For three consecutive days (March 26-28, 2009), three internationally prominent jurorsâ€”Jeffrey Grove (Wieland Family Curator of Modern & Contemporary Art, High Museum of Art, Atlanta), Clara Kim (Gallery Director and Curator, REDCAT, Los Angeles) and Hamza Walker (Associate Curator and Director of Education, The Renaissance Society, Chicago)â€”conducted studio visits with 15 short-listed artists drawn from nearly 300 applicants throughout Greater Atlanta (23-county area) for the inaugural Artadia Awards in Atlanta. The awards range from $15,000 to $3,000.
The Artadia Awardees 2009 Atlanta at the $15,000 level are: Don Cooper and Jerry Siegel. The five recipients of the $3,000 awards are Tristan Al-Haddad, Ruth Dusseault, Fahamu Pecou, Larry Walker, and Angela West. In honor of Atlanta arts patron Judith Alexander, Don Cooper has been named the Judith Alexander Artadia Awardee.
Artadia Founder and President Christopher Vroom said of the inaugural program in Atlanta, â€œThe vibrancy of any creative community relies upon a network of committed individuals, institutions, foundations and others, working together to ensure that cultural legacies are not only celebrated but extended. Artists, situated at the foundation of creative production, play a critical role not only in their unique ability to help us see the world in new ways but also in their capacity as educators, mentors and civic leaders. Artadia is thrilled to add Atlantaâ€™s thriving community to our growing national network of support for artists. The cityâ€™s cultural institutions, schools, foundations, non-profit spaces, galleries and arts patrons have nurtured a terrific artistic community. We are proud to be a part of it and to extend the visibility of its institutions and artists across the country.â€
Local juror Jeffrey Grove stated: â€œI am always supportive of programs that provide direct grants to individual artists to enable them to do what they must do. The Artadia Awards program in Atlanta provides local artists with national recognition for their achievements, access to internationally recognized curators from other cities, and an ongoing network of new connections and opportunities.â€
Hamza Walker added, â€œFor a town whose arts community prides itself on self-reliance, Atlanta is giving Chicago a run for its money. The panel process was a terrific opportunity to meet these very talented Atlanta artists. Having known Artadia well from Chicago since 2001, it is exciting to be part of adding this important city to the national network.â€
Applications for the Artadia Awards were open to visual artists in all media and at any stage of their career working and living in Greater Atlanta, GA. The application was available online for three months from September 1 to December 1, 2008. The three first round jurorsâ€”Naomi Beckwith (Assistant Curator, Studio Museum Harlem, New York), Lisa Cremin (Director, Metropolitan Atlanta Arts Fund), and Jeffrey Grove (Wieland Family Curator of Modern & Contemporary Art, High Museum of Art, Atlanta)â€”reviewed 292 applications and selected the finalists in New York February.
Artadia is grateful for the visionary support of the Atlanta program from the Common Good Funds of The Community Foundation for Greater Atlanta, the Judith Alexander Foundation, and many generous individuals.
Chewing Color, curated by Marilyn Minter. Works by Patty Chang, Kate Gilmore, and Marilyn Minter, presented by 44 1/2 for Creative Time and to be shown on MTV’s outdoor screen in Times Square during the month of April. Is this not the perfect context for these works? Further info from website below; I’ve added links to clips from two of the videos.
“At 44 1/2, Creative Timeâ€™s presentation of video art on MTVâ€™s outdoor, gilded screen located in the heart of New York Cityâ€™s Times Square, will showcase three works curated by artist Marilyn Minter, in a program entitled Chewing Color. The films include Patty Changâ€™s Fan Dance, Kate Gilmoreâ€™s Star Bright, Star Might, and Marilyn Minterâ€™s Green Pink Caviar. The works will be on view hourly between April 1 and 30.
Capturing the spirit of Minterâ€™s investigation into what she calls â€œthe pathology of glamourâ€ and her interest in the border between photorealism and abstraction, the work in Chewing Color strikes a delicate balance between beauty and disgust. The visually aggressive work will demand attention even amongst the bustle of Times Square, bringing the cutting edge of contemporary art to the neighborhood.”
Libby Rosof and Roberta Fallon have a post up on the artblog about Libby’s Philadelphia encounter with British artist Jeremy Deller’s roving Iraq project, It Is What It Is: Conversations about Iraq, which is coming to the MCA Chicago in the form of an exhibition to take place next Fall 2009.
Presented by The New Museum and Creative Time for the Three M Project (the ongoing series of exhibition collaborations by the MCA, the Hammer Museum, and The New Museum), Deller’s endeavor began on February 11th at the New Museum, where over a six week period Deller asked journalists, Iraqi refugees, soldiers and scholars to discuss their experiences of Iraq over the past decade.
At the show’s close on March 22nd, Deller began a cross-country journey from New York to California, conducting further conversations with various people at appointed stops along the way. From the website’s project description:
â€œIt Is What It Isâ€ puts a premium on discussion that is open-ended. Skipping easy categories of â€œforâ€ or â€œagainst,â€ the invited conversationalists bring to the table their wide experiences in order to broadly describe political and social issues that affect those in Iraq as well as those outside. These conversations might be a bit messy, which is good, as black-and-white readings of this situation have been of little use up to now. â€œIt Is What It Is: Conversations About Iraqâ€ does not promise to solve the problems between the U.S. and Iraq, but it posits that there is beauty that approaches art in human contact and intellectual exchangeâ€”that is, in simply talking amongst ourselves.”
An annotated schedule of upcoming stops can be found here; after the road trip is over, the project will be exhibited at the Hammer in April and May, and at the MCAÂ in October and November of 2009.
Last December on the podcast Patricia and Brian conducted a wide-ranging interview with Larry Rinder, the Berkeley Art Museum & Pacific Film Archive’s then newly-appointed director, which focused on his future plans for the institution. During the interview Rinder talked about his upcoming permanent collection exhibition titled “Galaxy: A Hundred Or So Stars Visible to the Naked Eye.” That exhibition–the first Rinder has curated for BAM/PFA–is now open, and Kenneth Baker of the San Francisco Chronicle has written an informative background piece that contains further insight on the curatorial process from Rinder. I especially liked the moment where Rinder talks about the thinking that goes on in a curator’sÂ mind whilst deciding whether or not to hang certain works side-by-side:
“Certain juxtapositions made even Rinder nervous. ‘Here I had to take a kind of curatorial pause,’ Rinder said in the top floor gallery. ‘Does one hang Warhol’s ‘Race Riot’ next to a black painting by Ad Reinhardt?'”
Organizing permanent collection shows isn’t always considered the sexy part of curating; it’s the provocatively-themed group shows and surveys by art world stars or hot up-and-comers that are supposedly where all the curatorial action is. I like how this article, along with Brian and Patricia’s interview, reminds us of how a museum’s core collection can be just as thought-provoking and fresh if approached with vigor, creativity, and a certain fearlessness when it comes to teasing out the hidden relationships in disparate artworks. Which brings me to my question: what’s your favorite permanent collection ‘moment’? Are there any curatorial choices that you’ve come across in a permanent collection show that have surprised, provoked, delighted or enraged you? I’d love to hear about them in the comments.
(Baker article via Modern Art Notes).
Don’t be fooled, there’s no degrees.Â There is an excellent explanation of cultural capital.Â Watch the informational video tape here.
The rest of the website is only slightly more elucidating, but equally fascinating: http://www.pifas.net