This week: From OxBow, Duncan, along with with Abigail Satinsky and Elizabeth Chodos, sit down for a chat with Hesse McGraw.
Hesse is a curator and writer and is Vice President for Exhibitions and Public Programs at the San Francisco Art Institute. At SFAI he directs the Walter and McBean Galleries, and oversees SFAI’s public programs, visiting artists series and public education programs for youths and adults. From 2008 to 2013 he served as chief curator at the Bemis Center for Contemporary Arts in Omaha, Nebraska, where he developed an exhibition program focused on site-specific, immersive, cross-disciplinary, and socially engaged projects. At the Bemis Center he produced two-dozen exhibitions, including major public projects with artists Theaster Gates and Michael Jones McKean.
McGraw was formerly associate director of Max Protetch gallery in New York, and was the founding director and curator of Paragraph, which operates under the non-profit Charlotte Street Foundation in Kansas City, Missouri. He lectures widely and his writing has recently been published in Afterall, Art Papers, Outpost and in diverse exhibition catalogues. Recent awards and grants include an Andy Warhol Foundation Curatorial Research Fellowship, an ArtPlace America grant, a Robert Rauschenberg Foundation Artistic Innovation and Collaboration Grant, an NEA Our Town grant, and a Harpo Foundation grant.
December 17, 2013 · Print This Article
Guest Post by Autumn Hays
Over the last few years within the United States a growing interest has arisen in festivals that specialize in Performance Art, that offshoot of the visual Arts, who’s practices center around temporal body-based works. This festival-circuit format for showing performance based art works has already produced a strong development in terms of organizations and events outside of the United States. Often however it’s difficult for American performance artists to break into these circuits. Although there have some who have successfully done so, many festivals go years without showing a single American performance artist. This could be for many reasons, but one is certainly the relative lack of funding. Often the diplomatic and cultural establishments of foreign countries, such as embassies and consulates assist artists with expenses so that they can make and show artworks outside their country of origin. In the USA however, we do not invest money in the arts to the extent of other countries and thus American artists often have less accessibility to funds outside of their own pockets.
Performance art festivals are often intensive endeavors, involving a diverse group of international artists. Always on very tight budgets, these festivals often seek to supply food and housing for the artists for the duration of the festival, often lasting from several days to weeks. Unlike showing at a, gallery the festival becomes a sort of community or summer camp. Here artists and curators network and meet performers from all over the world. Viewership is open to the public but there is a community of support at many festivals where artist see each-other’s works, often living together and sometimes collaborating on the fly. Festivals are often popular for performance art as spaces willing to show the work, or spaces aware of the needs of exhibiting performance art are often few and far between.
The good news for performance artists is, the USA is starting to develop their own performance art festivals. These festivals seek to bring international artist to the USA while showcasing local talents. It will be exciting to see what other festivals are brewing here in the United States and some in and near Chicago itself. Here are three festivals to look for this year:
Lone Star Performance Explosion
February 19-23, 2014
This is the second time around for this international performance art biennale after a successful run in 2012. “LONE STAR EXPLOSION 2014 seeks to showcase performance art that pushes the artists and audience in new ways, especially performance art that questions fundamental assumptions about the way we experience time, space, relationships, the self, society, and sexuality. “ As many of our festivals on this list the line up features local, national and international talents in Performance Art. Lone Star Explosion 2014 is curated and directed by Jonatan Lopez and Julia Wallace. Confirmed artists include: Elia Arce (Costa Rica), Marce Sparmann (Germany), Natalie Lovleless (Canada), J. Morrison (NYC), Ryan Hawk (Huston), Roberto Sifuentes (Chicago), and over 25 more artists. http://lonestarlive.org/
Rapid Pulse International Performance Art Festival
June 5-15, 2014
This is year three for Rapid Pulse International Performance Art Festival, taking place here in Chicago. “The RAPID PULSE INTERNATIONAL PERFORMANCE ART FESTIVAL aims to represent a range of styles and forms in order to provoke thought and stimulate discourse surrounding performance art.” This intensive festival features performance, video screenings, artist’s talks and panel discussions. It includes a wide range of performance art from durational, public, and digital based works. Unlike the rest of the festivals on this list Rapid Pulse is centered in and around Defibrillator Performance art Space as opposed to being a wide range, multi-venue event. Artists have yet to be announced but the application period is closed and the curatorial process is beginning. Rapid Pulse is curated by: Steven Bridges, Julie Laffin, Giana Gambino, and Joseph Ravens. http://rapidpulse.org/
Supernova Performance Art Festival
Super Nova first took place in June of last year and word is the event will be back again this year. “SUPERNOVA will bring together emerging and established local, regional, national and international performance artists to present an expansive range of positions and approaches to performance art.” Though not confirmed Supernova came together well last year showing and they have to potential to continue on this year. Tough mostly national based artists, Supernova has the bones of a strong festival and hopefully they continue. Supernova’s 2013 Chief Curator was Eames Armstrong. http://rosslynartsproject.com/
The question that arises with these projects and others like it is one of sustainability. Performance Art festivals are often struggle all year to find funding for the next event. Often performance artists who wish to see this kind of festival thrive in the USA produce these festivals. These factors, and the fact many performance art specific festivals around the world struggle to stay open make the running of an international festival a labor of love, to say the least. Even if these festivals eventually come to an end, the recent creation of these festivals might be pointing to a new trend in performance art exhibitions in the USA. Hopefully the adoption of the festival format international performance festivals will continue to propagate more opportunities in the exhibition of performance art. It will be interesting to see if the new trend in festival production will flourish in the United States and if festivals like these will run strong and multiply in the years to come. Perhaps, the appearance of American Performance Art festivals, and the participation of American artists in them, may lead to an increased interests in American practitioners of performance works both at home and abroad.
Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships. Currently she is assistant curator at Defibrillator and Co-Producer of the 2014 IMPACT Performance Art Festival. www.autumnhays.com
Guest Post by Autumn Hays
Let us start off by acknowledging that there is a distinct difference between Queer and Transgender subjects. It’s important not to lump these two together. Though related and often overlapping, these are not interchangeable terms. Queer being a reclaimed pejorative for gay, and transgender being a person whose self-identity does not conform unambiguously to conventional notions of male or female gender. (see more.) With that in mind what I would like to look into a reoccurring concern in the discussions that take place around both queer and transgender performance art.
In the last month I have seen multiple panels touching on the subject of new Queer and or Transgender works. There was a definitive connection between all panels: and attempt to shake up current the definitions, and what some define as new codified zones of safety. When I say zones of safety, I am referring a kind of identity politics that sits safely in a form of expression that is confortable enough for new standards of acceptance. Artworks that sit in this comfort zone fail to realize the full potentiality of the subjects and often begging to forum it’s own predictable cliché. The challenging of the formulation of a tamed queerness or transgender performance is an often-highlighted theme appearing in new works. The formulation of a safely circumscribed zone undermines the attempt to reconsider the subject due to an inadequate scope.
Queer and or transgender arts panels often attempt to define the new wave of artists making work in these areas. Today many artists are attempting to define a new direction that departs from the identity work that came out the 80s and 90s. Often these earlier works are ascribed the quality of crying out for recognition. Much of the work being produced today is looking for finer definitions, as opposed to this preliminary awareness.
We could go on to talk about the subject of the word Queer as discussed during the roundtable “New Queer Aesthetics” in late October. Queer New York International Arts Festival (QNYI) had come to Chicago to exhibit a Queer Fest as an extension of the one in New York at Defibrillator Performance Art Gallery . The Chicago show featured artists Suka Off, Bruno Isakovic, Gabreiela Mureb, and Keijaun Thomas. Queer fest distinctly pulls itself away from other Queer festivals which they feel are accepted ideas of the term Queer. As one of the festivals curators, Zvonimir Dobrović, explained, the festival seeks to redefine and challenge preconceived notions of the term Queer. Not all work is made by the LGBT community and instead is defined loosely by a sort of norm-challenging ascetic. After struggling through various definitions, redefinitions, embracing, rejections, fears of washing out the word of meaning completely, and other post-modern linguistic dilemmas an audience member mentions queerness in regards to race, specifically the colored queer. Why is this important? Because the conversations began to progress from the semanticlogical, what is Queer, to what are current Queer issues are concerned about, who are we dealing with the queer female of color in art today.
This November I attended a panel at the School of the Art Institute of Chicago. Transgender / Arts : A roundtable on the future of transgender cultural production, which included panelists Trish Salah, Jules Rosskam, Julian Carter, David Getsy, and Micha Cárdenas. During the panel many valid points were made about Transgender art. Micha Cárdenas presented important question to the panel, “Where are the trans women of color in art?” Many of the panelist themselves who specialize in Transgender arts could in fact not think of a single artist. The panel began to discus a kind of film festival, performance and art transgender normative narrative. A washed down version, where you began to see something constrained, not quite all the way there. Sitting in a place somewhere in academia where it is comfortable and safe.
How does performance readjust and challenge Queer and Trans identity without losing site of the community in general? There is something that happens to us when we are about to fully realize the other; we find a way to compromise, to only go so far. Many Queer or Trans artist today are attempting to push at the boundaries of a newly accepted normative narrative and point at the things we are forgetting, those who still don’t have a voice. The Art world, the world, is still white male dominated. In a way the lull of sleep we put ourselves in this supposedly post-feminism, post-racism, post- sexism, post-gender issues world that we keep referring to as better than it was before is more dangerous. Because hiding under that comfort is the fact we haven’t changed all that much, we should be forging new grounds and making sure it doesn’t fall asleep.
If I was asked where the new queer or trans aesthetic is headed today, I would say somewhere within the struggle of continuous disturbance, in the understanding that things aren’t there yet and we have to keep shaking it up, shaking ourselves up, so we don’t become our own worse enemies, the perpetuators of a normative Queer of Trans identity. As performance art specifically keeps pushing on with another panel at the Hemispheric Institute for Performing Arts, this week discussing “Race & the Colonial Impulse: Queer Performance Practices”, I look forward t a continued discussion that bridges gaps in the dialogue between racial queer and transgender issues in the arts.
Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships.Currently she is assistant curator at Defibrillator and Directing Coordinator of the Rapid Pulse International Performance Art Festival. www.autumnhays.com
October 11, 2013 · Print This Article
Guest Post by Mark Sheerin
Mark Sheerin is a writer and critic from Brighton, England. He is a regular contributor to Culture24, Frame & Reference and Hyperallergic.
There are at least a million differences between Chicago, USA, and Birmingham, UK, but surely the two cities have something in common. Both are working cities, marked by grit rather than glitz. And both have thriving art scenes, which are often overlooked by media outlets based elsewhere.
Nevertheless, Ikon Gallery, Birmingham, remains one of the UK’s most exciting regional spaces – some feat, given its long 50-year history. Speaking with Curator Stuart Tulloch offered a chance to get some insight into what it takes to bring art to the provinces.
“If you’re in London, you’re still thinking about people who are in London, and in a sense the angle’s still provincial,” he says. “London will think about what’s relevant to be shown or to be seen within London, and in some ways Birmingham removes you from that.”
Ikon, as it seems, exhibits more artists from Japan, than from the UK capital. Says curator Tulloch: “Contemporary art allows you to progress ideas or to bring ideas from another place. I think that’s the wonderful thing about it; it’s very much a global discussion.”
But not all discussions run smoothly and Tulloch is a veteran of debate and persuasion. For nine years he was at Grundy Art Gallery, in the cheap and cheerful seaside resort of Blackpool in the North West. Working in a space run by the local council he was forever negotiating with councillors with little interest in and knowledge of art.
By the time he left Grundy, “it got their respect.” And the embattled curator now considers one of his best achievements: “convincing them that this artist from that part of the world, doing something which they didn’t understand, was very good . . . and was good to have in Blackpool”.
If anyone doubts that so many years as curator of a smalltown gallery would be anything but a labour of love, think again. “My wife and I decorated the place,” Tulloch recalls, “and I’d clean the place every morning. It was small enough I could do that, but the more ambitious it became, it got harder.” Despite these daily trials, he recalls it as “a great time”.
But you also sense his relief to be at Ikon, “where the focus is about the art,” rather than local services. “This is an amazing place, with an enviable reputation and an international reputation,” he says with no hint of spin, ”It can say ‘This is interesting. Here’s something you’ve never seen before. Let’s bring this person from the other side of the world to share something with Birmingham’.”
Working in any gallery has its challenges, meanwhile, not least challenges from a coalition government who aren’t keen on the public sector. Tulloch speaks of “trying to do the same things, which people have become accustomed to, with the same quality, the same depth, the same ambition, but with less money”.
One paradox about visual arts in the UK is that, against the backdrop of ruthless cuts, we have seen a healthy spate of newbuild galleries open in recent years. These pose an added challenge to an established space like Ikon. “People are, like, ‘Oh yeah, Ikon is great,’ but then it’s passed over, because it’s ‘great’. How do you get that attention? How can people refocus back into it?” asks the curator.
Just as there are more and more galleries, so there are more and more artists to consider. Tulloch says, “Certain countries are opening up to contemporary art,” and suggests that, globally, we do have a “shared language”.
But at the same time, he is under no illusions that work produced just anywhere will travel well to Birmingham. “It’s interesting when you go away to any international art event, like Venice, there’s still stuff there that’s relevant only to that country. You think, This is very Italian, or, It doesn’t quite translate into what’s going on here.”
In an interesting aside the curator also points out that “Commercial galleries will show different work during Frieze Art Fair in London than they would show at [Art Basel in] Miami.” For the record he suggests “very bright fluorescent pink” stuff does better in Florida.
Unsurprisingly, Tulloch is more at home in the public sector where support counts for more than sales. Previous to Grundy, he was at Hayward Gallery in London where the first show he worked on was for Belgian artist Panamarenko: “Here was a man making flying machines, with his own theory of relativity, and I thought, That’s amazing. It kind of blew my mind.”
There was only an outside chance this artist’s creations could ever fly and this has stuck with the curator, “That really appeals to me – trying to achieve that – the hopelessness and eternal optimism that you can find in contemporary art.” It reminds him, perhaps, that the odds are stacked against you, wherever you try and get a brilliant show off the ground.
Ikon’s current brilliant show features Birmingham artist Hurvin Anderson and can be seen until November 10 2013.
This week: People are called Ninny! Art school is shit-talked! TMZ! Lawsuits! Hot chicks! Artists traded like sports players. Art world badass, gallerist, curator, writer, swell mofo Mat Gleason!