This week Duncan, thanks to Columbia College Chicago and a class called the Late Late Afternoon Show, rocks the mic with Amanda Williams whose work blew our collective minds with the “Color(ed) Theory” series of public works on the south side of Chicago. She pulled in the lion’s share of the press at the 2015 Chicago Architectural Biennial and seems to have been going nonstop since!
Epic Chicago cultural legend Anne Elizabeth Moore joins Duncan’s Columbia College class “the Late, Late Afternoon Show” for an invasive journey through her history. Abigail Satinsky joins Bad at Sports for a farewell Chicago as she confesses her move to Philadelphia.
Moore the warrior of comics, punk rock, anti-capitalism, journalism, and Cambodia’s future, recounts her world.
This week: Duncan, Abigail Satinsky and Columbia College Chicago’s own Amy Mooney talk the author and curator Chelsea Haines.
They -do not- talk about hot dog stands as art constructs, much to Richard’s amazement.
1.Â Mills College is looking for an Assistant Professor of Painting and Drawing.Â Review of applications will begin October 30, 2013, and will continue until the position is filled.
The Department of Art and Art History at Mills College seeks a full-time, tenure-track Assistant Professor of Painting and Drawing to teach graduate and undergraduate level courses. An MFA degree or equivalent is required.Â Candidates must be practicing artists with strong exhibition records, capable of conceptual criticism in all mediums including painting, sculpture, photography, video, intermedia, and new genres. They must be dedicated teachers and mentors at both the undergraduate and graduate levels. Teaching will include undergraduate studio courses; therefore candidates must demonstrate proficiency in the technical as well as theoretical and historical aspects of their fields. Full-time faculty must also advise students, participate in curriculum development, and serve on department and college committees. To apply, please go toÂ mills.interviewexchange.
com.Â About Mills College
Mills College is located in the San Francisco Bay Area on 135 beautiful acres in the foothills of Oakland, California. Additional information about Mills College can be obtained on our website atÂ www.mills.edu.
2. RU & GALAPAGOS: NATURAL SELECTION â€“ 6 MONTH RESIDENCY FOR NYC ARTISTS IN SWITZERLAND (DEADLINE: OCT 21ST, 2013).Â
RU and Galapagos has partnered withÂ IAAB, the International Exchange and Studio Program of theÂ Canton of Basel, Switzerland, to each year offer an artist from New York City the opportunity to spend six months near Basel, in the Swiss countryside town of Riehen. In turn, RU supports a Swiss artist in NYC for 6 months.Â The studio is situated in one of the old estate buildings on the â€œBerowergutâ€, just next door to the Beyeler Foundation. When the barns located on the â€œBerowergutâ€ have been renovated and the Kunst Raum Riehen has been installed, the old coach house at the back was converted into a two-storey live-in studio.Â The residency program is generously financed by private and public sponsors. The iaab offers a 700 square foot working and living space from January 1stÂ to June 30th 2014, an allowance of $1,200 per month while in Switzerland to cover day to day living costs and a plane ticket to Switzerland with return to New York. In Switzerland the artist will also receive a â€˜half tarifâ€™ public transport card for all public transportation in Switzerlandâ€¦and lots of chocolate!Â More info about iaab:Â www.iaab.ch
3.Chicago Alternative Comics Expo (CAKE)Â 2014 is now accepting exhibitor applications;Â the application process will close onÂ 11: 59 P.M. CST onÂ December 15, 2013
Starting Tuesday, October 15th, CAKE will be accepting artistâ€™sÂ exhibitor applications for the 3rd Annual Chicago Alternative ComicsÂ Expo. Â The event is a unique opportunity for artist exhibitorâ€™s toÂ showcase and sell their art and last yearâ€™s event hosted over 200Â exhibiting artists, attracted over 2,000 attendees and featuredÂ award-winning comics guests such as Chris Ware and Phoebe Gloeckner.Â CAKEâ€™s 2014 event will take place on Saturday, May 31st and Sunday,Â June 1st at the Center on Halsted, 3656 N. Halsted Avenue. ConfirmedÂ special guests include Mexican cartoonist InÃ©s Estrada and ChicagoÂ native Anya Davidson, with more announcements to come.Â All applications will be reviewed by a jury and applicantsÂ will be notified of the jury’s results byÂ January 20thÂ via email.Â A guide to the 2014 Exhibitor Application process can be foundÂ here:Â http://www.cakechicago.com/2809/a-guide-to-our-2014-exhibitor-application/
4. High Concept Laboratories announces THE LIVING LOOP PERFORMING ARTS FESTIVAL APPLICATION:
We are accepting applications for performers and performances wishing to be considered for participation in a new festival to take place in the Loop, in the Summer of 2014. A $500 stipend and extensive visibility will be provided each of the 12 participating performances.Â The mission of the festival, presented by Chicago Loop Alliance and High Concept Laboratories, Â is to showcase Chicagoâ€™s diverse performing arts community in the heart of the city. The event will showcase a dynamic series of weekly performances in site-specific locations throughout the Loop. Weâ€™re looking for exemplary performers and performances to participate in this one-of-a-kind inaugural festival, featuring one performance each week for a total of twelve weeks June-August 2014. Visit the website for more information.Â The deadline for submissions is January 1st, 2014.
5. Call for writing via Gaga Stigmata:
After nearly four years of intensive critical-creative output and interaction with popular culture,Â Gaga Stigmata, in its current journal incarnation, will be coming to an end at the strike of midnight on January 1, 2014.In these final months, we are requesting submissions in the following three veins:
(1) Any new essays on Lady Gagaâ€™sÂ ARTPOPÂ era
(2) New essays on any pop cultural phenomenon that manifests what we call a â€œstigmata effectâ€ â€“ that is, the blurring of lines between superstar and fan, between high and low art, between art and interpretation, between the â€œoriginalâ€ and the â€œcopy.â€ In particular, we are interested in essays about about Miley Cyrus, Kanye West, Jay-Z, Ke$ha, Lana Del Rey, and Katy Perry, but you are not in any way limited by this list.
Additionally, we are also seeking essays that explore new pop cultural phenomena such as the aesthetics of new media forms (e.g. Twitter, Tumblr, YouTubers, .gifs, Vines, Instagrams, etc.)
We are also interested in essays that explore manifestations of the stigmata-esque intersection of the â€œart worldâ€ and the â€œpop worldâ€ in contemporary culture.
(3)Â Any essays about Lady Gaga that have previously been published elsewhere. (We would like to create a one-stop on-live archive of the best Lady Gaga scholarship and creative criticism ever published; we will of course give credit to the original source of publication).
You are welcome to write traditional essays, and/or to use a creative-critical format for your work. Youtube videos, photoshopped images, memes, and .gifs can all feature in your work.Â You are also welcome to submit more than one piece during this final incarnation of the journal, after which the journal aspect of the project will move into an archival stage. More info here.
6. If you’re curious about how futures trade, check out Pocket-Guide-to-Hell’s latest reenactment at The Chicago Board of Trade on Sunday, October 20th at 3pm:
THE PIT is a free and fun site-specific performance that uses costumes, props, music-and you-to tell the story of commodities trading and the futures markets in Chicago.Â THE PIT combines a scene from Frank Norris’s 1903 novel The Pit, about an attempt to corner the wheat market, with the form of a sports event, an idea from Bertolt Brecht.Â Play-by-play announcer Alex Keefe (WBEZ) and color commentators Tim Samuelson (City of Chicago cultural historian) and Mike Gorham (economist at IIT) narrate the frenzied trading in the PIT. Reporter Niala Boodhoo (WBEZ) interviews traders and members of the public alike as the corner in wheat collapses.Â With marching band music by Justin Amolsch and concession-based commodities by Maggie Hennessy. And the national anthem sung by L. Wyatt.Â And 1890s commodities traders played by volunteers from SlowFood Chicago, Northwestern University Press, Paddy Long’s, Public Media Institute, Civic Lab, Archeworks, MAKE magazine, the Hideout, and Architecture for Humanity.Â The PIT is part of the Chicago Architecture Foundation Open House event and has been co-planned by Ingrid Gladys Haftel. More on that here.
7. Speaking of reenactments â€” considerÂ Town Bloody Hall:Â
Over the last year Guerin has dedicated herself to a single shape. Every painting begins with the same premise â€” the same subject: an abstract shape originally derived from a chair, it has, over the course of its repetition developed other affinities as well. Sometimes it looks like a hat, or a four leaf clover, or a corporeal organ. Certainly it stands in for a figure. It is at once empty and pregnant with meaning. Â By working exclusively with this shape, Guerin explores the medium of paint, focusing on its expansive possibilities, while remaining formally constricted. A collection of these works are presently on view at Columbia College’s Glass Curtain Galley, in a group show called “Slow Read.”Â Â PaintersÂ Emiliano Cerna-Rios,Â Magalie Guerin,Â Brian Kapernekas,Â Nazafarin LotfiÂ andÂ Tim NickodemusÂ hang their work with accompanying, personally curated libraries. Guerin, for her part, includes a Â journal with notes from studio visits, reflections on the history of paintings, the work of her peers and her romantic life.
Caroline Picard: You use a repeating shape or motif throughout this series of works. Can you talk about how you discovered this shape?
Magalie Guerin: Well, itâ€™s an invented shape loosely based on a chair design. As I worked with it, it ended up looking more like a hat, so I call it the Hat shape although now it seems to have morphed into an organ of some sortsâ€¦ But really, itâ€™s a structural form onto which I apply the paint.
CP: When we met in your studio, I feel like there was a point where you started talking about the shape in terms of a relationship, as though each iteration of the shape is another portrait that offers new insight. Suddenly the shape seems less abstract and more personal â€” is that fair? Has your relationship to the shape changed over time? Do you ever fight with the shape?
MG: Yes, thatâ€™s fair (perhaps a little strange too). The shape has become a kind of companion to me, a pet form. Thereâ€™s a strong association in my mind now between my studio practice and that particular shape. Iâ€™m not sure how I can let it go at this point; itâ€™s been a year. My relationship to it is very similar to any relationshipâ€”sometimes Iâ€™m bored stiff with it or I love it or Iâ€™m angry at it.
CP: I like thinking about how the shape somehow lives in your studio. Almost as though when you are in the studio you inhabit its space.
MG: Or it mineâ€¦ itâ€™s all very symbiotic.Â
CP: Does it feel like the shape exists as a thing that is separate and autonomous from you? Or do you feel like it is a projection of your own inner space?
MG: Hmmm, thatâ€™s a hard question and it creeps me out a little! A Cronenberg-esque scenarioâ€¦ So letâ€™s think of the workâ€” the paintings, not the shape itself. They wouldnâ€™t exist without me so it does start with a projection of some sorts. But once they leave the studio, they develop a relationship with others so I could say a life of their own.
CP: I’m also interested in the idea of repetition and practice â€” it seems at the core of this project somehow and very meditative also (if that’s the right word). In other words, you return to paint the same shape again and again in different frames, with different colors and surfacing approaches â€” the shape remains the same, and yet I imagine your experience of the process changes dramatically depending on the day, the week, the month, depending on the peculiar challenges one composition demands, and depending on your own emotional landscape…what is that process like?
MG: I wish the process was meditative! Itâ€™s way too hard to be. I did reduce the possibilities in the studio in terms of size and shape but everything else is wide open so thereâ€™s a lot to attend to. Basically, Iâ€™m trying to create a focused practice and repetition has been helpful for that. Iâ€™m thinking a lot about what Morandi did with his â€˜bottlesâ€™ and how, through sheer repetition, he was able to get to the essence of thingsâ€”not the essence of the bottles but of life. Itâ€™s so very moving.
CP: Which then makes me want to ask about painting also â€” you mention Morandi, and the way he was able to distill his subject to earth tone bottles. Iâ€™ve heard people talk about how that makes his work emphasize the medium of paint. Do you think thatâ€™s accurate? Would you say The Shape does the same thing for you? By limiting your subject, you can focus on the materiality of your medium?
MG: Yes, I think thatâ€™s true. When I was working with multiple shapes, each painting was a new one and I was getting caught up on how the form looked and its design within the picture plane. There was a kind of anxiety about getting it â€˜rightâ€™ because I had one shot at it. By repeating it, itâ€™s more of an exploration of possibilities and subtletiesâ€”thereâ€™s no right or wrong. I canâ€™t tell which painting is a better representation of it; they all blend in at this point. They are all the same.
CP: You often sand down your paintings between layers.Â Iâ€™m interested in the labor and erasure this process employs. Can you talk about how you came to that technique? And what goes through your mind when you begin to sand a particular layer of your work?
MG: It comes from doubtâ€”Iâ€™m never sure that the color I add is right so I sand it down each time. And what that does is uncover the previous layers. The process is about revealing the past, building a richness of surface by allowing time to be seen. I often finish the painting by veiling it all with a coat of transparent Zinc white, which I love.
CP: For some reason this strikes me as a kind of violent act â€”Â maybe both sanding and covering with white.
MG: Really? Thatâ€™s interesting, Iâ€™ve never thought of it being violent. Perhaps it is. Perhaps I hate them a littleâ€¦
CP: It seems significant that you show these works with a journal, and like the paintings they are an amalgam of reflections on your studio practice, comments studio visitors have made, remarks you make about various aspects of the art historical cannon, your peers and then too your personal, romantic life. How did you decide to include this journal? And you’ve re-written it several times, by hand, for different exhibits â€” what was that re-writing process like?
MG: I write in the studio to help me understand what Iâ€™m doing (itâ€™s a mystery most of the time!). When I started the â€˜Hat projectâ€™ last September, I was interested in rules and limitations so I made a rule that I had to write something every single time I came to the studio no matter what it was. I really wanted to find out specifically what I was asking of my work. But obviously, there are days when my head is elsewhere even when Iâ€™m in the studio, thatâ€™s why the writing sometimes veers towards the weather of my romantic life. It was also a way to document how many times a week I was able to paint and how long the paintings take me to complete. Then what happened is that I was asked to make an â€˜artist bookâ€™ for a show Sean Ward organized at Julius Caesar in Chicago. This opportunity came just after I heard the poet Kenneth Goldsmith talk about copying and organizing writing as his art form and I found that an interesting/conflicting activity for a writer to engage in. I thoughtâ€”what if one copies oneself? If one also creates the original, does it change the nature of the copy?
So I took all the notebooks Iâ€™ve written in since moving to Chicago for grad school in 2009 and again, made a list of rules like â€˜donâ€™t add punctuationâ€™, â€˜delete datesâ€™ â€˜no chronologyâ€™ â€˜repeat is okâ€™ etc. I merged and copied everything by hand in a Moleskine book. As I was transcribing the entries, I was also writing in my current journal about what I thought, critically, of the Notes project, complaining about the look of my handwriting and such while simultaneously copying these thoughts as a copy. That process became very interesting to me. I wrote about what I would do differently if I was to make a second version of the book, an edited/revised copy of the first one. A few months later, this latest opportunityâ€”the Slow Read showâ€”presented itself. Â We were asked to curate a selection of books to accompany our paintings. Nazafarin Lotfi contacted a few artists about making books for her spaceâ€”thatâ€™s when I did the second version. So my book is included with Nazyâ€™s work in the exhibition, not mine. Iâ€™m showing AnaÃ¯s Ninâ€™s Diaries.
CP: Would ever think about these journals â€” with each subsequent generation â€”Â as a practice that parallels your shape paintings? For instance, could we think of each shape as its own, non-semantic journal? Could each journal be a kind of non-painted Shape painting?
MG: Technically Iâ€™d say yes but Iâ€™m still confused about the place of writing in my art production. Itâ€™s the first time Iâ€™m sharing it publicly. I mean, the questions areâ€” how much writing of interest can I generate? How can I present writing as a visual artist? Should the books remain one-of-a-kind like a painting? How do I think of writing as a medium? Can I allow grammar mistakes and such? Is my writing too personal? So you see, itâ€™s all very complicatedâ€¦
CP: Itâ€™s interesting to think that an object in book form would demand a different aesthetic criteria than an object fashioned from paint and canvas.
MG: Maybe itâ€™s not different, or at least shouldnâ€™t be so, but itâ€™s all very new to me so I have a lot of questions about it.
CP: How did you end up selecting work to hang in your show, by the way? I remember you were having a hard time deciding which paintings to exhibit in Slow Read.
MG: Ha! That was hard because as I said, they all blend in now as one project. To have to select a few (I think thereâ€™s 11 in the show) out of the 30 or so Iâ€™ve made seems irrational. Justin Witte, the curator, had some favorites so that helped. But most of it was trying to find a variety that would best represent the whole spectrum of the project as of yetâ€“â€“because, well, itâ€™s still goingâ€¦