Performance by Delta Victor, Rojo Manso, Sara Holwerda and Sara Zalek. Presented by Spain Arts and Culture and Defibrillator.
Defibrillator is located at 1136 N. Milwaukee Ave. Performance Saturday & Sunday, 8-11pm.
Work by Thomas Ruff, Andreas Gursky, and Thomas Struth, Jeff Wall, Rodney Graham, and Stan Douglas, Cindy Sherman, Lorna Simpson, Ana Mendieta, James Welling, Wolfgang Tillmans, Torbjorn Rodland, and Elad Lassry.
Museum of Contemporary Art Chicago is located at 220 E. Chicago Ave. Exhibition runs from May 18 to Nov 10.
Work by Abelardo Morell.
Art Institute of Chicago is located at 111 S. Michigan Ave. Exhibition runs from June 1 to Sept 2.
Work by William Pope.L
Logan Center for the Arts is located at 915 E. 60th St.
Work by Alfonso Piloto Nieves.
33 Contemporary Gallery is located at 1029 W. 35th St. Reception Friday, 7-10pm.
This week: San Francisco checks in with dance legend Anna Halprin!!!
Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer’s Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others.
Live Benefit Auction Event: March 9, 6-8:30 pm
Robert Rauschenberg Project Space
455 West 19th St, New York
Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy.
As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter’s Archive, which has been collected since the organization’s founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future.
This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter.
The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks.
A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public.
All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours.
All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter.
A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or firstname.lastname@example.org. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity.
Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others.
These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter
In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by theRobert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz,Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or email@example.com.
Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction.
In anticipation of the event Printed Matter Executive Director James Jenkin said:
“Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“
Auction includes work by:
Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin Brätsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten Höller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O’Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik Værslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.
SITE Santa Fe, my home city’s premiere contemporary art exhibition space, has a good track record with moving images. Among the many stand out pieces in the Klaus Ottmann-curated 2006 biennial Still Points of the Turning World was Carsten Nicolai‘s immersive mind-melter Spray (you can watch a reasonably unsatisfying version of it here, though I might only recommend that if you can Honey I Shrank Myself to the point of feeling completely overwhelmed by the intensity and ferocity of the image). With 2008 came a marvelous retrospective of pioneering video artist Steina. Last year’s biennial was devoted to works in film and video and featured an embarrassment of riches to braid cinematic and gallery concerns, including Cindy Sherman’s lone stop-motion animation, a stray Raymond Pettibon animation, a stereoscopic dance film by Bill T. Jones and OpenEnded Group and a meticulous tabletop installation by Jennifer and Kevin McCoy which reenacts (as you watch and as figurines of the artists watch [as you watch them]) the indelible tracking traffic jam scene from Jean-Luc Godard’s Week End.
Which is not to say much beyond that an internationally recognized contemporary arts space is doing its job and doing it well. Time-Lapse, the current exhibition (through May 20th), to crib liberally, “challenges the notion that an exhibition is a fixed entity with artworks that remain consistent throughout the time the exhibition is on view.” Changes are made throughout the show ensuring that “no two days will be the same.” I can report on the day I was there, at least.
Since 2007, Mary Temple‘s Currency project has involved drawing a portrait image drawn from a news site and fusing it with an accompanying text built from the image’s caption and its headline. The works are scanned each day and posted digitally on her website (and to twitter) and physically on the walls of SITE.
Byron Kim‘s decade-plus Sunday Painting series couples weekly cloud paintings with diaristic texts. They’re quite lovely and give a sense of the ordinariness of his days (kids’ soccer woes, lots of meals, sending paintings to Santa Fe), the slow passage of time and the continual flux of something like a sky. I enjoyed imagining the graphite texts on the clouds taking the place of his attempts to anthropomorphize and concretize the abstract churning billows: it looks a demon riding a circus elephant, no, wait, it looks like chicken parmesan for dinner and, oh shoot, I forgot to call Jerry, it’s ok, I’ll see him tomorrow.
Rafael Lozano-Hemmer‘s Pulse Index is a far-sighted palmist’s new best friend. The interactive installation records the fingerprints and heartbeats of visitors and plays them back on a series of screens. The video of the most recent print takes on gargantuan proportions and knocks the next most recent down a scale. This in turn knocks the next and the next down until eventually each kid is knocked off the bed, like so many nursery songs. His Microphones is also interactive, featuring a microphone with an embedded speaker. Upon speaking (or singing) into the spotlit microphone it responds with a past visitor’s speech (or song).
Most impressive to me was Eve Sussman and Rufus Corporation‘s whiteonwhite:algorithmicnoir. Like past works by Sussman and her team, art history loans the title (White on White) to this heady, recombinant algorithmic noir. The film is edited/constucted in real time through an artisinally-crafted computer algorithm using 3,000 film clips, 80 voice-overs and 150 pieces of music. The quasi-narrative is in continual flux with constant new collisions of image, text and sound. The wall text carefully credits all involved (the Rufus Corporation) in a bold expression of the collaborative nature of the project.
Its clever technological sophistication is evinced through a flatscreen showing the coded processes by which the combinations we’re watching arise. Though I am not a programmer (nor did I speak with Jeff Garneau, the team’s programmer), I was able to glean that the image, text and musical sequences have a variety of tags associated with them. The computer hunts for other like tags in choosing the next clip. In so doing, our concept of the elliptical and subjective strategies of poetic cinematic representation are both challenged and satisfied. When trees as a metaphor transition into literal trees, the decision making process feels honest and human. Indeed, that the film is set in a dystopian future city and has so many hallmarks of a hazy science fiction essay allows the narrativiness greater space to root itself in our brains. I don’t even know that all people are aware that the film is continually changing.
Less successful, I felt, were the looping films in the Time Capsule Lounge. As I’ve said before, the “recontextualizing” of works meant to be experienced in a linear and trajective manner in a cinematic space to the looping, gallery space is rarely successful. The lounge is not without its charms, though including a curated library of time travel books and a series of special performance events programmed by amorphous dynamo local art collective Meow Wolf.
Somewhere in and outside of all of this was the March 2012 web-exhibition. Conceptually indebted to Seth Siegelaub‘s catalogue March 1969 (a.k.a. One Month), the website featured a different work by a different artist each day of March. As now, the (physical) gallery is showing a playlist that takes you through the month. And though this screening mode for many of these works might garner the same criticism of the loops shown elsewhere, that this component of the exhibition is acting as a catalogue of an internet-based show feels distinct and justified to me. The website now is mostly links to the artists featured (and not the specific pieces) but is still an excellent grouping.
John Grande, an artist and former printer for Annie Liebovitz and Jack Pierson, among other well-known photographers, has made a series of paintings based on Cindy Sherman’s Untitled Film Stills. Actually, they’re more than just “based on,” from what I can tell — they’re painted versions of Sherman’s photographs that seem to exist solely under the auspices of posing these questions (which I’ve lifted from a blurb on his gallery’s website):
“What if Sherman had been a male painter producing the same images on large scale canvasses from the beginning? How would this have affected her acceptance in the art world and the market value of her work? And what happens when a third party intervenes in self portraiture? Is there something of the third party that brings an “otherness” to the work? How does the dialogue about “the male gaze” shift now that a male is producing the work? Does the fact that these images were initially produced as editions and now they are one of a kind objects have any relevance to the ongoing dialogue between painting and photography? And if photography was supposed to bring about the death of painting, and most paintings end up being viewed as photographs anyway, does a painting of a famous photograph champion photography or painting?”
Wow, them’s a whole lot of questions that the paintings themselves appear in no way to address, other than by mere fact of their existence. There’s a strange, sci-fi esque alternate history thingee going on there with the gallery’s breathless series of “what if” queries that makes me giggle, I can’t help it. What if Cindy Sherman was really Robert Longo posing as an elderly woman masquerading as a downtown artist ALL ALONG, how would that have affected the notion of the “male gaze,” along with the art world’s acceptance of Sherman’s work? What if the death of painting was really the death of photography posing as the death of the Other? What then, by God, what then??
(Via Art21 blog).
Morning Glories ‘aint so f-cking Glorious when they’re crawling all over your backyard, swallowing everything else up in their huge pink maws. Part of this afternoon’s checklist of things to do involves going into my backyard and peeling those tenacious pieces of shite off of all the other plants that are trying to gain a tiny foothold on our postage-stamp sized plot of land. On a related note, check out an incredible photo series by James D. Griffioen titled Feral Houses (via things magazine). Here’s what else I’ve been reading about this week (with a bit leftover from last week).
*A chair inspired by obesity, designed by Charlotte Kingsnorth. Whoah. And, ick. (Dezeen).
*Art Institute of Chicago now adding content to ArtBabble (New Curator).
*Cindy Sherman poses for Vogue’s “Age Issue” (via AO Art Observed), numerous pics of Sherman’s home are featured too. Somehow I always imagined her place would be messier.
*Most Unfortunate Headline Ever (but interesting article nonetheless): Stroke of Genius: 10 artists with abilities borne of brain damage.
*An Art Escort Service. This is a seriously good idea. Someone in Chicago should start up a company that tours out-of-town art lovers through our “underground” apartment gallery scene. Kissing on the lips verboten, of course. (via C-monster).
*Jen Graves discusses the overweening vulva that is “The Dinner Party.”
*Cloud-seeding as art (we make money not art).
*Is the University of Chicago a secret portal to Harry Potter’s Hogwarts? Oh, if only it were so! (Culture Monster).
*What it was like to grow up in Pierre Koenig’s Case Study House.
*Props to my industrious little hometown: Valley Porn (boing boing).