EDITION #14

July 29, 2013 · Print This Article

Hope Esser performing “Telegraph Progress” at The Watermill Center’s 20th Annual Summer Benefit.

Celebrites fawn over Chicago artist at Watermill

Reportings coming in this evening from sources from Facebook to Bloomberg indicate that Chicago performance artist and occasional What’s the T? correspondent, Hope Esser, painted The Watermill red at the art center’s celebrity studded annual summer benefit. Esser could be viewed from on high, performing in a red dress with flag sleeves from atop the performance lab’s building. Her figure was made more striking by the red fabric draped rapunzel-like directly under her.

Bloomberg.com revealed celebrities from Abromavic to Gaga to bankers no one care about were seen at the event. The article smartly shouts out Esser as well. Watch out for Esser’s performance in the next Lady Gaga video, featuring Marina Abromavic.

Real collaboration at The Hills.

Drain & Reeder Create “On The Spot” Art Exhibition

This past Monday (yes, an opening on a Monday) evening at The Hills Esthetic Center “Jyson Deeder and Tim Rain” debuted “A Nerdier Red”, “community organized” by Josh Reames, at everyone’s “favorite” Garfield Park “gallery”, The Hills. The collaborative exhibition came together as it opened with Reeder & Drain turning the notoriously useless loft above the gallery into the command center from which the art was generated and then incorporated into the official gallery space.

Reeder & Drain tell it like it is.

Down in the gallery, visitors feed off the artists’ frenzied energy and joined in, painting a huge canvas, random hats and eventually joining in on a “drum circle.”

Visitor’s in various states of gallery attendance.

We highly recommend checking out the fallout from last Monday. Email The Hills Esthetic Center to make an appointment.

The Weatherman Report

Walter De Maria, The Lightning Field, 1977. Long-term installation in
Western New Mexico. Photo: The New York Times.

Reading is Fundamental

  • Some Unrequired Reading: As Jerry Saltz opens his piece on Deitch’s depature from LA MoCA, “It was always only a question of when, never if.” That being said, the internet is ablaze with opinions on the development. If you’re into that sort of thing, more here, here, and here.
  • Gay Marriage is Trending and TotallyFab-u-lous: The Gossip is that The Gossip’s Beth Ditto recently married her partner, Kristin Ogata, in Maui. Ditto and Ogata has my dream wedding: Ditto wore a Gaultier gown and it looks like they made all their guests coordinate. To. Die. For.

    Don’t worry beaus, Buxom babes aren’t the only one getting hitched. Recently, our personal fav queen Latrice Royal made news by becoming ordained in order to officiate over a good friend’s wedding ceremony. Catch this great interview on Latrice’s killer outfit and her controversial opinions on gay marriage on Dragofficial.com.

  • Thought hyperallergic.com was just #selfie fluff? No longer. Recently some seriously drama erupted on the site where I most frequently read “news stories” about emojis and cats. Soon after Peter Schjeldahl posted his Jonathan Swift-esque piece for the New Yorker about cannabalizing the Detroit Institute of the Arts a hyperallergic writer, Hrag Vartanian, shook Schjeldahl to his knees. Ending the article with the terse but powerful, “Peter Schjeldahl should be fired” the T? is sure that Vartanian was no small part of what eventually led the tenured art critic to rescind his opinion on the matter.
  • Notes on the Art of Conversation: We’re really excited about what Claudine Isé has to say about all things art conversational during her Much Much More lecture hosted by the Humboldt Park branch of the Chicago Public Library and Philip von Zweck. Even more educational than reading, this event is not to be missed.

Printer’s congregate to prove printing not dead

This past Saturday the Printer’s Ball, hosted by Spudnik Press with the support of the Poetry Foundation, took over the Hubbard Street lofts, once again proving print media’s vitality with displays, demonstrations, lectures, conversations and empanadas. WTT? was especially impressed with the Riso demonstrations provided by SPARE residency in the Post Family space.

Tony Fitzpatrick in conversation with Printer’s Ball founder, Fred Sasaki. Fitzpatrick regaled the audience with tales of Studs Terkel, Lou Reed, Haiti and Cuban cigars.

Spotted at the Printer’s Ball: Momentarily back from Ox-Bow, Lauren Anderson checks out photos and posters at Johalla Projects.

Hyperjunk Interview: Dissociations with Harm Van Den Dorpel

July 29, 2013 · Print This Article

Harm Van Den Dorpel recently talked with me over a shared-screen skype session about his semi-generative image navigation system called Dissociations. The work could be described in many ways: feedback platform, assistend-intelligence interface, online studio, anti-tagging archival system. But regardless of hard definition, this ongoing engine fuels a lot of Van Den Dorpel’s online presence, as well as guides the way in which he decides to translate that work into physical galleries. The uniqueness of this project not only rests in Van Den Dorpel’s distinctive visual approach to online imagery, but is also due in part to this system being a type of conceptual launching pad for critiquing the ways in which certain user-generated image curation platforms all too quickly create a kind of same-same-ness (ahem Tubmlr).

In our conversation, we discuss some of the back-end of Van Den Dorpel’s program as well as how the selection process – which again is based on negative association - nurtures the artists’ intuitive studio practice. In doing so, the project becomes a kind of tableau for Van Den Dorpel’s work that is not based upon typical systems of organization like construction material and/or chronology. Instead, as we find in our explorations of both the selection process and the front-end display of the “results” of this software, one looks at the artist’s work in a more nuanced way. As a result, Dissociations becomes more like a game; one in which the feedback and immediacy of the computer can become more measured and distinct when brought offline.

Week In Review: A range of motion

July 28, 2013 · Print This Article

Amanda Ross-Ho

Check out this week’s most awesome podcast interview with Amanda Ross-Ho!

Amanda Ross-Ho’s work is inspired by detritus: the clutter and remnants of daily existence, and the ‘negative space’ of things over looked. Ranging from sculpture, installation, painting, and photography, her work seeks to uncover the subtle beauty of coincidence and anomaly. 

Otherwise the week began with a re-post. I found an essay written by Prolapsarian on the internet that seemed interesting. (Maybe especially because I am so often duped by works/albums/movies that try to affect a negative critique of capitalism while in fact propagating similarly dubious hierarchies). It begins as a letter to  Goldsmith Students about their MFA show:

I want to write to you about a single gesture that was performed by a great majority of the artworks in the show (although there were some important exceptions). It is a gesture that claims to determine a relation between artworks and “capitalism”. It is of no surprise that under the contemporary situation of global capital, undergoing its most profound crisis in eighty years – creating conditions not only of mass destitution but also of mass resistance and protest – that the relation between art and capital would present itself more explicitly in the new works of art than has been the case in the last decades. But the expression of this relation of art and capital in the work displayed at your show was not only predictable, but questionable on both political and aesthetic grounds. The gesture that I refer to is that of artworks that attempt to parody capitalism, and in this parody hope to effect a critical irony through the apparent distance between the artwork (and its social situation) and the forms of commodity or capital that it parodies. In this gesture the artwork proclaims a radicalism, a dissatisfaction with the actually existing. It proclaims that the object of this dissatisfaction is “capitalism”. 

Anna Friz "Nocturne." Photo by Amanda Gutierrez.

Anna Friz “Nocturne.” Photo by Amanda Gutierrez.

Atlanta Resident, Meredith Kooi, wrote about Chicago this month, covering a recent performance and installation at Tri-Triangle:

Anna Friz and Coppice performed in their audio installation at Tritriangle on 5/25/2013 in Chicago, IL. The two installations and two live performances occupied the gallery as co-existing organisms. [1] Each stemming from Friz’s and Coppice’s own larger overarching projects, Friz’s Nocturne and Coppice’s A Vinculum Variation are iterations, though it becomes clear that these iterations are not repetitions, but manifestations of differences in space, time, and materiality. The artists filled the spaces above my head and below/around my feet with sounds produced by other bodies: people, instruments, apparatuses, and radios. The two installations created the terrain in which the live performances inhabited. The earthy landscape, coupled with a cloud of respiration, constituted a world of transmission that enabled relationships to form in and between bodies.

Serenade at Terrain Exhibitions. Curated by Tempestt Hazel, with work by Jeff Austin, Rob Frye,Ramah Jihan Malebranche, Michael and Yhelena Hall, Viktor Le and Stephen Lieto.

Serenade at Terrain Exhibitions. Curated by Tempestt Hazel, with work by Jeff Austin, Rob Frye,Ramah Jihan Malebranche, Michael and Yhelena Hall, Viktor Le and Stephen Lieto.

Top 5 courtesy of Stephanie Burke!

HEAVENLY BREAKFAST: AN ESSAY ON THE WINTER OF LOVE by Samuel R. Delany (Bantam, 1979)

HEAVENLY BREAKFAST: AN ESSAY ON THE WINTER OF LOVE by Samuel R. Delany (Bantam, 1979)

Mairead Case is currently embedded in Naropa, where she wrote her latest edition of MAINTENANCE, discussing such works as + Heavenly Breakfast: an Essay on the Winter of Love by Samuel R. Delany (Bantam, 1979), Under Milk Wood: A Play for Voices by Dylan Thomas (New Directions, 1954), Civil Disobediences, edited by Lisa Birman and Anne Waldman (Coffee House Press, 2004), “A poem for record players” by John Wieners (1958) and more:

I’m still in Boulder. I decided to write you from here, even though I need to turn in my portfolio soon eek, because I like the idea of book-review-as-postcard. I am writing you now, before I get back and set this experience against Chicago’s meat and concrete and home. I didn’t want to write starry-eyed, and I didn’t want to write retrospectively. I just want to show you some books I read while I was here, because I found them, living in a city where the sky—not the neighborhood—is what centers.

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I posted Saturday’s column “Endless Opportunities” that highlighted (among other things) some publication options in honor of the Printers Ball.

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DineLA is happening now, and Adrienne Harris gives a report of her own experience at the Lexington Social Club:

Even though I am very involved in the restaurant world (I work part time in a fancy steak house and I love eating out) somehow DineLA always sneaks up on me. Like the Holiday Season or my birthday, DineLA is always suddenly upon me and I have done nothing to prepare. DineLA is like Brigadoon to me. I…We chose a hip Hollywood venue called The Lexington Social House which turns into a night club after 10:00 pm but serves delicious chilled english pea soup with crab and bacon and bone marrow encrusted filet mignon before the dancing begins.

 

Briga-DineLA

July 28, 2013 · Print This Article

peasoup

Here in Los Angeles there is a semi-annual event that happens for 10 days or so  in the Winter and Summer. No not the Victoria Secret’s Semi-Annual Bra sale, but something much more exciting, sexy, seductive, and with much less lace. It’s called DineLA. During the DineLA event dozens of restaurants across the city have specially selected pre-fix menus for a much discounted price than their food would normally cost.

Even though I am very involved in the restaurant world (I work part time in a fancy steak house and I love eating out) somehow DineLA always sneaks up on me. Like the Holiday Season or my birthday, DineLA is always suddenly upon me and I have done nothing to prepare. DineLA is like Brigadoon to me. It’s a thing a myth and magic and impossible to plan. This is in no way true, however.  I have a friend that knows the restaurants featuring DineLA menus cold. Her 10 day dining experience is planned. She and her wife are out almost every night enjoying amazing 3 and 4 course dinners for under $50, and she instagrams her food to make me feel inspired and jealous. She is an expert. She should be studied and copied. Honestly, I should just invite myself along on all their dates (note to self)  because they are excellent diners. This year, that friend helped me find an app for my smart phone that listed all of the participating restaurants and the menus they were offering. With this technological wonder, my bofriend and I managed one evening out. We chose a hip Hollywood venue called The Lexington Social House which turns into a night club after 10:00 pm but serves delcious chilled english pea soup with crab and bacon and bone marrow encrusted filet mignon before the dancing begins.

We walked to the restaurant (an LA rarity that helped us pick this venue) and found we were slightly underdressed but no one gave us any trouble. In LA, I feel like I am somehow always under or overdressed, but never quite right. Hmmm. My meal (described above) was amazing. I instagramed pictures of my soup and steak and my boyfriend’s seared ahi tuna (as one does these days) to help drum up a little DineLA business for the Lex Social House (they’re welcome) polished off some flowerless chocolate cake with salted carmel ice cream for dessert and waddled home. Probably never to return. Not because the food wasn’t delicious, or the service wasn’t polite and prompt, but because the regular prices are higher than we normally spend and we are creatures of habit. Two nights in the last week or so we found ourselves at the same hole in the wall mexican place and I ordered the same thing. Our two entrees cost under $20. It wasn’t salted carmel ice cream and bone marrow but it was damned good.

The idea of DineLA (other cities call it Restaurant Week, I believe) is to get new faces in the door and new butts in the seats, impress them with your culinary delights so much that they will come back, when the menu has returned to full price and become regular customers. It’s a great plan but I’m not sure how well it works. The fact is that I’m lazy and haven’t taken any poles or done any real journalistic research. I can only speak from my own experinece that the faces that I see in my own restaurant who put their regular (very pricey) menus aside and ask for the much discounted DineLA menu enjoy their meal emmencially, but don’t return until DineLA rears it’s delicious head again six months later. And I know how I oppertate as well. I don’t want to imply that we are cheap diners, and I’ll have you know that we are excellent tippers, but I think it is more of a matter of comfort, conveince and craving. All though my chilled pea soup was deliocus, I’m not sure I’ll crave it enough to go back and pay a full inflated price for a bowl of it. But I do find myself craving (often, I might add) the Eggs Blackstone from Hugo’s Restaurant and so I go there, DineLA be damned and enjoy them. It requires no apps, it requires little discussion or deliberation. We eat what we like and where we like and don’t let a semi-annual event dictate our dining life for the entire year. After re-reading that sentence I realized we sound a little boring. Oh well. At least I follow my friend’s instragram account and I can live vicariously through her.

Endless Opportunities : In and Out of Print

July 27, 2013 · Print This Article

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1. Artist Residency Program is open for applications at the Experimental Sound Studio:

ESS is extremely pleased to announce the next installment of the Artist Residency Program, thanks once again to a generous grant from the National Endowment for the Arts. We will offer four 40-hour residencies through the 2013-14 Artists Residency Program (ARP). Candidates must be US residents; at least three of the residencies are for Chicago area artists, and one residency will be open to a non-Chicago US artist. Each residency includes access to the ESS recording facilities with engineering assistance. http://www.experimentalsoundstudio.org/pages/artist_residency_program/24.php

2. Apply to the Propeller Fund! Gallery 400 at the University of Illinois at Chicago and threewalls announce a call for applications to the Propeller Fund, entering its fourth year as a granting opportunity for independent visual artists, curators, and visual arts groups in Cook County, IL. Applications are due August 1, 2013, with 15 grantees announced in October 2013. A total $50,000 will be disbursed in 2013. More about that on their website here.

3. And this from Edra Soto on facebook: OPEN CALL – WIND CHIME 

As part of the events taking place during the Chicago Artists Month, Garfield Park Conservatory will be hosting the exhibition WIND CHIME. Garfield Park Conservatory has made available 30 trees to display wind chimes for this exhibition. THE PURPOSE OF THIS CALL IS TO:• Complement the art & music programs taking place during the Chicago Artists Month at Garfield Park Conservatory.• An opportunity to promote your organization events during the East Garfield Park weekend of art sponsored by Chicago Artists Month and New City.• Strengthen the relationship of the East Garfield Park arts communities.ELIGIBILITY:This call is open to artists with residence in East Garfield Park and artists affiliated to the following neighborhood organizations: Switching Stations, Albany Carroll Studios, West Carroll Avenue Studios, West Side Cultural Arts Council, The Golden Dome, Adds Donnas, Devening Projects, The Hills Esthetic Center, The Franklin, Julius Caesar, Peregrine Program, East Garfield Park GUILDHOW TO APPLY:• Submit a comprehensive sketch on jpg format no bigger than 1240 x 1240 dpi that illustrates your idea accompanied by a word document with that includes: your name, phone number and email; a brief description of the concept and materials you will be using to create your project; your affiliation to East Garfield Park community.• Send applications to edrasoto@hotmail.com• Open call starts Wednesday, July 17, 2013 and ends Saturday, August 23, 2013 CRITERIA:• Original, artistic quality. • Safe materials.• Strength of build sculpture /weather resistance. Your work will be exposed to unpredictable types of weather. GPC is not responsible for damaged work.• Works needs to be delivered ready to install. • All sculptures will be displayed suspended high off the ground.

I’m admittedly inspired by today’s Printers Ball (hence the poster above), and as a result the following calls are a bit unusual for a visual art blog. However, I think the following publications could offer interesting avenues for the publication and dissemination of your visual work/research practices/writing. I’m always interested in finding bridges between disciplines. So with that disclaimer in mind:

4.  Journal of Artistic Research:

We invite submissions to JAR from all fields and disciplines in which artistic research may be relevant, including areas that may not usually be conceived of as ‘artistic’. Although the journal has emerged as a result of demand in the academic field, JAR welcomes submissions from practitioners with or without academic affiliations. 

The key problem for many involved in artistic research is ‘writing’ and its authority. In response to this, JAR introduces a new format for publishing artistic research, the ‘exposition’, a multi-media document that can combine and interlink text, image, film and audio material on one or more scrollable pages. Go here to read more about their submission process and see examples of the work they have published in the past.

5. Cabinet Magazine: Deadlines for forthcoming issues for which we are accepting submissions:

Issue 52 (Winter 2013–2014, with a themed section on “Celebration”): 15 September 2013
Issue 53 (Spring 2014, with a themed section on “Stones”): 15 November 2013
Issue 54 (Summer 2014, with a themed section on “The Accident”): 15 February 2014
Issue 55 (Fall 2014, with a themed section on “Love”): 15 May 2014
Issue 56 (Winter 2014–2015, with a themed section on “Sports”): 15 August 2014
Issue 57 (Spring 2015, with a themed section on “Catastrophe”): 15 November 2014 

Details on their guidelines and submission process here.

6. Hobart 15 (a print anthology) — HOTEL CULTURE

We’re reopen for print! And… you know the deal. We rock a theme issue every other issue, which means we’re due for a theme. Our theme: HOTEL CULTURE.

What that means: open to your interpretation.

Reminder: we love both fiction and nonfiction. Oh! Also: art.

Finally: we’re reading everything blind. Don’t put your name on your submission. If your name’s anywhere on the doc, it (and you) will be disqualified. (I guess, also, no need to be clever or impressive in your bio, as we won’t be able to see them anyway.) More info here.