WTF? We are lecturing at an Apple store. BOOM. Yes. It is true.
We will see you and all of the Chicago area art enthusiasts at:
Apple Store, North Michigan Avenue
April 23rd at 7pm.
Bad at Sports (B@S) can be tricky to describe – it’s a weekly podcast, a series of objects and events, and a daily blog that features artists and “art wonders” talking about art and the community that makes, reviews, and participates in it. Founded in 2005, the series features more than 20 principal collaborators and has included more than 450 interviewees. Join Bad At Sports cofounders Duncan MacKenzie and Richard Holland for a conversation about this constantly evolving series.
Your guide to partying for a good cause this Spring.
Nothing says Spring like “Gala,” WTT? couldn’t be more excited to see the ice finally THAW. Speaking of, have you bought tickets for the Links Halls annual spring fling? It’s on April 4th, and really more like a three-storey drunk performance art odyssey than a party. Last year I got an sickening sparkly free mani from Aiden Simon at the Girl Don’t be Dumb salon, went inside of a space photo booth, saw Hope Esser ice skate on soap and watched more burlesque than I’d like to admit. For performance art, it’s not too weird, it’s really fun and it’s not that expensive for how open the bar is, what more could you ask from a Thursday night? And the inclusion of DJ CQQCHIFruit and La Spacer this year? Too much.
Enough gushing. Clearly, this benefit season is going to be huge, but don’t worry, WTT?s got you. Here are some notes on the best auctions and charity bashes around, in my not-so humble opinion. Can not wait to see what everyone looks like without a coat on!
Spotted: Todd King getting his feet did at THAW in 2013. Andrew Mausert-Mooney does his best Jesus in the front.
LVL3’s annual benefit auction is known to bring great names at reasonable prices with all works starting at $30. Past years auctions have featured Jon Rafman and Israel Lund amongst others. This years is no exception. We also love the LVL3 auction because the raffle prizes are copious and always awesome and it doesn’t hurt that each year the event benefits local non-profit, Arts of Life. Learn more about the auction and the organization here on the LVL3 website. Full disclosure: I take no prisoners on the auction floor. The event takes place on March 29th from 6 to 10PM at 1542 N. Milwaukee Ave. Last bid is accepted at 9:30PM so be on time!
Summer Forum : Hosted by TUSK
Sandwiched comfortably in-between the LVL3 and R&C auction is the Summer Forum fundraiser and art auction at everyones favorite bite-sized boutique, TUSK. There are quite a few repeats from both LVL3 and the R&C auction, though it doesn’t look like anyone got the hat trick. E-Dogz will be on hand, serving some serious benefit crossover and unlimited food with the purchase of a ticket ($25 presale or $35 ATD). Advance online bidding begins March 31, and the IRL event starts at 7pm on Saturday, April 5th at TUSK, 3205 W. Armitage Ave.
Roots & Culture 8th Annual Spring Gala
You don’t have to be Hamza Walker to know that Roots & Culture’s Eric May throws some of the best events in Chicago. Did someone say sangria and tapas? The lineup for the auction is pretty impressive too. Britton Bertran wasn’t kidding when he called the night’s auction list an Who’s Who. The List features some of my favorite Chicago art luminaries and at least one Whitney Biennial-er.
oh shit! – @RootsandCulture announced their auction fundraiser for May 3 (always a Chicago's Artist Who's Who aka The List)
Iâ€™d tell you who I’m excited about seeing at the auction, but I want the art all for myself! Find out yourself, the auction takes place May 3, from 7-11PM at 1034 N. Milwaukee Ave.
Spring benefit season is bookended by major heavy hitters with Threewalls rounding out the season. Another reliably good time, this year’s gala is being held in the spacious digs down south at Mana Contemporary. The full lineup hasnâ€™t been revealed but, I’m jazzed on the news that DJ Earl (who you might have read about in the last edition of the T) will be there. The details might still be a little fuzzy but you can already buy tickets on their site. Looking forward to finding out what a Gunnatowski â€œwearableâ€ looks like.
FLASHBACK! Trending artist Jesse Malmed (right) with Trunk Show co-director, Raven Munsell (left) and artist Jason Lazarus (center) at Salvage One last year for Threewalls Spring Gala.
The Weatherman Report
For Chicago IL
Charles Ephraim Burchfield, Early Spring, 1917, Watercolor and graphite on paper, 21 Ã— 28 1/4 inches. James Goodman Gallery.
Bad at Sports finally trending.
What’s the TRENDING?
The Equinox is Totes Normcore
Pillows: After being relegated to cameos in the backgrounds of painting and photographic portraits for centuries, pillows are finally stepping out on their own. Last week during the Whitney Biennial/ New Yawk City hullabaloo the internet was plastered with images of the biennial and various fairs, but nothing stood out more than the freaky pillows of Bjarne Melgaard at the #WhiBi. With the help of NY based artist and collaborator Amanda Browder, Bad at Spots finally reached the cutting edge with their Volta bed-in installation and recording booth. As if the original Richard and Duncan aren’t creepy enough on their own, Browder created life-size pillow versions for the Volta booth. Good work, team!
Detail of Norwegian American artist Bjarne Melgaard’s cracked out living room installation. Image by Hyperallergic.
Browder with pillows only a mother could love.
Jesse Malmed: Usually it’s difficult for individual artists to be in enough places at once to qualify as a trend, by that’s no problem for trending artist, Malmed. The co-director of Trunk Show and UIC grad student must not sleep. This past weekend Malmed did double duty at the MCA, as one of The Nightingale programmers on Friday night and then again on Saturday for his own presentation of selections from The Body Electronic: What Television Taught Me about Art, a live televisual lecture performance. Trunk Show also hosted an opening/ 5-act play by artist Brandon Alvendia outside the Multiples fair on Sunday and whatever HALLWALLS2 is had an opening on Monday afternoon. And that’s just over four consecutive days. If you’re interested in getting in on the Malmed Madness, and you clearly should be, the artists’ MFA show at UIC is opening on April 18th. If you feel like waking with the sun tomorrow, he’s also hosting a dawn equinox performance, more info here.
Just over 6 months ago, after 8 years of being a practicing contemporary artist, I graduated with my MFA. Though I knew my post graduation time would be full of unexpected ups and downs, and the struggle would be trying, I still had little idea of what it be like. Here I am with my degree, job hunting, making work and participating in the arts community like I knew I would, but there were a lot of things I was unprepared for. One of those things is just how shocking, depressing, uplifting, relieving, trying, exciting, lost, hopeful, and full of opportunity it would all feel. I know Iâ€™m doing well and trying as hard as I can, but itâ€™s still hard to keep afloat.
So I think what Iâ€™m writing about is something that is not openly talked about. How when grad school is over, even though you get a lot out of the experience, somehow you’re also hitting the reset button and starting the climb all over gain. Itâ€™s a love/hate experience. I was even hesitant to write about it because maybe if I admitted it hasnâ€™t been that great it will reflect poorly on me. But I was also lucky to have mentors to talk to who know there are many like me, struggling to get by in a depressed economy where the rules just arenâ€™t the same as they used to be. It seems like every job is something I am not experience enough for, or too experienced for, Its like being stuck on a bridge in a traffic jam. Iâ€™m going to a place I canâ€™t get to, leaving a place I canâ€™t go back to and the bridge is packed with cars all going the same way.
Many in our modern era look at the pursuitÂ of art practices as selfish, and worthless endeavors. If you went through college as an art major, youâ€™ve already had to face it over and over. The same friends and family that encouraged you to be creative, expressive and a follower of the obscure thing called â€œyour dreams,â€ then cringe when you tell them you are an art major. You are told that you better make a back up plan, and youâ€™ll never make a living as an artist. Yet I canâ€™t help but wonder, perhaps if we felt more supportive of the arts there would be more support there. The student studying to be an entrepreneur is often told what a brave contributor they are while the artist students are often told what a mistake they are making. To get through it, no matter who you are, you had to face discouragement from friends, family, teachers, councilors, bosses, the government, and in general the world is just not invested in you. Yet despite continuous discouragement for this hugely impactful and important cultural force we call art, you became an artist.
Part of the reason this post-school transition becomes such a struggle is the ever-present stigma of a successful artist. What exactly is the benchmark for being successful as an artist? Others often remind me that the probability of becoming a famous artist is very low. I respond by saying I never want to be a famous artist; I want to be renowned in the art world for what I do in a way where my practice is accepted but not famous. On some level my disinterest in fame has to do with a paradox that affects an artists once they rise to a certain level of fame.
Once in my undergrad while taking an honors art class with Haim Steinbach we were critiquing work and he said we needed to keep experimenting and not get stuck in one way of making. He explained that we were lucky, because he was now what he called a â€œdead artistâ€ and we were not. As he was aÂ famous and active artist, at first this first seemed like an impossible thing to say. He explained that once your artwork is found, the public/art market begins to push you towards remaking that one piece you became famous for. That even when you want to explore different avenues, itâ€™s very difficult as a famous artist to get shows, funding or acceptance if you arenâ€™t in some way reproducing the work you have become known for. And this is the moment, he explained, when you become a â€œdead artistâ€. By achieving the fame his work became constrained to itâ€™s own commodification, killing his practice and in turn his art.
Haim Steinbach froot loops 1, 2007
So what do we do when trying to forge our own way and build our careers after school? There are answers out there if you keep talking about it, and I am thankful for those out there who will discuss this openly. Understanding it takes time. You really are beginning again, but know that you are better off than where you began before. Plant seeds everywhere. You never know what is going to sprout and where it will lead. Say yes to everything you can, as you never know where it will go. Keep yourself humble, youâ€™re not too good for any job. Keep yourself proud, no job you take is a shame to have as long as you are keeping your practice up. Keep moving forward every day. Make plans, improvements and goals. Know you are not alone and you are doing the right thing. And how do you measure your success? Iâ€™ve got to say when I take everything into account, knowing of course that success is a very personal reflection, I do think there is a clear way to know if you are a successful artist. That after all the pressure, aversions, and struggles you still keep making art. No matter how your practice changes, or where you are, or what job you have, or how stable you are financially, or wherever your life may lead: being a successful artist has nothing to do with that, but rather with you staying an artist. The continuation andÂ advancement of your artwork and practice itself is the mark of a truly successful artist.
Special thanks for thier support and inspriation: Charles Rice, Mark Jeffery, Bradley Litwin and HaimÂ Steinbach
2013 was a huge year for us at Bad at Sports. We did a ton of big projects with places like the St Louis Contemporary Art Museum, EXPO Chicago, Open Engagement, Orange County Art Center, and Cannonball, but perhaps the biggest deal of all was that Caroline Picard took over as Bad at Sports’s most important collaborator and contributor, our Blog Czar. Caroline took the torch from Claudine Ise, who took it from Meg Onli, who was the spark that lit our blog, and like them she took us further then we had a right to ask her to. It is now her turn to pass that torch.
As you know Bad at Sports takes a “barn raising” like approach to the notion of “art journalism.” We are the voice of an art world. We are that voice because we choose to speak for and about the things we most care about. We are the artists, educators, curators, and writers that make up your world and we do this because we love it. Bad at Sports as a rule doesn’t make any money. It is 100% volunteer and for the last 8 years any money “it” made went to pay its bills so that a few of us are not continually paying them “out of pocket,” and Blog Czar is the hardest job we have. It means you are the bottle neck for everyone’s problems and contently chasing folks for the things they said they would do. Caroline has done it beautifully and gracefully, and her calm and stability will be missed.
Caroline presided over massive and continual change as the blog progressed and developed its scope and national interests. She supported the development of 20 new voices and instituted several new columns. She brought back an impulse to post daily and pushed for discussion around the issues that face performance art and the context of social practice. In short she has been incredible and our collective work has been pushed, pulled, and forever changed by her participation.
For Caroline this departure is nothing but the heralding of big things to come. As we speak she is grabbing coffee in a Paris cafe while she rocks a French residency and works through a number of ideas around object oriented philosophy and the animal world. When she returns to Chicago in May it will be just in time to publish a number of new books through the Green Lantern Press and start a new Chicago exhibition space in Logan Square. She promised that Bad at Sports will not be completely without her voice and she Â will remain a consistent contributor.
We owe her a huge thank you and a lot of love.
But now is the time of Jamilee Polson Lacy! Jamilee is one of the most interesting independent curators in Chicago and if anyone can fill Caroline’s shoe it will be her.
This is only the start of what will be an incredible and change filled year at Bad at Sports. Get ready.
Over the last few years within the United States a growing interest has arisen in festivals that specialize in Performance Art, that offshoot of the visual Arts, whoâ€™s practices center around temporal body-based works. This festival-circuit format for showing performance based art works has already produced a strong development in terms of organizations and events outside of the United States. Often however itâ€™s difficult for American performance artists to break into these circuits. Although there have some who have successfully done so, many festivals go years without showing a single American performance artist. This could be for many reasons, but one is certainly the relative lack of funding. Often the diplomatic and cultural establishments of foreign countries, such as embassies and consulates assist artists with expenses so that they can make and show artworks outside their country of origin. In the USA however, we do not invest money in the arts to the extent of other countries and thus American artists often have less accessibility to funds outside of their own pockets.
Arahmaiani. Rapid Pulse 2013. Photo by Arjuna Capulong
Performance art festivals are often intensive endeavors, involving a diverse group of international artists. Always on very tight budgets, these festivals often seek to supply food and housing for the artists for the duration of the festival, often lasting from several days to weeks. Unlike showing at a, gallery the festival becomes a sort of community or summer camp. Here artists and curators network and meet performers from all over the world. Viewership is open to the public but there is a community of support at many festivals where artist see each-otherâ€™s works, often living together and sometimes collaborating on the fly. Festivals are often popular for performance art as spaces willing to show the work, or spaces aware of the needs of exhibiting performance art are often few and far between.
The good news for performance artists is, the USA is starting to develop their own performance art festivals. These festivals seek to bring international artist to the USA while showcasing local talents. It will be exciting to see what other festivals are brewing here in the United States and some in and near Chicago itself. Here are three festivals to look for this year:
Â Â Â Lone Star Performance Explosion
Â Â Â Huston, TX
Â Â Â February 19-23, 2014
This is the second time around for this international performance art Â Â Â biennale after a successful run in 2012. â€œLONE STAR EXPLOSION 2014 seeks to showcase performance art that pushes the artists and audience in new ways, especially performance art that questions fundamental assumptions about the way we experience time, space, relationships, the self, society, and sexuality.Â â€œ As many of our festivals on this list the line up features local, national and international talents in Performance Art. Lone Star Explosion 2014 is curated and directed by Jonatan Lopez and Julia Wallace. Confirmed artists include: Elia Arce (Costa Rica), Marce Sparmann (Germany), Natalie Lovleless (Canada), J. Morrison (NYC),Â Ryan Hawk (Huston), Roberto Sifuentes (Chicago), and over 25 more artists.Â http://lonestarlive.org/
Rapid Pulse International Performance Art Festival
June 5-15, 2014
This is year three for Rapid Pulse International Performance Art Festival, taking place here in Chicago. â€œThe RAPID PULSE INTERNATIONAL PERFORMANCE ART FESTIVAL aims to represent a range of styles and forms in order to provoke thought and stimulate discourse surrounding performance art.â€ This intensive festival features performance, Â video screenings, artistâ€™s talks and panel discussions. It includes a wide range of performance art from durational, public, and digital based works. Unlike the rest of the festivals on this list Rapid Pulse is centered in and around Defibrillator Performance art Space as opposed to being a wide range, multi-venue event. Artists have yet to be announced but the application period is closed and the curatorial process is beginning. Rapid Pulse is curated by: Steven Bridges, Julie Laffin, Giana Gambino, andÂ Joseph Ravens. Â http://rapidpulse.org/
Supernova Performance Art Festival
Super Nova first took place in June of last year and word is the event will be back again this year. â€œSUPERNOVA will bring together emerging and established local, regional, national and international performance artists to present an expansive range of positions and approaches to performance art.â€ Though not confirmed Supernova came together well last year showing and they have to potential to continue on this year. Tough mostly national based artists, Supernova has the bones of a strong festival and hopefully they continue. Supernovaâ€™s 2013 Chief Curator was Eames Armstrong.Â http://rosslynartsproject.com/
Lone Star Explosion 2014
The question that arises with these projects and others like it is one of sustainability. Performance Art festivals are often struggle all year to find funding for the next event. Often performance artists who wish to see this kind of festival thrive in the USA produce these festivals. These factors, and the fact many performance art specific festivals around the world struggle to stay open make the running of an international festival a labor of love, to say the least. Even if these festivals eventually come to an end, the recent creation of these festivals might be pointing to a new trend in performance art exhibitions in the USA. Hopefully the adoption of the festival format international performance festivals will continue to propagate more opportunities in the exhibition of performance art. It will be interesting to see if the new trend in festival production will flourish in the United States and if festivals like these will run strong and multiply in the years to come. Perhaps, the appearance of American Performance Art festivals, and the participation of American artists in them, may lead to an increased interests in American practitioners of performance works both at home and abroad.
Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships. Currently she is assistant curator at Defibrillator and Co-Producer of the 2014 IMPACT Performance Art Festival. www.autumnhays.com