Something we don’t do enough of here at Bad at Sports is trumpet the successes of our various contributors. Â It sort of happens piece meal, sometimes, but considering that the project is and always will be an artist run type thing â€“ our collaborators are more then just the deep thinkers, aesthetes, and vulgarians you know them to be! Such is the case with our Tom Sanford and his new show at Kravets|Wehby in NYC.
The show includes new portraits of Marcus Samuelsson, Diane Von Furstenberg, Walt Fraizer, Bill T Jones, Tina Fey, Woody Allen, Nicole Eisenman, Michael Bloomberg, The RZA, Â & Jonathan Lethem, and they are featuredÂ along side three â€œNew York Genre Paintings.â€
In about a week the city of Chicago will be upturned with contemporary art fervor. The art fair, EXPO Chicago, returns for its second year, along with a satellite, Fountain Art Fair. Already the city is buzzing with preparations. In the midst of all this I had a chance to email with Elizabeth Tully, Fountain Art Fair’s official Producer, about the history and aesthetic of the organization along with what we might expect at Fountain.
Caroline Picard: Can you talk a little bit about the history of Fountain Art Fair? What is Fountain’s ideology?
Elizabeth Tully: Fountain was started in 2006 as a platform for three galleries (Capla Kesting Fine Art, McCaig Welles Gallery and Front Room Gallery) to access collectors, curators and critics during the New York Armory weekend. Â We have grown to represent over 100 international galleries, artists and collectives. Â Our model is “alternative” because we give free-reign to our exhibitors, and are not exclusive to just galleries, or just independent artists. Â Our mission is for people to come to Fountain and connect with whats happening inside throughÂ installations and performances that engage visitors and push boundaries.Â Of course, people want to sell art, and they do. Â But the overall vibe is one of community and goodwill as opposed to commercial frenzy.
CP: How do you facilitate a community vibe?Â
ET: There is something special that happens when the Fountain Team gets together, and all the exhibitors show up. Â I’m sure part of it is the type of art we showcase tends to bring in exhibitors that are open-minded and down for adventure (and the Fountain Team certainly personifies that as well) People start installing their art, checking out their neighbors, borrowing ladders, lending drills, etc. Â The energy is palpable and really starts to build, by opening day its reached a fever pitch. Â That sense of “we’re all in this together” is really what Fountain is all about. Â For Chicago especially, we are working with Johalla Projects as our partner out there. Â They have been incredible, making connections and fostering relationships to help get this show off the ground and build a new Fountain community in Chicago. I think visitors can feel that goodwill when they come, and its something we take a lot of pride in.
David Kesting Presents: Brian Leo, Fountain New York 2013, photo by Kendra Heisler
CP: What was it like shifting the fair from something created as a satellite to the Armory, in NY, to a fair that travelled?Â
ET: Fountain has always operated as a satellite to these larger fairs (Armory, Art Basel Miami Beach, Art Platform Los Angeles). Â Our purpose is to provide a platform for these alternative spaces to showcase their work during these major weekends, but as an affordable art fair, our budget is always tight. The challenge is to keep the show affordable while still creating an environment that is going to be conducive to our clients selling art. Working as a satellite allows us to take advantage of opportunities created by the large shows and the audience they attract. Â It also gives us the freedom to explore new markets in new cities, and bring Fountain’s particular brand of art + vibes around the world. CP: This is related, I think, to the last question â€” but your name, Fountain and logo, point back to the infamous Duchampian urinal. Is that a moment in art history that the fair is particularly inspired by? And what bearing does it have on the contemporary art fair model?ET: Just as people were shocked by Duchamp’s Fountain, we aim to bring that refreshing spirit into everything we do. Â We want visitors to engage with art they wouldn’t normally be open to, and break from the things they have seen at all the other fairs. Â This spirit of “art for art’s sake” is at the heart of the Duchamp/DADA paradigm.
Russell Young silkscreening at Fountain Miami 2009, photo by Rachel Esterday
CP: Do you have an example of a work or a couple of works from Fountain that managed to turn your audience’s heads?Â
ET: Where do I even start??! Â Over the years there have been some amazing moments that have happened at Fountain. Â Many of them center around the performance programming, which has been curated by Bushwick-based Grace Exhibition Space for the past few years. They invited a world-renowned group of artists from Estonia called Non Grata to Miami in 2010 that resulted in a car almost being blown up! Â Non Grata returned to Miami this past December with incredible programming involving live branding. (See photos attached). During my first Miami show in 2009, I remember Russell Young pulling silkscreens live usingÂ vilesÂ of his own blood. Â I remember watching him, disturbed but so intrigued. Â It was a defining Fountain moment for me. New York 2012 exhibitors Creamhotel also brought in an amazing performance involvingÂ aerialistÂ Seanna Sharpe and her team suspended from the ceiling of the Armory, 130′ above the crowd. Â Watching that with a couple ofÂ thousandÂ people on the floor was breathtaking, we were all just looking up with our mouths hanging open. Performance art for this show will be curated by chicago-based performance space and I’m really excited to see what they bring! We will be announcing the lineup next week.
Non Grata burns a car at Fountain Miami 2010, photo by Beached Miami
CP: How do you encourage your galleries to be experimental? Is it simply the result of the ecology you have developed over the years â€” for instance do you all try and work exclusively with galleries prized for their experimentation â€” or do galleries apply with specific projects in mind, projects that you vet from your end?Â
ET: I think its a little bit of both. Â Fountain has a reputation for showcasing progressive, sometimes challenging work, so we do attract exhibitors who like to think outside the box. Â I love when potential exhibitors reach out to us with a wild idea(examples above), bringing all the elements together to help them realize that vision is, for me, one of the best parts of producing a show like this.
CP: What brings Fountain to Chicago?Â
ET: Fountain staged an exhibition in Chicago back in 2007, and we have been waiting for the right time to return. Â We were very excited to see EXPO Chicago launch in 2012, signaling a renaissance in the Chicago market. Â Then this spring, our now-partners at Johalla Projects reached out to us about organizing an alternative fair during EXPO week. Â There were so many amazing, progressive spaces in Chicago who were interested in participating in a fair, but there was no fair to represent them. Â The timing was finally right and everything has been clicking into place. We are excited to showcase our unique take on whats happening in Chicago, Brooklyn and beyond!
Seanna Sharpe aerial performance, Fountain New York 2012, photo by Morgan Reede.
CP:Â Often I feel like fairs inadvertently reflect a trending icon or strategy â€” like a deer’s head cropped up repeatedly at the last Chicago Merchandise Mart fair, for instance, last year several galleries at EXPO featured paintings with holes or tears in the canvas â€” are there any trends you anticipate this year at Fountain?
ET:Â I suppose there may be a trend towards accessibility in art. Â If that’s the case, I’m glad we’re on the front lines! I think more and more people are realizing that it is possible to have fun with art, and that they can bring amazing, original work into their home or office without breaking the bank. Â That’s a beautiful thing, for both the artists and art-lovers.
CP: You all are planning a benefit for the DIA, I believe. Can you talk about how that decision came about?Â
ET: We were alarmed by reports of Christie’s valuing the DIA’s collection and the possibility of these works being hawked to pay off the city’s debt. Â Fountain co-Founder David Kesting has a long-time affinity towards the City ofÂ DetroitÂ and the DIA. Â We believe that these works have been given in trust to the people of theÂ DetroitÂ and that legacy must be upheld. Â By pledging to funds from our VIP Preview day, we hope to ensure that thisÂ conversationÂ continues, and that support builds momentum.
I was missing the earth so much that I watched a 98 minute movie of the light changing from day to night high up in the Sierra Nevadas. The trees are beautiful in the way trees are, but not too showy. There is no discernible movement in the frame beyond the changing position of the sun and the automatic shutter of the camera slowly trying to adapt. I was missing the earth and I was thinking of duration and those were things I would have been thinking and feeling even if I hadn’t been at the final day of the Onion City Experimental Film and Video Festival. But I was and those were things to think and feel about.
James Benning‘s Nightfall is a curious piece. His works are often challenging structurally, but saying the logic of this one is simple is like saying the simple logic of this is one. We watch the trees and they are still. We watch the light and it changes slowly. It would change more slowly, but the camera is doing what it can to keep up. Fauna haunts the aural space and I thought I even heard what sounded like human sounds. Mostly I floated in and out of the cinematic space (the seats, the people around me, my thirst, someone else quenching theirs, the size of the rectangle, the quality of this light) the represented space (the trees are so beautiful, there are fourteen main trees, there are an additional dozen supporting trees, the light coming through the branches looks like someone I know, the light through these branches looks like a stranger) and the space between (could I sit on the stump I’m imagining for this long?, when was the last time I spent this long seated with my head facing one direction?, when was the last time I spent this long seated with my head facing one direction outside?, how much better must this be to be there instead of here?, how has the concept of nature become so abstracted from [my own, at least] daily life?, what is that phrase about seeing forests and trees?, is this based on that?).
I do well with so-called durational works. Maybe it’s because I meditated as a child or have a very (let’s not say hyper-) active interior life (though my suspicions are that everyone does) or because my durational muscle has been honed through years of grueling training. Whatever the reason, I found Phil Solomon’s Empire to be satisfying, beguiling and eminently watchable. Immediately after the screening, I asked Patrick Friel, the festival’s director, if there would be another chance to watch it. Empire is a 48 minute remake of Andy Warhol’s film of the same name. Instead of, or maybe in the stead of, an indexical film in which the titular State Building takes center stage, Solomon’s video takes place in Grand Theft Auto’s Liberty City. Time passes quicklyâ€”two minutes in the game representing an hour in the worldâ€”even if slowness is the dominant feeling.
I was going to and still might write through Empire, telling you everything that happens. I might make a newspaper of it and then scan that and put it on a thousand flash drives and throw them from the top of a scale replica of the Empire State Building (from Liberty City). I don’t have it in front of me, so my memory will have to suffice. This is another type of reenactment, of bootlegging, covering or translating. The first thing I remember is the glistening, glittery reflection of the sun in the water that I chased long after it had gone. There is slow but continuous garbage flying toward us: perhaps someone printed out my newspaper. Airplanes appear regularly about an eighth of the way across the screen. They fly a straight line and disappear once they pass by (or seemingly hit) the unharmed protagonist. At a certain point light orbs pass from one side of the screen to the other, while the building abides. The sky changes, drastically. The different buildings turn on and off at different times. The sun. The wind is mostly steady and a truly delicate lull. The moon. I saw no cars. The splotches of fog that signaled incoming weather were terrifying. The rain almost shook me to my core with anticipation. I don’t ever play video games but I feel like I should, like I’m missing some of the critical ways that culture is moving. Sometimes I read about video games so I won’t be an alien in the senior home.
I had seen Empire before, on a monitor. I probably watched for a few minutes. I chuckled because I know about Andy Warhol and know about Phil Solomon and know about video games and know about the new media one-liner and know about duration and know about simulation and am a sensitive viewer with a rich interior life. But I probably watched it for a couple of minutes at most. I am an advocate for the space of the cinema. I think it’s ok for a work of art to be bossy and tell me to sit still and watch the whole thing until the lights come up. No talking, no texting. I also love talking and texting, but I know sometimes that makes listening and watching and being present and letting the mind wander a lot harder. I’m not telling you these things because I don’t think you know them, I’m just telling you them because this is my turn to be bossy. Even if we’re both talking and texting during the production and reception of this text.
It’s official, Chicago artists are back from their residencies and vision quests and it is time for the fall gallery season. Inaugurated this weekend with about a million openings from River North to the ‘burbs and back again, we’re still reeling. Here are some photos while we iron out our thoughts:
Oh, this brave new art world! We didn’t know QR codes could actually do something but this interactive curiosity greets you at the entrance to Technoromanticism, a strictly new media show curated by Alfredo Salazar-Caro at Jean Albano Gallery on Friday night.
Performance finally showed some skin at the second iteration of THIS IS NOW A MAGAZINE: Dwyer/Fraccaro/Wylie in Logan Square last week. Things were anything but comfortable at the Comfort Station during a performance using CAM4 and something having to do with Buffalo Bill that we wish we could erase.
This pink combo stole our heart at LVL’s opening for Quandry on Saturday night.
Volume Gallery debuted their completely amazing and beautiful renovated space on Friday night with a show by Jonathan Muecke. Despite all the new space (or maybe because of it) the gallery was totally packed. This photo is from SightUnseen
Tyson Reeder’s opening at Peregrine Program celebrated some of Club Nutz greatest hits, and reminded us that we need to hit the beach one last time before fall!
Sterling Lawrence was super conceptual and all, but we thought these Alain Biltereyst pieces at Devening Projects + Editions were cute in a good way and would fit way better in my studio apartment.
Cave of Lascaux blows everyones mind: Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum closed this weekend and if you didn’t make it we are truly sorry. This show had more new media than the SAIC BFA exhibition and we swear those cave paintings could be hanging in Shane Campbell and no one would bat an eye. We would go into greater detail, but fortunately for you, dear reader, Daniel Baird’s already wrote a piece on the exhibition and it is awesome. Who knew that ancient cave paintings were so totally superficial? Totes recommend you read it, we’ve been using Dan’s ideas to sound smart at openings all weekend.
Woman makes strong case for ladies:
In case you couldn’t tell, WTT? loves the ladies, and we couldn’t be more excited to see the rest of the art world catching on. One lady show opened up this weekend with two to follow next week at Heaven and at the Frogman Gallery. “Lady Painters” curator, Gwendolyn Zabicki, sent us a hot tip on some required reading by participating artist, Sarah Weber. “Had I written a critical essay for Lady Painters, I would have liked to have written the very excellent one by Sarah Weber for Being a Woman in an All Woman Show.” WTT? couldn’t agree more. You can prep for both of these openings next weekend by reading Weber’s statement now.
Art Newspaper on artists in newspapers:
Writer, Martin Bailey, covers the seriously late breaking news of Van Gogh’s ear incident after re-discovering an article from the Parisian paper Le Petite Journal published shortly after the incident on December 26, 1888. While doing research for his book on the artist, Bailey discovered the clipping, shedding new light on possibly the best artist gossip of all time. Making news in Paris all the way from Arles? Van Gogh is just lucky that the Impressionists didn’t have Facebook.
Stop by LVL3’s MRKT and pick up a FREE copy of San Fransisco Arts Quarterly featuring an interview with the gallery’s director, Vincent Uribe, and artist, Josh Reames.
Artists confused, think they are musicians
Visual artists do unthinkable and create sound
Last Thursday night WTT? made our first outing to Constellation. The venue’s unassuming brick facade under the overpass on Belmont and Western betrays the clean yet cozy interior of the bar. Intent on seeing live music on a Thursday night, Constellation was a great option. That is to say, the show was free. This art reporter was intrigued by the line-up: two reasonably well known visual artists (1/2 of Sonnenzimmer, Nick Bucher, and recent Hatch resident, Jordan Martins) performing with Constellation’s purveyor, Mike Reed, on drums.
Not to be mistaken for real musicians, the artists turnt virtuosos played an assortment of objects that would have made any dadaist proud.
Martins started the set playing guitar, but soon switched over to two broken guitar necks on a table which he “played” by jamming screwdrivers between the strings while strumming with chopsticks. Butcher wasn’t any more conventional “playing” a record player and what looked like a jumble of assorted cables that we’re not even sure were plugged in.
Even real musician, Mike Reed, got into the readymade spirit. It was weird enough that he played the drums with a tiny rake, but what was next to the drums was a regular Duchamp. Was it a rice cooker on a styrofoam cooler? Some instrument we’ve never seen before? We’re still not sure.
Despite using what appeared to be broken instrument pieces and household bric-a-brac, the trio was other wordly, playing a set that meandered through melodic ups and downs, punctuated by Butcher’s off beat electronics. Super chill for a Thursday night, I just wish they had better cocktails. (The Pimm’s cup was alright.)
Constellation is located at 3111 N Western Ave.
Header image is a photograph from inside Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum.
An interview with Melbourn-based artist Amy Spiers â€” we talk online dating,Â social practice Â and plans to remove the Sydney Harbor Bridge in an upcoming, collaborative work â€œNothing To See Here.â€Â Amy Spiers is a Melbourne-based artist and writer interested in socially engaged and participatory art. She employs a cross-disciplinary approach that includes photography, video, installation, text and performance for both site-specific and gallery contexts. Amy completed a Master of Fine Art at the Victorian College of Art in 2011. During her studies she explored strategies for inviting viewer participation in her art. Listen to our convo here.Â
Wendy Lee Spacek submits the last segment of her summer series of Indianapolis adventures focusing, this time, on what fall has in store:
A guest post from Daniel Baird came in this week, by way of Chicago Artist Writers. Baird writes about the Field Museum’s exhibitÂ Scenes from the Stone Age: The Cave Paintings of Lascaux, exploring the implications of the replicas its contains and their relationship to virtual space: