This week has been like a road trip through midwest; halfway through the week, I felt like I was taking a drive from Chicago, to Cleveland, arriving in Kansas City, and then Indianapolis — so many stops over such a vast (and flat) distance in a magical and illogical order; additional posts on more abstract ideas — performance archives, or The Cremaster Cycle, or even what the best size of a book might be — those seemed to mark the longer distances between destinations. Times when the radio wasn’t on particularly loud, and perhaps all of us passengers had emerged from a musing lull into dialogue.
It all began with a podcast interview with Chicago’s own William Pope.L, who’s show is currently on view at the Renaissance Society until June 23rd. The interview, conducted at the Three Arts Club discusses Pope.L’s RS exhibit and the performance — Pull: ”Non-stop from June 7-9, hundreds of Clevelanders will manually pull a truck across the city. Images collected from people across Cleveland– hopefully you included! — about the meaning of work in our lives will be projected from the truck as it is pulled through North Collinwood, Glenville, University Circle, Hough, AsiaTown and downtown; to West Park, Clark-Fulton and Ohio City.”
Jereiah Hildewine writes about watching the entire Cremaster Cycle, comparing it to other noteworthy cultural keystones including Star Wars, Game of Thrones, and Benjamin’s Art in the Age of Mechanical Reproduction:
Just as nobody can remember that Star Trek 4 is called The Voyage Home (and consequently everyone calls it “The One With The Whales”), the weird sequencing and semi-narrative structure of the Cremaster films makes it hard to remember which one was which. The above-linked synopses will give you a long-form breakdown of what’s in each film, but if you’ve seen them and are having a hard time remembering which was which, here’s a quick guide in the form of suggested subtitles:
Cremaster 4: “Bukkake Goat Motorcycle Race.”
Cremaster 5: “Meat Mangina Mermaid Opera.”
Cremaster 3: “Masonic Punk Bands Dental Demolition Derby”
Cremaster 1: “Grape-Eating Football Blimp Chorus Girls”
Cremaster 2: “Gas Station Murder Beehive Sex Rodeo”
“There is not one way to know a performance work, there are many, and it is for that reason that the quality of performance is brought to light through the normalizing tendency of the archive.” Anthony Romero mulls over the authority that archives impose over collective experience, especially as it applies to performance:
The archives is a technology of bureaucracy. They are way stations for data and accumulated temporality, flattened proofs of the “official” experience. The system of the archive itself is responsible for this kind of alienation. Categories, decimal numbers, and white gloves are methods of sanitation that work to preserve the individual’s experience/state requirement. Once cataloged, memories of childhood, legal forms, receipts, and other accouterments are neatly laid beneath layers of fabric and cardboard. So precious are these relics that the archive must continually migrate them from one outmoded media to the next. The performance relic, however, subverts the safety of the archive.
Indianapolis is in the house. Which is to say poet and former resident of Chicago, Wendy Lee Spacek, is going to be posting about art events in her fine city over the course of the summer. This particular issue describes a number of cultural happenings, from poetry readings, to Mucca Pazza, to surreptitiously painted mail boxes. She also describes what sounds like an incredible show wherein a group of artists installed work in a long since abandoned Old Indianapolis City Hall:
The show was curated by graduation Herron Seniors Taryn Cassella, Anna Martinez and Andrea Townsend. Where TURF was an exhibition of installation art, VACANT included work across mediums. I especially enjoyed Jordan Ryan’s section off the main library detailing the history of the building.
Kansas City resident, Carolyn Okomo, started her guest series this week, publishing an interview she conducted with graphic novelist Jeffrey Brown. In her words:
Since self-publishing his wildly successful first novel Clumsy in 2002, he’s created numerous other painfully funny autobiographical comics, co-written the 2012 star-studded film Save the Date (starring Party Down’s Lizzy Caplan and Mad Men’sAlison Brie) and penned a hilarious series of graphic novels that explore the challenges of being both Darth Vader–ruler of the evil Sith empire–and a single dad.
Brown’s newest Star Wars-themed book Jedi Academy (out on Aug. 27), is a coming-of-age story about a boy named Roan and his adventures mastering the Force while juggling all the issues that come with being a middle schooler.
Jeffersonian grid can’t stop the labyrinth.
Jamilee Polson Lacy also writes from Kansas City, discussing her final project as Curator-in-Residence at the Charlotte Street Foundation in Kansas City. That project, rises Zora, is ”a multi-venue visual and performing arts exhibition, [that] explores Kansas City as an urban labyrinth” through a plethora of various artists and multi-media, multi-durational art works:
Theories of the labyrinth—and there are many which span the ages of Greek and Roman mythology to early Christianity, Karl Marx to Umberto Eco, Cervantes to Borges and Calvino—demonstrate the thing as both concept and literal form that ultimately represents time. The labyrinth is an infinite series of choices to be made through time and space, and we get to decide whether to be conscious of those choices or not. I think the city, which quite obviously mimics a literal labyrinth, presents a plethora of choices—some exciting and dangerous, some banal and commonplace—so it’s nearly impossible not to think of it as a conceptual labyrinth as well.
Regular Colors at Document
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Terri Griffith set out to write a book review of Hilton Kramer’s Abstraction and Utopia, and found herself discussing her appreciation for small-sized, intimate edition, including book in the 33 1/3 series:
Their smaller than average 5×7 size is cute as pie. The 33 1/3 series is published by Continuum and started in 2003 with Warren Zanes’ treatment of the 1969 classicDusty in Memphis, by Dusty Springfield. A few other notable recordings that undergo inspection are Aja, by Steely Dan; Swordfishtrombone, by Tom Waits; Marquee Moon, by Television. Seriously though, there are as of this writing 86 titles, so certainly there is something for everyone. Don’t expect a “making of.” These little gems are more essayistic and idiosyncratic than that. Check out Phillip Shaw’s treatment of Patty Smith’sHorses. It’s the first book of the series that I read, and it’s a delight.
This week, independent of one another, Chicago-based writers Caroline Picard and Jason Foumberg both raised questions related to sustainability in the art world. Within the context of Bad at Sports, Picard wondered about communal failure, ethics, and Utopia, particularly as those political concepts concerned the field of social practice. And at the alternative weekly publication Newcity, Foumberg offered a comparative overview of local, economic models in gallery practice.
Six months earlier, the proprietors of Chicago’s New Capital Projects, Ben Foch and Chelsea Culp, began a twenty-five day round-the-clock closing event for their gallery. Foch and Culp had, from the outset, planned a limited, two-year run of public exhibitions at their venue. And having reached the end of their finite schedule they threw open the doors to everyone interested in one last collaborative endeavor entitled “24HRS/25DAYS.” Whither came the funding for such a spectacle? In 2011, the Propeller Fund announced that Foch and Culp were recipients of a 6000 USD award.
Rather than being a survey of contemporary programming, this installment of Chicago Art in Pictures is a historical offering. If New Capital Projects’ success (and it was a success) seemed contingent upon its engagement with artists, its monetary subsidization, and its relatively brief public existence, then maybe too it was the case that only an informal, ethical consensus allowed for a momentary sort of Utopia within the city’s crumbling West Side.
While planning what might be possible for the future, it’s helpful to remember what has worked in the past. And so, some of the activity surrounding New Capital Projects in the year 2012 is suggested by the imagery below. A full schedule for “24HRS/25DAYS” is still available at New Capital Projects’ website. All artwork copyright original artists; photography copyright Paul Germanos.
Above: Ben Foch, left, and Chelsea Culp, center, with ACRE‘s (Moustache Phil) Philip Kaufmann, right, at New Capital Projects on a hot summer night, June 30, 2012.
Above: Estonian performance collective NON GRATA‘s “Force Majeure” in Chicago, at New Capital Projects, March 4, 2012.
Above: Meg Noe in “I, Who Have Known the Horror of Mirrors” on December 6, 2012, in “24HRS/25DAYS.”
Above: Elena Katsulis and Erin Peisert in “The Longer I had to Stand There” on December 6, 2012, in “24HRS/25DAYS.”
Above: A four second exposure of Jeff Harms‘ laminated wood sculpture on December 2, 2012, in “24HRS/25DAYS.”
Above: Estonian performance collective NON GRATA’s “Force Majeure” in Chicago, at New Capital Projects, March 4, 2012.
Above: KLOSS/STOLTMANN at New Capital Projects, June 30 – August 5, 2012.
Above: Nandini Khaund, foreground, and Melina Ausikaitis, background, on November 16, 2012, performing in “24HRS/25DAYS.”
Above: Matthew Lane in “Lane/Sirianni” at New Capital Projects, March 16 – April 7, 2012.
Above: Michael Sirianni in “Lane/Sirianni” at New Capital Projects, March 16 – April 7, 2012.
Above: Matthew Lane, left, speaking to Stephanie Burke, center, at New Capital Projects, March 16, 2012.
Above: New Capital Projects’ courtyard on a summer night, June 30, 2012.
Above: Joseph Rynkiewicz‘ installation “Bonfire,” on November 24, 2012, in “24HRS/25DAYS.”
Above: Kavi Gupta’s Joseph Rynkiewicz (at far right) with bonfire in progress on November 24, 2012, in “24HRS/25DAYS.”
Above: The Hills Esthetic Center‘s Leo Kaplan on December 2, 2012, presenting “Sunday, Sunday, Sunday,” in “24HRS/25DAYS.”
Above: Northwestern’s Sofia Leiby lectures Seth Sher at New Capital Projects, June 30, 2012.
Above: “A bowl of soup, a coffin, a door” installation by MCA’s Karsten Lund, SAIC’s Dana DeGiulio, Corbett vs. Dempsey’s Julia V. Hendrickson, and Sofia Leiby, on November 25, 2012, in “24HRS/25DAYS.”
Above: The Hills Esthetic Center’s Michael Kloss, left, and ACRE’s Emily Green, right, in AUSIKAITIS/KLOSS at New Capital Projects, September 1, 2012.
Above: Seth Sher, a/k/a Psychic Steel, left, and Meg Noe, right, at New Capital Projects, September 1, 2012.
Above: Conor Creagan in “Wonderful Tonight” on December 2, 2012, in “24HRS/25DAYS.”
Above: Roxaboxen’s (formerly) Liz McCarthy with Moustache Phil at New Capital Projects, June 30, 2012.
Above: Lynn Basa, left, shows “Burnt Journals” work to Sarah Weber, right, on November 24, 2012, in “24HRS/25DAYS.”
New Capital Projects
3114 W. Carroll St.
Chicago, IL 60612