www.going.com/aroundthecoyotevip to get half-price daily admission as well as half-price tickets to the opening night party which includes food, beer and a weekend pass for the entire festival weekend!”

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Chicago Magazine has doubled down on a bad bet they made in February by not only backing the statement they made that Bad at Sports was one of the best Chicago art sites but now has named it the Best Podcast of 2008. Everyone here wants to say thank you for the award and for putting us in a position where we now have to perform to expectations.

We have a lot of growth and new projects in the works. So with the Art season starting up very soon keep checking in to see the interviews, articles, news & video that is coming down the pike. We hope to make the next year better then any before.

Quoted from the Article:

“Founded in 2005 by two friends over a drink, Bad at Sports (badatsports.com) is a podcast that manages to educate and entertain on a subject that causes the brains of most people to fog over and disengage: contemporary art. Originally a fun side project, the weekly interview show invites guests-from emerging talent to bona fide heavies like Kerry James Marshall to discuss art exhibitions, trends and news events such as the recent death of Robert Rauschenberg. With it’s loose, finding-it’s-way vibe, the show yields discussions so illuminating you begin to wonder whether the hosts-Duncan MacKenzie, a 31 year old artist and lecturer, and Richard Holland, a 36 year old artist and lawyer-are nursing dreams about becoming broadcasting professionals. WBEZ, are you listening?”

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The ordinance would require anyone putting on small shows (even garage bands just promoting their own gigs) to be licensed as a “promoter” subject to a $2000 license fee and requirements for $300,000 liability insurance for any event. Contact your alderman now and let them know you don’t want to see the arts strangled this way — Do you really want the only live art in Chicago to be comprised of performances of “Wicked” and farewell concert tours by 80s hair bands? Not that there’s anything wrong with either –but don’t you want choices, variety, and a city where artists are free to perform, struggle, succeed, and even fail? Whether you’re a fan of open mike nights, spoken word, small theater groups, whatever … You need to speak up now, because all of these will bite the dust if this becomes the law in the city.

Tell your alderman that an ordinance like this would have guaranteed that Chicago could never have been the home of Second City or the Lookingglass Theater, or the launching ground for countless musicians, actors, and playwrights and poets, and that audiences and artists alike will suffer, and our city will become poorer in spirit, if this proposed ordinance becomes law.

To find your Alderman, follow the following link:
http://www.chicityclerk.com/citycouncil/alderman/find.html

And do it before Wednesday’s vote!

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From the SFAI Website:

In response to a series of violent threats by animal-rights extremists, the San Francisco Art Institute announced today that the public discussion on Adel Abdessemed’s exhibition Don’t Trust Me, scheduled for Monday, 31 March, has been canceled. For the same reasons, the exhibition itself, which was temporarily suspended on Wednesday, 26 March, has now been permanently closed.

“We unconditionally repudiate these threats against SFAI,” stated President Chris Bratton: “My first concern is with the safety and security of SFAI’s students, faculty, staff, and their families, as well as members of the public that regularly visit the campus. In light of the violent threats by extremists against this institution, we are unfortunately forced to cancel any public discussion or display regarding this artwork.”

Soon after it opened, the Abdessemed exhibition became the subject of an orchestrated campaign by a number of animal-rights groups, including Animal Liberation Front (ALF), In Defense of Animals (IDA), and People for the Ethical Treatment of Animals (PETA). One result of this campaign was a parallel onslaught of explicit death threats and threats of sexual violence against SFAI staff members and their families. The swift escalation from controversy to credible threats has regrettably forced SFAI to make a decision unprecedented in its 137-year history.

“Though we’ve decided to take this action,” continued President Bratton, “SFAI stands behind the exhibition as an instance of a long-standing and serious commitment, on SFAI’s part, to reflection on, and free and open discussion of, contemporary global art and culture. As an institution, we take seriously our responsibility to encourage and promote such dialogue.”

“The artist,” continued President Bratton, “participated in an already-existing circuit of food production in a rural community in Mexico. The animals were raised for food, purchased, and professionally slaughtered. In fact, what causes the controversy is that Abdessemed, an artist, entered this exchange, filmed it, and exhibited it.”

“Here, then, is a case where highly local assumptions about how things are produced have come to inform how the world itself is seen. In general, consumption in the US is fueled by things produced out of sight and from far away. In many cultures, particularly those of the global south including Mexico, the killing of animals for food is often direct and present, not concealed from sight as is the case of industrialized food production here. This distinction is certainly relevant to Don’t Trust Me. Admittedly, this is an uncomfortable confrontation for some, but is nevertheless a real condition not only for animals, but also for the people whose lives are bound up with them. Simply stated, it is an outrage that threats of violence have, in this case, succeeded in derailing a public debate on issues that are critical to our everyday lives.”

The press release can be found here.

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Mr. Fitzpatrick, 67, stated when he took the position that he would stay no more then 10 years in the position and has proven his word literal.

He is now moving to New York, where his new position would be to oversee the fall opening of a 20,000-square-foot branch of the Haunch of Venison gallery at Rockefeller Center.

Read more here in the Chicago Tribune

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Robert Smithson’s widow Nancy Holt sent a letter out today to notify people that his masterwork Spiral Jetty is in jeopardy of being destroyed due to oil drilling.

Here is Holt’s full letter and a way for people to voice their concerns.

Yesterday I received an urgent email from Lynn DeFreitas, Director of Friends of the Great Salt Lake, telling me of plans for drilling oil in the Salt Lake near Spiral Jetty. See Attachments. The deadline for protest is [today] Wednesday, at 5PM. Of course, DIA has been informed and are meeting about it today.

I have been told by Lynn that the oil wells will not be above the water, but that means some kind of industrial complex of pipes and pumps beneath the water and on the shore. The operation would require roads for oil tank trucks, cranes, pumps etc. which produce noise and will severely alter the wild, natural place.

If you want to send a letter of protest to save the beautiful, natural Utah environment around the Spiral Jetty from oil drilling, the emails or calls of protest go to Jonathan Jemming 801-537-9023 jjemming@utah.gov. Please refer to Application # 8853. Every letter makes a big difference, they do take a lot of notice and know that publicity may follow. Since the Spiral Jetty has global significance, emails from foreign countries would be of special value.

They try to slip these drilling contracts under the radar, that’s why we found out so late, not through notification, but from a watchdog lawyer at the Southern Utah Wilderness Alliance, the group that alerted me to the land leasing for oil and gas near Sun Tunnels last May.

Thank you for your consideration of this serious environmental matter.

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Bad at Sports was kindly named and showcased in the Art & Culture category along with other Chicago resources as Sharkforum, Chicago Artists Resource & Paul Kline’s Artletter. Not to forget the personal writings of Edward Lifson, cough, cough.

We thank every listener that has made this possible for the last 2+ years & the editorial staff of Chicago Magazine for recognizing the hard work of a handful of Chicago street punks like us.

In true form we take the recognition with one hand and flip off the establishment with the other hand (minus a few fingers). At least thats what I think the artist handbook decrees, who knows we were never good with rules.

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Subject: 40000 Closing: Not an Exhibition

Dear Friends

After almost 3 years, and 37 exhibitions and events, 40000 is closing
permanently on December 29, 2007. The current exhibition, “David Coyle:
2007″ will be the last.

There are a lot of people to thank. First and foremost are the artists
I’ve worked with closely: David Coyle, Deb Sokolow, Josh Mannis, Nevin
Tomlinson, Nathan Redwood, Brian Andrews and Thomas Rapai. I would also
like to profoundly thank all the artists, assistants, visitors,
students, curators, collectors, fellow gallerists and the plainly
curious.

I started 40000 for many reasons, but most importantly it was an
opportunity to work with artists I respected and was thrilled by. It
was also a way of bringing to Chicago another venue from which to expose
new and emerging artists with new and emerging ideas. I thoroughly
believe both of these bullet points were achieved.

I am closing 40000 for many reasons. But the only bullet point worth
mentioning here is the fact that, while not having a physical space in
which to showcase art in real time, the ideas and inspirations stated
above will not be completely lost.

Please keep your eyes and ears open for a new venture called Bertran
Projects.

One last bullet point:

Thank you.

Britton

40000
119 N. Peoria St. 2C
Chicago, IL 60607

info@gallery40000.com
www.gallery40000.com

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1euro goes to Cy Twombly for symbolic reasons

1,000 euros ($1,425) to the painting’s owner

486 euros ($713) to the Avignon gallery where she planted the kiss

Also 100 hours of community service after convicting her of “voluntarily damaging a work of art.”

$2,139 in damages was far below the $2.8 million in damages the owner Yvon Lambert had originally requested — the full value of the painting.

He claimed it cost more than $45,000 to restore the work because the lipstick could not be easily removed.

During the trial, Sam stated continuously: “When I kissed it, I thought the artist would have understood,”

Cy Twombly has yet to comment……….

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The 66,000-square-foot plot of 45 different kinds of species splashed yellow and purple when in full bloom was once called a “magnificent piece of art.” by then Mayor Harold Washington.

But is the garden — or was it, before the Chicago Park District halved it — art by legal definition? Can you own art, does the buyer/commisoner own it and therefor destroy it when it sees fit to? Those questions and more go before a federal judge today in regards to the lawsuit filed by Mr. Kelley.

In consideration is the federal Visual Artists Rights Act which protects the destruction or alteration of works of art of “recognized stature”. The city posits that the law awsa created to protect outdoor paintings, murals & sculpture and not to protect gardens. Mr. Kelley is stating that his garden is an environmental sculpture.

Kelley is a painter, but his garden in Daley Bicentennial Plaza, just east of Millennium Park, brought him his greatest praise. It appeared in travel guides. And at one point, the district compared Kelley to other “heroes of Chicago landscape” such as Frederick Law Olmsted, who designed Jackson Park.

Is it protected art, what is the right of the artist, what is the right of the commissioner, if artists can not get longevity and recognition from public work will they continue to do it? If cities have to fear lawsuits and damages in the 6 figure or higher level when they redesign city areas will that put a freeze on public art commissions?

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