Bad at Sports

Episode 351: David Salle

Christopher — Mon, 21 May 2012 16:17:38 +0000

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This week: David Salle! Great conversation. Listen. You. Now.

Endless Opportunities (Or Something)

Brit — Sat, 19 May 2012 13:14:16 +0000

Chicago! (or rather, Cook County) the Propeller Fund is up and ready for your application. Gallery 400 and Threewalls team up again for the third year in a row to award 15 incredibly lucky people and break everyone elses heart. There is also a slew of workshop and one-on-one opportunities to discuss and learn more about the process throughout the summer. Don’t be lazy!

From the website:

Propeller Fund provides money directly to artists, curators, and groups living and working in Cook County, Illinois, and seeks to support projects that are independent, informal, self-organized, and long-term or short-term. Propeller Fund recognizes that small, informal, and self-organized operations constitute a large catalyst for the creative activity and vitality of the Chicago visual art world. These projects are responsible for much of the complexity and richness in the art community.

Propeller Fund exists to stimulate further growth throughout Chicago; to encourage more varied models; to spread the activities into more diverse areas; to promote the public’s interaction with, and public recognition of such activities; and to spark ambitions beyond current formats.

http://www.propellerfund.org/

Deadline: August 1^st, 2012

UCLA’s 2012 Wight Biennial

MFA-ers in despair over the hard truth of Hennessey Youngman’s new Grad School thoughtz, the Wight Biennial is here to save you. By June 1^st.

From the website:

The Wight Biennial is curated and produced by a committee of graduate students in the art department, often in collaboration with students from other departments. The objective of the show is to exhibit this specific group of emerging artists as well as foster an investigative exchange between graduate programs at UCLA and other institutions in the United States and abroad.

The 2012 exhibition is an exploration of interference as a model for art-making and reception. The glitch, the stutter, the moiré, the illegible palimpsest, the thwarted expectation, and the feedback loop are examples of things that can be understood as interference events or as having arisen from an interference event. The artwork that we seek for this exhibition will be born from, infused with, or generate interference. It will contain a rupture or divergence from the agreed upon language that it appears to use.

Cue the Deleuze. More info here: http://newwightbiennial2012.tumblr.com/

Some links for y’all:

New York Fine Artist’s classifieds of opportunities and services, mostly for you east-coasters.

Re-titles evergrowing repertoire of announcements, especially focusing on the internationally minded.

College Art Association’s very professional listings of conferences, fellowships and call for proposals.

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Top 5 Weekend Picks (5/18-5/20)

stephanieburke — Fri, 18 May 2012 12:41:09 +0000

1. The Road to Candyland at Antena

Work by Nick Black.

Antena is located at 1765 S. Laflin St. Reception Friday, 7-10pm.

2. Inno-scents at EC Gallery

Work by Teiji Hayama.

EC Gallery id located at 215 N. Aberdeen St. Reception Friday, 6-8pm.

3. 40,000 Fathoms Before the Eye at 65Grand

Work by Brian Kapernakas.

65Grand is located at 1369 W. Grand Ave. Reception Friday, 6-9pm.

4. How Things Stand at ACRE Projects

Work by Janine Biunno.

ACRE Projects is located at 1913 w 17th St. Reception Saturday, 4-8pm.

5. Suspended at LVL3 Gallery

Work by Richard Galling and Daniel Shea.

LVL3 Gallery is located at 1542 N Milwaukee Ave. 3rd fl. Reception Saturday 6-10pm.

A Hallucination That Is Also a Fact: An Interview with Mary Helena Clark

Jesse Malmed — Tue, 15 May 2012 14:21:03 +0000

The world of moving images is fraught with comparisons to magic, to illusions. It is our inheritance and it’s where photographic work gets its heat. Mary Helena Clark’s films work because she understands the perpetual strangeness of seeing “real life” projected on a screen. She understands how to craft a vision of that reality that is highly subjective while still being attuned to the audience’s desires, expectations and baggage. And, in so doing, her works subvert our expectations of the veracity of moving images, while at the same reaffirming the vitality of the well-timed magic trick.

The works feel like they are entirely on her terms. We experience them as we do a well-crafted magic act: the illusions’ realities owe as much to their deception as to the pleasure of being deceived. Built from varied sources—both crafted and borrowed—her films are collages in the best sense. The materials are simultaneously autonomous and inextricably entangled. They are deeply mysterious while bound to reality. And, like so many works of this kind, they give—capably and generously—as much as we’re willing to take.

She has screened widely and in many of the finest contexts the experimental film community offers. Having just completed her MFA at the University of Illinois Chicago, it is fitting that she has a capstone show of her work at Roots and Culture on May 27^th. Many of the works will be screening in their native 16mm and though I may not be allowed be to say as much, there may very well be secret works screened interstitially.

The Plant from Mary Helena Clark on Vimeo.

To begin, I was hoping you could share a bit about where you come from and what brought you to this kind of work. What were you like as an 18 year old? Did you arrive at experimental film through low-budget horror films? Punk shows? Color field comic books? And, relatedly, who were the makers and what was it they made that created that shift in your brain to begin making (or thinking about) experimental film?

I wish I could say something cool but the more honest answer is poetry. I wrote poems and a few plays and set up a darkroom when I was in high school. And then went to film school never having made any films. Robert Todd was my first teacher who showed me experimental film and taught me how to shoot 16mm and use an optical printer. I thought I would eventually make narrative films and that experimental work was a way of mastering images and building a vocabulary but it became my preferred language.

I feel like a lot of your work deals with tromp l’oeil and different types of illusion. While your images are very photographic—that is to say that instead of being computer generated, heavily processed, etc. they bear a tight indexical relationship to their subjects—but they don’t always feel real, whatever that means. Will you describe your relationship to illusion? What types of images appeal to you in the process of creating and gathering them?

I like that magic tricks still work even when you know the moves.

For me, an illusion gives you the best of both worlds. Fantasy and an awareness of its production.

In Sound Over Water, I wanted to shift the interpretation of a single image—a flock of birds— through fluctuating abstraction. By re-photographing and hand processing the images, the “read” changes. It’s ambiguously figurative—schools of fish, crashing waves, light on water—and then ends with the series of photographs acting as document, accentuating the gap between actual and perceptual.

I want to make cinema that is both trance-like and transparent: that operates on dream logic until disrupted by a moment of self-reflexivity, like tripping on an extension cord.

The man at the end of By Foot-Candle Light is completely beguiling. His performance begins somewhere between a portrait and a screen test, but then gets so lovably weird.

When I first saw this I had a feeling that this was your father and that you had invited him into your studio to chat and play around and once the camera started rolling, he slowly began to goof. There’s a really amazing intimacy in that moment because his eyes are locked on the lens and as his behavior gets stranger, there’s more interaction on the camera’s end. I’m almost reticent to have you blow this mystery by giving the back-story of this performance (and the film more broadly), but I think that too gives an interesting indication into your process.

I had the good fortune of meeting Paul Russell when he came to audition for the role of a hypnotist in another unmade film. I was trying to recreate a story my friend told me about a hypnotist coming to his middle school. He told me that a very shy and very pretty girl was picked from the audience as a volunteer. My friend’s crush on her grew as he watched her fall into a trance and “see” snow for the first time. He described this sublime scene of this girl spot-lit on stage, arms raised, turning in unseen flurries. I thought, “That’d be a nice film!” but by casting call I knew the whole project was too precious. So I filmed the auditions and conflated the making of the movie with the dream you might have had.

By foot-candle light from Mary Helena Clark on Vimeo.

My read on By Foot-Candle Light is that it’s a lot about performance. The startling and (when watched in a proper theater, incredibly effective) opening shot prepares us for an invisible star. The probing lights next take us into a mysterious cave, through a detour of what appears to be a high school dance troupe performance and into a snow-covered birch forest. The white snow gives the illusion that the trees are floating in the air or that the ground has been physically removed from the image. The grain of the trees and the grain of the celluloid undulate and breathe. Then, another illusion: the introduction of footsteps in snow. Through the dream logic of cinema, these cut to your own feet, silent in your studio. There’s applause, the mysterious man appears and, with the shushing of the crowd, his magic eye tricks begin. Does this read resonate? Can you offer some insight into how you think about performance, both in and out of films, and if/how the roving, subjective camera (and attendant lights) performs for the audience?

You got it! This is the film where the periphery becomes the focus. It’s everything that circulates around the main performance, brought up stage in the film. So yes, I wonder if the spotlight has enough pluck to be the lead. It’s sort of like a travelogue trance film à la Maya Deren. I am thinking as much about the audience as I am the performer (or absence of one). How does the texture of the film/video change our situation as viewers? When seen “on the big screen” the opening shot performs another space, other moments of the film are about teleportation. And where do we arrive? In the filmmaker’s studio. I guess that’s my take on the sweaty leap from bed, it’s all just a dream!

And The Sunflowers pairs still images of floral wallpaper with a guided meditation soundtrack, with marvelously subtle textural pulsing in the form of analog video artifacts. As the voices pulls the viewer more deeply into a hypnotic state, another layer larger, realer flowers emerge.

The effect is very hypnagogic, both hallucinatory and subdued. I have a Christopher Wool poster that I’ve played boggle with for hundreds of hours. That wallpaper felt like it’s absorbed a lot of spaced-out eye hours. The pacing in that work is notable because it doesn’t feel excessively durational (or about duration, let’s say), but it does provide the slowness necessary to give us that intimate zoned feeling.

Your work frequently fuses disparate elements, both shot and found. Do you consider them collage films? Do you have an interest in collage as a way to think about your work?

I do. I like how the phrase collage film implies an individuality to the elements of the film even after they’ve been brought together and chopped up and manipulated. They’re still these discrete things with their past lives. I like finding sounds and images that seem perfectly self-expressive, but they’re just found! And then use them with footage or recordings I’ve crafted. There’s comfort in knowing it can all make sense, that my meaning can live on top of the material’s particular history.

You were telling me a bit about your thesis and about the way you’ve adapted Franco Moretti’s notion of clues within detective novels to function as a model for thinking about avant-garde cinema. I know it’s hard to condense however many dozens of pages into a paragraph, but I’m hoping you could talk a bit about this idea and how your research has impacted the way you think about the work you made before reading it (as if, perhaps, these were clues that reveal what your work has become) and the work you’ve been making since.

It’s a wonderful conceit from Moretti’s Signs Taken For Wonders… The clue as the key to the “semantic ambiguities” created by the criminal. That in a detective novel the revelation of a clue creates new meaning to an object or event. (Moretti’s example is the band in the Sherlock Holmes’ story The Speckled Band being deciphered as band, then scarf, then snake). As a filmmaker, I am interested in the slip between signifier and sign and the multiplicity of meanings allowed when a 1:1 relationship is broken. In this noir-ish light, the world is filled with puzzles, confusing the senses, reducing a crowd to color, a dog to a syllable, darkness to infinite space. I think my earlier movies were looking for the hidden and mysterious and my newer films have a sensitivity to what’s in plain sight. Or at least that’s what I hope for. It’s the difference of staring at one’s wallpapered bedroom or taking a walk.

Orpheus (outtakes) is meant to function, at least nominally, as a series of outtakes from Cocteau’s Orpheus. Part of what makes that such an exceptional film is its reliance on relatively simple special effects to convey grand symbolic ideas. Certainly these were relatively sophisticated techniques in 1949, but their power today is imbued with an at least elementary concept on the audience’s part in how they were made. The work and its effect (so to speak) are uncanny because they are still grounded in reality, because their artifice is simultaneously total and naked. When we look at a computer-generated alien, all its variables are controlled by the makers: its relationship to reality essentially lacks context. Your outtakes maintain the film’s knack for the uncanny and magical. The direct rayogram of the chain gives us a feeling of falling or of a large chain falling, always just out of reach. And yet it is simultaneously a chain and we know how it got there.

Yes. Again it’s plainness in illusion that interests me. Méliès made people disappear by turning the camera on and off and I think the simplest tricks are a nice reminder of the ease with which the mysterious can be conjured. André Bazin has that great quote about photography ranking “high in the order of surrealist creativity because it produces an image that is a reality of nature, namely a hallucination that is also a fact.” Nice, right? I think of this quote when watching the chain rayogram in Orpheus (outtakes) that you mentioned. The image made by the object’s own outline on the film creates a flattened, rhythmically pulsating pattern. Sometimes it reads as a chain and at others a braid or a spine, but I am most interested in the vacuous space or the “rabbit hole” the object implies.

I’m with you on the deepening poetry of Cocteau’s special effects. Our awareness of his trick photography empowers them more. In Orpheus mirrors are portals to the underworld. He used tanks of water to make the “glass” a permeable surface. It’s an elegant solution for the visual effect and complicates the metaphor. In my (outtakes) I use the hole punch common on 16mm film leader as a mouth of a tunnel. We see the flash of the punch mark then the circle slowly grows to engulf the frame. It is the first instance in the film where the artifacts (dirt, scratches, lettering) become representational. The film looks to its physical condition to point to the liminal state.

In re-watching Orpheus (outtakes) I realized that I was asking you many of the same questions as the contestants on that 1950s game show from which moments of your audio are taken. They ask (and no one answers): Are you in motion pictures? Are you a comedian? Do you also appear on the stage? Do you go back as far as the silent movies? So, to further literalize this chain: will you address the role humor plays in your work? Why Buster Keaton? Why the game show?

The cartoon references like the tunnel or the blinking eyes in the dark are funny to me but also sad, goofy and lonely. A figure with no voice, no visible body, only eyes looking out where no one can see… I think it’s easy to find some stoner existentialism in these Looney Tunes tropes. Inky black voids. I love that stuff…

Why Buster Keaton? He’s always been my favorite. He’s the master of turning the everyday object into mutable forms. His engagement with the world is totally physical and pure magic.

Why the game show? The first time I heard Buster Keaton talk was on an episode of What’s My Line when he was the mystery guest. He seemed so anachronistic and alien. When I decided to riff on Cocteau’s Orpheus, I thought he should play a part since he moved (precariously) between the worlds of silent and sound cinema. And what makes more sense then a silent film star acting in a film about the underworld where it is very, very dark?

How is a filmmaker like a hypnotist?

In my case, both use the mode of direct address. You are getting sleepy. You are sitting in a darkened room. I’m always thinking about the moment of reception, and pointing to that moment as a way of implicating the audience.

Thoughts from Across the Cultural Divide: #7 (Burn Notice)

Shane McAdams — Tue, 15 May 2012 04:37:36 +0000

When I was young my dad used to school me at Trivial Pursuit every time we played. I went on thinking he was a singular genius for a couple of decades.

My reverence flagged only when I realized all the questions in the game were written by baby boomers; the answer was always Jefferson Airplane, G. Gordon Liddy or Robert McNamara. At some point, probably when I started teaching college, I came to realize that his MacNamara is my Condoleezza Rice; his Liddy is my Linda Tripp; his Syd Barret is my Jeff Mangum, etc., etc. Generations are structurally parallel to each other.

My students don’t know this yet, and as a result they treat me like I’m Doris Kearns Goodwin when I reveal what is a fairly superficial knowledge of George W. Bush’s cabinet, or the cast of various John Hughes films.

And that’s one of the best aspects of aging: ordinary, trivial information gleaned by osmosis eventually passes for legitimate historical knowledge.

I’m more aware of this osmotic knowledge when in New York. I don’t watch any scripted television or queue up for summer blockbuster movies, but I still know about shows like Psych and Burn Notice only because I wait for subway trains. A fragmented and superficial education in contemporary pop culture comes with one’s New York address.

In Wisconsin I’m blind to pop culture. There are no subway posters and where I live, no billboards. If I stumble into a Gap for some socks I may be forced to learn a new song by the Shins or Snow Patrol, but otherwise I have no connection to what others in the world are up to if I don’t turn on a television or open a magazine.

This topic came up with some friends in New York. It turned out that we had all heard of the show Breaking Bad but couldn’t say anything about its nature other than the guy in it was also in the movie, Drive. It occurred to us that we didn’t even know people who knew people in New York who watched Pscyh or Corazon Caliente, yet everyone at the table knew both shows to the depth that I do Condoleeza Rice, which is to say, not very.

The question of who was watching shows like Burn Notice and Breaking Bad simmered in my head for a few weeks when some acquaintances in Wisconsin urged me, without my provocation, to watch it the one with with the guy from Malcolm in the Middle.

“It’s amazing, you gotta check it out. It’s totally unique.”

After the recommendation, all five of them dove into a conversation revolving around Breaking Bad’s merits and left me in the dust. I contemplated the elegance and ease of five individuals sharing a consciousness through a television show. I was momentarily jealous that they had a conversational topic to share, so sat out the round sifting for pumpernickel chips in the bar snack mix. The mix had been removed of all the good stuff leaving mostly pretzels and some goldfish crumbs. This forced the revelation that in a place like Cedarburg, Wisconsin, where the culture is relatively homogenous, sharing consciousness is easier than it is in New York.

I interjected having seen a poster of Burn Notice on the Nassau subway stop where someone had scratched a vagina in ball-point pen between the legs of its star…whose name I didn’t know.I didn’t realize for several beers that I had my shows confused.

Writing this from a subway platform at Nassau and Manhattan Avenues, under a poster for Rock Star beverage and a superhero movie set to explode, an eclectic crowd mills on the platform. Asians carry Asian-language newspapers under their arms; Polish women tote the Polish daily Nowy Dziennik, and kids of a million backgrounds are drinking various energy drinks.

I’m about to shoehorn onto a train with the most diverse cross section of individuals on any train in the world, who themselves live within most Byzantine network of pop-media advertising anywhere else. I wonder how elegantly all this diversity interfaces. Does anyone know who watches Burn Notice? How much consciousness do we share in New York versus a one-bar town in Iowa? How much of this NYC multitude ends up inside of me superficially through osmosis, and how much through engaged scholarship?

I have no idea what “Nowy Dziennik” translates to, nor will I ever know what Burn Notice is about.

They always say that New York is a melting pot, but I think sometimes it’s more like the lava lamp on Grace Slick’s nightstand.

I should probably ask the woman to my left how to say “hello” in Polish.

Episode 350: Sam Gould

Christopher — Mon, 14 May 2012 22:26:17 +0000

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This week: Duncan and Abigail talk to Sam Gould.

Sam Gould is co-founder of Red76, a collaborative art practice which originated in Portland, Oregon in 2000. Along with his work as the instigator and core-facilitator of many of the groups initiatives, Gould is the acting editor of its publication, the Journal of Radical Shimming. He full-time visiting faculty within the Text and Image Arts Department of the School of the Museum of Fine Arts Boston, as well the Director of Education for the Institute of Contemporary Art at the Maine College of Art in Portland, ME. Formerly Gould was a senior lecturer at the California College of the Arts in San Francisco, Ca. within the Graduate Fine Arts Dept. for Social Practice. He is a frequent guest lecturer at schools and spaces around the United States and abroad, and has activated projects and lectures on street corners, in laundromats, bars, and kitchen tables, as well as through collaborations with museums and institutions such as SF MoMA; the Walker Arts Center; the Drawing Center; the Bureau for Open Culture; Institute for Art, Religion, and Social Justice at Union Theological Seminary; ArtSpeak; Printed Matter; the Cooper Union; the New Museum/Rhizome; Manifesta8; and many other institutions and spaces worldwide. He was one of nine nominees for the de Menil Collection’s 2006 Walter Hopps Award for Curatorial Achievement, is a founding “keyholder” of MessHall in Chicago, IL., and was the 2008 Bridge Resident at the Headlands Center for the Arts.

Fielding Practice Podcast on the Art21 Blog: “Spectral Landscape (With Viewing Stations)”

Claudine Isé — Fri, 11 May 2012 18:25:29 +0000

Our latest episode of Fielding Practice, Bad at Sports’ special podcast produced exclusively for the Art21 Blog has just posted — you can listen to it here. This month, we talk to artists Pamela Fraser and John Neff about Spectral Landscape (with Viewing Stations), the group exhibition they’ve curated for Gallery 400 at the University of Chicago, Illinois, which is on view through June 9, 2012. Spectral Landscape explores color “as both a formal and a social force,” and arrays artworks around the gallery according to a loose color spectrum. We asked Fraser and Neff to tell us more about the concept behind this excursion into color, and as always, we bring you our picks for some of the most interesting events and exhibitions coming up this month in Chicago. So visit the Art21 blog to download the podcast and listen to the conversation. And thanks so much for tuning in!

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Top 5 Weekend Picks! (5/11-5/13)

stephanieburke — Fri, 11 May 2012 14:00:44 +0000

1. The Long Stare at Andrew Rafacz Gallery

Work by Greg Stimac

Andrew Rafacz Gallery is located at 835 W. Washington. Reception Saturday, 4-7pm.

2. Over and Over Again at Chicago Artists’ Coalition

Work by Stacia Yeapanis

Chicago Artists’ Coalition is located at 217 N. Carpenter St. Reception Friday, 6-9pm.

3. Kristina Paabus and David Leggett at Hinge Gallery

Work by Kristina Paabus and David Leggett

Hinge Gallery is located at 1955 W. Chicago Ave. Reception Saturday, 6-9pm.

4. 1:1 at Happy Collaborationists Exhibition Space

Work by Olivia Valentine

Happy Collaborationists Exhibition Space is located at 1254 N. Noble St. Reception Saturday, 6-10pm.

5. Pulled: A Catalog of Screen Printing at Public Works

Work by Aesthetic Apparatus, Ashkahn, Scott, Barry, Deanne Cheuk, Josh Cochran, Michael Coleman, Jim Datz, DEMO, Rachel Domm, E. Rock, Anna Giertz, J. Namdev Hardisty, Steven Harrington, Maya Hayuk, Andrew Holder, Gluekit, Cody Hudson, Imeus Design, Jeremyville, Kaleidophant, Landland, Daniel Luedtke, David Maron, Marque & Anna Wolf, Blake E. Marquis, Scott Massey, Garrett Morin, Rinzen, Andy Mueller, Chris Silas Neal, Mike Perry, Pietari Posti, Luke Ramsey, Seripop, Chris Rubino, Nathaniel Russell, Joel Speasmaker, Marcroy Smith, Andy Smith, Sonnenzimmer, Jim Stoten, James Victore, and Hannah Waldron.

Public Works is located at 1539 N. Damen Ave. Reception Friday, 7-10pm.

What’s So Fair About Art, Anyway?

Jeriah — Thu, 10 May 2012 04:30:41 +0000

Last month would have been the latest round of NEXT/Art Chicago, Chicago’s annual art fair at Merchandise Mart. I say would have been, because early in February, it was announced that NEXT/Art Chicago had been cancelled. The announcement came suddenly, and on fairly short notice: we had already received our VIP invitation, and were planning on sending our students to the fair on a field trip. News of the fair’s cancellation first came to my attention via Facebook, the New American Paintings blog, and Chicago Art Magazine. By the following day the story had become the talk of the town, and WBEZ ran a story including an interview with Tony Karmen, VP of Art Chicago from 2006 to 2010, who recently left to start his own Chicago art fair, Expo Chicago.

As the dust of the announcement has settled over the past two months, we’ve been left to reflect on the potential consequences of the cancellation of Art Chicago, and perhaps more importantly, its significance as an indicator of which way the wind is blowing for Chicago’s future as an art city. At the end of that WBEZ story, host Tony Sarabia asked Allison Cuddy for her closing thoughts: “It’s a fascinating story, I think we’ll carry through the day working on the story, and think about the relevance of art fairs to the overall art scene in Chicago.”

The end of NEXT/Art Chicago and the beginning of Expo Chicago invite some speculation as to the role art fairs can play. In her recent article for FNews Magazine, Sarah Hamilton interviewed some local art world players, including Tom Burtonwood, Aron Gent, and Tony Karmen about their thoughts on the end of Next Art Chicago, and the dawn of Expo Chicago. Hamilton also cites an article by Jerry Saltz in which he describes Adam Lindeman’s view that art fairs should exist solely for the benefit of high-dollar collectors as “autocoprophagic.”

Must the merit of an art fair be determined on economic grounds alone? Who do they serve? Are art fairs a simple facilitation of the business transaction between gallerists and collectors? Not that there’s anything wrong with this; those transactions are how artists make their livings. But need this be the limit of what an art fair is?

As an educator, I had been bringing my college art classes to NEXT/Art Chicago (facilitated by the really easy access to free passes), and had been looking forward to having Expo Chicago as a Fall Semester counterpoint. Of course, the very accessibility that would have facilitated this access for my students is the antithesis of the “wall…[made] out of gold or marble,” which my friend Tom Burtonwood, in Hamilton’s article, suggests Karmen build to “keep the riff raff away.” If Karmen follows Lindeman’s advice, and Burtonwood’s, he wouldn’t let my students anywhere near the place.

It’s easy for a teacher like myself to expect art fairs to provide students with a free art-viewing experience, but if art fairs aren’t profitable, they’ll cease to exist…at least, under the current, profit-motivated model. Tom (along with Lindeman) may be right about what’s good for the art business, and if he is, access may be a zero-sum game: what’s good for the art viewing public, having art fairs serve as a traveling carnival of art from around the world for their viewing pleasure, may be exactly the opposite of the exclusive atmosphere that allows them to exist in the first place.

But, and this may just be me and a bunch of other Johnny-and-Janie-Come-Latelys trying to ride the Occupy bandwagon, we could even wonder whether art fairs could exist under other terms, which need not even necessarily be profitable. Alternative models have been tried, including the numerous satellite fairs that spring up around Art Basel Miami Beach (Aqua, Scope, Pulse, Fountain, Verge, and about a dozen others), which can be seen as symbiotic organisms whose relationship with their host may be either parasitic, commensalist (beneficial to one, harmless to the other), or mutualistic (beneficial to both). The satellite fairs may draw buyers away from the main event, they may increase the overall buzz and street cred of an otherwise conservative event, or they may pick up some table scraps from the periphery without really affecting the main fair. Satellite fairs have followed both for-profit and non-profit models.

At the end of Hamilton’s article, Aron Gent muses that the loss of NEXT Art Chicago, and the success or failure of the upcoming EXPO, is no big deal: “Maybe we don’t need to worry about having kickass fairs. Maybe we should focus on taking artists and galleries down to Miami.” As an artist, I’d love to get my work in front of a new group of collectors, and any excuse to skip out on Chicago for a few days in December is a good one. I imagine the cost, and therefore the risk, for a Chicago gallery doing a fair are much higher when the venue is out of town, though, and for a lot of them it may not be worth the risk.

A homegrown fair, whether NEXT/Art Chicago, Expo Chicago, MDW, or something new, could conceivably be a means of attracting collectors local, national, and international, to look at and hopefully collect works by Chicago-based artists worthy of an international audience, without imposing the burden on artists or dealers on traveling and shipping the work to rent a booth at an art fair in another city. The challenge, though, remains as always to convince collectors that Chicago is a good place to spend their money. I was recently fortunate enough to have one of the pieces from my show at Linda Warren Projects acquired by Howard Tullman for his collection, and so at least at the moment, I am optimistic. There are collectors who buy from Chicago artists, and whether it’s at an art fair, from a gallery, or otherwise, they are the supporters who enable artists to continue making their work.

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A Rough Recap from Frieze New York 2012

Nicholas O'Brien — Tue, 08 May 2012 17:40:05 +0000

This past weekend Frieze mounted their inaugural New York fair on Randall’s Island in an extensive, 180 gallery showcase of contemporary art. With large financial backers like the Financial Times, BMW, and Deutsche Bank, it seemed the big concern on everyone’s mind regarded the state of the contemporary market as well as whether a new fair for Frieze stateside would prove to be a good investment. For all intense and purposes, it appears that Frieze made a good bet. Covering a large swath of commercial contemporary art movers and shakers, the fair catered well to not only the blue-chippers, but also to the more independently minded. Of the artists, critics, and curators that I talked to, the general sentiment was “As art fairs go, Frieze was pretty good.” I tend to agree with this sentiment even though the abundantly transparent “safeness” of galleries dominated the conversation. As a result, work on display was often limited to paintings and sculptures that reenforced the hierarchy of fine arts over more experimental practices. That being said, there were some good moments and what follows is a rough and tumble round up of noteworthy booths.

One thing that immediately struck me about Frieze was the amount of work on display from non-major player and specifically those considering themselves emerging art spaces. Galleries like Seventeen (UK), Tanya Leighton (DE), Bartolami and Team Gallery (both NYC) represented well, although again banking on somewhat safe measures. I wasn’t thrilled with what Team was showing, considering that they had a large corner booth right in front of the main entrance. A Banks Violette sculpture of #88 that Dale Earnhart Jr. drives in Nascar dominated a lot of attention in their space, but didn’t really hold up much beyond being a big metal sculpture. Tanya Leighton and Seventeen both showed work by Oliver Laric – Seventeen focusing more on wall pieces, and Tanya Leighton emphasizing more his exploration of variations in sculpture and rapid-prototyping with long time collaborator Aleksandra Domanovic. Tanya Leighton’s space was certainly popular and by Sunday it seemed as though they had sold a good portion of the show. I’d argue that these works are actually not the best pieces of these artist’s repertoire, but in the context of this fair they served as very acute examples of how to move a traditional fine art conversation into more digital, research based, experimental directions.

Seventeen Gallery booth with Oliver Laric and Kate Owens

Where Tanya Leighton only showed these two, Seventeen showed a bit more of their stable crew. One work that really stood out to me was a series of pieces by Kate Owens called The Speaking Exercise. This series comprises of backwards facing, cheaply framed “poorly” (according to Seventeen manager Tim Steer) reproduced works by High Modernist masters like Josef Albers and Barnett Newman. The works are then tilted upwards against the white wall creating a saturated aura that speak to the original paintings. Although one would argue that this might appear to be a rather tired combination of cheap materials with canonical art history, the experience of the glow of these works is what propels them beyond being a simple one-liner and into elegant comments on the metaphysical materials of the avant-garde.

Ben Schumacher at Bartolami booth

Bartolami’s booth, although slightly inconsistent for my tastes, had some fantastic works by Ben Schumacher that delicately tight-roped the line between very salable and very contemporary works in that they clearly evidence a need for reconsidering material, surface, and painterly form. The three gray works by Schumacher used a foamy and artificially rendered surface that seemed to seep through or over an infrastructure of mesh that covered the under layer of this “painting.” These works almost appeared as if rendered through the use of some preset glob brush in something like z-brush or mudbox, but the subtitles of patterning and flecked paint show a hand of the maker in what could otherwise be considered a personality-less work.

Besides some of these emerging spaces, some of the “bigger guns” of the fair also had good showings. Although mega-galleries like White Cube (UK) and Gagosian (Everywhere) basically acted like micro-museums/retrospectives, some of the other larger booths did display some worthwhile works and at times risky choices. One such large booth that I particularly liked was Contemporary Fine Arts from Berlin that showed about a handful of large mixed media works by Anslem Reyle. The combination of humor, high craft, and play on monumental tackiness mixed together well, however I thought that the more evident displays of the artists hand with purposeful sloppiness that existed on the outside of the booth were more interesting. The coldness of the interior pieces were certainly worthy of attention, but I felt like the humor of those works could’ve transcended the simplicity of their formal considerations if buttressed with pieces that more deliberately referenced painting, craft, and the artist at work.

Anselm Reyle at Contemporary Fine Arts

Lisson (UK) was also one of those blue-chip galleries that had some fairly interesting artists on display. A plethora of experimental sound, electronics, and installation work from Haroon Mirza interspersed the space to create a sonic interjection into a primarily “silent” fair. Their decision to even display work of a non-traditional variety – albeit Mirza is one of the most digestible artist of this ilk – was a relatively gutsy move, particularly when juxtaposed with several large sculptural works by Ai Weiwei. This obviously attention seeking interruption worked in Lisson’s favor as I noticed that both times I thoroughly walked through this space I had to navigate troves of visitors and spectators. This is not to congratulate Lisson too much, but their effort to expand the fair out into mediums that rarely get proper displays within this context was definitely something that stood out within the fair.

Elizabeth Dee booth with Adrian Piper and Mark Barrow

One of my favorite booths was without a doubt Elizabeth Dee (NYC) due to their very well rounded display of historical and contemporary works. The standout here was the six TV screens displaying a recent compilation of rarely-seen early video works by Adrian Piper. In a fair almost completely devoid of media works, Elizabeth Dee’s decision to show works that not only require headphones and a certain attention span, but also works intended for museum collection was a bold move. These videos were then nicely paired with some delicate painted pieces by Mark Barrow and a stunning optical wall piece by Philippe Decrauzat.

There were other notable statements from international booths, including a superbly put together booth by Galeria Vermelho from São Paulo, a great Chris Burden mock-up by Wien based Galerie Krinzinger, as well as some nice photographic works by Willie Doherty presented by Kerlin Gallery in Dublin. That being said, I was disappointed by the majority of the Frame project spaces for galleries established less than six years ago. These spaces, situated in the middle of the fair, were almost too safe by either showing conservative work or else relying solely on spectacle. That being said, 47 Canal‘s booth displaying work by Michele Abeles stood out amongst these spaces. The digital collages that blended scraps from previous works seemed both dense and flat at the same time. This series of roughly ten works created a tension showing an active (almost impatient) mind, willing to spread images and ideas evenly to sort through a personal past.

Galeria Vermelho booth

As stated above, the general sentiment of Frieze was both jolly and practical. Amidst the crowds of art enthusiasts one could find enjoyable work in regular frequency, and booths devoid of interested audiences were few and far between. Even though I would have liked to have seen more experimental work, the understandable need for predictability within the contemporary art market didn’t prove to make for a bland experience. See below more images of noteworthy works and booths of last weekend.

Walid Raad at Sfeir-Semler

Ugo Rondinone at Galerie Eva Presenhuber

Katharina Grosse at Johann König

Galleria Raffaella Cortese booth, floor installation by Marcello Maloberti

Walead Besthy at Regen Projects

Oliver Laric and Aleksandra Domanovic at Tanya Leighton

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