This week: Patricia Maloney sits down with queer feminist artist and writer Emily Roysdon, as well as Phyllis Wattis MATRIX Curator Elizabeth Thomas. The conversation took place on December 10, 2010, as Roysdon was in the final stages of preparing for her exhibition at the University of California, Berkeley Art Museum’s Emily Roysdon: If I Don’t Move Can You Hear Me?/MATRIX 235, on view through March 6, 2011. Topics range from nostalgic delusions in Berkeley to hallucinations of the apocalypse on New Yorkâ€™s West Side. Along they way, they cover regulation, claiming space, collaboration, ecstatic resistance, and opening up language to find meaning.Â http://www.bampfa.berkeley.edu/exhibition/235
This interview is part of the ongoing collaboration between Bad At Sports and Art Practical.
Emily Roysdon is an artist and writer living and working in New York and Stockholm. She completed the Whitney Museum Independent Study Program in 2001 and an MFA at UCLA in 2006. She employs wide-ranging methods in developing her projects, including performance, photography, installation, text, and video, among others. Roysdonâ€™s concept of “ecstatic resistance,” which reflects on the impossible and imaginary in politics, was featured in simultaneous exhibitions ofÂ Grand Arts in Kansas City, and X Initiative in New York. Recenlty, her work has been included in the 2010 Whitney Biennial, Greater NY at PS1, Manifesta 8, and the Bucharest Biennial 4.Â Roysdon is editor and co-founder of the queer feminist journal and artist collective, LTTR.
This week: Bad at Sports presents an interview from our media partner Art Practical. Kim Anno is interviewed by Bruno Fazzolari as a part of his ongoing series of interviews with artists regarding abstraction. Kim Anno is an Associate Professor of Painting at CCA who makes videos, photos and paintings with an undercurrent of environmental activism. Bon Appetit!
This week: Patricia sits down with artist Mads Lynnerup during his recent sojourn in San Francisco. They talk about spotting Cyndi Lauper at the New Museum, precocious nerdy kids at the Guggenheim, navigating the ever-growing professionalization of the art world, everyday routines, and the merits of being a prankster.
Mad Lynnerup was born in Copenhagen, Denmark and lives and works in Copenhagen and New York. He completed his MFA from Columbia University in 2007 and received a BFA from San Francisco Art Institute in 2001. He has shown his work at the San Francisco Museum of Modern Art; The Mori Art Museum, Tokyo; P.S. 1 and Socrates Sculpture Park, both New York; and Zacheta National Gallery of Art, Warsaw. Lynnerup works across such diverse media as video, sculpture, drawing, and printmaking. Many of the themes in his work have roots in his constant interest in the everyday and his surroundings.
This is the third collaboration between Art Practical and Bad At Sports.
Image: Routines (SÃ¸nder Boulevard), 2008 (video still); installation, video and poster series. Courtesy of the Artist and Baer Ridgeway Exhibitions, San Francisco.
This week: Brian and Patricia sat down with Oakland-based artist Michelle Blade on February 20 in her storefront studio, which is also the location of Sight School, the alternative space she created in 2009 to encourage dialogue around the connections between art and life.
It was the day following the opening for her solo exhibition, â€œBlow As Deep As You Want to Blow,â€ on view at Triple Base gallery in San Francisco through March 21. Their conversation tackled a range of topics, from the economic realities that perennially plague artists in the Bay Area to the pleasures of walking across a painting.
This is the second collaboration between Art Practical and Bad At Sports. Image: Music from the Mountaintops, 2010 (still). Courtesy of the Artist.
SFMOMA’s Open Space blog has an interview with Art Practical editor Patricia Maloney, who is also one of Bad at Sports’ San Francisco correspondents. Art Practical is a new online magazine that covers the visual arts in San Francisco and shares SF-related podcast content with Bad at Sports. A brief excerpt from the interview follows; go on over and check ‘em out!
From the beginning, your strategy has been to partner with other web-based content providers. How does this strategy reflect the larger philosophy and approach of Art Practical?
In the mission statement, I wrote that Art Practical is not a proprietor of information; our goal is to generate pathways for investigation. In additional to the original content that we produce, which appears as Reviews and Features in issues, we share content with three web-based platformsâ€”the calendar and directory Happenstand, the podcast Bad At Sports, and the forum Shotgun Reviewâ€”as well as one quarterly print publication, Talking Cure.
Shotgun Review now exists as a section within Art Practical; the other entities operate fully outside of Art Practical as well as providing us with content. Our event listings for openings and closings, as well as our editorial picks, come from Happenstand; we conduct interviews that appear simultaneously as Features on Art Practical and podcasts on Bad At Sports, and many of our Features are published first in Talking Cure. Together, we function as a coalition that provides comprehensive information and analysis of events, practices and exhibitions.
Art Practical is the site that choreographs this coalition. The idea came together via conversation with and the generosity of the people involved with the respective entities you, Joseph, and Scott Oliver (Shotgun), Lucas Shuman (Happenstand), the Bad At Sports team, and Jarrett Earnest (Talking Cure). I had no interest in duplicating their activities, but instead saw an opportunity in which we could mutually support our shared objectives. Collectively, we create visibility for individual projects and a forum for critical reflection for an audience much broader than our individual efforts.
Art Practical itself is a collective endeavor, emblematic of the collaborative spirit of the Bay Area visual arts culture, which has a long local history of incubating experimentation and innovation.Â The team members that have created Art Practical and produce each issue have each played crucial roles in creating a model for visual arts criticism that is highly conscious of the audience it is serving. Perhaps more than anyone else, Stoyan Dabov, our developer, recognizes and articulates the ways in which familiar forms of communication are being ruptured. As the site evolves, he is pointing us toward embracing new approaches. The Editorial team, Hope Dabov, Vicky Gannon, Catherine McChrystal, and Morgan Peirce, work tirelessly in encouraging our writers to be creative, to find new modes of description and criticism, and to further define their personal voice. Their collaboration reflects our entire approach. (Continue reading here).