As many of you know this Friday will be busy.
If the regular handful of events and openings was not enough, then you will be excited to add the SAIC MFA show (of which I was involved as a guess curator) and then round out your night with a little bit of Ox-Bow benefiting. Many of the Bad at Sports family have participated in Ox-Bow and I am very fortunate to be teaching there this summer. If you have to pick one or the other here is a hint: the MFA show will be there Saturday, the opportunity to be in Bill Padnos’s home and collection will not be.
Here is their info.
After more than a decade of inviting you to the Chicago Winter Benefit, we are taking a break in 2013 to introduce: The Ox-Bow Drive Series. An amazing roster of Ox-Bow friends will open their homes to host small events in order to raise funds for Ox-Bow.
You are invited to the 2nd party in our series at the Ukrainian Village home of Bill Padnos, former Ox-Bow Managing Director, a long-time supporter and, collector of Ox-Bow art.
Featuring Mexican food by Ox-Bow Chef Eric May (http://www.ericchristophmay.
$25 per person.
2018 W. Thomas Street, two blocks south of Division
Damen Bus north to Thomas Street
Street parking available
So this is it; the last entry of Thoughts from Across the Cultural Divide. It’s appropriate that I’m writing it on a plane from New York to Milwaukee – that’s where I wrote my first one and most of the ones in-between.
I boarded bent on finishing before landing in Milwaukee as a kind of ceremonial gesture, but I came down with a bit of writer’s block. More like writer’s diarrhea, really; I couldn’t seem to reduce the last 26 entries into a succinct bite-sized wafer of truth fit to reflect what I’ve gleaned.
Fidgety, I reached into my pocket and pulled out a small piece of foil-covered hard candy and struggled over whether or not I should eat it.
I actually started unwrapping it, almost placing it on my tongue before rewrapping it and carefully putting it back in my pocket. The guy next to me must have thought I had a disorder. As I sat with the candy in my lapel pocket, I dwelled on this strange apprehension. Why did eating it feel so, well, unholy?
The candy in question was taken from a Felix Gonzalez Torres art piece, “Untitled (Portrait of Ross in L.A.)”, from the Art Institute of Chicago, where I had taken a class on a field trip a few days prior. With my class in tow, I picked a couple pieces off the top of the pile, eliciting a hushed gasp from some onlookers. The security guard stood by stoically knowing very well the nature of the situation. Only after establishing that he was cool with the move did the rest of the visitors take their turn grabbing souvenirs. Did anyone get the wonderful metaphor? Did the sacredness of the context turn Torres’s point into an object to be fetishized?
I explained the nature of the work to my students, how the dwindling supply of candy represented the fragility of existence and, specifically the disease that tragically took Torres’s partner’s life. They seemed moved, if still content to have a bit of insider material.
Only a week earlier I had gone to the Lutheran church in Cedarburg. I attended in spite of the fact that I’m not religious. My wife and her family have belonged to the church for years, and the pastor is surprisingly ecumenical. That day, when it came time to take communion, I hesitated. Somehow, watching from the back pews, faking my way through the Lord’s Prayer and mouthing hymns I didn’t know, seemed ok, but consuming a wafer and some wine that represented, or, depending on your level of devotion, actually WAS the body and blood of Christ, pushed it. But, still, I headed toward the altar.
His body tasted surprisingly bland; his blood vintage Franzia, and, though I didn’t feel the prescribed transubstantiation, I did feel something more profound than indigestion.
This unexpected twinge reminded me of a piece by James Gleick that was in the “New York Time Magazine” a few years ago about the auction value of the Magna Carta. He describes a passage from Philip K. Dick’s novel, “The Man in the High Tower”, where two similar cigarette lighters are placed side-by-side, one owned by FDR and the other of no significance. One with ‘historicity’, the other without.
The narrator muses:
“Can you feel it? … You can’t. You can’t tell which is which. There’s no ‘mystical plasmic presence,’ no ‘aura’ around it.”
Or is there?
Though he doesn’t invoke it specifically, Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction,” seems to hover palpably over Gleick’s analysis. Are there plasmic presences? Are there auras? No and yes. As Benjamin noted in the essay we all choked down in art school, auras are born from artifacts that derive power from ritual. And rituals require gangs of believers to endure. And most of us, wherever we locate ourselves geographically or metaphysically, happen to believe in something strongly enough to wring a little plasma from it.
So, Religion? Culture? Not so different from 38,000 feet above the earth. Both are terms ascribed to all those things we can’t know for sure. And if you’re familiar with Descartes, Montesquieu, Wittgenstein, Barthes, Derrida or even CNN, there’s a LOT of things we don’t and indeed can’t know.
So what I’ve taken from 18 months of immersion in Wisconsin’s more parochial precincts is that one person’s “Light of Christ” might simply be another’s frisson of energy evoked by a Richard Tuttle wire piece or a Donald Judd “Specific Object”. Aren’t we all looking for a little transcendence, never mind where we get it or what we decide to call it?
There’s a lot of religion in a Tuttle and a lot of culture in a Lutheran pancake social.
It’s funny when you can feel the antagonism about your remarks as soon as you utter them. Now is one of those moments. My friends are generally from the tribe that would side with the transcendence brought on by a great work of art, rather than a passage from the “Book of Job”. Most of my acquaintances would probably claim that I’m making a false and probably dangerous distinction – the religious right influences politics, right? Indeed. They infringe on the civil rights of individuals because of a bunch of ghost stories in a book written millennia ago? Sure. They can’t compromise because their truth is not based in reason, but in the supernatural, right? Sometimes.
But then again, I felt something like sacrilege eating a piece of candy that was only ever meant to be a metaphor. And it occurred inside the hallowed temple walls of an institution that kind of chooses to keep those metaphors hidden, and in turn, keeps their congregations beguiled and charmed, perpetuating the aura of the object. That institution has priests who anoint objects with quasi-spiritual value. They have groups that help to canonize object makers. Not as metaphor-makers but as spirits. They have rituals, liturgies and taboos. They have saints and they have sinners. They all contribute to creating cultural relics that are sold at auction for prices that dwarf that of the most sought after religious relics on earth.
So if it walks like a duck…
Felix Gonzales Torres might be my favorite artist in the world. And God or god or Donald Judd rest his soul, I don’t think Mr. Torres ever wished for me to be spellbound by the aura of his art, only moved by the poetic truth it could impart by being an achingly wonderful metaphor for the sadness and confusion we all share in a world that overwhelms us.
So right now I will eat Felix Gonzalez Torres’s candy as a metaphorical gesture recognizing the power of art over the supernatural and all that mystical plasma that charms us into thinking we have an answer of a higher power.
28 episodes of The Cultural Divide reduced to one wafer of truth.
Like so many in our worlds, Brett Kashmere’s engagement with art spans making, writing, teaching, curating, editing and organizing. Perhaps more impressively, he’s good at each of these. His subjects often pertain to history, collective identity, sports and the ways they articulate and actualize each other. His essay film Valery’s Ankle (embedded below) is deft and provocative, mixing personal history, social questions and rib-rattling editing toward a peek beneath the pads into Canadiana. His latest project, From Deep, signals a switch to the basketball court and the United States. At the same time, it maintains an interest in fan-culture, hybrid forms and a commitment to rigor without opacity and invention without pretension.
Raised in Canada, Brett has lived in Pittsburgh (while teaching at Oberlin) for the last several years. He is known perhaps equally for his own filmmaking as he is for his critical writing, his work editing INCITE Journal of Experimental Media (medium disclosure: I have a piece in the next issue) and his curatorial pursuits. INCITE does an excellent job of publishing works both scholarly and playful (a G-Chat conversation between Jesse McLean and Jacob Ciocci, for instance) without privileging either or presuming one form might have a monopoly on all types of insight.
As part of the exhibition Spectator Sports (opening this Thursday!), Brett will be screening his work and discussing it with Lester Munson at the Museum of Contemporary Photography in Chicago on Tuesday, April 23rd. Graciously, he never brought up the name of this publication in relation to his own work.
You’ve curated, written about and made films about Canadian identity. I have dual (US and Canadian) citizenship. Half of my family is Canadian and I’ve spent a decent amount of time in Canada and thinking through the issue of Canadian identity. No identity is fixed and national identity can be as useful or as destructive as any other unwieldy, essentializing concept. That said, I’m hoping you might elaborate a bit on where your thinking is on the issue now and how it’s changed in that last many years of living in the States.
I agree – national identity is an abstract, complex construction, a symbolic category, which serves both good and bad purposes. As someone who works a lot with sports as a subject, it’s disturbing to see how they’re often used, in ways subtle and overt, to stir up nationalist sentiment and prop up dangerous ideologies. I’m thinking of that famous quote from Ronald Reagan: “Sport is the human activity closest to war that isn’t lethal.” He meant that as an endorsement. On the other hand, sports provide a common, everyday, shared experience that has deep (often under-acknowledged) reverberations and significance. I’m most interested in its relationship to place and community, as a kind of folk culture that is potent and tribal, rather than as an instrument of national identity.
I finished Valery’s Ankle shortly before immigrating to the U.S. in 2006, to upstate New York. At first it didn’t seem that much different than living in Canada, though the Iraq War certainly cast a shadow over everything during that period. It was a dark time. There was a distinct feeling of uneasiness, which I attributed to the political circumstances, and that did seem to dissipate somewhat after Obama’s election (replaced by a different, more manufactured form of paranoia).
The longer I live in the U.S., the less I feel connected to Canada but the more I come to recognize differences between the two countries. Part of that understanding is intuitively felt, and part of it has to do with core principles and attitudes rather than anything related to day-to-day life. When I think about what it means to be Canadian, I often come back to the question: “Where is here?” For Northrop Frye, that was the central question of Canadian identity. Our sense of self is determined by external factors, the things beyond us, which we don’t control. Whereas in America, identity seems determined from within – “Who am I?” – and rooted in those founding American ideas of personal liberty and freedom.
I’ve only ever watched Valery’s Ankle on home screens. In particular, I’ve enjoyed being able to watch it on my laptop and scan through it, returning to certain parts and skipping over others while thinking about the work and this interview. In this changing media landscape, there are lots of new opportunities for works to be experienced. Typically for works that do not originate with intentions for the small, portable screen, we maintain an understanding that this isn’t how they’re supposed to be experienced, but this is what we have. UbuWeb recently tweeted “UbuWeb is a photograph of a painting.” For video works whose form is shifting and fluid (are there people who really think a new export with a different codec is an inauthentic copy?), this is a little more complicated. I have been speaking recently with others who (in this mode of speaking) identify as a fellow makers of “dense video work,” and are excited by the potential of video for the home, for the computer, because it allows the chance to view and re-view. With works in the essay tradition, this seems to be an even greater boon.
A common response I hear about my work is that it’s dense. I use a lot of text layers and sources, onscreen and through voice-over, and the editing style is usually fast – I like a constant flow of images and ideas. I’m not interested in making conventional documentaries that you can watch once, process the information, and arrive at a satisfying conclusion. Even though it’s unlikely and probably unreasonable, I embrace the idea of making work that will reward multiple viewings. So in that sense, the home computer, the small portable screen, offers a lot. I’m glad you find value in returning to certain parts, in shuttling back and forth. I prefer that its reception be productive and relational, not merely consumptive.
Then again, I consider the filmmaking that I do to be part of a cinematic tradition, best suited for the theatrical screening context. The conditions of that experience are still important to me: the large image, the fixed starting and endpoints, the focused attention, the darkened space, the social dimension. But more and more, I find that situation to be limited and unsatisfying, at least for the kind of work that I make. I would like for it to circulate more freely, and across platforms; to be more available to more people than the one-time theatrical screening allows. I’m not sure that YouTube is the answer, in terms of the mindset that’s required for viewing a longer essay film or video. But perhaps the work can exist in different forms, as a modular construction, and the platform determines the version of the piece that you see.
In perhaps a similar vein, how does your work in curating and writing impact your filmmaking practice? Does the skillset of the curator align with the culling and positioning of archival materials? Does critical writing engage the same part of your brain as making critically-engaged films?
I tend to think of curating, writing, and filmmaking as distinct and separate parts of my life, linked together by expertise in editing. They definitely impact one another, sometimes consciously and sometimes in coincidental or supplementary ways. My work as a curator and a writer, for instance, has influenced my approach to filmmaking, which I’d describe as a research-based practice. From Deep, the project that I’m working on now, about the cultural history of basketball, feels at times like a curated film. It relies on the editing together of hundreds of discrete elements, including movie clips, music videos, TV commercials, video game footage, and so on, which are interwoven with self-shot “moving snapshots” of the game. I can easily imagine an exhibition on the same topic, or a book. But I don’t think those forms would connect or communicate in the same way, the way I prefer. The moment-to-moment conjunction of image and language, which provides the central tension, the collision and mix of ideas within a set period of time, being able to control the entire experience and where people enter the work, those factors require that it be a film or a video.
In terms of the overlapping skill sets, my working knowledge of film/video production helps when I write about and curate moving image artwork. I understand the technical aspects and logistics of film and digital media, and I know what to pack when I’m presenting a screening to avoid technical problems and troubleshoot. But crafting narration for a film is quite different than writing a critical essay or a curatorial text. Writing voice-over requires constant revision, to get the timing, sound and flow of the words right and it can’t be too complicated. It’s one of the final stages, so often the sequence lengths are already set and the text has to fit into predetermined blocks. It’s about concision – how to say the most with the least. But being able to write critically helps in the pre-production and post-production phases, in the preparation of grant applications and the development of secondary writing about projects.
In Valery’s Ankle, you declare your interest in asking questions (over providing answers). Have the intervening seven years answered some of these questions? Have you found this interrogative mode of making to be productive or frustrating to audiences?
Posing questions is a useful rhetorical device, a way of opening things up. I’m interested in the anti-authoritative perspective, in the amateur or fan’s point-of-view, and in Foucault’s notion of counter-memory. Many of the questions that I ask in Valery’s Ankle can’t really be answered, and aren’t meant to be. If they provide an opportunity for individual reflection, or if they provoke a discussion, that’s great, that’s the ultimate goal. I don’t think the mode is frustrating for audiences. I’m careful about building in different entry points and levels of engagement. Accessibility is important to me, and so are variety and surprise. I like to frequently shift between a first-person mode of address, the subjective, and a more straightforward presentation of facts and evidence: Here is where I’m coming from (my frame of reference) – here are some things you may not know about (forgotten or overlooked histories, silences of memory) – here’s why I think they’re important (the argument). The viewer can decide for herself whether the argument has merit, whether the connections I’m making are sound, and whether I’m to be trusted as a reliable narrator.
The things that I struggle with are: How to synthesize the personal with the formal investigations? What is important as information? What does the viewer need to know in order to follow the work? Where is the point of convergence between local and universal experience? I also work from a basic assumption that every record (every fact) has a b-side. There’s the side that is marketed and sold, but the other side is usually more interesting.
For all of its formal inventiveness and engagement with the expressivity and history of non-fiction filmmaking, Valery’s Ankle is still an immediately watchable film. The questions that it poses are quite literally posed and the gestures you make toward an expanded notion of nonfiction film (perhaps the space between documentary and essay) fit and flow seamlessly. Will you speak a little about questions of legibility and the ways a background in “experimental” media can impact other types of making? Am I just “in too deep[ly]” to see that this work is secretly difficult for non-specialized audiences to enjoy?
Having a background and an ongoing interest in experimental film has definitely shaped my approach. I don’t consider the work that I make now to be part of that tradition, even though it circulates in that world. I feel like that background does give me some license, or drive, to mess with the tropes and conventions of documentary. Alternately, the appearance of documentary provides cover for the more formal investigations, the manipulation of the image and so on. Creative nonfiction is probably the most accurate description, but it’s more of a literary term. It hasn’t quite crossed over into film and video, even though a lot of my favorite work– by practitioners such as Jackie Goss, Harun Farocki, Michael Moore, Chris Marker, Barbara Hammer – fit that categorization. Also, I don’t believe the work is automatically difficult for non-specialized audiences to enjoy. That hasn’t been my experience. It doesn’t give viewers enough credit. The public screenings that I’ve attended often elicit homogenous, guttural groups reactions to the visceral and/or humorous parts; that kind of bonding amongst strangers can have a powerful effect.
Lately, I’ve been motivated by a couple of overlapping concepts: Brecht’s notion of a theatre (or a cinema) of pleasure and instruction, and the idea of “edu-tainment,” which I associate most with the hip hop artist KRS-One. I’m trying to find ways to bridge accessibility with critical inquiry. I don’t want to make straightforward work about sports – there’s already a lot of that out there, like ESPN’s 30-for-30 series. I enjoy those films – they’re well produced and fun to watch, but once they’re finished I never think about them again. It’s institutional storytelling. The one exception that comes to mind is Brett Morgen’s documentary about the O.J. Simpson chase, which stands out because of its unusual form: a found-footage compilation that presents the events of one day – June 17, 1994 – with no commentary. It’s a mesmerizing piece, and a reminder of how much the media landscape has changed since then. The 24-hour news cycle really begins right there, with those long helicopter shots of O.J.’s white Ford Bronco navigating the L.A. freeways.
Speaking of specializing audiences, how have hockey fans (in particular Canadian ones with long enough memories) reacted to Valery’s Ankle?
In many ways, hockey fans have been the best, most accepting audience for Valery’s Ankle. Part of that is by design. I’ve presented the video in a lot of places across Canada, in a lot of different contexts – from academic hockey conferences, to big city and small-town film festivals, university classes, art galleries, microcinemas, sports bars. The sports bar is almost an ideal setting for me, because I work with a formal language that most people understand, the language of sports broadcasting. If you’ve ever watched a hockey game in a bar you’ll know that nothing captures mass attention like a hockey fight, even though, nine times out of ten, they’re the most banal things to watch: a couple of guys clutching one another and spinning in slow circles for two minutes. Valery’s Ankle pulls you in with the fighting, the spectacle, but then it flips things around. It starts posing questions about our common assumptions of hockey violence. For instance, when, and why, did fighting become an accepted part of the game? What is the deeper meaning behind the trophy for most sportsmanlike behavior in hockey?
The people who are old enough to remember the 1972 Canada-Soviet Summit Series either don’t remember the slash – Bobby Clarke’s intentional breaking of the Russian star Valery Kharlamov’s ankle – or never knew about it. The visual evidence scarcely exists – it happened quickly, with no camera close ups. The image quality is poor. No one is truly surprised by it, though, as Clarke had a brutal bully reputation, but the general response is one of embarrassment for the sanctioned dirty play, and the fact that the Canadian men’s bodies were so out of control. If there’s a negative reaction, it’s usually from people who don’t think I go far enough with the critique; that I leave too much out. The violence touches a nerve.
I’ve received a lot of wonderful notes and messages over the years, saying to the effect that Valery’s Ankle has changed, or modified, their opinions about hockey and its relationship to their identity. The video has acted as a bridge piece (peace bridge?) between artist friends and their dads, who wouldn’t normally have much tolerance for experimental work. Just yesterday, I received an email, out-of-the blue, from an established Canadian filmmaker, a person I’ve never met but have great respect for, who wrote: “my 15-year old son and I watched Valery’s Ankle and he thought it was ‘awesome’; me too! thanks for providing that perspective with such calm passion, along with the great hockey images.” I can’t really ask for anything more than that.
Will you tell our readers a bit about your most recent project and what they’ll experience at the Museum of Contemporary Photography?
The MoCP will be showing a couple of my pieces as part of their upcoming exhibition, Spectator Sports (April 12–July 3, 2013). In addition to the video essay Valery’s Ankle, there is a newer work titled Anything But Us Is Who We Are, which is comprised of two parts: a burned LeBron James Cleveland Cavaliers jersey, framed and mounted on the wall, and a live video game feed of James (in Cavs uniform) holding a basketball at center court in an otherwise empty arena, waiting to be activated, perhaps in a moment of indecision, contemplation, or awaiting orders from the viewer/fan/agent/gamer. The game controller is displayed in such a way that you can’t actually use it.
For me, the piece was a way of exploring and coming to terms with the limitations, but also the agency, of fandom. The bond between fans and players is so tenuous, so illusory, and typically one-sided. In his great book Black Planet: Facing Race during an NBA Season, David Shields writes that “Fans want to think it’s us against them… and that the players on ‘our’ team are in cahoots with us, in some difficult-to-define way – difficult to define, since their contempt for us is so manifest.” LeBron’s decision to leave Cleveland for the Miami Heat in 2010 demonstrates the volatile nature of this relationship. It was such a charged moment, because as fans, we like to believe the players play “for us” and that we’re part of the team, or at least recognized by and important to the team. But this isn’t really the case. They play for themselves and each other, and we invest symbolic meaning in a multimillion-dollar corporate enterprise.
Nonetheless, when a cherished star leaves town, it’s hard for those fans not to feel betrayed. Complicating this is the fact that nearly all of the NBA’s owners, team executives, and paying customers are white, while nearly all of the players are black. The struggle to possess and control the subjects of our sporting affection is such a potent metaphor. In many ways, sports have been at the vanguard of social change in America. I don’t think it’s a coincidence that the racial integration of baseball in 1946, followed by NBA’s integration in 1950, preceded the racial integration of schools in 1954. Athletes like Jackie Robinson, Muhammad Ali, Tommie Smith and John Carlos did a great deal to bring awareness to racial inequality, and helped to erode the structures of racism that were inherent at the time. When Obama was campaigning for president in 2008, he deliberately played up his interest in basketball, to make himself more relatable (the professor could hoop, too).
In addition to the exhibition, I’m doing a public event on April 23rd at the museum. I’ll be screening excerpts from my in-progress feature documentary From Deep, and discussing the culture of basketball with Lester Munson, a writer and legal analyst for ESPN, who also teaches journalism at Northwestern.
I was a tremendous basketball fan at one point. I have dozens of books and VHS tapes on the subject and still find myself accidentally stuck in the mental morass of John Starks’ number of Dikembe Mutombo’s full name on occasion. Will you talk a bit about the personal shift you made from being a hockey kid to a basketball one and about the larger societal shifts in fandom? Why make a film about basketball instead of baseball (our supposed national sport) or football (our apparent cinematic/televisual national sport)?
That transition, from hockey to basketball, occurred during my teenage years. Typical of Canadian boys during that time, I started played competitive minor hockey at age 5. After ten years of full-time play and grueling travel, I realized hockey wasn’t the sport for me anymore. Part of it was the danger, the fear of serious injury, since I was the smallest kid on the team. But a larger part of it was an evolving sensibility – I just wasn’t into the small-town, country-and-western, hockey-obsessed prairie culture. By then I was listening to rap, fascinated by graffiti, urban style and expression, and following the NBA. This was a golden age for basketball: Jordan was just reaching his prime, Magic and Bird were still in the league (this also around the time that Magic revealed he had HIV); the video game NBA Jam was a huge success. Then there were the 1992 Olympics and the Dream Team, which took basketball to an even bigger stage internationally. I was also really into Skybox basketball cards, which had those amazing computer-generated abstract backgrounds, and also the Arsenio Hall show, which often had rappers and basketball players as guests. Michigan’s Fab Five were bringing hip hop fashion and swagger to college ball. It was all cool, and fun and exciting. Basketball hoops were suddenly popping up on driveways everywhere. A tremendous shift was occurring. The world got much larger, seemingly overnight.
Although, unlike baseball or football, basketball is less rooted in American myth, it is, in my opinion, the 21st century American sport. It is certainly more global and easier to play: You don’t need a lot of equipment or a lot of space, it can be played outdoors or indoors (all weather), by yourself or in almost any sized group. It’s democratic. Everyone does everything on the court – there aren’t highly specialized roles, as with baseball or football. I like those sports and enjoy watching them but I never really played them growing up. So basketball was the natural next step for me, as a subject to explore. I’ve been thinking that my next project might be about football, though. With all of the recent studies that have come out about head injuries in football and the long-term effects of repeated concussions, it seems to be facing a major crossroads. The game, and the NFL, will have to adapt to this new science or it will become obsolete. It’s an interesting parallel to where the U.S. is at in right now in its history, as an international power trying to maintain its primary place in a changing global landscape. The idea of the masculine warrior athlete, and of sports as a gendered institution, a “school for masculinity,” is no longer contemporary, or relevant. It’s time to evolve.
Switching gears to some of your other endeavours, is there a specific niche you’re hoping for Incite to fill? How are you approaching print/web publishing decisions? What are some historical forebears whose output has influenced the project?
As an undergraduate film student, I loved flipping through back issues of Film Culture and Millennium Film Journal and smaller, more idiosyncratic hand-bound journals like Spiral. Those publications had a big impact on me, as did Jonas Mekas’ “Movie Journal” columns. The way he mixed criticism, advocacy, community building, and poetic language into his writing was inspiring. I knew from that point forward that I wanted to start a journal. My favorite types of writing have always been artist statements, manifestos, personal essays, letters and filmmaker responses to their colleagues’ work.
INCITE was founded in 2008 with the goal of reinvigorating the culture, community, and discourse of experimental film, video art, and new media. P. Adams Sitney made a comment around that time, in an interview with Scott MacDonald, decrying the lack of new writing about experimental film and video, at a time when it was going through a huge creative resurgence. That was a major catalyst.
From the beginning, INCITE has embraced a plurality of forms and approaches, combining the spirit, eclecticism, and individuality of zines and artist books with the review process and editorial methods of academic publishing. In addition to scholarly articles, INCITE regularly prints manifestos, aesthetic statements, artist projects and drawings, archival documents, “G-chats,” diagrams, collage-essays, and so on.
Through the integration of print and online platforms, we attempt to distribute our publishing activities as widely as possible while also providing a material trace, a tangible legacy. It’s important to me that we publish an annual printed issue. But those take so much time to produce, and are dependent on volunteer time. The current issue that we’re working on right now, Exhibition Guide, has over 50 contributors. We decided a few years ago to create an online interview series (“Back and Forth”), which would allow us to have an active publishing presence between issues. We have a couple of other web initiatives planned, including a reprint series of important texts that are difficult to find or no longer available, with new contextualizing information; and a “work bench” series, which will feature annotated documentation of artists’ studios and editing spaces. And we’re close to finishing our first artist monograph, on the work of the pioneering Canadian media artist David Rimmer. It was edited by Mike Hoolboom, and will be available as an e-book on our website as well as in a print-on-demand edition.
This week’s podcast came from the Marin Headlands — a beautiful site just on the California Coast — where Brian Andrews and Patricia Maloney joined Jordan Stein and Daren Wilson to talk (among other things) about Wilson’s “stalker paintings.” Wilson has made a recent practice of copying Morandi’s still lifes — even the distortions that result in the pixellated computer reproductions Wilson works from. You’ll also hear Duncan’s robot voice in the intro, which is good reason to tune in.
It reminds me to recommend going to see Guy Ben-Ner’s new film, “Soundtrack,” presently screening at Aspect Ratio in the West Loop — “Soundtrack” pulls the audio of Spielberg’s 2005 blockbuster, “War of the Worlds,” grafting it to the artist’s kitchen.
THIS JUST IN: Music is, indeed, trending. While I did not see the Cave/s in person I was excited by all the hubub around two caves meeting in person. Maybe most of all, this performance sounds amazing: ”Everything we know about Passover we learned at Bobby Conn‘s final residency performance at the Hideout last Tuesday. His full band including Tim Jones fronted brass section was nothing short of a Pesach miracle.” That and more from WHAT’S THE T? (hooray!)
According to Jeriah Hildwine ”the frost giants [have] finally abdicate[d] their annual reign over Chicago” which is good news in an of itself, though he writes primarily about his experience applying to MFAs, getting enrolled or rejecting, choosing this over that. “Like Maximus said in Gladiator,” Hildwine writes, ”‘The choices we make in life echo in eternity.’” And, it turns out, Chicago is a pretty good place to end up.
Anthony Romero continues his on-going series WHAT CAN BE DONE WITH DANCE? and interviews Rebekah Kowal about her book, How to Do Things with Dance: Performing Change in Postwar America, exploring the relationship between social activism and dance choreography.“As of late” Romero writes, ”I have been writing a great deal about strategies and modes of resistance. I have been thinking about the usefulness of dance, of the power of embodied action to simultaneously imagine and enact alternatives to dominant schemas of value that exclude what Judith Butler has referred to as the “ungrievables”. Those whose lives are devalued by social conditions and governmental policies to such an extent that if their life were to extinguish it would go unnoticed.”
Chiming in on Hildwine’s reference to transitioning seasons, Jamilee Polson Lacy writes with news from The City of Fountains, connecting a collection of noir short stories, Kansas City Noir, with some exhibiting artists:
“…transitions—seasonal or otherwise—are unruly. Kansas City artists Nicole Mauser and Caleb Taylor make paintings and collages which illuminate the wild, sometimes dark, often whimsical transitions that happen in the studio. Taylor, who currently has a show up at Sherry Leedy Gallery, presents a series of paintings that, like spring’s arrival, struggle to emerge through the dense fog of the artist’s heavy black brush strokes. But with the collages, Taylor is able to clear out the fog where necessary in order to contrast harsh lines and geometries with soft shadows and dazzling light. Indeed, these compositions read like atmospheric interludes designed for scene transitions in Film Noir flicks like Panique and Kiss Me Deadly.”
Kelly Shindler posted about the ghost of Pruitt-Igoe, a large public housing project in St. Louis that still continues to influence contemporary artists today:
“The ghost of Pruitt-Igoe looms large in St. Louis. The 33-building public housing complex, designed by Minoru Yamasaki (who was also the architect of the World Trade Center) and completed in 1954, has long fascinated architectural historians and enthusiasts alike. Designed in accordance with Le Corbusier’s utopian ‘Towers in the Park‘ vision, its demolition began less than twenty years later in 1972 as the site fell prey to dried-up funding, mismanagement, and subsequent decrepitude and crime. According to architectural theorist Charles Jencks writing in 1977, the notorious demise of Pruitt-Igoe, captured on film and televised widely at the time, marked the day that ‘modern architecture died.’”
“What does it mean when a city of almost three million with a thriving art scene has not a single full-time art critic?” Abraham Ritchie asks Chicago Media Publications, pointing out that most publications rely on freelance writers.
“If the Chicago art community wants more, more national and international attention and recognition, more major artists staying in Chicago, more opportunities across the board from sales to exhibitions, it’s time that we demanded our major newspapers and magazines step up and make a commitment. It’s time we had an art critic in our newspapers.”
“[Churchill] loved his landscapes and still lives and painted over an estimated 500 in his lifetime. What drew a man of such political power to something like painting? He saw it as the end-all, be-all of anxiety, which I think says a lot coming from someone who nicknamed his own clinical depression.”
All this talk of Churchill reminded me about Orson Welles. I remember my own mother seemed to intensely admire both men, and had various anecdotes about both of them. Here is a very strange clip to that end —
Winston Churchill—one of the most famous men of the 20th century— was the Prime Minister of England (twice!) and a big, sappy painter. He loved his landscapes and still lives and painted over an estimated 500 in his lifetime. What drew a man of such political power to something like painting? He saw it as the end-all, be-all of anxiety, which I think says a lot coming from someone who nicknamed his own clinical depression.
Churchill was an accomplished writer as well, establishing a close friendship with American publisher Emery Reves — who would inevitably begin to collect the politician’s paintings. Reeves would later die in 1981 but soon after his wife, a native Texan, would establish the Wendy and Emery Reves Collection at the Dallas Museum of Art.
In Churchill’s 1932 meditation, Painting As A Pastime, he begins with remedies to avoid worry for those who have to “bear exceptional responsibilities.” He states:
Some counsel travel, and others retreat. Some praise solitude, and others, gaiety. No doubt all these may play their part according to the individual temperament. But the element which is constant and common in all of them is Change.
Change is the master key.
Preston Hollow is a northern suburb of Dallas, Texas and the home of former president George W. Bush. It takes, according to Google maps, about 10 minutes to get from downtown Preston Hollow to 1717 N Harwood St, the home of the Dallas Museum of Art. Make a few turns here and there and inevitably, you are surrounded by paintings by the most powerful Prime Minister of all time.
Since the news spread in early February of Bush’s new interest in painting, and the inevitable link between the two men, I’ve thought a lot about what it takes to take up any act of artistic expression after immense anxiety. All crazy theories aside, I don’t really think it’s that far fetched to assume that Bush, the recent (for-a-lack-of-a-better-word) “victim” of cyber hacking, is unaware of the paintings by Winston Churchill.
Churchill was pretty unabashed about the masculine attributes of his endeavors. Painting, he felt, was like fighting a battle. Speaking of his initial hesitation to begin, he realized “anyone could see that it [the canvas], could not hit back.” It was, in his opinion, great for reducing the worry brought about by public pressure.
Though subject matter for Churchill was always of a tame, amateur nature that had been in vogue for hobbyists for a long time. The typical English countryside, French landscape or an orchid set up are his most notable works—never (thank goodness) any implied nude self-portraits. Churchill did not live to see the post-Warhol world, though, and was probably too busy to notice the Abstract Expressionists or any other Avant-garde art movements at the time. After his initial stint as Prime Minister, he was briefly in the United States to give the Iron Curtain speech and was probably monitoring The Cold War thereafter as Leader of the Opposition party.
So while in theory he proclaimed in Painting as a Pastime and elsewhere that painting held strong sentiments to war and ‘conquering a canvas’, as it were, Churchill’s actual paintings were anything but war-like.
In order to make his plan, the General must not only reconnoiter the battle-ground, he must also study the achievements of the great Captains of the past.
He must bring the observations he has collected in the field into comparison with the treatment of similar incidents by famous chiefs.
You see the difficulty that baffled you yesterday; and you see how easily it has been overcome by a great or even by a skilful painter. …You will look at the masterpieces of art with an analyzing and a comprehending eye.
George W. Bush is rather famous for waxing over any misgivings about his presidency by saying on numerous occasions, “let history be the judge.” If Churchill has given a precedent regarding hobby-painting after leading a war-driven administration, is it safe to say that Bush is attempting to reconcile his previous gutsy, no nonsense Cowboy persona by tapping into his artistic side?
He wouldn’t be the first but he is certainly the strangest.
 Originally appeared in Churchill’s essays of adventures, Amid These Storms
 Churchill took up painting at the age of 40 and was Prime Minister the first time, during WWII at age 66, when England was part of the allied forces against Germany, headed by Adolf Hitler—another famous politician and painter of the 20th century. President Franklin D. Roosevelt wasn’t a painter but an admirer who established a role for artists as part of the New Deal. Supreme Commander of the allied forces, Dwight D. Einsenhower (later 34th president) was known to dabble in oil painting, Churchill’s preferred medium.
 Given on March 6th, 1946 at Westminster College in Fulton, Missouri, Churchill touted his long skepticism of Soviet control in Western Europe despite their former status as an major ally force. At the time Jackson Pollock still lived in relative obscurity and most artists at the time were seen as Communist-leaning, or “nutty” as President Truman saw it.