It’s not very often that I actually pick up the postcards and flyers I see on the counter of the local coffee shop.Â This one, however, caught my eye as it sat there and mocked the New York Times sitting next to it.Â Apparently the artist Seth Kinmont knows how to grab the attention of his audience: give them lots of text and images in a clever package.Â I expect the same from his electric car.
The car is powered by four twelve volt batteries and sports a set of other familiar amenities, you know, the usual disc brakes, rack and pinion stirring, headlights, air conditioning(!).Â And just to throw in a little bit of a challenge, he’s built the whole thing out of wood.Â From the invite:
Tuesday, April 7th 7-9 pm 138 Division Street (Orchard/Ludlow)
On April 7th, the first in a series of three wooden electric cars will be on view and will be giving rides around the block during the opening hours. Space is limited, so if you are interested a ride, please arrive early to place yourself on the ride list.
On a related note, I objectively love the Project No. 8 website.
ArtBabble, the Indianapolis Museum of Art‘s new online site for videos about art and artists, goes public tomorrow (Tuesday, April 7th). The Beta site has been up for a few months by invitation only (which were not hard to get), and so far it looks pretty great. The Indianapolis Museum asked institutions including the New York Public Library, the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art to contribute content that includes interviews with artists, profiles of museum professionals, and videos of exhibition works in situ. The strength of ArtBabble lies in its collaborations with other institutions–the more shared content, the greater its use-potential. It’s a genius example of how centralized online content can benefit multiple institutions. It’ll be interesting to see whether other museums clamor to join in, or choose instead to use ArtBabble as a model for their own online presences.
John Waters‘ upcoming exhibitions at Gagosian Gallery in L.A. and Marianne Boesky Gallery in New York will feature his series of movie stills titled “Children Who Smoke.” Love it. Now I’m trying to think of other artists who depict children smoking (preferably real cigarettes, but I’ll take Sally Mann’s fake one too). I’m pressed for time and can only come up with a few examples, but I know there is oh so much more. Who else?
I recently came across MW Capacity, Chris Lowrance and Sam King’s “painter blog for no-coasters,” and if youâ€™re not already among its readers I encourage you to start checking it out on a regular basis.
MW Capacity focuses on painting in the Midwest, and I love their approach: lots of images, very brief write-ups on the artists (and sometimes none at all, just pictures) and thatâ€™s it. The blogs’ readers take over from there in the comments, resulting in an online version of group crit thatâ€™s surprisingly respectful and considered given our tendency on the internet to let the s*&t fly first and think about it later.
Today MW Capacity posted on Angelina Gualdoniâ€™s new work at Kavi Gupta (and have also covered her in the past, with a relatively large number of comments on the work in response). They also had an interesting group discussion on Jim Lutes. But no gang rapes allowed: the blogâ€™s policy is to take down posts if an artist doesnâ€™t want to be there. It seems to be a pretty friendly and laid back atmosphere, so I imagine having oneâ€™s work featured would be something to feel excited about, not fear.
Artist, performer, and director of the School of the Art Institute’s graduate fashion program Nick Cave had a big profile in last Sunday’s New York Times. Cave’s Soundsuits–wearable mixed-media sculptures that incorporate every material imaginable to make sounds unique to each garment–are on view in a large-scale exhibition at the Yerba Buena Center for the Arts from March 28th through July 5th; the show will travel to UCLA’s Fowler Museum in 2010.
In the Times profile, Cave recalls what he was thinking when he made his first Soundsuit out of fallen twigs gathered from Chicago’s Grant Park.
â€œIt was a very hard year for me because of everything that came out of the Rodney King beating,â€ he said. â€œI started thinking about myself more and more as a black man â€” as someone who was discarded, devalued, viewed as less than.â€
One day, sitting on a bench in Grant Park in Chicago, he saw twigs on the ground in a new light: they looked forsaken too. He gathered them by the armful and cut them into three-inch sticks. He drilled holes through the sticks, so he could wire them to an undergarment of his own creation, completely covering the fabric.
As soon as the twig sculpture was finished, he said, he realized that he could wear it as a second skin: â€œI put it on and jumped around and was just amazed. It made this fabulous rustling sound. And because it was so heavy, I had to stand very erect, and that alone brought the idea of dance back into my head.â€
Cave, you’ll remember, had a show at the Chicago Cultural Center in 2006. I really wish I’d been living in this city at the time so I could have seen it–Cave’s stuff is blowing my mind, and I need to know more about it, look at it up close and in person, watch the fur fly, so to speak.
My own lack of familiarityÂ with Cave’s work makes me wonder, though: Why is Cave’s show traveling to the Fowler Museum, which is a museum of cultural history, and not an art museum that has an equally strong ability to support and exhibit interdisciplinary art of this nature, like, say, the Los Angeles County Museum of Art (LACMA) or even UCLA’s “other” arts institution, the white-hot Hammer Museum*? From the Fowler’s online mission statement:
The Fowler Museum explores art and material culture primarily from Africa, Asia and the Pacific, and the Americas, past and present. The Fowler seeks to enhance understanding and appreciation of the diverse peoples, cultures, and religions of the world through highly contextualized interpretive exhibitions, publications, and public programming, informed by interdisciplinary approaches and the perspectives of the cultures represented.
Don’t get me wrong: the Fowler is a fantastic institution and will do a superb job with this show. My quibble is with what seems a questionable location of Cave’s work in terms of “material culture” when it really is better understood in terms of contemporary artistic practice–which is, you know, highly interdisciplinary itself nowadays, and which is why institutions like Yerba Buena’s are an ideal context for it.
The NYT piece notes that in his catalogue essay for the Yerba Buena show, Dan Cameron “cites the ‘social sculpture’ of the artist Joseph Beuys, the legacy of the drag queen Leigh Bowery in the London underground performance scene and the ornate costumes of African-American Mardi Gras Indians in New Orleans” as associative touchstones for Cage’s fashion/sculpture/performance mash-up. So why emphasize only the last part of that description?
Cave shows his Soundsuits at Jack Shainman alongside Kerry James Marshall, Carrie Mae Weems, Michael Snow, Odil Donald Odita, Bob Knox, Tim Bavington–a diverse stable of artists involved in a wide range of practices, some interdisciplinary in nature, some less so. Check out Cage’s bio: He’s had solo exhibitions at the Museum of Contemporary Art in Jacksonville and a bunch of other smaller contemporary art venues. That the Los Angeles venue of his biggest exhibition to date will be a cultural history museum rather than a contemporary art center seems a little out of context given where Cage has shown previously.
I’ve sat in the conference rooms where the decisions to greenlight exhibitions are made–the choices are complicated and involve a mutitude of factors, and believe me, I know that outside observers (like myself) often have an overly simplistic view of how it all goes down. Maybe it’s as simple as the show wasn’t offered to anyone but the Fowler. But I’ve also witnessed firsthand how certain exhibition proposals get tossed aside with hardly a second glance because it belongs “somewhere else,” often that conveniently located cultural history museum that’s right down the street, practically next door, maybe we can collaborate with them on something or maybe not…whatever, “it’s not for us.”
This is not about the relative value of cultural history museums. It’s about context, the meaning of “culture,” and museological responsibility. Is the Fowler’s role, and by extension the role of other cultural history museums, to pick up the slack and plug up the holes left by the fine arts institutions in their city? I haven’t lived in L.A. for awhile now, so I can’t do more than broach the question. But the institutional journey that Nick Cave’s Soundsuits have taken and will take in the future would seem to provide a provocative case study in what qualifies as “contemporary art,” what’s deemed “material culture,” and why that distinction even matters.
*(Is this the part where I’m supposed to do the “due diligence/ full disclosure” thing and report that I was once an assistant curator at the Hammer? Well, then, consider it done.)