This week, I feel like writers have been articulating an inherent push against traditional boundaries and bounds — what is art that smells? Where do we locate the human/non-human divide? What if we dissolve that distinction? What becomes of performance then? I am deeply interested in blurring the borders and bounds between human/non-human, natural/unnatural, living/non-living, as in doing we can destabilize hierarchal patterns that have been in place for decades. It sounds crazy, maybe — but consider how much one’s thought would shift if we simply de-emphasized the Human. If the Natural panorama was equivalent with a panaromic, digital experience — the immediate recoil and rejection of such a thought reveals some the depth of our quasi-relgious interpretations of “landscape.”
We began the week with a buffet of smells, as provided by Shane MacAdams’ visit to a “smell show” called Art and Scent in NYC, a show that called enough attention to smell that it affected his experience of surrounding environs. As he put it, “Any quaintness Greenpoint offers is mitigated by the realization that it’s sitting on 30 million gallons of spilled oil, that comes out in occasional farts that engulf the neighborhood.”
There seems to be an obvious connection between that undercurrent of oil and João Florêncio’s post, “Performing Ecology,” where Florêncio goes through series of snapshots (or “Scenes), describing the performance of the body in space, illustrating the connecting networks that such performances can highlight. For instance:
Scene 6. Johannesburg, South Africa. A white man in drag wears an old chandelier as if it was a tutu and struggles to balance himself on his disproportionately high high-heel shoes while walking on debris, stones, and dirt in one of South Africa’s shanty towns. Around him, workers hired by the local authority, armed with crowbars and wearing orange overalls, demolish the locals’ dwellings to allow for the construction of the future Nelson Mandela bridge. This is Steven Cohen’s Chandelier.
These scenes are not strictly about humankind. Rather, they illustrate our position in our present ecological time, a time that has been coined: “Anthropocene.” Florêncio will continue to write about this in the coming months: “I will be presenting an overview of the anthropocentric role theatre and performance have played throughout History, some of the ways in which they have been criticised and reinvented, and, ultimately, the ways in which they ought to be thought differently as a consequence of their unfolding on the broad Anthropocenic stage.”
Victor Delvecchio posted about Performance Architecture — focusing on the work of Alex Schweder and how his intervening “scripts” at the TATE altered visitors’ movement through the museum. “Having worked seven years as a mold and leak expert… [Schweder] comes to the point that buildings are alive, uprating much more similarities to our flesh than we want them to.” Schweder, who’s show at Opus Project Space in NY opened this weekend, describes the work this way:
Performance architecture is about aestheticizing the action that occurs within the building and using the building as a script for doing so. There is a whole history of architecture involving the body as an example giving a kind of history of how idealized bodies have come to inform the way we design building, building as effigies of those bodies that we would like to have; and then we occupy these bodies that we would like to have.
Juliana Driever posted a great interview with Mare Liberum, a “freeform publishing, boatbuilding and waterfront art collective based in the Gowanus, Brooklyn.” Throughout the week, I feel like there is a regular return to the idea of our environment and this interview is no exception. In the words of one ML member, Dylan Gauthier:
We borrowed the name Mare Liberum – which is latin for Freedom of the Seas – from a 17th century commentary which championed the natural rights of maritime trade and navigation and forms the basis of modern maritime law… In taking the name we oriented the collective toward a study of past relationships with the water as well as to the present environmental threat to the sea through global warming but also the exploitation of oil resources and other risky undertakings that threaten the health and stability of this water-commons. For us Mare Liberum is also a bit tongue-in-cheek, since we were interested in getting out on the water for as little cost as possible, hence our translation and our website “thefreeseas.org”.
Our Atlanta-based correspondent, Meredith Kooi posted a great essay about Full Radius Dance’s performance of Touch:
Touch, in its multiple parts involved dancers of varying bodies and abilities. As a physically-integrated dance company, Full Radius’ dancers are both abled and disabled, some use wheelchairs in their everyday lives. [Douglas] Scott first became engaged in this practice through a workshop offered at Shepherd Center, a hospital and rehabilitation center located in Atlanta that specializes in medical treatment, research, and rehabilitation for people with spinal cord and brain injuries. He realized that all bodies do not move the same way that his does and that there was opportunity to explore the “limits of physicality” with various bodies.
What’s amazing about Kooi’s description of the dance, is the way wheel chairs are fully absorbed and incorporated into the whole choreography, thereby pushing the bounds of what we might consider “body” and “non-body” (or machine). This article raises questions about how we define the body, and especially, how we might engage and incorporate the non-normative body. It reminds of Anthony Romero’s post from a while back, “What Can Be Done with Dance?” where he reminds us that most space is defined by “an athletic body.”
The week would be remiss without Stephanie Burke’s TOP 5 — a veritable road map for gallery enthusiasts. (CHECK IT OUUUT!)
Richard Holland has started a new column in the spirit of levity and delight — so keep your eyes peeled for that, and here is his first installment. It’ll be a nice respite from the Anthropocene……
(At least we can safely say, the Mayan’s were wrong)
Abraham Ritchie was inspired to post an essay about everyone’s darling THE BEAN, in reaction to a live tweet he disagreed with (that’s intended as a kind of bread crumb trail. In case you want to go back and follow the tweets, so to speak). What I’d like to repost here is an excerpt from the end of Ritchie’s essay (and please, take note of Ritchie’s use of the word “alien,” because I at least have always assumed that if the world ever does end, that thing is probably going to turn into a space ship and carry the president to safety.):
The alien form of the abstraction identifies itself immediately as Art but does not alienate, instead it draws people in through their curiosity and the work’s generosity. Kapoor’s contribution accomplishes the mission of Millennium Park, while being wholly successful on its own terms. Rather than an indifferent sculpture, this is public art that lives up to the aspirations of its genre, bringing people together and inspiring them.
Part of what is so awesome about The Bean is that it is alien, and strange, and yet it engages its audience (us) by reflecting our faces. We are fascinated by the translated-fun-house-mirror distortion.
Nicholas O’Brien asks about site specificity when applied to the digital space? How does such an application challenge traditional ideas about installation, and can we apply the same terminology Land Art employs with regard to site. Here too, O’Brien engages a virtual landscape as a literal one. In doing so it can easily feel alien, it might even reflexively alienate oneself (or me) from the supposed “natural” landscape (after all, I certainly spend more time on line that outdoors).
Perhaps it makes good sense that we begin the week in NY and end the week in LA: a successful coast-to-coast transfer. We began with smell and we end with Adrienne Harris’ post on a murder mystery game at the Getty. There is something I deeply dig about the simulacre of a murder mystery scavenger hunt — the body-lessness of the crime. The parody of real life located in the land of Hollywood. In Chicago we stand in the dregs of winter — warming days that melt and muddy the world, only to morph into freezing night that stiffen everything anew. The point is, I’m always daydreaming about California. Someone told me once that California was the future — it was as far into the future as any American could go. The edge of the West. On the edge of that coast you stare into the east, though my same friend pointed out there is an island of plastic in the way, otherwise known as the Plastic Vortex.
by Abraham Ritchie
When is the proper time to review an exhibition? It’s a seemingly simple question that has become complicated because of another question: what constitutes an exhibition? Concluding on February 17, the Industry of the Ordinary’s sprawling retrospective Sic Transit Gloria Mundi pushes these questions to their limits, mirroring the shift in contemporary practice from traditional expectations.
Industry of the Ordinary (IOTO) is a collaboration between artists Adam Brooks and Mathew Wilson, and as this exhibition demonstrates, IOTO is also a collaboration between their collective and other artistic collectives, the artists and the viewers, the artists and the general public. The objects on view reflect these interactions: photographs document various interactions both with a participating audience and with the unsuspecting public; an entire section is set apart by a kind of wooden mobile home-like structure that contain contributions from a healthy percentage of Chicago’s art world.
Given the artists’ wide-ranging connections to the art community it seems relevant to say that I have almost no connection to IOTO aside from meeting Mr. Brooks twice. However Bad at Sports as an entity does, and so may some of its constituent members, depending on the person.
Throughout the course of the exhibition, framed as a mid-career retrospective, a multitude of events have been scheduled and taken place. These have spilled out of the main exhibition hall into other galleries, into the interstitial spaces of the building, and to other locations throughout the city. They’ve branched off into multiple sub-events—the month-and-a-half performance series from the Happy Collaborationists featured no less than seven artists.
It should be abundantly clear that these events are to be considered just as much a part of the exhibition as the physical objects on display, which are themselves often documents of those events. Certainly a visit to the Chicago Cultural Center could yield a variety of experiences depending on the day, and the gallery has refigured itself over the course of the exhibition. A recent visit on a weekend day was the kind of experience that would be typical of a mid-career retrospective, with documentary materials and art objects occupying the space, whereas at the opening the art itself was set in motion, literally being actively created.
The crucial point above is that the exhibition becomes self-generative and therefore is not complete until the end. This is, of course, in contrast to the traditional art exhibition that is at the outset self-contained and complete. Therefore, one can only review and assess an exhibition like this at the end, when all of these elements have been realized.
This seems to be the essential point that the Wall Street Journal ignored to their own detriment.
January 18, 2013 · Print This Article
I came on as the Managing Editor of the Bad at Sports blog about a month ago. It’s been an exciting turn and I hope to do well by it. A few people have asked what my vision going forward is, and I thought I might say something about it here. I hope to continue reflecting on the dynamic energy in Chicago’s contemporary art world while connecting to conversations and aesthetic agendas in other cities and disciplines. That agenda was set in place a while ago and I believe I can continue to guide and focus that intention. There is room for experimentation in that vision, which seems necessary to me. Bad at Sports has never presented a tidy, singular package and as such, I believe it would go against the nature of the project to filter content and tone through a single, editorial lens. Its roots in independent, DIY and Punk Rock collectivism remain at the heart of the project’s vitality and the blog is a platform for unique and individual voices that pass through the subject of contemporary art and culture. As such it becomes a nexus of concerns and responses to culture at large. That is something I hope to preserve under my stewardship. As an artist-run forum, Bad at Sports has the unique capacity to reflect on a host of subjects, exposing the intellectual, aesthetic and social networks that define and subsequently influence cultural production. I believe it is our job to explore and discuss the contexts we inhabit. In doing so, we further establish a living touchstone and future archive of contemporary discourse.
Some changes should be apparent already — others will fall into place like pieces of a puzzle in the coming months. The process is organic, but I’ve been trying to set up a casual, thematic architecture that unfolds over the course of a given week. Eventually, I hope to schedule two posts a day, one before 2pm and one after. Built in to this, is room for special occasions and guest writers — those posts would either go live in the evenings, or fill in existing gaps. To that end I’ve been inviting a number of new writers, many of whom I have admired for a long time.
Here is something of a loose schedule:
Mondays: Essays and reflections from old favorites Jeriah Hildewin, Shane McAdams and Nicholas O’Brien — writers who have been posting with consistent dedication. In addition, I’m excited to announce a new bi-weekly column by Dana Bassett, whom you may know for her ACRE Newsletters.
Tuesdays are dedicated to three subjects: Performance, Social Practice, Language (or the performance thereof) and Object Oriented Ontology. Confirmed participants include longstanding contributor Abigail Satinsky and Mary Jane Jacob (Social Practice), Anthony Romero and João Florêncio (performance), Gene Tanta (language), Robert Jackson (OOO).
On Wednesdays, we will read about artists and art in other cities. The following writers will post on rotation: Jeffery Songco is covering the Bay Area, Sam Davis continues to represent Bad at Sports’ Los Angeles Bureau, Sarah Margolis-Pineo is writing about Portland. Juliana Driever will be relaying posts, interviews and artist profiles about New York, and then we’ll bring it back to the Midwest with Kelly Shindler’s dispatch from St. Louis, and Jamilee Polson Lacy writing about Kansas City.
Thursdays herald our illustrious Stephanie Burke’s Top 5 Weekend Picks and a new monthly contribution from author/translator Johannes Göransson whose writing you can also find here.
Fridays have been set aside for art reviews and artist profiles with contributions from Danny Orendoff, Monica Westin, Abraham Ritchie and myself.
WEEKENDS will feature a range and flux of the above, plus Brit Barton’s Endless Opportunities, cultural reflections and short essays by Terri Griffith, continued posts from Jesse Malmed, in addition to a monthly contribution from the newly confirmed Bailey Romaine and Adrienne Harris.
My last note is this — there is room in this schedule for additional posts, posts that would feature special events, festivals and conferences in the city. That space would also be available to, at times, connect the blog and the podcast. As a first indication of this, we will be highlighting IN>TIME, a performance festival that is going on as we speak, from January until March.
Otherwise if you have any comments, suggestions or, even guest posts you would like to submit, please feel free to contact me at: firstname.lastname@example.org
November 22, 2011 · Print This Article
Ah yes, it’s that time again! Time for another panel discussion on art criticism in Chicago. Luckily for y’all, this one is filled with great folks who really know their stuff. AND: it’s been organized in celebration of The Essential New Art Examiner, a compendium edited by our friends Kathryn Born and Terri Griffith of the best writings from the venerable Chicago-based art journal. Born and Griffith will appear on tonight’s panel, along with BAS’ fabulous pal and dapper man-about-town Abraham Ritchie (Chicago editor of ArtSlant), Lori Waxman (Tribune), Jason Foumberg (New City), Steve Ruiz (The Visualist) and Ann Wiens, former New Art Examiner editor, all of whom represent different yet equally vibrant aspects of the Chicago critical scene. The whole shebang is moderated by critic and SAIC faculty member James Yood. So there you have it! Go go go! The panel takes place tonight, Tuesday, November 22nd at 6-8 pm in the Second Floor Ballroom of the MacLean Center (112 S. Michigan Avenue). The full, official-like press release info follows below.
The panel discussion “Art Criticism in Chicago: Past, Present, Future” will occur 6-8 pm on Tuesday, November 22 in the Second Floor Ballroom of the MacLean Center (112 S. Michigan Avenue). Organized in memory of distinguished art critics Kathryn Hixson and Polly Ullrich (both SAIC faculty and alumna), this wide-ranging investigation into the challenges and triumphs in art writing in Chicago also honors the recent publication of The Essential New Art Examiner, a compendium of essays originally printed in the most significant Chicago-based art publication of its era (1973-2002). The panel will move forward from that to assess the current state of art criticism in Chicago, both print- and web-based, and analyze the rapidly changing milieu for arts conversation in Chicago.
The panelists are Kathryn Born and Terri Griffith, editors of the “The Essential New Art Examiner”, Jason Foumberg of Newcity, Abraham Ritchie from ArtSlant: Chicago, Steve Ruiz from visualist, Lori Waxman from the Chicago Tribune, Ann Wiens, former editor of the NAE, and James Yood, moderator of the panel and former editor of the NAE. (Griffith, Waxman, and Yood are members of the SAIC faculty, and Foumberg, Griffith, Ritchie, Waxman and Wiens are SAIC graduates.) The event is free and open to the public, and is supported with the assistance of Lisa Wainwright, Dean of Faculty, Paul Coffey, SAIC Vice Provost, and Candida Alvarez, Dean of Graduate Studies.
Hello again – I’m back with another quick plug for y’all. Tomorrow night, Chicago arts writer/administrator/curator Thea Liberty Nichols has organized a panel on the “form and content” of arts writing as part of Nomadic Studio, which is presented at DePaul University Museum and organized by the Stockyard Institute for the yearlong collaborative Studio Chicago project….jesus I can’t keep up with it all. Anyway…here is the pertinent who, what, whys and whens of this particular panel, which I think should be really interesting and if it isn’t I will be partly to blame because I will be on it, along with Patrice Connolly, Abraham Ritchie, Bert Stabler and the aforementioned Ms. Nichols, who IMHO has the one of the best names in the world.
Come see us discuss, and participate in the discussion! Also, please check out the whole slate of programs that are part of Nomadic Studio at the Stockyard Institute! And you can read more about the Nomadic Studio project on ArtSlant, right here.
6-8pm –Thursday, September 23rd
Form and Content of Writing w/ Thea Liberty Nichols, Patrice Connolly, Claudine Ise, Abraham Ritchie and Bert Stabler
Panelists will engage in a casual discussion that examines the form (newsprint, published monographs, online journals or blogs) and content (criticism, interviews, exhibition reviews, press releases or scholarly essays) of their writing. Their individual practices, including the texts that inform and inspire them, will be examined alongside the colleagues and organizations with which they collaborate. In conjunction with Studio Chicago, the ways in which their studio environment, and indeed the city itself, contextualizes their practice will also be explored.
Abraham Ritchie is a writer as well as the Editor for ArtSlant: Chicago, the creator and administrator of The Chicago Art Blog on the ChicagoNow network and WordPress, and also writes for NewCity. He has previously written about art for Madison Newspapers, Inc.
Thea Liberty Nichols is an arts administrator, independent curator, and writer who lives and works in Chicago. Along with managing Intuits Study Center, she also acts as Co-Director of 65GRAND
Patrice Connelly is the Curatorial Associate for BMO Financial Group’s Corporate Art Collection where she crafts catalog texts describing and contextualizing the art works in their holdings. She has been contributing freelance art exhibition reviews to Newcity since 2008.
Bert Stabler is a teacher, writer, curator, and artist living in Chicago. He feeds on the living.
Claudine Isé has worked in the field of contemporary art as a curator and writer. Isé was Associate Curator of Exhibitions at the Wexner Center for the Arts in Columbus, Ohio. Assistant Curator at the Hammer Museum in Los Angeles and an art critic for the Los Angeles Times. She currently writes for artforum.com, art:21 blog, ARTnews, New City, and badatsports.com.