Two Chicagoans have been announced as candidates for the Ordway Prize. Tania Bruguera, who splits her time between Havana Cuba and Chicago, and The Renaissance Society’s Hamza Walker are up for the prize with a handful of other artists and curators. The prize “recognizes both a mid-career curator/arts writer and an artist with an unrestricted award of $100,000″
via The New Museum:
” Now in its third cycle, the Ordway Prize is the only unrestricted international award of this caliber that recognizes a Curator/Arts Writer and is also one of the most generous awards given to a contemporary Artist.
Candidates for the Ordway Prize are identified through an anonymous nomination process of submissions drawn from a global pool of curators, writers, artists, and museum directors, led by Jennifer McSweeney, Director of Creative Link for the Arts, and Richard Flood, Chief Curator at the New Museum. A jury composed of leading arts professionals will select the two Ordway Prize recipients. The Ordway Prize winners will be announced in early 2010.”
Check out Claudine’s coverage of Tina Bruguera’s “Cocaine Performance”
Check out Brian, Richard, Duncan, and I interview Hamza Walker in Episode 60.
For more info on the Ordway Prize check out The New Museum’s site.
In a piece titled Public Opinion written late last week for Artforum.com, Claire Bishop reports on Creative Time’s Summit on “Revolutions in Public Practice” held at the New York Public Library a few weeks ago. The summit presented an overview of current practices that encompass “everything from participatory performance to allotment squatting to socially conscious photography,” as Bishop described it. At the summit, artists such Vic Muniz, Harrell Fletcher, Tania Bruguera, Rene Gabri (hey Rene!), Dara Greenwald, Thomas Hirschhorn, Maria Lind, Francisca Insulza, Liam Gillick and numerous others (including this week’s podcast guests Temporary Services) made short presentations of current works and related projects.
Bishop offered a somewhat skeptical and occasionally snarky take on the proceedings. In particular she questioned the Summit’s use of the word ‘revolution,’ given that many of the practices she observed were in her opinion not exactly new. She argued,
There was a striking similarity between many of the presentations and 1970s gestures of institutional escape, as well as to early-’90s “new genre” public art (the term coined by artist Suzanne Lacy, who also spoke at the summit). The big difference between then and now was the staggeringly dry and soulless language deployed by many of today’s artists who took to the podium. At countless points in the day, my eyes glazed over to the sound of earnest monologues announcing, “My practice is about creating platforms for a critical interface with overlooked spaces, networking with local communities to provide self-organized resources and coproducing social relations . . .” Aaagh!
Bishop summarily dismissed the projects presented by Vic Muniz and Harrell Fletcher “for their reality t.v. sentimentality” while chiding the Summit for its “predominant tone of collective agreement” and overall lack of “friction.” She concluded:
“At its best, the “Revolutions” summit offered an immensely valuable overview of a wide range of engaged practices otherwise lacking visibility in New York, while the discursive format provided an appropriate alternative to the exhibition as a means of presenting this often visually evasive work. Socially, it was dynamic—and in this respect, it had much in common with the energy of Hans Ulrich Obrist’s marathons. On the other hand, the summit was only an overview and did nothing to problematize “public practice” as a direction in contemporary art. It assumed (along with many of the positions presented) that art as a discipline can and should be marshaled toward social justice. I would have liked to see more pondering of the specifically artistic competences that can be deployed toward these ends.”
In the Talkback section, Muniz, Fletcher, and several others weigh in with dissenting assessments of the Summit – and here is where the topic gets truly interesting. Creative Time curator and event co-organizer Nato Thompson offers a particularly thoughtful and measured rebuttal which, among other issues, questioned the usefulness of Bishop’s approach to the event– an approach that, in this instance, at least, may have missed the point entirely. Thompson explained,
We chose this format so that the work could speak for itself and the audience would be left to consider all the problems and solutions they provide. Another motivation was simply to provide a platform in NYC for this type of work. Certainly, there is much more to be said, and we intend to provide more spaces for this work. Ultimately, we need to re-engage the critical project of thinking through culture’s relationship to the issues and concerns of everyday life. We must stop this antipathy for thinking and market friendly pseudo-populism that has swept the critical stage (while admitting the disaster that jargon-laden Marxist art criticism has wreaked on political art) and instead, take seriously the potential for the arts to participate in the concerns that actually matter in the world. From this difficult vantage point (that is how projects actually transform the social landscape), the discussions around political public practice may possess an urgency capable of pushing the discussion beyond the prescribed domain of art.”
Go read the article and subsequent exchanges for yourselves, if you haven’t already. The discussion has generated some real heat, and should be of particular interest to artists and other cultural workers who frame their work as a form of “public practice” rather than as art with a capital A.
Bravo’s “Art Star” reality show hasn’t even hit the air waves yet, and already we’ve got another art contest on our hands. Our vote for most ridiculous news of the week comes with the Guggenheim’s announcement of Rob Pruitt’s “First Annual Art Awards,” modeled after Hollywood’s Oscars. Pruitt conceived the awards to celebrate “select individuals, exhibitions, and projects that have made a significant impact on the field of contemporary art during the past year.” Oh, and just to keep things bubbly, the star-studded list of presenters will include boyfriend-girlfriend art/fashion design couple of the moment Nate Lowman and Mary-Kate Olsen. There’s a formal dinner afterwards, and after that an after-party and, and….oh, just click on the link and read the rest for yourself (including the video of the nominee announcements). I can’t take anymore. The rest of our midweek round-up, some of which is actually meaningful (though you’ll have to be the judge of that) as follows:
*Art Institute of Chicago appoints Alison Fisher as the Harold and Margot Schiff Assistant Curator of Architecture in the Department of Architecture and Design. Her focus will be on the Art Institute’s architecture holdings from 1850 to 1945, and she will oversee the drawings, models, and archives of Frank Lloyd Wright, Daniel Burnham, Louis Sullivan and other American architectural masters.
*Artist Mark Bradford among those awarded 2009 MacArthur Genius Grants.
*Bill Viola changes mind, decides to meet with Pope for Vatican cultural dialogue on the relationship between faith and art.
*Franklin Sirmans appointed chief curator of contemporary art at LACMA, succeeding Lynn Zelevansky.
*Proposed Pennsylvania budget agreement extends state sales taxes to arts and cultural performances and venues but exempts movies and sports events; Philadelphia arts leaders organize in protest.
*Brandeis committee recommends keeping Art Museum open, but punts on the issue of the proposed sale of its collection.
*NEA Chair Rocco Landesman explains reasoning behind demotion of communications director Yossi Sergant.
*Paul Chan’s “Top 5 Things That Will Get You Arrested in Minneapolis” aka Top 5 Things We Should Do Together To Make Something Interesting.” (Via Eyeteeth).
*Virtual flip book: View all 160 pages of Proximity magazine in less than 20 seconds. Then go buy the real thing. It’s a good issue, as always.
*A visit to an exhibition about the history of Ikea.
*Artnet writer Grant Mandarino provides Cliff’s Notes on the new Fall art magazines.
*Chicago job posting: Projectionists and room monitors needed for upcoming College Art Association (CAA) Annual Conference in Chicago. If you’re interested, see here.
Our midweek roundup of clips from the art and culture blogosphere, in descending order of respectability:
*The Art Newspaper interviews Luc Tuymans, whose nationally touring retrospective exhibition is co-organized by MCA Chicago Director Madeleine Grynsztejn.
*Hrag Vartanian visits America’s oldest continuous art colony.
*The Met’s “workshop Velazquez” turns out to be the real thing.
*A new chance to see what Jasper Johns called “the strangest work of art any museum ever had”: Duchamp’s Etant Donnes at Philadelphia Museum of Art.
*What?? Bjork and Matthew Barney split? Over Elizabeth Peyton? Gawker asks its readers if there’s any truth to the gossip, and is met with a resounding ‘who the fuck cares.’
*And finally, (this one’s for you Christopher): actor/starchitect-fucker Brad Pitt is rumored to have spent 50,000 pounds designing and building the perfect Gerbil domicile for his childrens’ pet rodents (via Unbeige).
This week: Duncan and Richard talk to Madeleine Grynsztejn, the new Director of the Museum of Contemporary Art, Chicago!
Stolen liberally from the MCA website, with a bit of BAS embellishment:
Grynsztejn was born in Lima, Peru, and raised in Caracas, Venezuela, and London, England. She studied at the Sorbonne in Paris and received her BA in art history and French from Newcomb College of Tulane University, and her MA in art history from Columbia University. She is a former Helena Rubenstein Fellow at the Whitney Museum of American Art, and a 2007 graduate of the Getty Foundation’s Museum Leadership Institute. Grynsztejn has written, lectured, and taught extensively on contemporary art. She served as a panelist for the National Endowment for the Arts and the Galeria de Arte Nacional in Caracas, among other agencies. She acted as a juror for the Emily Hall Tremaine Foundation, the American Academy in Rome, the Munich Kunstpreis in Germany, and the Tiffany Foundation Biennial Awards. She has also served on the advisory committees for the Brooklyn Academy of Music and the American Center in Paris. She is fluent in English, Spanish, and French. Her husband, Tom Shapiro, is a marketing consultant and a damn nice guy. Yes, Bad at Sports added the “damn nice guy” part, the MCA would never be so inappropriately casual in a blurb! How dare us. The nerve! It’s true though, he really is nice. [Read more]