…I’ll ask you to try this instead:
Go to your iTunes. Create a ringtone for John Cage’s 4’33” (if you don’t want to spend money for it on iTunes, you can find a free ringtone for 4’33” here).
Install that ringtone on your cell phone, and assign it to one of your frequent contacts. Keep it this way for at least a week (no cheating!).
The Hamza Walker-curated group show “Several Silences” closes this weekend at The Renaissance Society, so if you still want to catch it, best get there soon.
Richard Huntâ€™s terrific sculpture show at David Weinberg Gallery closed last weekend, but if you missed it there’s another powerful selection of Huntâ€™s work from the past 20 years on view at G.R. Nâ€™Namdi Gallery.
David Weinbergâ€™s space, the smaller of the two galleries, showed off the many paradoxical elements of Hunt’s sculptures in a surprisingly effective manner. When I first walked in to that exhibition, the room felt overly crowded to the extent that I feared one of sculptures’ edges might actually jab me (or I it). But it quickly became clear that, physically at least, there was plenty of room for all of us.
Huntâ€™s work is full of surprises like that. Eluding easy formal classifications, his sculptures can’t adequately be described as organic, nor are they exactly technological in nature. They’re somewhere in between the two, where spiraling forms evoke the flow of waves or the whir of circular blades. One sculpture at Nâ€™Namdi recalls a stack of bones, human and otherwise; others have sharp, protruding hooks.Â The lines of Huntâ€™s sculptures alternate between curving and jagged, their movement sometimes vertical, sometimes lateral, but always, always upwards.
Stacks of things frequently rest atop stacks of other things, as if someone were trying to build a stairway to heaven by piling object upon object as high as the whole thing will go–an implausible and impossibly graceful agglomeration of broken wings, torn dorsal fins, discarded hand tools and shards of bone.
Hunt’s sculptures may reach upwards, but they’re far from dreamy. The often rapid transitions from one form to another doesn’t suggest rebirth or regeneration so much as an effort to fit together, sometimes clumsily, that which already exists. In this Hunt’s forms evoke the forward movement of history (be it an individual’s or a nation’s) as something precariously and pragmatically achieved, in fits and starts, over time.
The show is at G.R. N’Namdi Gallery (110 N. Peoria, Chicago, 312-563-9240) through June 30th.Â
This one’s for Duncan.
(via The World’s Best Ever).
Last month I wrote a post about Wynne Greenwoodâ€™s latest performance Sister Taking Nap.Â Wynne is best known for her performance as the three member band Tracy + the Plastics. Last year she had a solo show at Susanne Vielmetter which consisted of new sculptures and videos. In 2008 Wynne was the recipient of a Genius Award from Seattle’s the Stranger . Wynne was nice enough to answer some of my questions and fill me in on some of her projects.
1) After Tracy + the Plastics were over I had heard that you were doing a new musical venture called libber. I remember hearing that it was like the plastics plus marching bands. What happened to that project? I was seriously stoked when I heard about it.
I did make a short (4 min) performance w/ video and music called LIBBER in summer 2004.Â I made and performed this for the LTTR Explosion at Art in General, NYC.Â LIBBER was literally a â€œbreakthroughâ€ moment for me.Â It was the first, and to date only, time I physically performed through the projection surface.Â I cut a hole in the sheet and stood behind the sheet, the video was projected from the front onto the front of the sheet that I was standing behind.Â I put my arm through the hole in the sheet to be the arm of the abstracted girl figure.Â My real arm became her arm.Â And it (my real arm) played a real drum.
The story was that this girl has a drum and sheâ€™s walking around the city with her drum.Â The drum lets her know that she can never be nostalgic because the drum is always wanting her to hit it again.Â And sheâ€™s wondering what to do with her life when a marching band walks by and she joins in with them.
At the time I thought I would make this into a band somehow. Not with any video, but with the idea of the abstracted figure, and the idea of an ever-changing make-up of a band, like a marching band.Â You graduate, and youâ€™re not in the band anymore, but thereâ€™s a new person there who brings new and different or maybe similar things to the instrument/role.Â I also wanted to have the music and performance be very drum-based.Â But I got weary of using the word â€œLibberâ€ to be a title for something that was very specific to me and my experience/created experience.Â And so I changed my music-making â€œnameâ€ to my name, wynne greenwood.Â And thatâ€™s where Iâ€™m at now.
2) Big Candy is probably one of my favorite pieces of yours. Was it a precursor to Sister Taking Nap? From the photos that I saw visually they seemed to be linked.
Yeah, I do think Big Candy and Sister Taking Nap are like memories or ideas from the same body.Â Sister Taking Nap was a smooshing together of two different projects Iâ€™d been thinking about for a couple years â€“ one was a performance and the other was a series of sculptures.Â After I made the Big Candy video, I started thinking about the possibilities of interacting with a sculpture using words and dialogue.Â For me, the form of â€œmusic videoâ€ is like a really relaxed (to the point sometimes of negligent) babysitter.Â Thereâ€™s no consequences, in a way, maybe because thereâ€™s no rules.Â And I say that while I believe that there are always consequences, though that word is more complicated than its surface.
3) Will there be an audio component released for Sister Taking Nap?
Itâ€™s really funny you ask this, because in the middle of performing Sister Taking Nap I thought â€œoh wow I could have made the audio into a record.â€Â But Iâ€™m not going to do that.
4) I noticed that you often have discussed the notion of reality. What type of realities are you interested in creating with your work?
Iâ€™m interested in creating realities that are feminist and queer and self-aware.Â That are interdependent in their structure.Â Realities that have integrated surfaces and structures.
5) I read an interview for the Stranger that you are a twin.Â I was wondering if T+P might be a reaction to or at least influenced by having a close sibling?
All of my work has been influenced by this.
- Hope everyone has had a good week. Here is a brief roundup of some of the things you might have missed this week. I still haven’t checked out the Olafur Eliasson show at the MCA. I have heard a lot of really great things so hopefully I will get a chance to catch it this weekend. Next week we should be introducing a new addition to the BAS blog. Check back next week to see who.
- Cannes Film Festival winners
- â€œBeginning with early 20th century paintings by French artist Suzanne Valadon and ending with works by up-to-the-minute figures such as Japan’s Mariko Moriâ€¦â€ How â€œup to the minuteâ€ is Mariko Mori? The LA Times covers the Pompidou Center’s all female show.
- Proximityâ€™s sister mag PR will be releasing issue 2 this Sunday, the 31st at the Hyde Park Art Center.
- A Time to Get brought us a brief history of the Van’s skate shoes. Wicked.
- The Hamilton Wood Type Museum in Wisconsin is celebrating their 10th 10th Anniversary this weekend.
- Now that Lauren has outed me on loving cat videos check out Play Him Off Keyboard Gato.
- BLD BLOG interviewed Richard Mosse about Saddam’s Palaces.
- Kyle GannÂ will be giving a talk at University of Chicago on Sunday at 2:00pm
- Have you checked out the Marma Spot?