The Ultimate Art School Building wasn’t built in NYC of course (space issues) or Chicago (would have to be built with cut stone) or Kansas City even (doesn’t have fountains in the design) no the Ultimate Art School building was built in none other then the Nanyang Technological University in Singapore.
The School of Art, Design and Media a 5-story facility nestled in the corner of the campus with a forest to it’s back blends the heart shaped grass and glass building amazingly with the surroundings, gives a relaxing cool demeanor and most importantly is now the best place in the world to play hacky sack (aka footbag).
Feel free to post photos of your Art & Design building (or barracks as the case may be).
I don’t think I can sleep after seeing this, and the scorpion is scarry too.
January 15, 2008 · Print This Article
In February’s edition of Chicago Magazine ( soon to be on newsstands ) they rate the top websites that are Chicago focused and/or based.
Bad at Sports was kindly named and showcased in the Art & Culture category along with other Chicago resources as Sharkforum, Chicago Artists Resource & Paul Kline’s Artletter. Not to forget the personal writings of Edward Lifson, cough, cough.
We thank every listener that has made this possible for the last 2+ years & the editorial staff of Chicago Magazine for recognizing the hard work of a handful of Chicago street punks like us.
In true form we take the recognition with one hand and flip off the establishment with the other hand (minus a few fingers). At least thats what I think the artist handbook decrees, who knows we were never good with rules.
Sir Robert J. Loescher, 70, died on December 8, 2007.
Mr. Loescher was Professor Emeritis at the School of the Art Institute of Chicago and founder of SAIC Art History Department. He was knighted in 1990 by King Juan Carlos, of Spain.
He was preceded in death by his parents and his infant brother, George. He is survived by his brothers, Thomas Loescher, of Tucson, Arizona, and Richard Loescher, of Appleton, Wisconsin; friends, Shay DeGrandis, Nathan DeFoor, Brian Sikes and Bibiana Suarez, of Chicago; Joyce Neimanas, of Albuquerque; Wendy Woon, of New York; and many other colleagues and friends.
A memorial service to honor Sir Robert Loescher, in conjunction with the Midwest Art History Society Conference, will be held on April 4, 2008, at the Gene Siskel Film Center.
Robert J. Loescher, a specialist in Spanish and Latin American art, helped revolutionize the art history program at the School of the Art Institute of Chicago, where he taught for more than 30 years.
Mr. Loescher, 70, died in his Lake View home Saturday, Dec. 8, having had suffered from heart problems and was weakened by a recent operation.
Richard & Sarah had the pleasure of knowing and working with Mr. Loescher and will miss him greatly.
Brian and Marc recently collaborated on a review of Tony Lebat’s Bulk at Queens Nails Annex for Shotgun Review. Here’s an excerpt:
“Tony Labat’s exhibition Bulk opened to throngs of art students, smoking and drinking on the sidewalk. At first, the event seemed like any other gallery reception. However, as a show focusing on the manifestation of social relations in an art event, the students hadn’t come to see anything in particular, but to rather simply be with one another. With the gallery’s main space converted to a bar, complete with amateur bartenders, swill cocktails at criminal prices, and makeshift wooden tables; Bulk turned Queens Nails Annex into a speakeasy, one built like a cheap theatrical set.
… Bulk’s events have drawn together those who share in a common perspective – art students, gallerists, curators, etc.- participating in their prescribed roles of social exchange and power dynamics, as if the events had a written script. The exhibition doesn’t challenge itself to compose the audience, who provide its labor, or translate their efforts into meaning. Any examination into the relationship between the mechanics of audience as a means of production, and how it conditions the possibilities of interpretation, is absent. Without intervention, the events emerged as expected; codified and rigid. Creating work that fosters social relations shouldn’t reduce an event to the calling together of a coterie, turning the artist into a socialite of aesthetics whose practice would be a chain of well-hosted shin-digs. Bulk is emblematic of this festivalist, lackadaisical attitude that’s far too common in contemporary art.”