This week: TEN YEARS MAN…TEN YEARS!! This week we bid a sad farewell to our good friend James Elkins who has told art history “It isn’t you, it’s me, but at this point in my life I feel like I can’t be tied down to a genre, I need to be free to see other modes of writing.” Yes, it is true Art, he sat down for our interview and said “”you don’t have Elkins to kick around any more, because, gentlemen, this is my last press conference.”
Now wait. That was Nixon. Whatever. Anyways, James Elkins, super brilliant guy, most frequent guest in the history of Bad at Sports, returns again to tell us what comes next for him in his merry adventures.
This week: Adler Guerrier recorded in Miami at Pulse.
Also, only 50 shows left people! We are auctioning off slots to the highest bidders. The MCA will be hosting our party for Episoder 520, admittedly we haven’t actually asked them yet.
Adler Guerrier creates visual dialogue between a wunderkammer of materials and techniques. Guerrier improvises between form and function to nimbly subvert space and time in constructions of race, ethnicity, class, and culture. He calls upon the democratizing nature of collage and the authority of formal composition to designate to art history an axis of contemporary identity critique. Often chronicling the hybridity and juxtaposition in his immediate environs, Guerrier practices a contemporary flaneurie in an impending age of post-demography.
Adler Guerrier was born in Port-au-Prince, Haiti and lives and works in Miami, FL. Subsequent to studies at the New World School of the Arts in Miami, Florida, Guerrier has exhibited at the Miami Art Museum, and The Whitney Biennial 2008. His works can be found in public collections including the Museum of Contemporary Art, North Miami, and the Studio Museum in Harlem, NY. His work has appeared in Art in America and The New York Times, among others.
This week: James Elkins returns to Bad at Sports. Nuff Said!
This week: SoPra fest continues, the usual cast of characters talks to Stephen Wright about what is and isn’t art.
Stephen Wright is an art writer, independent researcher and curator and professor of art history and theory at the Ã‰cole europÃ©enne supÃ©rieure de l’image (Angouleme / Poitiers). Former research fellow in the “Art and Globalisation” programme at the Institut national d’histoire de l’art (Paris) and programme director at the CollÃ¨ge international de Philosophie (Paris), he is a founding user of the Usual College of the Academy of Decreative Arts. He has organised conferences at Tate Modern (London), Columbia University (New York), Palais de Tokyo (Paris), INHA (Paris), MusÃ©e d’art contemporain (Montreal), Aksanat (Istanbul), Videobrasil (Sao Paulo)… Member of the International Art Critics Association, former European Editor of the Montreal-based contemporary art journal Parachute (1997-2005), and editorial board member of the London-based journal Third Text, he has written widely on emergent art and art-related practice as forms of knowledge production in a context of globalisation.
As a curator, he has produced a series of exhibitions and publications dealing with art practices with low coefficients of artistic visibility, including The Future of the Reciprocal Readymade (New York, 2004), Dataesthetics (Zagreb, 2007), Rumour as Media (Istanbul, 2006), Palestinian Products (Cairo, 2005), Recomposing Desire (Beirut, 2008) and Diggers All! (Montreal, forthcoming 2010).
Laureat t of the European Art Essay competition (2008), he is currently working on the book-length essay Arbitrating Attention, and is putting together a collection of essays, Specific Visibility. A selection of his writings are available on the blog n.e.w.s. to which he is an active contributor,http://northeastwestsouth.net/node/56
This week: Duncan, Richard and guest co-host Dr. Amy Mooney, Associate Professor of Art History at Columbia College, talk with superstar artist Kehinde Wiley about his work and his exhibition “The World Stage: India-Sri Lanka” which just opened at the Rhona Hoffman Gallery (through October 23, 2010).
The following seemingly outdated bio was lifted from the New Museum of Contemporary Art.
Kehinde Wiley was born in Los Angeles in 1977. He received his BFA in 1999 from the San Francisco Art Institute and graduated from Yale University School of Art two years later. Wiley is viewed as the modern-day heir to a long line of portraitists –Reynolds, Gainsborough, Titian, Tiepolo– from whom he appropriates the symbols and visual language of heroism, power, and opulence in his realistic renderings of urban black men. While referencing specific old master paintings and fusing period elements– French Rococo ornamentation, Islamic architecture, West African textile design– into his portraits, the final works convey a very urban, contemporary aesthetic because of the subjects portrayed and their hip-hop influenced attire. Wiley succeeds in his intent to blur the boundaries between traditional and present-day modes of representation, as he says to “quote historical sources and position young black men within that field of power.”