“Jeff Koons’ balloon dog guest-starred in “Night at the Museum” and he was married to an Italian stateswoman!”

“So what,” I barked. “If you set up an autograph table at a shopping center in Peoria and had Jeff Koons sitting there next to a B-list actor like, say, Harvey Keitel, a line would form in front of Harvey that would lead around the block and they’d think Koonsy was his assistant.”

Buddy #1 disagreed that Harvey Keitel was B-list, and I granted that he was a poor choice as an example. Buddy #2 wondered if and why anyone would line up at a shopping center for crappy celebrity autographs, and I granted that the scenario was a poor choice to reflect recognition. We were splitting hairs at that point, quibbling over semantics about what is “small town” America and what are the measures of “universality.” But even after accounting for the language slippages and fallibilities, we remained in disagreement over Jeff Koons’ esteem outside the cultural beltway.

In Wisconsin a few days later I decided to conduct a test of my hypothesis by posing the question to actual small townspeople. The test was completely unscientific; I chose my subjects from a single department of a Target store at 2PM based mostly on who seemed least likely to run away from me.

I asked a woman with a chain of Valentine’s Day lights in her hands, “Have you heard of either the artist Jeff Koons or the actor Joe Mantegna?”

“I can’t place his face but I’ve heard of Joe Mantegna. No idea who Jeff Koons is…should I have..is this a Target promotion?”

My first thought after she answered the question was that in Williamsburg, Brooklyn, the average person wouldn’t be nearly so happy to interact with an inquisitive stranger or to concede ignorance.

I repeated the inquiry with seven other shoppers, one man and six women. Five yeas for Mantegna and none for Koons. Though I have some reason to believe that at least two of the subjects were confusing the star of “Airheads” and “Searching for Bobby Fisher” with a famous football player, Mantegna clearly took the round.

I left Target with some padded envelopes, a sense of triumph, and still, a tinge of dejection that the father in Joan of Arcadia was infinitely more recognizable than the most prominent living visual artist in the solar system.

Those padded envelopes were for a residency application that I was trying to get out before 5PM. When I got home, I signed my letter, wrote out the addresses on the front with a sharpie, sealed the envelope shut and walked to my father-in-law’s office to steal some stamps. He caught me rummaging through his desk drawers and, after a semi-good natured joke about my freeloading ways, handed me a book of stamps, and I headed to the post box. It was only after I fished the book of stamps from my pocket that I realized that they were Ronald Reagan commemorative stamps staring at me like it was 1983. I came so close to adhering them to the front of the envelope, but in the end, I just couldn’t bring myself to send them to what were most likely progressive liberals with personal vendettas against the Gipper.

I saved the letter for the next day, when I could buy some bells or forevers. On the way back I thought, “how self-conscious have I become that I would choose even my postage stamps with guile?” Then I immediately started resenting the art world for being shallow enough to justify my fears, knowing that a rejection due to the implications of a postage stamp was not far-fetched.

So, the question I’m proposing for the next shop-talk drinking session is whether eight Midwestern Target shoppers, ignorant to the genius of Jeff Koons, would ever think to politicize a postmark? And whether and to what degree I am paranoid.

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The 12×12 was singular as a gateway for artists who were trying to keep “emerging” from becoming a lifelong prefix to their title as “artist.”  It carried a certain prestige that came with the MCA name, and looked like solid gold on a resume.  At least, it sure seemed that way to those of us who were recently out of grad school and yet to have our first solo show in a “real gallery.”  Getting in was tricky, since you couldn’t apply:  recommendations were made in part by previous 12×12 artists.  This had the result of it being very much a who-you-know proposition, and SAIC alumni were pretty heavily overrepresented in its roster.  Nevertheless, and as naive as it sounds in hindsight, it seemed like the kind of thing that could really launch your career.  And, let’s be honest…I wanted one.

That never happened, of course, and the program ended with Ann Toebbe in October 2011.  The end of the 12×12 followed the arrival of Michael Darling as new Chief Curator of the MCA, and many blame (or credit) Darling with killing the program.  Associate Curator Tricia Van Eck left shortly thereafter, and she had been a strong advocate for keeping the program intact.  In an interview I did with her for Chicago Art Magazine, Tricia gave her reasons for defending the program:

“While I was fully aware of the problems of the short turnaround of the UBS 12 x 12 New Artists/New Work show, I voiced strong interest in the show remaining. It was a model for institutions across the country and provided a great opportunity for artists to show work and have it seen by local, national, and international audiences as well as curators, dealers, and collectors. I am sure this will remain in the new model, although obviously to less artists each year.”

The “new model” Tricia refers to was referred to for a while, informally, as the “4×4,” probably because it was intended to be a quarterly series.  Now called “Chicago Works,” the program started in November 2011 with Scott Reeder.  Next up are Laura Letinsky (opens February 7) and Molly Zuckerman-Hartung (opens May 1).  All three names should be familiar to anyone who follows the local art scene, as they have all exhibited extensively in Chicago, and galleries represent all three.  They certainly stand far more established than the artists who participated in the 12×12 program, many of whom were fresh out of their MFA programs and had limited exhibition records.  Few had gallery representation.  For these artists, the 12×12 could represent a first step towards launching their careers, towards getting gallery representation, or moving their careers forward in other ways.  At least, again, that’s how it seemed to us as the time, as we hoped for that invitation.

But the program ended, and the Chicago Works series is proving itself to be an entirely different kind of animal:  admirably dedicated to promoting Chicago artists, but out of reach for artists who have yet to establish themselves.  So I wondered, what would come to take its place?  Was another institution prepared to host this debutante’s ball, or something like it?

The closest parallel to the 12×12 that I could think of was the ThreeWalls Solo program.  Unlike the 12×12, admission is by application, but it seems to fill a similar niche in terms of the resume level of the artists exhibited.  I’ve attended many of their openings, most memorably Amy Mayfield, now represented by Zolla Lieberman Gallery.  The artists shown tend to be very early in their careers, but of a particular strength and ambition.  The ThreeWalls Solo program remains a great opportunity for emerging Chicago artists to have a debut solo exhibition in the heart of the West Loop.

Another stellar exhibition opportunity for relatively unknown artists in Chicago is Tony Fitzpatrick’s Firecat Projects.  Firecat Projects is the building that used to be Tony’s studio, converted into an exhibition space where Tony shows work by artists who he feels deserve more attention than they’ve been getting.  It’s a great opportunity for artists looking for an exhibition in Chicago, especially considering that that Firecat doesn’t take a commission on work sold, nor do they take any fees from the artists.  Tony Fitpatrick is just the kind of decent goddamned human being who, upon realizing he’s made it to the top of the mountain, turns around and reaches back to offer his helping hand to the fellow behind him.  It’s the art world equivalent of holding the elevator for someone, and we need more people like Tony, who are willing to do this.

Other application-based exhibition opportunities exist at the Hyde Park Art Center and the Chicago Cultural Center.  Both institutions are well-known, openings tend to be quite well-attended and reviewed, and I’ve seen some very good shows at both of them.  The large, primary exhibition spaces tend to be given to curated, themed group exhibitions, sometimes traveling from other locations or collections, but they sometimes show lesser-known Chicago artists, often in the smaller galleries, and these shows can move an artist’s career forward.  For example, painter Darrell Roberts’ exhibition at the Hyde Park Art Center led directly to his representation by Thomas McCormick.

As far as museums are concerned, though, the MCA’s 12×12 program was unique in its dedication to showing emerging Chicago artists.  Certainly the Art Institute of Chicago hasn’t shown any initiative in this direction.  The spacious new Modern Wing could easily accommodate a dedicated space for emerging artists, several times the size of the 12×12 room, without making a noticeable dent in the amount of their permanent collection they would be able to exhibit.  I would love to see a program like this at AIC but I’m not holding my breath.

Chicago’s smaller museums may offer some hope.  The relatively new Elmhurst Art Museum, curated by Aaron Ott, former gallery director at David Weinberg Gallery, has shown from its first few shows to have a commitment to exhibiting Chicago artists, some near the beginning of their careers or at least on the front end of the mid-career stage.

The DePaul Art Museum, in its brand new building, has also opened with a strong showing of local artists.  The new space’s inaugural exhibition, Re:Chicago, features exclusively Chicago artists, though not necessarily emerging.  The artists in this exhibition were chosen by members of Chicago’s art community, and include artists from the past two centuries as well as living artists both established and fairly new, although even the youngest and newest could hardly be called “emerging.” Juan Angel Chavez (in Re:Chicago) and Jason Lazarus (Highlights From The Permanent Collection) are young and living; go to enough openings and you’re sure to run into them, maybe hang out and drink a beer with them.  They’re people we know, but their careers are already well underway.  Both are represented by galleries (Chavez by Linda Warren; Lazarus by Andrew Rafacz), and both have shown in significant museums before.  Angel Otero (Re:Chicago) is younger (MFA 2009) but already he’s had a solo exhibition  at Kavi Gupta and been reviewed in ArtForum.  These are all nice guys (Lazarus and Chavez I know personally, and they’re nice guys, and I’ve heard nothing but good things about Otero) who do good work, but they’re hardly emerging.  They’re emerged.  They have already been vetted by whatever powers we have vested in Chicago’s cultural institutions, and while their inclusion in DPAM’s exhibitions can only help their careers, it’s hardly likely to open any doors for them that aren’t already open.  (But hey, congrats guys!)

While I routinely mourn the loss of the 12×12 program, and yearn to see something take its place, it may be that this occurs, as After Image may do, by including newer artists in regular exhibitions, not by specific programs which compartmentalize and segregate emerging artists into dedicated programs like the 12×12. Although a significant feather in the cap of any artist given one, the 12×12 could also be seen as a sort of ghetto within the museum, for artists who had been accepted only into the foyer and given the equivalent of the “Prospect cut,” a vest given to a would-be member of the Sons of Anarchy motorcycle club from the television series of that name, while a probationary member not yet granted full membership in the club.  It may be a sort of naïve optimism (something of which I am rarely accused) that leads me to hope that, perhaps, the DePaul Art Museum and others like it will do the art world one better than the 12×12 ever did, by inviting emerging artists to mingle with the more experienced, rather than segregating them out, keeping them waiting in the foyer until ultimately seating them at the kids table.

Some more potential exists in the upcoming exhibition “After Image,” scheduled for September 13 to November 18, 2012.  This exhibition will feature artists who “have all either studied with, were influenced by, or share influences with” the Chicago Imagists.  When I asked Louise Lincoln about whether they had any plans for exhibiting work by emerging artists, she told me that the museum had no specific plans for anything like what the 12×12 was, but that After Image would feature a good number of emerging artists, many of them from Chicago.  It may be that DPAM will serve as conduit for the work of emerging Chicago artists by including them, frequently and mindfully, into regular themed group exhibitions such as After Image.  We can only hope that DPAM continues in this direction, and perhaps, if its not too much to ask, that some of the bigger players in town follow their example.

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This week: Duncan and Amy Mooney talk to motiroti.

Founded in 1991 by Keith Khan and Ali Zaidi, motiroti brings together artists who are devoted to multidisciplinary exploration and whose work has been presented internationally. The collective investigates how forms of expression circulate among cultures and seeks to foster exchanges among communities in Britain. The collective’s mandate is to reach a diverse audience made up of followers of avant-garde theatre and the general public. motiroti’s approach draws on several art forms. Previous credits include theatre productions and performances, installations, urban interventions and short films.

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This just crossed our email inboxes, and we know Bad at Sports has more than a few listeners/readers who are going to be interested in submitting work to this competition. Note the deadline is coming up soon! So read on, and get those slides and jpegs in order.

New American Paintings 2012 Midwestern Competition

Deadline: 2.29.12 (Midnight EST)

Juror: Lisa D. Freiman, Senior Curator and Chair of the Department of Contemporary Art, Indianapolis Museum of Art

New American Paintings is a museum-quality, soft-cover art periodical, published bimonthly by The Open Studios Press. Each 184 page volume is a regional exhibition-in-print, selling for $20 at 1,500 bookstores, museum shops and art supply stores nationwide. The books have become periodical resources for collectors and art world professionals.

Competition winners retain all rights to their images and pay nothing to appear in New American Paintings.

 Now accepting entries from:

IL, IN, IA, MI, MN, MO, OH, and WI

The competition’s 40 winners will appear in the Aug/Sept 2012 edition of New American Paintings.

 All styles and media are welcome, as long as the work is singular and two-dimensional.

 To Enter, visit:

http://www.newamericanpaintings.net

For more details, visit:

http://www.newamericanpaintings.com/competitions.html

 Questions? Call 617.778.5265

 www.newamericanpaintings.com

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Work by Barron Storey, Elizabeth McGrath, Jeff Gillette, Carlee Fernandez, Laurie Hassold, Jen Heaslip, Shane Guffogg, Sandra Yagi, Clive Barker, Eduardo Villacis, Jessica Curtaz, John U. Abrahamson, and Gabor Ekecs.

Bert Green Fine Art is located at 8 S. Michigan Ave. Open house Saturday, 12-7pm.

2. Ground at Roxaboxen

Work by ACRE resident Rebecca Beachy.

Roxaboxen is located at 2130 W 21st St. Reception Sunday, 4-8pm.

3. Asylum at Linda Warren Gallery

Work by Nicole Gordon.

Linda Warren is located at 327 N. Aberdeen. Reception Friday, 6-9pm.

4. (NO) Vacancy at Carrie Secrist Gallery

Work by Lauren Anderson, Vincent Como, Antonia Contro, Alex Gartelmann and Jonas Sebura, Angelo Musco, Jamisen Ogg, Javier Pinon, Liliana Porter, Joel Ross, Alette Simmons-Jimenez, Paul Anthony Smith, and Dietrich Wegner.

Carrie Secrist Gallery is located at 835 W. Washington Blvd. Reception Saturday, 5-8pm.

5. Drawings at Russell Bowman Art Advisory

Work by Nicolas Africano, Norman Bluhm, Roy De Forest, Carroll Dunham, Philip Guston, Robert Hudson, Elizabeth Murray, Gladys Nilsson, Jim Nutt, Ed Paschke, Elizabeth Peyton, Joel Shapiro, David Smith, William T. Wiley, and Terry Winters.

Russell Bowman Art Advisory is located at 311 W. Superior St. #115. Reception Friday, 5:30-8pm.

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"Troupe" photo by John W. Sisson, Jr.

Many of these discussions about hybridity seem to center on the borders of identity: those places we feel something might end so that another substance, or self can begin. Language is essential in the communication of those boundaries; it enables a consensual agreement. The very act of naming, for instance, differentiates one body from another. I am curious about how language is embodied and how an artist invested in movement-as communication might explore that position. I thought I could interview performance artist, Justin Cabrillos. He is particularly focused on how the body and language relate: what seemed like an additional progression from my last discussion with Vanessa Place. Drawing on elements of dance, performance art, poetry, and sound art, explores an inefficient use of breath, the valleys of nonsense and physical exertion. Cabrillos was an IN>TIME Incubation Series artist-in-residence at the Chicago Cultural Center, and a 2011 LinkUP Artist at Links Hall. He recently collaborated with Every House Has a Door in a performance for artCENA in Rio De Janeiro. He is the recipient of a Greenhouse grant from the Chicago Dancemaker’s Forum.

Caroline Picard: I’m interested in how you integrate language and the body: there is something about this process that makes a lot of sense to me, in so far as both the body and language are mechanistic. In your performances, you seem to embody the two at once, calling attention to the ways in which the body gives life/animates language. At the same time, I feel like you also illustrate a kind of twitch or glitch in both, as they merge  — is there some way that you could talk about this?

"Faces, Varieties, Postures" photo by John W. Sisson, Jr.

"Faces, Varieties, Postures" photo by John W. Sisson, Jr.

CP:  What is the function of breath in your work?

"Troupe." photo by John W. Sisson, Jr.

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Over the weekend, I met artist and brewer Christopher Tourre at his house as he and Lance Curran, his partner in Arcade Brewery, brewed a five and a half gallon batch of beer they call Oatmilk Stout. Tourre brews on his kitchen stove in big gleaming steel pots. At the same time that he showed me a page of obscure calculations made in composition notebook, the mash assembled by those same calculations steeped in a rough plastic cooler of the kind you normally bring iced and bottled beer to the beach in. A hardware store spigot juts out its front for easy drainage. Chris tells me that some home brewers get extremely scientific in their process, invoking hyper accurate measurements and fine-tuned equipment to get as close as possible to target flavor components like International Bitterness Units (IBUs). But even a highly trained human tongue can only pick out a range of a few IBUs. Add in layers of complexity like sweet flavors from the beer’s malt or extracts added to it and the exact measurement becomes even harder to guess at without equipment.

Taking the mash's temperature

For Tourre and Curran, this kind of ambiguity is an asset to be celebrated both in their beer and in the engagements they’re looking to build around it. The imperfect process and intuitive understanding a brewer have are just two things that make brewing an artful craft. While Arcade is certainly intended to function as a business, lessons that come from participatory art and event-making are also primary concerns. Last year, in a month-long residency at Spoke, Tourre invited the public to both sample his own beer and to share in the creation of original brews. He connected with foragers and garderners around Chicago to make small batches of beer and soda using ingredients they found or grew. He also gave free home-brewing workshops. At the end of the month, he hosted a tasting of all the different beverages crafted with his co-creators present to share the stories behind each drink.

Although the Public Brewery at Spoke was firmly planted in the realm of art, it also helped Tourre and Curran’s business prospects. The residency got them in touch with New Chicago Beer Company, opening soon at The Plant—an indoor vertical farm in the Back of the Yards. Arcade will be renting New Chicago’s equipment between cycles to brew their first commercial batches. But public events are not intended to shrewdly forward a brand and network. Tourre and Curran think of interfacing with the public as more than market research. As they shift from an art project to a business, they’re aware of certain values they want to hold onto. “Sometimes it’s easier as an artist to create a convivial spirit and atmosphere.” Tourre says, “How do you stay sincere when it becomes a business? How do you take something that I would do as an art project and convert that over to a money making endeavor? How do you keep the same spirit, legitimacy, and authenticity? That’s part of the challenge for us.”

Because the beer isn’t in the bottle yet, sincerity and collaboration with the public are mostly guiding principles at the moment. But Arcade does have a few plans for keeping audiences substantially involved in what they do. Public Brew sessions will work much like the residency at Spoke did: people can attend causal brewing sessions where Tourre answers questions and explains every step of the process. While Arcade will have certain beers available year-round, their seasonals will be decided by a process of public consensus. People will be able to submit, discuss, and vote on recipes to create seasonal brews they’ll share credit on.

Arcade is also developing some novel ideas for the design of the bottles too. They’re working with the writer Jason Aaron and the comic artist Tony Moore to create a six-pack design where each bottle will have on it a frame of an original comic that relates to the beer it holds. The central theme for Arcade seems to be that everything around the beer is as important as the beer itself. As Curran said during our brewing session: you don’t just taste the beer, you experience it. That experience manifests in the crafting of beverage and builds out to include the vessel it comes in, the type of things people do when they’re drinking it, and the understanding people have of what it is they’re consuming.

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This week: The west coast bureau keeps on bringing it large! Patricia Maloney talks with the concept engineer and Otolith Group co-founder Kodwo Eshun.

Kodwo Eshun is a British-Ghanaian writer, theorist and film-maker. He studied English Literature (BA Hons, MA Hons) at University College, Oxford University and Romanticism and Modernism MA Hons at Southampton University. He is currently course leader of the MA in Aural and Visual Cultures at Goldsmiths College, University of London.

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A few individual sculptures stood out, not just to me, but the hundreds of other viewers who were there with me. Possibly it was the adrenaline rush of staring death in the face, or even the perverse thrill of eluding the reaper, because by far the works that drew the most attention were the taxidermies. Squirrel, horse, cow, donkey, rabbit, pigeons (lots and lots of pigeons), and quite a few dogs. The first dog I came across startled me. So lifelike, yet obviously dead. Hanging from the ceiling, there is no way to mistake it for a living dog as might happen in previous gallery installations. As I stood looking down on it, trying to overcome the ick-factor, people passed by, stopped, and then talked fondly about their own dogs both past and present. Instead of reminding people of the lurking nature of death, Cattelan’s dogs reminded people of something they loved, perhaps even evoking life. (Pictured: Stone Dead, 1997)

Lingering in the middle of the mobile is a large, black granite tombstone, that references a wartime memorial. The catalog likens Untitled (1999) to Maya Lin’s memorial for those killed in The Vietnam War, but to me it echoes the memorial for The Great War that stands in front of City Hall in the town where I grew up. I expected to see names of soldiers engraved, but instead there is a list of all of the matches in which the English national football team was defeated. I have no idea what Cattelan is attempting to provoke from his viewer with this, but I immediately thought, These are men’s things. War. Football. Sometimes they are even treated as equals, but their losses, they are not equal. Both war and football delineate a place free of women, though sometimes we are allowed to trespass. Men’s conflicts. Men’s defeats.

Near to the bottom of the massive installation hangs a casket. Although I could see the casket from nearly every vantage point, what I couldn’t see was its resident. When I finally made my way down, there was a crowd gathered ‘round. The security guard stepped aside and took me by the elbow to get me a better spot, which I’ve never had happen before. There in the casket lay Kennedy, looking as perfect as if he had never been shot. Put simply, it was strange to see Kennedy there. I had to ask, whose loss was this? Kennedy’s? The nation’s? Now was made in 2004, but I wondered if Cattelan could see into our future eight years later. Here we are as a nation fetishizing this moment in history, arguably, one of our nation’s most devastating moments. But unlike today, it was a moment that was simple. Grief is simple.

For those who couldn’t make it to the show, The Guggenheim website has much to offer. There is a great time-lapse video of the installation, which is as laborious as any I can imagine. There is a reprint of the article from the brochure, by Nancy Spector. If you’re inclined, an “interactive, multi-platform app” for 4.99. Still, after shelling out for admission and fifty bucks on the catalog, somehow another five seemed steep. It looks great, though, with John Waters hucking it. Call me old fashioned, but when I want to re-experience an exhibition, I turn to the catalog for that.

The catalog for All requires special mention. This is written by Nancy Spector, Chief Curator. It is effectively a catalogue raisonné, but I wouldn’t count my chickens before they’re hatched in that regard. The book itself is lovely, and looks like an old encyclopedia volume. It is worth purchasing, or at least borrowing from the library. However, presenting the works individually does undo the singularness of All, transforming a unified whole back into discrete works. Still, All was a rousing salute to a life’s work and the catalog reflects this.

Finally, for a good time, do check out Amanda Browder’s previous Haiku Review of All.

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Work by Eric Fleischauer, Jesse McLean, Steve Ruiz, Doug Smithenry, Theo Darst, Todd Mattei, Morgan Sims, Aaron Orsini, and Adam Rux. Curated by Jake Myers & The Octagon Gallery.

Co-prosperity Sphere is located at 3221 S Morgan. Reception Friday, 7pm-12am.

2. Schematized at Firecat Projects

Work by Justin Amrhein.

Firecat Projects is located at 2124 N. Damen Ave. Reception Friday, 7-9pm.

3. Tetragrammatron Archive: The Robert Joseph Bell Institute for the Advancement of the Future at Thomas Robertello Gallery

Work by Jason Robert Bell.

Thomas Robertello Gallery is located at 27 N. Morgan St. Reception Friday, 6-8pm.

4. Morbid Curiosity at the Chicago Cultural Center

Works from The Richard Harris Collection.

Chicago Cultural Center is located at 78 E. Washington St. Reception Friday, 5:30-7:30pm.

5. Not Cool or Stoic at Slow

Work by Chuck Jones and ACRE resident Matthew Schlagbaum.

Slow is located at 2153 W 21st St. Reception Friday, 6-9pm.

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