This week: Holy bicenquinquagenary Batman! Brian and Duncan (and guest stars including but not limited to Randall Szott) talk to Creative Time chief curator, author, and all around interesting guest Nato Thompson.
This show is the second in the series of interviews recorded at the Open Engagement conference at which Mr. Thompson was a guest. This series already charts among some of my favorites in the history of the show. Enjoy!
Since January 2007, Nato has organized major projects for Creative Time such as Democracy in America: The National Campaign (2008), Paul ChanÂ’s acclaimed Waiting for Godot in New Orleans (2007) and Mike Nelson’s A Psychic Vacuum. Previous to Creative Time, he worked as Curator at MASS MoCA where he completed numerous large-scale exhibitions such as The Interventionists: Art in the Social Sphere (2004), a survey of political art of the 1990s with a catalogue distributed by MIT Press.
His writings have appeared in numerous publications including BookForum, Art Journal, tema celeste, Parkett, Cabinet and The Journal of Aesthetics and Protest. The College Art Association awarded him for distinguished writing in Art Journal in 2004. He recently curated an exhibition for Independent Curators International titled Experimental Geography with a book available by Melville House Publishing. His book on art and activism is due out by Autonomedia in October 2009.
Liam Gillick. That is right, the man whose imagination can take him anywhere. A transparent master of the question of Modernity? Cat lover? Designer/author/theorist/artist/architect? The son Donald Judd never wanted? Enigma cloaked in riddle? Relational Aesthetic celebrity? All these things and more… We at Bad at Sports try and get to the bottom of Liam’s magic in this hour-long interview.
The last element in Liam Gillick’s 4 part global retrospective, “Three perspectives and a short scenario” will run through January 10th at Chicago’s Museum of Contemporary Art.
Accompanying that exhibition, Gillick has produced “The one hundred and sixty-third floor: Liam Gillick Curates the Collection,” which is also be on view.
Liam Gillick emerged in the early 1990s as part of a re-energized British art scene, producing a sophisticated body of work ranging from his signature “platform” sculptures — architectural structures made of aluminum and colored Plexiglas that facilitate or complicate social interaction — to wall paintings, text sculptures, and published texts that reflect on the increasing gap between utopian idealism and the actualities of the world.
His work joins that of generational peers such as Rirkrit Tiravanija and Philippe Parreno in defining what critic Nicholas Bourriaud described as “relational aesthetics,” an approach that emphasizes the shifting social role and function of art at the turn of the millennium. Gillick’s work has had a profound impact on a contemporary understanding of how art and architecture influence, and are themselves influenced by, interpersonal communication and interactions in the public sphere.
This exhibition is presented in association with the Witte de With in Rotterdam, Kunsthalle Zurich, and the Kunstverein in Munich. It is the most significant and comprehensive exhibition of Gillick’s work in an American museum to date, comprising a major site-specific installation in the gallery ceiling as well as a presentation of his design and published works, and a film documenting projects from the entirety of his career. The MCA is the only American venue for the exhibition. Read more
First, some generally embarrassing banter, Duncan discusses his dance career, we talk about Richard’s terminal nerd-dom, and eventually introduce the show. Brian and Richard have announcements
Second, Terri and Serena interview artist Mary Rachel Fanning about her many and varied projects.
Third, Duncan talks to Diane Grams about her book “Entering Cultural Communities: Diversity and Change in the Nonprofit Arts”.
Next, more silliness in the closing, and then, you sit and wait until next Sunday where we send more wackiness your way. Read more
Duncan and Terri talk to James Elkins about his books, criticism and more! Mike Benedetto provides an utterly hilarious movie review and public service announcement.
From Mr. Elkins’ web site:
James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer.
He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism. He also teaches in the Department of Visual and Critical Studies, and is Head of History of Art at the University College Cork, Ireland.
His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).
Current projects include a book called Success and Failure in Twentieth-Century Painting, another called Writing about the World’s Art, and several edited books: a series called “The Art Seminar,” one called “Theories of Modernism and Postmodernism in the Visual Art.,” and edited books on W.G. Sebald, representations of pain in art, and the university-wide study of images.
He married Margaret MacNamidhe in 1994 on Inishmore, one of the Aran Islands, off the West coast of Ireland. Margaret is also an art historian, with a specialty in Delacroix. His interests include freshwater microscopy (with a Zeiss Nomarski differential interference microscope), optics (he owns an ophthalmologist’s slit-lamp microscope), stereo photography (with a Realist camera), playing piano, and winter ocean diving