Bad at Sports » Curator

Episode 332: Michael Darling and Naomi Beckwith

Christopher — Mon, 09 Jan 2012 15:12:17 +0000

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This week: The second installment of our pirate radio sessions, recorded live from NADA 2011! We are joined by local heroes The Museum of Contemporary Art, Chicago curators Michael Darling and Naomi Beckwith.

Naomi Beckwith is a curator at the Museum of Contemporary Art, Chicago. Beckwith joined the curatorial staff in May 2011. A native Chicagoan, Beckwith grew up in Hyde Park and attended Lincoln Park High School, going on to receive a BA in history from Northwestern University in Evanston, Illinois. She completed an MA with Distinction from the Courtauld Institute of Art in London, presenting her master’s thesis on Adrian Piper and Carrie Mae Weems.

Afterward, she was a Helena Rubenstein Critical Studies Fellow at the Whitney Museum Independent Study Program in New York. Beckwith was a fall 2008 grantee of the Andy Warhol Foundation for the Visual Arts and was named the 2011 Leader to Watch by ArtTable. She serves on the boards of the Laundromat Project (New York) and Res Artis (Amsterdam).

Prior to joining the MCA staff, Beckwith was associate curator at The Studio Museum in Harlem. Preceding her tenure at the Studio Museum, Beckwith was the Whitney Lauder Curatorial Fellow at the Institute of Contemporary Art, Philadelphia, where she worked on numerous exhibitions including Locally Localized Gravity (2007), an exhibition and program of events presented by more than 100 artists whose practices are social, participatory, and communal.

Beckwith has also been the BAMart project coordinator at the Brooklyn Academy of Music and a guest blogger for Art21. She has curated and co-curated exhibitions at New York alternative spaces Recess Activities, Cuchifritos, and Artists Space.

Beckwith curated the exhibition 30 Seconds off an Inch, which was presented by the Studio Museum in Harlem November 12, 2009 – March 14, 2010. Exhibiting artworks by 42 artists of color or those inspired by black culture from more than 10 countries, the show asked viewers to think about ways in which social meaning is embedded formally within artworks.

Michael Darling (born 1968) is the James W. Alsdorf Chief Curator at the Museum of Contemporary Art, Chicago (MCA). Darling joined the MCA staff in July 2010.

Darling received his BA in art history from Stanford University, and he received his MA and PhD in art and architectural history from the University of California, Santa Barbara. Darling has worked as an independent writer and curator, contributing essays on art, architecture, and design to publications including Frieze, Art Issues, Flash Art, and LA Weekly. Darling frequently serves as a panelist, lecturer, and guest curator on contemporary art and architecture.

Prior to joining the MCA, Darling was the Jon and Mary Shirley Curator of Modern and Contemporary Art at the Seattle Art Museum (SAM), where he was awarded SAM’s Patterson Sims Fellowship for 2009-10. In 2008, Darling began the program SAM Next, a series of contemporary art exhibitions presenting emerging or underappreciated artists from around the globe. Artist Enrico David, who exhibited as part of SAM Next, has since been nominated for the Turner Prize.

Darling curated the SAM exhibitions Target Practice: Painting Under Attack 1949-78 (June 25 – September 7, 2009), and Kurt (May 13 – September 16, 2010). Target Practice showcased the attacks painting underwent in the years following World War II. Kurt explored Kurt Cobain’s influence on contemporary artists.

Darling was associate curator at the Museum of Contemporary Art, Los Angeles, before joining SAM. He co-curated The Architecture of R.M. Schindler (2001), which won the International Association of Art Critics “Best Architecture or Design Exhibition” award. The exhibition also won merit awards for interior architecture from the Southern California American Institute of Architects and the California Council of the American Institute of Architects.

Elms Curating the heck out of Phila!

duncan — Mon, 24 Oct 2011 20:29:16 +0000

Good news for long time friend of Bad at Sports, Anthony Elms, he is heading to Philadelphia to curate for the Institute of Contemporary Art!

We say Hell Yes!

Anthony’s departure will be a major loss to this community but our loss, is there gain and it is nice to know that the Philadelphia recognized what we had. We are sure that this is just the beginning of some fabulous things for our friend and regular contributor, Anthony.

Well done.

INSTITUTE OF CONTEMPORARY ART
FOR IMMEDIATE RELEASE: OCTOBER 24, 2011

Photo: Erin Leland

INSTITUTE OF CONTEMPORARY ART APPOINTS

ANTHONY ELMS AS NEW CURATOR

PHILADELPHIA, PA

The Institute of Contemporary Art at the University of Pennsylvania, is pleased to

announce that Anthony Elms will be joining the ICA as Associate Curator. Anthony

has worked as an independent curator and writer, and he was Assistant Director

of Gallery 400 at the University of Illinois at Chicago for six years. He edits and is

the curator of WhiteWalls, an alternative space for artists’ publication projects

founded in the 1970s. Anthony is just completing work as part of the organizational

team behind this year’s PERFORMA visual art performance biennial in New York.

“It is common to think of museums like the ICA as non-collecting, but that isn’t true,”

Anthony said. “They do not have art objects, but they collect histories and

experiences with the artists that have exhibited. In that sense, I could not be

happier to join a museum with the distinguished and energetic collection of the ICA.”

“I am looking forward to having Anthony’s vision, and his passion for publications,

enrich the work of our stellar curatorial team,” says Robert Chaney, Interim Director.

“We met Anthony when he co-curated the Sun Ra exhibition that ICA hosted,

organized by Hyde Park Art Center,” adds Senior Curator Ingrid Schaffner. “This is a

wonderful outcome to our first collaboration,” adds Senior Curator Ingrid Schaffner.

Anthony’s recent projects include Blast Counterblast; More Alive Than Those Who

Made Them; Glenn Ligon / A People on the Cover, and Unicorn Basking in the Light

of Three Glowing Suns. He was a co-curator of Pathways to Unknown Worlds: Sun

Ra, El Saturn and Chicago’s Afro-Futurist Underground 1954-1968, which enjoyed

enormous success when it traveled to ICA in 2009. His writings have appeared in

Afterall, Art Asia Pacific, Art Papers, Artforum, May Revue, Modern Painters, New

Art Examiner, and Time Out Chicago, and he has also written essays for numerous

catalogues. He received a BFA in painting from Michigan State University and an

MFA from the University of Chicago, and he continues to exhibit as an artist. In

addition, Anthony is an enthusiastic drummer and record collector. He is also

interested in ghosts.

Hennessy Youngman Shoots Smack!

Claudine Isé — Wed, 16 Mar 2011 15:16:06 +0000

Who’s the most interesting art critic in the country right now? Nope, not Jerry Saltz. I might change my mind tomorrow, but today I’m pretty damn sure it’s Hennessy Youngman. Okay — Hennessy’s not actually an art critic. He’s not an art writer. He’s a thinker of Art Thoughtz who has described himself as “just an American nigga at the cross section of dissonant worlds, and I’m the chaos of those conflicting cultural spheres unresolved in all their wonderful madness.” His stuff takes the form of direct-address video monologues performed by Youngman himself, who sits in a white-walled “alabaster alcove” and proceeds to break down art world rhetoric into its constituent bullshit parts. Have a look at Hennessy’s latest, on Relational Aesthetics:

It’s a truly blissful feeling when someone says straight out loud what you’ve been thinking but were too cowed by your peers to say yourself, no? Youngman spreads this kind of bliss with each new episode of Art Thoughtz. But what he does is not exactly about speaking truth to power – it’s a bit more irony-laced than that. Check out this episode on Curators, for example. It’s pretty sexist (although the observation about Velma hair was frakkin’ brilliant), and I think Hennessey might be confusing, or at least conflating, curator with dealer here….

I love how in my YouTube stream, this episode is followed by a promotional interview with Rhizome executive director and New Museum curator Lauren Cornell (Free). This coincidental juxtaposition sums it up for me: at the same time that the young, blonde, attractive Cornell seems to exemplify the type of curator Youngman is caricaturing, she’s also one of the few out there who is actively thinking-through the social media practices that Hennessey himself is engaging. I wouldn’t be surprised if Cornell wanted to include Youngman in one of her next shows.

Point is, Hennessey Youngman is taking the piss out of everything and everyone; the layers of irony are too thick to fully pry apart and as a result we’re forced to assume a different posture, as it were, in our reception of Hennessy’s Thoughtz. If you read it straight, you’re going to get defensive or pissed off and thus totally miss the point, but if you think it all boils down either to comedy or simply an outsider’s attempt to take a giant shit on the art world, you’re not listening carefully enough. It’s one of those both/and kind of things that pushes us into areas that make us feel uncomfortable. And in my book, that is always a good thing.

Henessey is already something of an internet phenomenon, yet there’s surprisingly little out there about who this guy actually is, where he comes from, etc. I like that he’s a man of mystery and hasn’t yet been included in one of Ms. Cornell’s exhibitions. The dominant culture always manages to absorb its critics, though, so I don’t hold out much hope that he won’t be, sooner or later. I do know that in this interview Hennessy Youngman had the balls to respond to the question “Can you be successful if you’re a Muslim artist?” thusly:

Are you serious? Have you ever heard of this artist collective known as Al-Qaeda? They did this performance piece called 9-11. That was absolutely jaw dropping. They only performed it once, but luckily it was very well documented and can be seen pretty much anywhere on the internet. Highly recommended. Way better than anything them Fluxus or Dada motherfuckers could come up with.

So I’ll hold out just a little bit of hope that Hennessy never cleans up his act enough to grace the museum’s white walls.

SAIC Curators Explore the Meaning of Having and Being Had

Claudine Isé — Fri, 10 Dec 2010 01:01:55 +0000

Tomorrow students at the School of the Art Institute of Chicago will unveil four new exhibitions in the Sullivan Galleries, including Having and Being Had, a show that explores “the ritual of curatorial practice and meaning-making in museums.” The latter exhibition also includes a website featuring Q&As on curatorial practice with Chicago curators, cultural practitioners, and me, whose ‘practice,’ such as it is, falls into neither category. All four shows look really interesting – an opening reception for them all will take place tomorrow evening, Friday, December 11, from 4:30-7:00 p.m. in the Sullivan Galleries, 33 S. State St., 7th floor. Read on below for details on Having and Being Had, along with descriptions of the three other shows on view. All shows run through January 22nd (note that the galleries will be closed for the holidays from December 24 – January 2nd).

Having and Being Had

Having and Being Had stages a performance on the ritual of curatorial practice and meaning-making in museums. As the title suggests, curators and audiences are as much authors of a legitimizing narrative as they are framed by it. The curators of this exhibition complicate our expectations of museum display by inviting the dynamic participation and active imaginings of the viewer. Having and Being Had invites audiences to reconsider the ways in which language, collections, object value, and display technique seduce audiences with illusions of access and objectivity. Art exhibitions educate and entertain, but do they also mislead and deceive the viewer? Having and Being Had exposes curatorial hierarchy, dismantles curatorial voice, and manipulates display space to engage audiences in the power of their own experiences. On display are the ethics of curatorial practice and the viewers’ imagination.

All the best,

This exhibition features new work by the artists and writers in Text Off the Page 2010, including collaborative projects, performances, installations, and language-based projects.
Featured artists: Shanita Bigelow, Troy Briggs, Annette Elliot, Sarah Jones, Nazafarin Lotfi, J.M. Lowe, Joel Parsons, David Scheier, Corkey Sinks, Jillian Soto, Hurmat Ul Ain, and Colin Winnette.
An evening of Readings/Performances in response to works in the exhibition will be held on Saturday, December 11 at 6:00 p.m. in the Sullivan Galleries.

Channel Channel Channel Channel Channel Channel Channel Channel

The eight artists participating in the Video Installation course attempt to investigate, analyze, and confront various aspects of this practice by focusing on issues of separation and contact. Their work tackles formal questions emerging from constructing multichannel installation, as well as from the intersection of a single-channel, time-based medium with a given space and performed actions.

Featured artists: Emilie Crowe, Lindsay Denniberg, Marco Godoy, Mikey McPariane, Brianne Milder, MZL, Wang Ye-Feng, and Courtney Bird Ziegler.

Stories of Relativity

How do we relate to one another? The nine artists in this exhibition explore the complex nature of human connectivity, considering how time, identity, and interpersonal tensions shape our relationships and affect our interactions.

Featuring recent work by: Hope Esser, Jang soon Im, Je Je Je Jiyeon Lim, Zihan Loo, Cheryl Pope, Casilda Sanchez, Chryssa Tsampazi, Andrew Norman Wilson, and Wei-Hsuan Vicky Yen.

Curated by Amelia Love (MA 2013), Curatorial Assistant, Department of Exhibitions

“New Style Curators”: Do They Exist?

Claudine Isé — Wed, 01 Dec 2010 17:50:34 +0000

I was a former “old-style” curator who began participating in the online world right around the time that ideas about so-called “new style curation” started cropping up…everywhere….so this panel — which features Paddy Johnson of Art Fag City, online media consultant Rex Sorgatz, Rhizome‘s Ceci Moss, and panel organizer and moderator Joanne McNeil of the Tomorrow Museum — is really interesting to me. I’m still in the process of watching and absorbing and thus have no commentary to add — I just wanted to pop this embedded video into your feed readers and what-not in case you’re interested in the topic, and/or haven’t already come across this. Also: Paddy Johnson, one of the panelists, has written an extended follow-up to the panel on her blog Art Fag City. I do think it’s incredibly generous of Johnson to write at length about the ideas behind the panel in addition to speaking on it. Those shared thoughts, and the posting of the entire talk on YouTube, is much appreciated by folks like me, who don’t live in NYC and had no way of catching this talk live.

Episode 265: Abby Chen

Christopher — Sun, 26 Sep 2010 23:29:11 +0000

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This week: Matthew Harrison Tedford talks to curator Abby Chen.

They talk about the difficulties of curating contemporary Chinese art in the US, the relationship between social activism and art in China, and about a recent sympsosium on gender identity held by Abby in Guangzhou, China.

Abby Chen was born in Shandong, China, and raised in both Beijing and Shenzhen. She has been the Program Director of the Chinese Culture Center of San Francisco. Since 2006 she has overseen the Center’s Xian Rui Artist Excellence Exhibition Series and the Present Tense Biennial.

Formerly, she was the co-founder and Director of the Chinese Artists Network (CAN), an organization dedicated to contemporary Chinese visual artists.

With CAN, Abby has curated exhibits for the San Francisco Arts Commission, the Museum of Chinese in America in New York, the San Leandro History Museum & Art Gallery, Photo San Francisco, and Olive Hyde Art Gallery.

Episode 250: Nato Thompson

Christopher — Sun, 13 Jun 2010 14:47:43 +0000

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This week: Holy bicenquinquagenary Batman! Brian and Duncan (and guest stars including but not limited to Randall Szott) talk to Creative Time chief curator, author, and all around interesting guest Nato Thompson.

This show is the second in the series of interviews recorded at the Open Engagement conference at which Mr. Thompson was a guest. This series already charts among some of my favorites in the history of the show. Enjoy!

Since January 2007, Nato has organized major projects for Creative Time such as Democracy in America: The National Campaign (2008), Paul ChanÂ’s acclaimed Waiting for Godot in New Orleans (2007) and Mike Nelson’s A Psychic Vacuum. Previous to Creative Time, he worked as Curator at MASS MoCA where he completed numerous large-scale exhibitions such as The Interventionists: Art in the Social Sphere (2004), a survey of political art of the 1990s with a catalogue distributed by MIT Press.

His writings have appeared in numerous publications including BookForum, Art Journal, tema celeste, Parkett, Cabinet and The Journal of Aesthetics and Protest. The College Art Association awarded him for distinguished writing in Art Journal in 2004. He recently curated an exhibition for Independent Curators International titled Experimental Geography with a book available by Melville House Publishing. His book on art and activism is due out by Autonomedia in October 2009.

Episode 248: Shannon Stratton and Judith Leemann

Christopher — Mon, 31 May 2010 05:45:35 +0000

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This week: Brian Andrews and Duncan MacKenzie check in with Judith Leemann and Shannon Stratton while visiting Portland, Oregon and discuss their most recent curatorial endeavor the “Gestures of Resistance” exhibition at Portland’s Museum of Contemporary Craft.

We talk about problematizing the standard static exhibition, how a viewer can access a dynamic and evolving show, what an object be ”loaded” with, and the problem with placards.

The exhibition includes…

Sara Black and John Preus, Anthea Black, Carol Lung, Cat Mazza, Mung Lar Lam, Ehren Tool, and Theaster Gates.

http://www.performingcraft.com/
http://www.shannonstratton.com/
http://three-walls.org/
http://www.judithleemann.com/
http://material-exchange.org/home.html
http://www.youtube.com/watch?v=Tfi3DIlaXqg
http://www.fraufiber.com/
http://www.post-craft.net/catmazza.htm
http://www.munglarlam.com/
http://www.bquayartgallery.com/archive/access_tool2007.html
http://theastergates.com/home.html
http://www.museumofcontemporarycraft.org/

Annals of Curation: ‘Curated Computing’

Claudine Isé — Mon, 24 May 2010 16:41:28 +0000

I’ve been following the ‘curation’ meme for awhile now, and find its latest iteration particularly fascinating. Whereas in the recent past, the term ‘curated’ has tended to crop up in marketing and shopping-related contexts (i.e. “to curate” = “to pick and choose,” “to select,” or at its most base, “to shop around so others don’t have to”), last week I noticed that the term is now being slung around by those on both sides of the iPad/Apple wars. In an article titled Curated Computing: What’s Next for Devices in a Post-iPad World, on ars technica, analyst Sarah Rotman Epps puts a new spin on what’s already become a tired (and annoyingly mis-applied) buzz-word, arguing,

There is something very significant about the iPad beyond how many units it will sell: it’s changing how we think about the PC. The iPad creates a use case for a device that doesn’t do everything your laptop does, targeted at a consumer that uses devices more for consumption than production. The iPad ushers in a new era of personal computing that we call “Curated Computing”—a mode of computing where choice is constrained to deliver less complex, more relevant experiences. Let me repeat that, because it’s the essence of the Curated Computing experience: less choice; more relevance.

Oof! The connotations of the word ‘curation’ just get worse and worse, don’t they? “Less choice; more relevance?” Here, the verb curation isn’t merely equated with shopping; it signifies exclusivity and an active process of kicking the riff-raff out of the so-called “walled garden” of Eden that Apple has created and actively cultivates (or polices, depending on your point of view). You can watch a YouTube video of Epps describing her “curated computing” concept in (slightly) further detail here; I think it’s pretty dumb myself, but you can judge for yourself whether the idea of ‘curating’ in this context provides a useful conceptual metaphor or just trendy b.s..

In The Death of the Open Web, NYT Magazine columnist Virginia Heffernan used the term ‘curation’ to drive a related train of thought. In yesterday’s Magazine, Heffernan describes the Web as “a teeming commercial city…where Malware and spam have turned living conditions in many quarters unsafe and unsanitary” and “bullies and hucksters roam the streets.” Before, she argues, there was no way that Web denizens could escape the rabble. The rise of the iPhone, the iPad and the ubiquitous app, however, are now allowing users to migrate into the online equivalent of a gated community in the ‘burbs. Heffernan goes so far as to liken it to “white flight.” She writes,

In spite of a growing consensus about the dangers of Web vertigo and the importance of curation, there were surprisingly few “walled gardens” online — like the one Facebook purports to (but does not really) represent.

But a kind of virtual redlining is now under way. The Webtropolis is being stratified. Even if, like most people, you still surf the Web on a desktop or laptop, you will have noticed pay walls, invitation-only clubs, subscription programs, privacy settings and other ways of creating tiers of access. All these things make spaces feel “safe” — not only from viruses, instability, unwanted light and sound, unrequested porn, sponsored links and pop-up ads, but also from crude design, wayward and unregistered commenters and the eccentric voices and images that make the Web constantly surprising, challenging and enlightening.

Heffernan’s analogies are powerful and persuasive, although I do think she’s romanticizing some of the cruddier aspects of internet citizenry a bit. In any case, Hefferman’s use of the term ‘curation’ in this context aligns curators with those snooty, front lawn-obsessed Homeowners Associations and NIMBY-types, if not with community policing.

And finally Eliot van Burskirk, in an article written for Wired last week, took a jab at Epps’ opportunistic deployment of what he describe as “a well-worn meme” while acknowledging that Epps is undoubtedly “on to something” in her use of the term curated. Van Burskirk, tongue loosely planted in cheek, goes Epps one better and dubs this “The Age of Curation.”

Curation is the positive flip side of Apple’s locked-down approach, decried as a major, negative development in computing by many observers, present company included. Who would have thought that in 2010, so many people would pay good money for a computer that only runs approved software?

It runs counter to the idea, prized by geeks, that computing equals freedom. If it were Microsoft doing this, we’d all be storming the Gates with torches and pitchforks.

Nonetheless, the Age of Curation (see? anyone can coin a catchphrase) began long before today’s conversation about curated computing. In this Age of Digital Excess (oops, there I go again), we’re surrounded by too much music, too much software, too many websites, too many feeds, too many people, too many of their opinions and so on.

Curation is already fundamental to the way in which we view the world these days, and the iPad is hardly the first technology to recognize this.

Van Burskirk goes on to note that Facebook, MP3 blogs, your Google Reader and practically a zillion other online websites and services found within the (unwalled) portion of the open Internet are also “forms of curation,” and that critics of the walled garden model are overreacting.

I don’t have a dog in the walled garden vs. the riff-raff, suburb vs. gritty city, the iPad vs. Freedom of All that Is Good and True argument. I’m more interested in the ways that the terms curator and curation, which once had such dusty connotations, are undergoing a semiotic rejuvenation of sorts. Its meanings are not confined to a single realm of experience anymore – the curator has finally broken free of the White Cube. Alas, the white cube seems only to lead out into a Walled Garden, but I guess you have to take what you can get.

REVIEW: Suitable Video – Volume 1

Martine Syms — Thu, 20 May 2010 01:16:15 +0000

Scott Wolniak was the proprietor of Suitable, an alternative (garage) space in Humboldt Park, from 1999-2004. He started the space after receiving his MFA from the University of Illinois at Chicago and ended it when the roof collapsed. The goal of Suitable was to provide young Chicago artists with an opportunity to show their work. Recently, Wolniak curated a show at Western Exhibitions consisting of videos that had been seen years earlier at Suitable. In conjunction with the exhibition, Suitable Video, Wolniak released a limited edition compilation of the works under the same name. Suitable Video: Volume 1 has a run-time of about an hour and includes work from Charles Irvin, Julia Hechtman, Sterling Ruby, John Neff, Kirsten Stoltmann, Marc Schwartzberg, Paul Nudd, Reed Anderson & Daniel Davidson, Sarah Conway, Miller and Shellabarger, Ben Stone, and Siebren Versteeg.

A still from Paul Nudd's Wurmburth

Sterling Ruby’s contribution, Cook, is a one minute montage that combines several documentary-style sequences of clandestine meth labs while a distorted voice over repeats, “I’m a chemist, I’m a cooker, I’m a manufacturer, and a distributor. I’ll do whatever the fuck I want in the privacy of my own home.” The phrase is oddly catchy and I found myself singing it throughout the day. Paul Nudd’s Wurmburth also stuck with me, out of disgust, it’s really gross. I said this to a friend and she asked “Gross-sexual or gross-dirty?” For three minutes an amorphous phallus goes in and out of various neon green caverns, while smoke, mucus, and spit ooze out. It’s both dirty and sexual. The piece I enjoyed most was Untitled (Nixon/HAL) by John Neff. In it a man gives two monologues against a solid blue background. The first is a statement that was prepared for President Nixon in the event of a moon disaster and the second is HAL’s final monologue from 2001: A Space Odyssey. The melodrama and humanity of the texts are rendered emotionless by their messengers, creating an amusing tension.

I was a film student at the School of the Art Institute of Chicago and I recognized a few of the pieces from my video classes. During my senior year of college I wouldn’t have considered Sterling Ruby young, Chicago-based, or in need of exhibition opportunities. When I saw these works at school they were presented out of context, completely removed from the community that is very apparent when I watch the Suitable Video anthology. “There is no thematic or conceptual agenda,” Wolniak acknowledges in his curator’s note. “There is a tangible sense of utility in much of the work– they do not seem fussed over, they communicate directly.” Unfussy, direct communication is a fitting theme for a compilation meant to encapsulate the efforts of a DIY exhibition space. These type of spaces pop up when a group of artists, with the help of their most entrepreneurial peers, need the most immediate way to connect with an audience. Alternative spaces stop being effective once they fulfill that need and when they close their doors, they take that history with them. Last year’s Artists Run Chicago at the Hyde Park Art Center was one way of telling the history of alternative spaces, Suitable Video is another.

Suitable Video: Volume 1 is available at Golden Age in Chicago.

Bad at Sports » Curator

Episode 332: Michael Darling and Naomi Beckwith

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