It’s official, Chicago artists are back from their residencies and vision quests and it is time for the fall gallery season. Inaugurated this weekend with about a million openings from River North to the ‘burbs and back again, we’re still reeling. Here are some photos while we iron out our thoughts:
Oh, this brave new art world! We didn’t know QR codes could actually do something but this interactive curiosity greets you at the entrance to Technoromanticism, a strictly new media show curated by Alfredo Salazar-Caro at Jean Albano Gallery on Friday night.
Performance finally showed some skin at the second iteration of THIS IS NOW A MAGAZINE: Dwyer/Fraccaro/Wylie in Logan Square last week. Things were anything but comfortable at the Comfort Station during a performance using CAM4 and something having to do with Buffalo Bill that we wish we could erase.
This pink combo stole our heart at LVL’s opening for Quandry on Saturday night.
Volume Gallery debuted their completely amazing and beautiful renovated space on Friday night with a show by Jonathan Muecke. Despite all the new space (or maybe because of it) the gallery was totally packed. This photo is from SightUnseen
Tyson Reeder’s opening at Peregrine Program celebrated some of Club Nutz greatest hits, and reminded us that we need to hit the beach one last time before fall!
Sterling Lawrence was super conceptual and all, but we thought these Alain Biltereyst pieces at Devening Projects + Editions were cute in a good way and would fit way better in my studio apartment.
Cave of Lascaux blows everyones mind: Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum closed this weekend and if you didn’t make it we are truly sorry. This show had more new media than the SAIC BFA exhibition and we swear those cave paintings could be hanging in Shane Campbell and no one would bat an eye. We would go into greater detail, but fortunately for you, dear reader, Daniel Baird’s already wrote a piece on the exhibition and it is awesome. Who knew that ancient cave paintings were so totally superficial? Totes recommend you read it, we’ve been using Dan’s ideas to sound smart at openings all weekend.
Woman makes strong case for ladies:
In case you couldn’t tell, WTT? loves the ladies, and we couldn’t be more excited to see the rest of the art world catching on. One lady show opened up this weekend with two to follow next week at Heaven and at the Frogman Gallery. “Lady Painters” curator, Gwendolyn Zabicki, sent us a hot tip on some required reading by participating artist, Sarah Weber. “Had I written a critical essay for Lady Painters, I would have liked to have written the very excellent one by Sarah Weber for Being a Woman in an All Woman Show.” WTT? couldn’t agree more. You can prep for both of these openings next weekend by reading Weber’s statement now.
Art Newspaper on artists in newspapers:
Writer, Martin Bailey, covers the seriously late breaking news of Van Gogh’s ear incident after re-discovering an article from the Parisian paper Le Petite Journal published shortly after the incident on December 26, 1888. While doing research for his book on the artist, Bailey discovered the clipping, shedding new light on possibly the best artist gossip of all time. Making news in Paris all the way from Arles? Van Gogh is just lucky that the Impressionists didn’t have Facebook.
Stop by LVL3′s MRKT and pick up a FREE copy of San Fransisco Arts Quarterly featuring an interview with the gallery’s director, Vincent Uribe, and artist, Josh Reames.
Artists confused, think they are musicians
Visual artists do unthinkable and create sound
Last Thursday night WTT? made our first outing to Constellation. The venue’s unassuming brick facade under the overpass on Belmont and Western betrays the clean yet cozy interior of the bar. Intent on seeing live music on a Thursday night, Constellation was a great option. That is to say, the show was free. This art reporter was intrigued by the line-up: two reasonably well known visual artists (1/2 of Sonnenzimmer, Nick Bucher, and recent Hatch resident, Jordan Martins) performing with Constellation’s purveyor, Mike Reed, on drums.
Not to be mistaken for real musicians, the artists turnt virtuosos played an assortment of objects that would have made any dadaist proud.
Martins started the set playing guitar, but soon switched over to two broken guitar necks on a table which he “played” by jamming screwdrivers between the strings while strumming with chopsticks. Butcher wasn’t any more conventional “playing” a record player and what looked like a jumble of assorted cables that we’re not even sure were plugged in.
Even real musician, Mike Reed, got into the readymade spirit. It was weird enough that he played the drums with a tiny rake, but what was next to the drums was a regular Duchamp. Was it a rice cooker on a styrofoam cooler? Some instrument we’ve never seen before? We’re still not sure.
Despite using what appeared to be broken instrument pieces and household bric-a-brac, the trio was other wordly, playing a set that meandered through melodic ups and downs, punctuated by Butcher’s off beat electronics. Super chill for a Thursday night, I just wish they had better cocktails. (The Pimm’s cup was alright.)
Constellation is located at 3111 N Western Ave.
Header image is a photograph from inside Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum.
I recently saw the trailer for Woody Allen’s new movie Blue Jasmine starring Cate Blanchett. There was an exterior shot of a café on the block I live on in the Mission neighborhood of San Francisco. I pass that café almost everyday and I never considered it to be so dramatic until I saw it in the trailer. I was reminded how vibrant the Mission is, and so I decided to take a walk around the neighborhood to visit some great art spots.
The Mission is a cool place – home to a dense Mexican community that is quickly becoming consumed by white affluent hipsters. Lots of homeless people in puffy down jackets slowly push shopping carts on Mission Street past tipsy Marina bros wearing aviators and the latest salmon-colored shorts. ‘Artisanal’ is in the name of the game in this area, with highly priced food, home, and décor products in shops along Valencia Street.
A massive double decker private commuter bus equipped with Wi-Fi.
The booming tech scene has spawned the tech renaissance populated bywell-educated and well-paid 20 and 30-somethings that have injected the city with so much money that San Francisco has become one of the most expensive places to live in the United States. Private commuter bus lines for employees of companies like Apple, Facebook, and Google weave through the Mission, attracting very competitive rental fees on new and old luxury apartments.
Sprinkled throughout this urban grid are several art venues. From private galleries to non-profit spaces, the Mission is an eclectic mix as diverse as its inhabitants. The tech folk have yet to share and indulge their economic prosperity with the artistic community of the Mission, but eventually some kind of connection will be made. Until then, these art venues continue to produce and shape an active voice in the shape of San Francisco’s cultural identity albeit in the shadow of technology’s spotlight.
Just two blocks from the café in Blue Jasmine is the artist-run space Root Division. Several of my classmates from grad school have had or currently have studio space there. From the website: “Root Division is a visual arts non-profit that connects creativity and community through a dynamic ecosystem of arts education, exhibitions, & studios”. The space constantly holds calls for submissions and proposals for future shows and delivers a wide range of educational programming. My favorite is their annual juried exhibition titled Introductions – I’m a sucker for healthy art competition and the debut of emerging artists!
Artworks by Gabby Miller.
During my visit, I got a chance to check out the group show Electronic Pacific Satellite curated by Justin Charles Hoover. Digital and time-based media fill the space, but I’m still a fan of a standout like Gabby Miller’s Logistics from Sea to Land (For Giang and Nam) (2012). A large section of a steel shipping container is painted blue on one side and leans against a wall. Miller quotes a text from Marc Levin’s “The Box: How the Shipping Container Made the World Smaller and the World Economy Bigger” that traces the shipping connection between the US and Vietnam. I giggle when I relate the shipping container to the enormous private tech busses passing through the Mission.
Some blocks away, I see Southern Exposure. From the website: “Our good friends THE THING will be in residence at Southern Exposure for the month of August before transitioning into their new Tenderloin storefront this fall. Six years ago, THE THING launched their first issue at SoEx; it’s only fitting that they return for the completion of their 20th, conceived by Tauba Auerbach. A wrapping party for the 20th issue will be hosted by SoEx on August 15”. The last time I was at SoEx, I participated in a wrapping party for the 19th issue by David Shrigley. This space is all about collaboration and sharing with passionate artists throughout the city.
I keep walking and I see Kadist, but its doors were closed this day. From the website: “Kadist Art Foundation encourages the contribution of the arts to society, conducting programs primarily with artists represented in its collection to promote their role as cultural agents. Kadist’s collections and productions reflect the global scope of contemporary art, and its programs develop collaborations between Kadist’s local contexts (Paris, San Francisco) and artists, curators and art institutions worldwide.” One night a couple years ago, Tony Labat invited several artists to share YouTube videos in this space. We all gathered around a projection screen and watched a variety of odd, funny, weird, informative, and emotional videos. The evening became the contemporary equivalent of an ancient scene of storytelling around a blazing fire.
Richard Kamler, Twelve Food Trays on Ikea Shelves, 1999 – Present. One-pound sheet lead, found objects. 11 x 17 inches each.
After passing a yoga studio or two, I finally end my wandering on a block with two private galleries: Steven Wolf Fine Arts and Guerrero Gallery. I have an affinity for Steven’s gallery because I exhibited in the space last year. The first gallery room hosts Richard Kamler’s Twelve Food Trays on Ikea Shelves (1999 – Present). The gunmetal-colored objects display the last food item requests from death row prisoners. It’s quiet in the room, and spooky and grey and I know in the other room there is a working sculpture of an electric chair by Philip Zimmerman, so I get a little uncomfortable and I quietly back out of the gallery and cross the street.
Artworks by Adam Feibelman.
Across the street at Guerrero Gallery, Adam Feibelman shows a bunch of artwork in an exhibition titled Do with Me as You Will. While the space is naturally bright and airy like Steven’s gallery, there’s a different, lighter feeling in here. Maybe it’s the hand-cut paper pieces in pretty frames that seem more familiar in a gallery space. There’s sewing thread and pattern and images of cityscapes, so I think that it could be quite uplifting, until I consider the brown edges of the cutouts to be burnt and suddenly everything looks very spooky and ghost-like. What an intense block of artwork!
A couple hours of walking in the Mission can bring you face-to-face with the contemporary art scene of San Francisco. The sun is always shining, and it’s particularly rewarding when it seems like the rest of the city is covered in fog. Every space has an interesting perspective and is consistently delivering the kind of work that local artists enjoy making, and local audience members enjoy discussing. Now let’s try to get the tech folk to check it out!
1. Hello. First of all, New City is just going to hand you, fellow artist a ton of real estate. Are you ready? In other words, do you want to hijack a newspaper? The one catch — the deadline is tomorrow, so get busy:
We are seeking proposals from Chicago-based artists who want to take advantage of our distribution stream—30,000 copies circulated across 900+ locations throughout Chicago—and who will make the most of our magazine format. This is for the September 5 issue, the big gallery opening weekend, so all eyes will be on your art! – See more here.
J. M. W. Turner, Venice, from the Porch of Madonna della Salute, ca. 1835, oil on canvas, 36 x 48⅛ in. Metropolitan Museum of Art, New York (artwork in the public domain)
2. Bad at Sports’ retweeted this from @collegeart: Deadline for applying to the CAA International Travel Grant Program extended to Friday, August 23!
The CAA International Travel Grant Program, generously supported by the Getty Foundation, provides funding to twenty art historians, museum curators, and artists who teach art history to attend the 102nd Annual Conference, taking place February 12–15, 2014, in Chicago. The grant covers travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships. For 2014, CAA will offer a one-day preconference meeting on February 11 for grant recipients to present and discuss their common professional interests and issues. Details on that here.
3. Program Director position opens up in NYC at Resource Generations. Applications due by or before August 22nd.
The Program Director reports to the Executive Director of Resource Generation. The key role of the Program Director is to ensure that the programs of RG are furthering the general mission and specific initiatives (ie, racial justice, campaign for tax justice) of the organization. They are also responsible for supporting and supervising other members of the program team, as individuals and as a cohesive group, and ensuring that member-leaders are being developed to lead in and out of RG. Seeking someone based in, or willing to relocate to, New York City. More info here.
4. Fringe Arts Bath has opportunities for aspiring curators. Deadline 18th October 2013
Fringe Arts Bath has opportunities for aspiring curators to devise and organise a show as part of the FaB festival 2014. We are looking for challenging and fresh concepts; FaB is a good test-bed for the new, wonderful and sometimes odd. We are open to suggestions and encourage you to think outside the box! FaB curators’ shows can include: performance, intervention, installation, multi-media and video work, photography, drawing, painting, sculpture and all disciplines in between. Submit a 500 word proposal detailing the underpinning themes with supporting images (optional) and CV, all formatted as PDF or Word Doc. Check it out:www.fringeartsbath.co.uk
5. AREA Chicago proposal due September 1st:
2012 Propeller Awardee AREA Chicago is a community publication that supports Chicago-based social justice practices and struggles. AREA is a space that brings together Art, Research, Education and Activism to create relationships across the boundaries that segregate our city and our minds. Our next issue will be called Kids! In this issue, we want to explore how our society defines what it means to be a child, how kids participate in the world, and what it means to be growing up in Chicago. We want to see how children and adults come together to challenge “mainstream” understandings to build more just communities and relationships. We welcome proposals from all age groups for our web and print publications. Our emphasis is on local practices that engage with the social, political and cultural dimensions of the topics we are exploring.
Unless you’re one of the lucky ones who can swing the Venice Biennale package excursion, or go off on a museums-of-the-world grand tour, late summer is a drag in the art world. In New York, after the kitchen-sink group shows conclude in July, the economic drivers of the art world flit off to the Hamptons, Fire Island…or Venice, and the apparatus effectively shuts down until they return after Labor Day. Thankfully September is bananas and more than makes up for the brief hibernation.
I wasn’t sure when I arrived in Wisconsin if the same would be true, but by late July it was clear that haute culture takes a back seat here as well, only in favor of jet skis, pontoon boats, and prime rib Saturdays. Even for the philanthropist/board member set, which is part of the charm of the place. I’m told Door County is Wisconsin’s version of the Hamptons, though I don’t think there are any go-karts in the Hamptons.
So in terms of spectatorship, it was a fairly dry late summer. With one significant exception.
I finally found the time to drive two-and-a-half hours north to the tiny town of Little Wolf to see, indeed, experience, The Poor Farm, the experimental exhibition project imagined by Michelle Grabner and Brad Killam.
On the way there my GPS went out of range somewhere outside of Manawa, so I stabbed forward like a pioneer searching for a pass through the mountains. I eventually hit County Road B by blind luck, took a right turn and happened by a large building with a David Smith-y looking sculpture out front. I was right in assuming I was where I was supposed to be.
The Farm might pass as your typical two-story rustic house in the country, only contemporary art occupies the spaces that might otherwise be used to store mason jars full of rhubarb preserves. The dozen-or-so galleries spread over two floors and basement are home to installations that run an entire year. That year officially kicked-off last week with an annual extravaganza called the “Great Poor Farm Experiment”, complete with video screenings, performances, and a little wholesome socializing. Ahem.
It’s difficult to appraise the individual exhibitions at the Poor Farm independently from the raw charm of the space itself. Though there is a clear demarcation between exhibitions, the Farm’s ambient personality unifies the experience. One of my favorite pieces on view is a painting by John Riepenhoff in gallery 5 on the second floor; another is a nearby wall in gallery 3 whose stratified paint layers happen to be artfully flaking away.
Poor Farm Wall
Also captivating is an installation of large abstract paintings by the Italian artist Lucio Pozzi, occupying the largest gallery on the main floor. Pozzi’s suite of paintings, like the gallery and building encasing them it, are a healthy mix of sophistication and eccentricity. The paintings seem to be clean and hermetic at first but their composure degrades and their informal, slightly skewed character is comes to the fore.
Lucio Pozzi at the Poor Farm
The installations in the basement join forces to create somewhat of a Freddy Krueger-esque experience. That I was alone and the rural silence was split only by an eerie sound piece under the stairwell by C. Spencer Yeh, contributed significantly to the impression.
I left satisfied and compensated for August’s otherwise paltry offerings. The Poor Farm is a recommended trip even given the Chicago-to-Manawa road time. Perhaps on the way back home can hit some other Wisconsin art offerings I recommend for fall.
First, I’ll nerd-out with a show that might not get every art lover salivating, but as an art history professor, I’m looking forward to a survey of painter-of-presidents and theatrically-derived genre scenes, Thomas Sully, at the Milwaukee Art Museum.
As for local, contemporary interests, two Wisconsin surveys are happening concurrently: the Wisconsin Triennial at the Museum of Contemporary Art in Madison (MMoCA) and the third installment of the Haggerty Museum of Art’s Current Tendencies. I’m looking forward to seeing Kristy Deetz’s paintings in Madison, which draw equally from craft, folk art, Fra Angelico, and imagination. Current Tendencies boasts work by photographer Jon Horvath, mixed media artist Jason S. Yi, and other favorites from the Milwaukee area.
For the bananas portion of the season, I’ll save my wilder enthusiasms for the fourth annual Ghost Show, a collaboration during Halloween among a number of independent art spaces in Milwaukee that will merge the occult, the esthetic and the potable to what I’ve heard are thrilling, if not supernatural results. Stay tuned for more details about that.
Coinciding with the grand opening of the Thelma Sadoff Center for the Arts in Fond du Lac, New York-based light/space and all-around phenomenological pirate, Hap Tivey, will reconfigure an extraordinary installation called “Sodium Exchange”. The piece invites viewers to interact with each other on either side of an illuminated scrim. Think: Robert Irwin, Doug Wheeler, but with a ladle-full of relational gravy and a sprig of playfulness on top.
Hap Tivey, “Sodium Exchange”
I’ll conclude my short list of things to see in Wisconsin this fall with a plug for a show a thousand miles away on 20th Street in New York City. Mike Womack, an artist I’ve championed in the past will have his third show at ZieherSmith. It opens on September 5 if you’re in the area. This time around for the protean artist: concrete encased works on paper. The sketchbooks of Frida Kahlo colliding with Brutalist architecture? Paul Klee’s drawings in a death match with Donald Judd’s Chinati cubes? I can only hope, but I’ll have to be surprised.
So no one thinks I’m taking thematic liberties, I’d like it noted that one-half of ZieherSmith, Scott Zieher, is, beyond being an exceptional poet and collage artist, a native son of the great state of Wisconsin. So there.
Dominic from Luton as Paul Young. All installation photos by Ingvar Hogni Ragnarsson
Guest post by Mark Sheerin
It is more than 1,000 miles from Luton, England, to Reykjavik, Iceland. But Dominic from the UK town appears to love a good caper. Why else would he put together a group show on very little money in one of the most far flung and expensive cities in Europe?
“It was done on a wing and a prayer,” he tells me on the phone from his Luton studio. “The art was just really, really ambitious considering we didn’t have much money to play with. It’s amazing what you can do with a cardboard tube and a delivery van.”
Five artists took part. And the show has just run for a month at gallery Kling & Bang. Along with Dominic, the full bill included Gavin Turk, Mark Titchner, Laura White and Peter Lamb. The show went by the name London Utd. “It’s kind of doing what it says on the tin,” says Dominic, whose eponymous town is just a twenty minute train ride from the UK capital.
Not that he is the first to cross the Atlantic to the artist led space. He tells me that Paul McCarthy and Jason Rhoades have also shown at the dynamic and co-operative venue. And Dominic takes the opportunity to recount the tale of Kling & Bang’s legendary appearance at Frieze Art Fair.
Work by Gavin Turk at Kling & Bang
“They did a Frieze Project in London in 2008 called Sirkus. It’s an incredible story,” says the artist, telling me that Sirkus was the name of a Reykyavik bar: “This place was the hub, the heartbeat of the arts community”. But after nine years of business, Sirkus closed down, leaving Kling & Bang free to turn the façade and fixtures into a temporary installation for the art fair.
Dominic warms to his tale: “They arrived at Heathrow in October 2008 and basically all their credit cards had been stopped because the [Icelandic] crash had suddenly happened overnight and so this bar, which was a mirror of good times and place to meet, became that again in London.” Word soon went round about the penniless Icelanders with the reconstructed bar.
Things are a bit better in Reykjavik now and in its way London Utd has become another bridge between the art scenes in both cities. Mark Titchner’s piece was a piece of text in Icelandic, which read The World Isn’t Working. (Perhaps the UK crash is yet to come.)
Gavin Turk meanwhile offered a twelve and a half metre diptych inspired by Andy Warhol’s Death and Disaster series and featuring the four wheeled emblem of working class Britain the Ford Transit. Laura White produced no less than 54 drawings of photos of sculptures which she herself had made. And Peter Lamb translated the shifting detritus on his studio floor into two large abstract canvases.
Asked about one of his own works in the show, Dominic is ready with another yarn. “That photo was done as a tribute to Paul Young,” he tells me. Like the artist, the singer came from Luton. “He used to work at Vauxhall [car plant] in the early 80s and he told someone I know in the canteen once that he was going to be a global pop star and then literally 18 months later he was, with Everytime You Go Away.”
The track resonates with many a Lutonian and inspired a Dominic from Luton performance at an event called Café Almanac organised by Bedford Creative Arts. This involved sourcing an 80s wig from Luton Indoor Market, posing for a portrait artist in the shopping centre and getting 5,000 badges made to cover a cheap suit. “I just stood up in front of about 50 people in this Working Men’s Club on a Saturday afternoon and sung my heart out,” recalls the artist.
Peter Lamb (installation view at Kling and Bang)
This took place under a net filled with 200 balloons in the colours of the local soccer team, intended for release in the final verse. However “The net got caught in all of my badges so I had 200 balloons attached to me and I panicked and – it wasn’t scripted at all – I basically ended up having a fight with these balloons and stamping on them and stuff and it brought the house down actually.”
But despite the hazardous stagecraft, Dominic’s “biggest challenge” is a self-proclaimed inability to sing. So it comes as no surprise that the artist thinks most performance art is too earnest. “People would argue with this, but I think there’s a duty to entertain,” he says, “That’s just my take on it. That’s my little mantra.” Even the anecdotes which relate to each of his gigs are compelling experiences.
As a final aside, it’s worth pointing out that the artist formerly known as Dominic Allan comes from one of the most derided towns in the UK. His “from Luton” tag is a sticky piece of cultural baggage. Dominic tells me that the name just came about through being easy to remember when he ordered materials.
Now, he claims, “It’s just a very glorious vehicle for the idea of the underdog and also to shove it back in people’s faces now because Luton’s one of those towns which people laugh about . . . The more I go on, the more I realise that it is serious, and it is serious”.
So that’s Dominic, from Luton, easy to laugh with, hard to laugh at. Prepare to be entertained if he ever comes to your town.
Mark Sheerin is an art writer from Brighton, UK. He can also be found on Culture24, Hyperallergic, Frame & Reference and his own blog criticismism.com