Our latest Centerfield column is up on Art:21 blog. This week, Abigail Satinsky talks to Chicago artist and organizer Daniel Tucker about his platforming project “Visions for Chicago.” A brief excerpt follows; click on through to read the full post on Art:21.
Iâ€™ve known Daniel Tucker for about five years now and Iâ€™ve always thought of him as a true Chicago artist, somewhere in between artist, organizer, writer, and administrator and always interested in collaboration and bringing in multiple perspectives to any given situation. For anyone thatâ€™s worked with him, they know that Danielâ€™s candor can be both disarming and challenging. When one gets involved in Danielâ€™s projects, like I have in the past, heâ€™s straightforward and conscientious in his process. Is that a Chicago thing? Iâ€™ve come to think of it that way, probably because of him.
Heâ€™s done a lot of amazing work, like founding AREA Chicago six years ago and then, when he wanted to move on, gracefully stepping back from the project to be taken on by new energetic group of organizers. What I love about AREA (which stands for Art Research Education Activism and is a publication about culture and politics in Chicago) is that it gives voice to what people are actually doing to transform their city, not a theoretical discourse about what might be possible. And thereâ€™s big changes happening on the ground here, with Rahm Emanuel handily winning the mayoral election after Daley decided he was done. Iâ€™m new to Chicago but I know that this is a really, really big deal.
And so Daniel is using this opportunity to create a platforming project called â€œVisions for Chicagoâ€ for Chicagoans to articulate what they want to happen next. Starting in November 2010 and lasting through the beginning of the mayoral term in May 2011, Daniel is giving out hundreds of handmade election-style yard signs to politically-engaged Chicagoans throughout the city to tell their own vision for the future. Photographs of the signs and their makers will be published in a book by Green Lantern Press to be released May 16, 2011 at 6pm at the Jane Addams Hull House Museum. We talked about how the project started for him and where itâ€™s going.
Abigail Satinsky: Letâ€™s start out with a bit of a background question. You have a lot of experience making work in public space and an interest in graffiti. How does this all fit together for you?
Daniel Tucker: Since I was a teenager, Iâ€™ve been interested in the political conflicts surrounding peopleâ€™s access to and definition of public space. That drew me to be a graffiti writer, which was really my introduction to art making and all of the considerations of concept, audience, context, and formal design that come along with art making. And that stuff is really particular and important when you think about graffiti, street art, or more antagonistic forms of public art. Pretty soon after my initial interest in graffiti and its sub-cultural (think hip-hop and punk rock youth culture) as well as aesthetic traditions (bubble letters, characters, and â€œwild stylesâ€ as well as the more recent â€œartschoolâ€ graffiti that involves putting lots of objects and forms not traditionally associated with hip-hop graffiti into public space), I began to get bored with the general questions associated with making work in public and wanted to deal more with content. (Read more).
The latest episode of Fielding Practice, our monthly podcast for Art:21 blog, is now live! In this month’s leaner & meaner report from Chicago, Duncan MacKenzie, Dan Gunn and I talk copyright (inspired by Patrick Carious vs. Richard Prince and Gagosian Gallery, natch), discuss the impact of Chicago Imagists on younger generations of artists (re: the current Jim Nutt: Coming Into Character and Seeing Is A Kind of Thinking: a Jim Nutt Companion exhibitions at the Museum of Contemporary Art Chicago), and spend a few moments plugging that which we have seen (or plan to see) in the Windy City this month. So click on over to Art:21 to access the podcast, and thanks so much for listening!
The second edition of â€œFielding Practice,â€ a podcast produced for our Art21 column Centerfield: Art in the Middle with Bad at Sports, just posted today. On this episode, Duncan MacKenzie, Dan Gunn, and I are joined by art critic, blogger, and ArtSlantâ€™s Chicago editor Abraham Ritchie to talk about the rise of CSAs (Community Supported Art), which are art subscription programs that foster new collectors while supporting local artists; we dish about the art writers â€œstrikeâ€ at the Huffington Post and we review Mindy Rose Schwartzâ€™s solo exhibition at ThreeWalls, which recently closed. Plus: previews of the most anticipated Chicago exhibitions and events happening over the next few weeks. Click here for the podcast and related links, and thanks for listening!
Our latest “Centerfield” column is now up on Art21 blog. This week, I talked to Chicago artist/educator/gallerist Dan Devening of devening projects + editions. In particular, I wanted to learn more about the editions side of Dan’s project, because I often feel that artists’ multiples gets short shrift when it comes to contemporary art discourse. Devening Projects will be opening a new exhibition of artist’s multiples on January 30th alongside a new “Kabinett” exhibition featuring works by Andreas Fischer and Melissa Pokorny. An excerpt from the Art:21 interview is below; please click on over to Art:21 to read the full piece! Also, the Art:21 interview is excerpted from a much lengthier transcript. We’ll be posting the full exchange with Dan Devening here on the blog tomorrow.
Claudine Ise: Can you take us through the process â€“ both the creative and production sidesâ€”of creating an edition/multiple?
Dan Devening: In most cases, when I propose the publication of an edition with an artist, Iâ€™ll show them a bunch of examples of recent work and use those examples to open a door to whatâ€™s possible within the project. Mostly, Iâ€™m hoping that theyâ€™ll take up the challenge and approach the process as an experience that can expose their practice to something new. Because there is the necessity that the work be an edition, the requirement that there be multiple copies of the work sets up a nice set of parameters. The artist may have some ideas about how they might proceed and if thatâ€™s the case, weâ€™ll start talking about production methods or options. The great thing about doing editions with artists is that theyâ€™re artists; theyâ€™re trained to be creative problem solvers, so Iâ€™ve never been disappointed with the editions that have come out of these conversations. For example, a recent piece from Nathaniel Robinson called Dreg is a resin-cast styrofoam cup. Itâ€™s a one-to-one replica of the real thingâ€”including teeth marks near the rimâ€”that also includes a set of greasy fingerprints on the inside of the cup. I donâ€™t know how Nathaniel made this edition of three and I donâ€™t think I ever want to know. The mystery of this modest little object is its beauty. My only fear with Dreg is that someone will mistakenly throw it in the trash. (ReadÂ more).
Check out our latest post on art21:blog! This time, we talk to School of the Art Institute professor Frances Whitehead about a range of subjects, including redirective practice, the Embedded Artist project, Slow Cleanup in Chicago, and ‘what artists know.’ An excerpt below; read the full post at art21.
What do artists know? A few weeks ago, I spent an afternoon at the Chicago home of Frances Whitehead talking about the philosophical and pragmatic underpinnings of this question. To be sure, the notion that artists have a specialized knowledge â€”Â a quantifiable skill set of processes, methodologies, and approaches that they carry with them into the world â€”Â makes some people, even artists themselves, a little uncomfortable. But for Whitehead â€”Â a sculptor, gardener, professor (she has been on the faculty of The School of the Art Institute of Chicago since 1985), and self-identified â€œdesignistâ€ (a linguistic mashup of the terms artist and designer) â€” itâ€™s a liberating idea that has allowed her to situate her own practice within an expanded field of inquiry that engages sustainability, public works, and the future of design. (Read full post).