In this week’s episode Duncan talks to Lisa Freiman of the Indianapolis Museum of Art. This wide-ranging discussion looks at her work with the 2011 Venice Biennial/Jennifer Allora and Guillermo Calzadilla, what it takes to make a relevant sculpture park, and what is up with our neighbor in the blogosphere Art Babble. Hold onto your hats it’s bound to be a bumpy ride.
Lisa appears with the generous support of SAIC’s Visiting Artist Program and we thank them for their assistance. And special thanks go out to Andrea Green and Thea Liberty Nichols.
The following bio was “borrowed” remorselessly from the 54th international art exhibition known as the Venice Biennial. Maybe you’ve heard of it?
Lisa D. Freiman is senior curator and chair of the Department of Contemporary Art at the Indianapolis Museum of Art. In fall 2010, Freiman was appointed by the United States Department of State to be commissioner of the U.S. Pavilion in the 54th International Art Exhibition, La Biennale di Venezia. In 2011, she will present six newly commissioned, site-responsive works by Puerto Rico-based artists Allora & Calzadilla, the first collaborative to be presented in the U.S. Pavilion. Under Freiman’s vision and direction, the IMA opened 100 Acres: The Virginia B. Fairbanks Art & Nature Park to international critical acclaim in June 2010. 100 Acres offers a new resilient model for sculpture parks in the 21st century, emphasizing experimentation, place-making, and public engagement with a constantly changing constellation of commissioned artworks. Inaugural installations included works by eight artists and artist collaboratives from around the world including Atelier Van Lieshout, Kendall Buster, Jeppe Hein, Alfredo Jaar, Los Carpinteros, Tea Mäkipää, Type A, and Andrea Zittel.
During her eight-year tenure at the IMA, Freiman has transformed the experience of contemporary art in Indianapolis. She has created a dynamic and widely renowned contemporary art program that has become an influential model for encyclopedic museums as they engage the art of our time. Actively seeking out the works of emerging and established international artists, Freiman continues to provide a platform to support artists’ work through major traveling exhibitions, commissions, acquisitions, and publications. She has realized major commissions by artists including Robert Irwin, Kay Rosen, Tony Feher, Orly Genger, Julianne Swartz, and Ghada Amer, and curated numerous exhibitions of works by international contemporary artists including Amy Cutler, Ingrid Calame, Maria Magdalena Campos-Pons, Ernesto Neto, and Tara Donovan. Freiman has published extensively on contemporary art, including books on Amy Cutler (Amy Cutler, Hatje Cantz, 2006), and María Magdalena Campos-Pons (María Magdalena Campos-Pons: Everything Is Separated by Water, Yale University Press, 2007), and Type A (Type A, Hatje Cantz, 2010).
Prior to joining IMA, Freiman worked as assistant professor of art history, theory, and criticism at the University of Georgia, Athens and served in the curatorial department of the Institute of Contemporary Art, Boston. She earned her doctorate and master’s degrees in modern and contemporary art history from Emory University and has a bachelor’s degree in art history from Oberlin College. Freiman is currently editing the first collection of Claes Oldenburg’s writings from the Sixties, which will be published by Yale University Press in London in 2013. She is also adapting her dissertation, “(Mind)ing The Store: Claes Oldenburg’s Psychoaesthetics,” into the first scholarly monograph on Claes Oldenburg entitled Claes Oldenburg and the Sixties.
Versailles art show hit by injunction bid
From the wet dreams of the marketing people behind Japanese pop artist Takashi Murakami’s show at Versailles a descendant of the man who built the Versailles Palace in France is seeking an injunction to prevent modern works by Japanese pop artist Takashi Murakami from being shown there. The legal battle is fronted by Sixte Henri de Bourbon-Parme in defence of “respecting the chateau and ancestors.” The ultra-conservative royalist has united with a group, the Versailles Defence Coordination, to file the suit, in which they stake a claim for the “right to access to heritage.” Read more here
Prince Charles offers to oversee London architectural planning
This week in “What could possibly go wrong?” Prince Charles offers to take on key architectural planning role in the vaccum created by the quasi-autonomous non-governmental organisation that had its funding axed in the comprehensive spending review. The offer, announced by the foundation’s chief executive, Hank Dittmar, has been met with dismay by leading modernist architects who fear Prince Charles may use the role to advance his own traditional tastes in design. Read more here
Studio Manager Anne McIlleron talks about her boss William Kentridge
William Kentridge who is the focus of Art:21′s first feature length documentary (recently reviewed here and just broadcast on PBS this week) let his Studio Manager Anne McIlleron speak on what looks to be B-roll of the Art:21 documentary, its interesting but I am still of the opinion that William Kentridge wasn’t the best subject in the world to get this kind of treatment, just me I am sure. See more here
Kronos Quartet Interviewed
I cant get enough of Art Babble I admit and double so for the Kronos Quartet (which Duncan & I caught in concert last time they were in Chicago and were amazing) so when you merge the two together it’s PB&J perfection. See More Here
New Yorker cartoonist Leo Cullum died
Leo Cullum, whose cartoons kept readers of The New Yorker laughing for 33 years, has died. He was 68. Read more here
The art world’s own Bernie Madoff
Lawrence Salander Read more here
Google DemoSlam is previewed
Google has previewed a new site called demoslam built to encourage the creation and rank the best tech demonstrations on the net, part of me has long thought this was something the art world should have created a long time ago, free idea (hey get what you pay for) to whoever has the time and wants to put the work into it, Youtube was built for the Art world and a project like this (even though we all wish it looked like Vimeo). Have at it and God bless at this point I just want a life for a while lol. Read more here
Morning Glories ‘aint so f-cking Glorious when they’re crawling all over your backyard, swallowing everything else up in their huge pink maws. Part of this afternoon’s checklist of things to do involves going into my backyard and peeling those tenacious pieces of shite off of all the other plants that are trying to gain a tiny foothold on our postage-stamp sized plot of land. On a related note, check out an incredible photo series by James D. Griffioen titled Feral Houses (via things magazine). Here’s what else I’ve been reading about this week (with a bit leftover from last week).
*A chair inspired by obesity, designed by Charlotte Kingsnorth. Whoah. And, ick. (Dezeen).
*Art Institute of Chicago now adding content to ArtBabble (New Curator).
*Cindy Sherman poses for Vogue’s “Age Issue” (via AO Art Observed), numerous pics of Sherman’s home are featured too. Somehow I always imagined her place would be messier.
*Most Unfortunate Headline Ever (but interesting article nonetheless): Stroke of Genius: 10 artists with abilities borne of brain damage.
*An Art Escort Service. This is a seriously good idea. Someone in Chicago should start up a company that tours out-of-town art lovers through our “underground” apartment gallery scene. Kissing on the lips verboten, of course. (via C-monster).
*Jen Graves discusses the overweening vulva that is “The Dinner Party.”
*Cloud-seeding as art (we make money not art).
*Is the University of Chicago a secret portal to Harry Potter’s Hogwarts? Oh, if only it were so! (Culture Monster).
*What it was like to grow up in Pierre Koenig’s Case Study House.
*Props to my industrious little hometown: Valley Porn (boing boing).
ArtBabble, the Indianapolis Museum of Art‘s new online site for videos about art and artists, goes public tomorrow (Tuesday, April 7th). The Beta site has been up for a few months by invitation only (which were not hard to get), and so far it looks pretty great. The Indianapolis Museum asked institutions including the New York Public Library, the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art to contribute content that includes interviews with artists, profiles of museum professionals, and videos of exhibition works in situ. The strength of ArtBabble lies in its collaborations with other institutions–the more shared content, the greater its use-potential. It’s a genius example of how centralized online content can benefit multiple institutions. It’ll be interesting to see whether other museums clamor to join in, or choose instead to use ArtBabble as a model for their own online presences.