Work by Jeremy Bolen
Andrew Rafacz Gallery is located at 835 W. Washington Blvd. Reception 6-9pm.
Work by Chanel Von Habsburg-Lothringen
Boyfriends is lcoated at 3114 w. Carroll St. Reception 7-11pm.
Work by James Kinser and Niki Grangruth
C33 Gallery is located at 33 E. Congress Pkwy. Reception 5-9pm.
Curated by Britton Bertran
Carrie Secrist Gallery is located at 835 W. Washington St. Reception 5-8pm.
Work by Lesley Dill
Center for Book & Paper Arts is located at 1104 S. Wabash Ave. Reception 5-9pm.
Work by Amanda Williams, Emmanuel Pratt and Andres L. Hernandez
Glass Curtain Gallery is located at 1104 S. Wabash Ave. Reception 5-9pm.
Work by Shana Moulton.
Julius Caesar is located at 3311 W. Carroll Ave. Reception 7-10pm.
Work by Autumn Ramsey
Night Club is located at 3325 N. Pulaski Rd. Reception 6:30-9:30pm.
Work by Daniel G. Baird, Kadar Brock, Alex Chitty, Mika Horibuchi, Samuel Levi Jones, Mtthew Metzger, Bryan Savitz, Nick van Woert, Kristen VanDeventer, JPW 3 and Liat Yossifor
PATRON is located at 673 N. Milwaukee Ave. Reception 6-9pm.
Curated by Raquel Iglesias and Jacelyn Keework with work by Bobby Gonzales, Allyson Packer, Linda Tegg, Derrick Woods-Morrow, and Guanyu Xu
SAIC Sullivan Galleries is located at 33 S. State St. Reception 6-9pm.
Work by Paula Nacif, Violet Systems, Nanae Shimazu, Christine Janokowicz, Kevin Carey, Lisa Claire Green, Ursula Andreeff, Rebecca Elliot, Maggie Harrington, Julia Kriegel, Coco Menk, Anja Morel, Sawako Okayasu, Vettii, Aaron Von Krupp, Allison Zuckerman, Shawné Michaelain Holloway, Bryan Peterson, Alp Seyrekbasan & Adrien Stein, Reina Taniuchi and Saya Yamauchi
TCC is located at 2547 W. North Ave.; Archer Beach Haus is located at 3012 S. Archer Ave. Reception 6pm-12am.
Guest Post by Britton Bertran
I didnâ€™t get out to see a lot art in Chicago this year as I was too happily busy being a Dad to the best little boy in the world. Â Nonetheless, here are some lists of what I did see, what I didnâ€™t, some predictions and some things Iâ€™m anticipating.Â I know we all have a love/hate with these kinds of lists, but this should be pretty easy to digest.Â Click on those links.
Exhibitions I saw:
- Amalia Pica at the MCA
- Fragment: Sampling the Modern at the Elmhurst Art Museum
- Wendy White at Andrew Rafacz
- Andrew Holmquist at Carrie Secrist Gallery
- David Salle: Ghost Paintings at The Arts Club of Chicago
- Vivian Maier
- EXPO Chicago
- AICâ€™s Modern Wingâ€™s closed 3rd floor
- The Way of the Shovel at the MCA
- Chicago Sculpture Internationalâ€™s Sculpture on the Boulevards
Exhibitions/Events I didnâ€™t see:
- RH Quaytman at the Renaissance Society
- Medium Cool
- Steve McQueen at the AIC
- Matt Nichols at Corbett vs. Dempsey
- Mike Andrews at The Suburban
Anticipating in 2014:
- The Whitney Biennial
- William J. Oâ€™Brien at the MCA
- Christopher Wool at the AIC
- Christopher Williams at the AIC
- A new permanent space for Threewalls
- The Whitney Biennial fails in the eyes of critics
- A major commercial gallery in Chicago will close, another will open
- A storied institution will lose itâ€™s curator
- A galvanizing work of public art will really piss people off
- A better year than 2013
Bio: Britton Bertran ran 40000 from 2005 to 2008. He currently is an Instructor at SAIC in the Arts Administration and Policy department and the Educational Programs Manager at Urban Gateways. An occasional guest-curator, he has organized exhibitions for the Hyde Park Art Center, the Loyola Museum of Art and several galleries. You can find him trying to be less cranky about the art world on twitter @br_tton. Â
December 3, 2013 · Print This Article
Guest Post by Britton Bertran
The art economy in Chicago â€“ specific to the visual art market â€“ is busted.Â It doesnâ€™t work and hasnâ€™t worked for a long time.Â Yes, this a provincial observation as we are in a global society, but ask any commercial gallery owner in Chicago thatâ€™s not one of the Mighty 5, and theyâ€™ll tell you the same. Â Yes, more and more people who arenâ€™t in Chicago are paying attention to us as a viable location.Â Chicago is a place that has artists who make (and made) great work and some non-Chicagoans are even buying art from here (good luck in Miami yâ€™all!).Â But when it comes to a localized presence, we are somewhere near the bottom of the attention totem pole.Â Where would you place visual art on the Chicago matrix of culture that includes Theater, Music, Dance, and yes, Food?
There are several ingredients that make up this pie: artists (check-plus), galleries (check), arts administrators (check), art critics (check-minus) and collectors (check-minus-minus).Â One could also add art schools, art jobs and art conversation to this pie.Â As well, we have venues in which to look at art which is obviously important for this mixture: fancy/academic/contemporary museums, commercial galleries with varying levels of artist representation, medium-sized and smaller not-for-profits, artist-run apartments/storefronts/garages, city-sanctioned public spaces and galleries AND, lest we forget, our computers. Â These are all parts of this economy and much of its success is reliant on the flow if information that reaches non-art world people and what happens when those people react to what they see.Â The trouble is that most of those non-artworlders are either taking what they see for granted. Â In general, they are not really looking, seeing or reacting.
Chicago has a landscape and art is very much in it. Â So whatâ€™s missing? Â Why is it broke and how can we fix it?
Money helps. Â Money helps a lot. Â Yes, I know itâ€™s gauche to talk about especially in the realm of aesthetics, but the majority of artworlders here are sadly not flush for reasons beyond their control. Â And yes, I also realize that many artists choose to ignore the money part of their equation as it interferes with the thinking about their work and its discourse.Â But it still needs to be discussed as itâ€™s a part of the system we live within.
I place much of the blame of a lot of the troubles the Chicago art world has on the lack of collectors. Â There are collectors in Chicago – both with a little c and a big C â€“ but there are just not enough.Â Iâ€™m going to ignore the Collector portion of this equation and focus on the Lilâ€™ câ€™s, with the knowledge that one often becomes the other due to the pure pleasure they receive from the act itself.
Who are they? Where are they? Why wonâ€™t they come out and play? I know theyâ€™re here: they sit on non-profit auxiliary Boards, they go to First Friday, they eat out three nights a week, they buy condos in the West Loop, they have scooters as alternative transportation devices, they bring their visiting parents to the Art Institute and they could probably tell you at least ten contemporary artists they’ve heard of.
Since they are here, we have solved part of the problem and this is important because the Lilâ€™ câ€™s need to be localized in order for this to work. Â Next is the hard part: they need to understand that collecting art is a good thing, itâ€™s healthy, itâ€™s fun and itâ€™s really addictive. Â They need to understand that they donâ€™t need to spend a lot of money. Â They would be helping out this economy from a small business point of view, for both artists and gallerists. Â They could say, â€œHey Iâ€™m young, why donâ€™t I collect some emerging artists that are the same age as me and we could grow together!â€ Or they could say, â€œHey, if a New York Giants linebacker collects art, why shouldnâ€™t I?â€ Or â€œI heard that Leo DiCaprio was lurking in the corner of the some art auction last week?â€ Â This is a thing that people do!Â This is something that you, oâ€™ Lilâ€™ c, would be great at!
Sadly, the majority of the Lilâ€™ câ€™s also need to be told what to buy, at least in the beginning. Â As such, they need the lecture about aesthetics vs. investments, to buy with your eyes and not your ears, that itâ€™s more than filling in the space over your couch in that new condo and, if they so desire, art collecting brings with it a whole new set of social structures that can be horrifyingly awesome. Â An additional secret: Lilâ€™ câ€™s donâ€™t need Leo money to buy art they just need to be educated.
Is there anyone out there thatâ€™s taking up this challenge and whisper in the ears of these Lilâ€™ câ€™s? Â There are, but there arenâ€™t enough and there arenâ€™t enough that are doing it right. Â Two examples that are doing it right: The Chicago Artist Coalition and Threewalls.Â The CACâ€™s tagline is â€œBuilding a Creative Marketplaceâ€. Â Theyâ€™ve re-booted the organization in the last couple of years and are making real strides to make connections between artists and collectors. Â Threewalls has their CSA Initiative (Community Supported Art) that makes a kind of implied statement on the relationship between non-profit-ness, artists, art-making and the joy of owning artwork.Â These are also sustainable examples. Â One-off events (aka Art Fairs) may provide convenience and atmosphere but do little for long term development of collecting as a functionary system beyond good and services.Â Relationships need to be built which is also part of the fun.
Beyond the money â€“ there is relevance. Â These are two concepts inextricably associated with each other.Â In the context of Chicago, with its persistent inferiority complex, relevance especially applies in ways that will always be in flux.Â Some choose to ignore it, others choose to whole-heartedly embrace it and there are others whose mission in life is to better it.
There used to be individuals who developed a way of thinking and talking about art in Chicago that directly translated into success for a number of artists, both critically and monetarily.Â Two that come to mind are Don Baum (circa Monster Roster in the late 1960â€™s) and Judith Russi Kirshner (circa Chicago-neo-conceptualism of the late 1980â€™s). Â The artists that they worked with are well represented in our local art institutions as well as the collections of many Collectors. Â This is artwork that was disseminated in a way that clever, deft and meaningful within Chicago and then beyond.
This is still happening today in a way that could amount to something bigger.Â The current Whitney Biennial may provide a stopgap for this situation with near 1/5th of its artists currently working in Chicago, or at least with very close ties.Â Hopefully, the deserved exposure for those lucky artists will translate into more than a sentence or two in a reputable purveyor of art criticism.Â There is also a handful of local curators ensconced at our museums who do their part by creating scholarly looks at the recent art history of Chicago artists as well as develop vehicles for showcasing some of our emerging and mid-career artists.Â But is this enough?Â When the #WhiBi is over, how many of those artists will have some sort of local gallery representation?Â How many times will we see the same Tony Tasset/Robert Smithson photo at the MCA?
A surefire way of gaining some sort of relevance in the art world used to be simply having someone write about your work.Â In Chicago this used to be a little harder than other cities, but it was still there.Â I used to think that a certain level of professional art criticality and good old fashion art journalism was a part of this puzzle, and I still think it is, but when it comes to creating a sense of relevance â€“ itâ€™s a downward spiral. Â This is something I have no idea how to fix.Â The state of journalism (online or offline or whatever) is a sad state at this point because there simply isnâ€™t enough of it happening on a higher level.Â At the same time, if someone where to start consistently writing about Art in Chicago in a serious and engaging way, who would be there to read it? Â Is there anybody reading this that isnâ€™t already in some way trying to make a living within the local art scene, or at least attempting to become more relevant in some meaningful way?Â Writing about art, critically or journalistically, needs an infusion that is less about navel gazing and more about starting a conversation that is extroverted.
Thankfully, there arenâ€™t anymore â€œChicago schoolsâ€.Â Or at least no one (thatâ€™s not a gallery developing a marketing ploy) has decided to wrangle our artists into any sort of synthesized concrete definition in order to look at them easier.Â And, if someone where to, what would it look like?Â Would it be too transparent an attempt at selling? Â Or does that simply not matter anymore?Â Being an artist in Chicago might just have to be enough, but it canâ€™t be because there is too much at stake.Â I donâ€™t think there is room for another Don Baum in Chicago, but there is room to recognize that there are more questions than answers in this essay.
Bio: Britton Bertran ran 40000 from 2005 to 2008. He currently is an Instructor at SAIC in the Arts Administration and Policy department and the Educational Programs Manager at Urban Gateways. An occasional guest-curator, he has organized exhibitions for the Hyde Park Art Center, the Loyola Museum of Art and several galleries. You can find him trying to be less cranky about the art world on twitter @br_tton.Â Stay tuned for another guest post about looking forward to 2014 (and maybe a top 10 list of sorts too.)
September 24, 2013 · Print This Article
Guest Post by Britton Bertran
I was there in 2005 at the beginning of Bad at Sports (Episode 4!) and I hope Iâ€™m not there at the end. Â It was the year I opened my gallery, 40000. It was a good idea at the time. I was fed up with not seeing what I wanted to see and equally mesmerized by controlling my own destiny in a commercial sort of way. There were plenty of other interesting things happening and I figured â€“ why the hell not.
The years 2005 and 2006 were ok years for Chicago Art. It seemed to be an upswing couple of years when apartment galleries and art interest were peaking. (These things come in waves â€“ Iâ€™d put us in a upward motion now after reaching the bottom in 2011.) The MCA was showing interesting work (a Dan Flavin Retrospective, Deb Sokolow and William J. Oâ€™Brien had 12 x 12â€™s), blogs were percolating with critical activity (anyone remember panel-house.com or iconoduel.org?) and this new fandangled thing called a podcast had people sitting with their bulky desktops and REALLY listening.
I took a leap of art faith and quit my job, borrowed some money from my mom and with the help of a couple close friends including a now-deceased bartender from Phyllisâ€™, rocked out a storefront space on Winchester and Augusta. A year and a half later, some guy bought the building and wanted to turn it in to a really small Italian restaurant. I moved the gallery in the summer of 2006 to the bustling 119 N. Peoria building (soon to be home to only one gallery in 2014.)
Like-minded nice folks like Corbett vs. Dempsey, The Green Lantern, 65GRAND, Fraction Workspace, Western Exhibitions, Lisa Boyle Gallery, Duchess and a couple of more spaces, were all blazing fiery paths outside the West Loop in WestTown (does anyone even know where this is now?). We even organized, set up a network, handed out flyer/maps and coordinated openings. It worked for the most part. I think.
There was no social media except for Friendster and then that thing called Myspace. My digital camera had something like 3 megapixels and took incredibly shitty pictures. It took a solid hour to update my clunky website. It was rough out there in a walking up the hill backwards in a snowstorm kind of way. But it was great. Lots of visitors – mostly artists – came, drank and stole beer during openings, I sold art here and there, got a few reviews in national art magazines, was invited to fancy pants museum openings, met not-so-nice individuals who essentially run the art world, shook hands with some artist heroes and even did the occasional art fair in and outside Chicago.
But mostly, having this gallery gave me some pretty solid insight into how artists work, what they think about and what really matters the most to them career-wise. Surprisingly, and thankfully for me, it wasnâ€™t money. 40000 was definitely a failure in that regard and the main reason I closed in 2009. I was also unable, and did not want to, secure a sugar daddy/momma, which I slowly realized was the only way to sustainability. [A little secret â€“ there is less than a handful of galleries in Chicago that donâ€™t have one of these.]
I think itâ€™s pretty telling that almost half of the original West Town Gallery Network is still in effect.Â Corbett vs. Dempsey just got admitted to the Main Fair of Art Basel Miami Beach (a big damn deal). Western Exhibitions is still cranking out shows with aplomb and has incredible dedication to itâ€™s artists. 65GRAND (all caps no gaps, please) is run by one of the smartest and nicest gallerists in Chicago. Only one of these galleries is still in West Town â€“ though itâ€™s stretching it a bit. All of these spaces work so damn hard itâ€™s difficult for me to even comprehend how theyâ€™re possibly doing it. Most of us are still here in Chicago, I think. Whether or not we are running galleries, we are all getting old, raising families, have â€œrealâ€ jobs, etcetera. I hope you wonâ€™t forget us.
The artists I worked with are for the most part pretty successful in their careers. One or two I never hear from, a couple of others I never want to hear from. Nonetheless, it gives me great pleasure to know that I have a place in Chicago art history. Itâ€™s funny though, I seriously often wonder what would have happened if I had at least a 10 megapixel camera back then.
A little addendum here: I was often asked, â€œWhat the hell does 40000 mean?â€Â In fact a couple of months ago a collector emailed me out of the blue and straight up asked.Â So I told him.Â I named the gallery after Joe “40,000” Murphy. Â â€œ40,000â€ was a Chicago outsider artist and events usher in the 1950â€™s who either knew 40,000 famous people, or was renowned for saying â€œaboutâ€¦. 40,000 empty seats!â€ when asked how many people where coming to that dayâ€™s event.Â When people asked me, I made them guess. NobodyÂ got it right.
Britton Bertran ran 40000 from 2005 to 2008. He currently is an Instructor at SAIC in the Arts Administration and Policy department and the Educational Programs Manager at Urban Gateways. An occasional guest-curator, he has organized exhibitions for the Hyde Park Art Center, the Loyola Museum of Art and several galleries. You can find him trying to be less cranky about the art world on twitter @br_tton. Stay tuned for a couple more guest posts where Britton will be discussing his tumblr-famous tumblr â€œInstallatorâ€ and his take on whatâ€™s wrong with the Chicago art world circa 2013 – while thinking out loud about how to fix it.Â
December 29, 2010 · Print This Article
Our latest “Centerfield” column is up on art:21 blog! Actually, it went live yesterday, while I was flying home from Los Angeles so…apologies for the late linkage here. This week, I tried something slightly different: a roundtable Q&A session that addresses the question of how different people sustain a cultural practice over time. It’s a question I’ve been thinking about a lot lately, and it seemed particularly appropriate to ask as the end of 2010 draws to a close and we look forward to a new year, new projects, new relationships–all of which need fresh infusions of energy, creativity and enthusiasm. The discussion was really meaningful to me, and I’m very grateful to Britton Bertran, Duncan MacKenzie, Caroline Picard and Philip von Zweck for sharing their experiences with us. I hope you find something meaningful in the conversation, too! Happy New Year everyone.
The following is the entire text of the discussion which appeared in yesterday’s “Centerfield” column for art:21 blog.Â The “Centerfield” post had been edited somewhat for brevity.
Lately I have been thinking a lot about sustainability and sustenance. Not the environmental kind of sustainabilityâ€“the personal and emotional kind.Â Chicagoâ€™s art community is rich in relationships, but like so many other â€˜art worldsâ€™ out there, it can be a bit less bountiful when it comes to monetary compensation, feedback, and consistent forms of validation. So I asked four longtime Chicago-based cultural practitionersâ€“independent curator and arts educator Britton Bertran, artist Duncan MacKenzie (co-founder of Bad at Sports),Â Caroline Picard, an artist who runs the small but highly-regarded Green Lantern Gallery and Press, and Philip von Zweck, an artist whose work often involves project-based collaborationsâ€“a few questions about how they have sustained their own practices over time, and especially after a project has run its course. How do they stay sharp and engaged and committed over the long haul? How do they keep on keepinâ€™ on when the going gets tough?Â Read on to find out what this group had to say.
Claudine Ise:Â Describe the work that you do. What forms has the work taken? When its form has changed, what were some of the reasons for the change?
Britton Bertran: My work is cyclical. I started my â€œcareerâ€ here in Chicago working for a well-known and very progressive not-for-profit art education organization. Â It was hard and fulfilling programmatic work placing â€˜teaching artistsâ€™ in mostly underserved Chicago public schools. Â It was also mentally exhausting, especially the part when we all sat around and planned the future of arts integration. Â Around 2005 I decided to open my own commercial art gallery (called 40000). There were many reasons why I did this but one of the main points was jettisoning the funk of non-profit work off of me and diving in to the wild world of working with artists for profit (theirs and mine). Â Three years later, and a month before the great economic collapse of 2008, I closed the gallery. There are a myriad of reasons why I closed the gallery. Â To this day, I am simultaneously extremely relieved for shutting down but will also ultimately regret doing so. Â After that I worked for a local philanthropic foundation doing a preliminary report investigating the feasibility of opening a contemporary art space in Chicago. Meanwhile, the aforementioned economic collapse waylaid the philanthropic element of the foundation and hence the feasibility of operating such a space. Â Currently I am working for another Chicago-based art education not-for-profit with a more encompassing, less intense mission that is equally as challenging but not laden with the philosophical conundrum of solving the worldâ€™s problems. Â Itâ€™s very satisfying and comes with a real live paycheck.
Interspersed with the jobs I have had in for the last 4 years or so, I have also had a secondary career as an independent curator and instructor in the Arts Administration department at The School of the Art Institute. Â Curatorially, I put together two exhibitions a year â€“ one at a more Institutional level and one at an artist-run or alternative gallery space. Â As an instructor, my classes revolve around the art business, institutional contexts and the history of both.
Economics and the highs and lows of professional frustration seem to be running themes in my personal work history. Â The one constant is education. Â Its also important to point out I am not an artist. Â I donâ€™t make work as â€œproductâ€, but one of the ongoing mantras of art education (specifically in secondary school, but really at all levels) is the sweet dance between product and process. Â What is each of these things in the first place? Â Can you have one without the other? Â Where does the satisfaction of learning make itself known? Â Retention of information or basking in the glow of acknowledgment: which should take precedence or how should they be intermingled for maximum effect? These are the questions I have been working with throughout my â€œcareerâ€ and I believe it will be a long pursuit.
Duncan MacKenzie: The work that I do has taken, and takes, many forms. The way that I work now is collaboratively, sometimes that means working on the Â â€œBad at Sports” project and at other times that work is with an artist named Christian Kuras on an object and image-based practice. As a young artist, I was trained in several really active communal print shops, a series of film sets and a small graphic design firm. Those experiences left me with a real strong drive towards communal working and a need to share broadly both the authorship and the result. This is a very different way then the traditional â€œheroic artistâ€ locked in their studio wrestling with a canvas. I don’t love spending my time all alone working through a series of problems and puzzles which I’ve situated for myself. I like and need the energy colleagues bring to projects.
Before these current collaborations, I had thought of myself and worked as a… I don’t know, for lack of a better term, postmodern pop artist, and developed a “style” which was reflective of pop culture, post-structuralism and of other â€œconceptual lookingâ€ art practices. Â That started to change when I confronted the reality of being a “print specialist.” The worry that was taking root had to do with how constraining a traditional printmaking practice can become and how that can limit its producers and their participation in a broader art world. Printmaking is soÂ seductiveÂ in its process and its materials that artists attracted to it tend to become very invested in virtuoso printing and work in the closed community of international printmakers. I started to bump up against this boundary and began looking for other strategies with which to access the ways that I was thinking. Initially, I begin by looking at video and animation work and situating a practice of appropriation and collage there. Then that reach was extended out towards electronics, model building, and photography. Through those processes I began to engage sculpture and found that most of the ideas that I wanted to follow-up on needed a discourse that was more, or maybe less, lonely. Then, at roughly the same time, I started to collaborate with Christian on making sculptures, and Richard Holland and I started talking about doing a podcast about art.
Caroline Picard: For the last six years I have been running a non-profit gallery and press called The Green Lantern. During that time I have continued to work independently as an artist and a writer. I think these projects inform one another–in many ways I’ve thought about the Gallery and the Press as being significant influences on my own work; particularly when the space was in my apartment, I came to think of it as a kind studio-research. During the first five years, that’s where everything took place– in my apartment–I’m very interested in creating intersections for different artistic mediums, so it was a great place to experiment curatorially. I was also very interested in thinking about the intersection of public and private space and how that context might affect a viewer’s experience of contemporary artwork, whether it was poetry, or a painting exhibit, a music show or a performance.
After five years the city shut down the project because (and as a result of zoning) I did not have, nor could I acquire a business license. Last September I opened a second storefront space which will close in January of this year. As part of this second plan, I was trying to put together a business model which would sustain the non-profit gallery via a for-profit cafe/bar/bookstore/performance space. I couldn’t find that space, and after a continued accrued cost had to close up shop. The Press will continue and I’ll continue as its primary editor. We also have a very cool on-line indie-lit bookstore, (in my on-going championship of pipe dreams, I have a vague hope that said bookstore will serve as my primary income).
Philip von Zweck: From the early 90’s (as a student) until relatively recently most of my projects involved either producing a form for others to fill and/or making projects for a non art audience. Â For 15 years I produced a weekly radio program of live performance and sound art recordings that were submitted for broadcast; I have an ongoing project called Temporary Allegiance which is a 25 ft flag pole that anyone can sign up to fly anything they want on for a week at a time; I ran a gallery in my living room for 3 years in which I presented solo shows by people I trusted with keys to my apartment; I’ve made books which are compilations of pages submitted by friends; for my show museum show a few years ago I made a chain letter and mailed it to the museum’s mailing list; I co-founded the radio art collective Blind Spot which produced 1-hour works live to air- the list goes on, but there was a set of politics I was really guided by, and adhering to them eventually caused me to feel distanced from my own practice. I got to a point where I just wasn’t as interested in doing those sorts of projects, or feeling like I had to do those sorts of projects anymore. Â So recently, a few years ago, I begun showing paintings- I’ve always painted and drawn but didn’t show them because it didn’t fit in with the other projects and those took precedence. Â I wouldnâ€™t that I have abandoned the previous set of politics and I still really like a lot of those projects; itâ€™s just that I’ve come to a different way of thinking about them and my role as an artist.
CI: Can you describe one, or some, of the happiest and/or most satisfying period/s of production you’ve experienced thus far, and what made it so? In turn, can you talk about some of the “low points.” What brought you down? How did you pick yourself back up again afterwards and find the where-with-all to start fresh?
Britton Bertran: The opening night of the first exhibition I put together for 40000 was the happiest most satisfying 5 hours of my professional career. Â A completely fulfilling experience that squashed a good six months of the most terrifying anxiety Iâ€™ve ever known. Â Quitting my job to start my own business without any financial security or previous gallery operating know how was also one of the stupidest things I have ever done. Â Looking back now â€“ part of that happiness was pure obliviousness, but seeing 300 people come and pretty much stay that night had a profound affect on me. Â The literal act of taking a space and preparing it for art looking is one thing, but preparing it for art socializing and art commerce is another. Â I learned a lot that night (process?), through the literal and figurative haze, that I still employ today (product?).
My low point was realizing how screwed I was by the overall economic situation that happened not too long ago. Â Either I was too arrogant to think I would never have work, or I thought I was just plain invincible, but that was the most incredibly depressing and scary 6 months of my life. Â Part of my problem was the fact that I had convinced myself that I had paid my dues and that a job, in the art world please, should just come waltzing my way, take my hand and whisk me off to that thing called adulthood. Â It was around this time (as I was selling my lovingly collected vinyl records in order to eat), that I realized I had built a solid network of individuals that could help me. Â Pride swallowed I groveled, professionally, and just asked. Within two months I was working.
Duncan MacKenzie: All of the most recent satisfying moments were times in which I felt very connected to our projects and felt like others were as connected to the result. One of the most amazing experiences, recently, was doing Â â€œDon’t Piss on Me and Tell Me its Raining” at Apexart in NYC. What made it such a delight was to know and have tangible proof of what our project is meant to the hundreds of people who been involved in its production. It was amazing to feel so intimately connected to so many other artists.
The low points for me are almost always the same. They are the moments that I feel like the art world is either just like a clique-y, bitchy, catty high school popularity contest or like a fashion Mall and all the things we make are just asÂ disposableÂ as this weekâ€™s “Entertainment Weekly.” They are always the moments that make me feel like we are not a community but a bunch of humans who represent opportunities to each other and should just be used as opportunities. It seems so obvious that we should beÂ advocatesÂ for each other and support an overall growth but the evidences suggests that despite working in “culture” we are hyper competitive creatures. So I guess they are moments when I feel disconnected and disregarded. Thankfully it is as easy to get out of picking up the phone and reaching out. Â All it takes is a little reminder that we all feel alone, awkward, and like no one cares but everyone of us does this because we know how meaningful it has been to us and that we still share in it.
Caroline Picard: High points: I think my consistent favorite moment will always be the point an audience (of whatever sort) has settled into attendance–when the program has begun and the work is done–whether that’s the work of an administrator, or a producer. For me, those moments resolve the otherwise insatiable existential question (in my mind) of what art is for because art is precisely for that moment; at least that’s how it strikes me in that moment. That moment also demands a certain giving up–there is nothing left to do but allow the occasion to happen, and to try and be present for its happening. My other favorite moment is the deep concentration that happens when I am working on my own, whether writing a piece, or painting, or editing–this is my other favorite thing. That deep concentration–I don’t really know what else to call it, but it’s like everything else in the world gets quiet while I’m totally focused on exploring and developing a particular idea. That moment gives me a huge re-charge (you ask about this later). It’s maybe a little like meditation? I don’t know.
Low points include: Discovering typos in my writing, for instance–particularly if those typos point to some never-before-recognized ignorance–what are they called, lacuna? I think this space closing a second time is another one of those moments, despite my realizing that there was no specific failure involved–I am proud of what the last six months have brought, thrilled that I got to work with such great people and participate once more with the Chicago art community. Yet, I am conscious not fulfilling the larger, albeit abstract, vision I had undertaken. Why this, or realizing typos would inspire embarrassment, I don’t know–it must be some hangover of a waspy background, or a childhood fear of Scandinavian silence (my grandmother had a strategy called “deep freeze” that was remarkable). And then as far as how to get through that stuff–I don’t think there’s any trick beyond being patient and humble and adopting a sense of humor (I like to think of my consciousness like my grandmother–if it/she shames me I make a slew of jokes which, more often than not, work because they fail).
Philip von Zweck: The times when I am the most productive – and therefore happiest – artistically are generally times when everything else is going right; the times when I’m neither broke or pulled in a thousand directions (from taking on too many jobs or commitments), when I’m in good health, relationship, community, etc. When those things start going wrong it is really hard for me to make work, it becomes a feedback cycle- things not going well leads to being bummed out, which leads to not making work, which leads to being bummed out, which leads to…
Perhaps the lowest point came from doing a project in which I was treated poorly by the presenting organization. What should have been a great experience seriously made me never want to make work again. How did I pick myself up? I didn’t have a choice, I had already committed to do another project, and that one went swimmingly, actually way better than expected and that was enough- not that the previous experience has left my mind, but Iâ€™ve mostly moved on.
CI: All of you are engaged in practices that involve lots of other people (though I know that several of you maintain studio practices, too). I often think through my own personal quest for â€˜sustenanceâ€™ in terms of introversion versus extroversion: sometimes, we recharge our energy by spending time with friends and collaborators, other times by being alone. So, how do you recharge â€” and how does it help you sustain those practices you most want to engage in?
Britton Bertran: The relationship between institutional and individual memories, as a conundrum, is fascinating to me â€“ and worrisome. Â In order to combat that, I have made a real effort to reflect on my personal and professional experiences (process) in order to better inform my future (product), especially when it comes to being a part of the immediate art world around me. Â I also believe it has to be more than just taking pictures. The essential part that I concern myself with is finding ways to reflect, edit, and share those experiences.Â As official memories, of the institutional kind, seem to be becoming more and more overwhelmed by the collective desire for the next memory, harnessing something that I would call â€œThe Slow Memory Movementâ€ might become more essential.Â This Slow Memory Movement (akin to the Slow Food Movement) would emphasis the personal importance, or pleasure, of remembering and the sustainability of its impact on oneself.Â (I also have been reading as much post-apocalyptic science fiction as I can get my hands on which, beyond the pure entertainment factor, does wonders for the reflective process).
Duncan MacKenzie: Recharge? I read crime novels in which wizards solve crimes, and comic books. It is the source of a small amount of shame, but a couple of years ago I felt like everything in my life was connected to art production and I needed to find something that I was not going to try and plug back into an art world. Â Now it seems likes wizards are the order of the day and I am looking for novels about dinosaurs solving crimes.
Caroline Picard: Top 5 Ways to Recharge would include:
1) Deep and quiet thinking about a particular subject which is engaged through writing/visual work. The act of making something discreteâ€“something very often totally â€œuselessâ€â€“then makes me very happy.
2) Being with friends (of course), art-friends and non-art friends both.
3) Making Jokes, which I think I too easily forget. Making Jokes should probably be no. 1.
4)Â I have to admit, though I will immediately disown this, I also recharge watching some sort of television-thing, preferably an episodic serial drama.
5) Making non-art things like food. Or dreams.
Philip von Zweck: I donâ€™t ever consciously think â€œI need to rechargeâ€ but I spend a lot of time alone and- not that I ever set out to not work on art, but really- it is very hard for me to not work on stuff. Sometimes this can be recharging, working in the studio can be a good antidote to a day at the job. But I guess for me it would be spending time with friends. A lot of ideas and projects come out of just hanging out, I think this is why Iâ€™ve done so many collaborative and social projects, they are both rewarding and rejuvenating.
CI: Thank you all so much for sharing your experiences and ideas with me and with our readers at art:21 blog.