road, where little by little the local psaras (fishermen) pulled out of the water an expected glass sarcophagus containing mysterious artifacts and artworks. The long pace of the unloading echoed the calm, focused and attentively observant crowd who were clearly intended to be part of the artwork, part of an imaginary film Matthew Barney unfolded in front of our eyes.
When was the last time you heard the phrase “feasted on mutton head”? Also love the “calm, focused and attentively observant crowd” line too. At least they weren’t all Tweeting, right? Oh, and the dramatic conclusion to the report is tops:
“In a climatic moment, flooding water unveiled beautiful small-format graphite drawings by Elizabeth Peyton, which mixed elements of Symbolist imagery and nautical fantasies. The relieved crowd then walked its way toward the port, the early morning sun soothing their shock and awe.”
“Soothing their shock and awe”?? Honestly, who writes this stuff?
Former BAS guests The Post Family will be hosting what looks to be an interesting panel discussion. I wish I could go but we are having a moving party for a BAS member. If your free definitely stop by and check it out. Then let me know how it was,
via The Post Family:
Quit Your Job and Become an Artist
The Post Family and Sonnenzimmer Panel Discussion
As part of Amos Paul Kennedy Jr‘s lovely letterpress show entitled Quit Your Job and Become an Artist, hear members from Sonnenzimmer and The Post Family discuss their own transitions from working in a â€œtypical jobâ€ to working as artists in independent and collaborative spheres within the traditional economy. Refreshments provided by Peroni. Brought to you buy Around the Coyote.
Wednesday, June 17 @6:30pm
Flat Splats Gallery
1817 W. Division St
$3 suggested donation
Last week I read an interview withÂ Marina AbramoviÄ‡ in Art Review and ended up spending my lunch hour watching some interviews and old performances of hers. This weeks pick is actually two different videos. The first is TateShots interview with AbramoviÄ‡. If your not familiar with the TateShots you should definently check them out.Â The second video is “Rythm 10” (1973). This is probably not for the squeamish.
Jesus, I had to check the spelling of that last word like, four times. Those of you who enjoyed Duncan’s conversation with James Elkins about the art Ph.D. a few weeks back might want to check out The Drawing Center Executive Editor Jonathan T. D. Neil’s post today over at Artworld Salon: “What’s wrong with “professionalization”?:
“What, I have to ask, is wrong with professionalization? What are we really criticizing when we deride the graduates of MFA and PhD programs for nothing more than simply having done what one would expect them to do, which is to go andÂ learn about the enterprise in which they are interested? I suspect that lurking behind such statements lies a romanticized and outmoded notion of the artistic subjectâ€”which is to say, of the kind of subjectivity (autodidactic, at odds with decorum and the status quo, sometimes tortured, often difficult, always independentâ€”i.e. an ideal of bourgeois bohemianism) that continues to cling to the definition of the â€œartistâ€ today like some itchy fungus.”
Interestingly, Neil’s arguments in this post aren’t nearly as nuanced and informed as were those that took place over here on the same subject, but I think he does usefully remind his readers that there’s a difference (or at least, there should be) between ‘academicization’ and ‘professionalization’ when it comes to the pursuit of higher education among artists.