December 29, 2010 · Print This Article
Our latest “Centerfield” column is up on art:21 blog! Actually, it went live yesterday, while I was flying home from Los Angeles so…apologies for the late linkage here. This week, I tried something slightly different: a roundtable Q&A session that addresses the question of how different people sustain a cultural practice over time. It’s a question I’ve been thinking about a lot lately, and it seemed particularly appropriate to ask as the end of 2010 draws to a close and we look forward to a new year, new projects, new relationships–all of which need fresh infusions of energy, creativity and enthusiasm. The discussion was really meaningful to me, and I’m very grateful to Britton Bertran, Duncan MacKenzie, Caroline Picard and Philip von Zweck for sharing their experiences with us. I hope you find something meaningful in the conversation, too! Happy New Year everyone.
The following is the entire text of the discussion which appeared in yesterday’s “Centerfield” column for art:21 blog. The “Centerfield” post had been edited somewhat for brevity.
Lately I have been thinking a lot about sustainability and sustenance. Not the environmental kind of sustainability–the personal and emotional kind. Chicago’s art community is rich in relationships, but like so many other ‘art worlds’ out there, it can be a bit less bountiful when it comes to monetary compensation, feedback, and consistent forms of validation. So I asked four longtime Chicago-based cultural practitioners–independent curator and arts educator Britton Bertran, artist Duncan MacKenzie (co-founder of Bad at Sports), Caroline Picard, an artist who runs the small but highly-regarded Green Lantern Gallery and Press, and Philip von Zweck, an artist whose work often involves project-based collaborations–a few questions about how they have sustained their own practices over time, and especially after a project has run its course. How do they stay sharp and engaged and committed over the long haul? How do they keep on keepin’ on when the going gets tough? Read on to find out what this group had to say.
Claudine Ise: Describe the work that you do. What forms has the work taken? When its form has changed, what were some of the reasons for the change?
Britton Bertran: My work is cyclical. I started my “career” here in Chicago working for a well-known and very progressive not-for-profit art education organization. It was hard and fulfilling programmatic work placing ‘teaching artists’ in mostly underserved Chicago public schools. It was also mentally exhausting, especially the part when we all sat around and planned the future of arts integration. Around 2005 I decided to open my own commercial art gallery (called 40000). There were many reasons why I did this but one of the main points was jettisoning the funk of non-profit work off of me and diving in to the wild world of working with artists for profit (theirs and mine). Three years later, and a month before the great economic collapse of 2008, I closed the gallery. There are a myriad of reasons why I closed the gallery. To this day, I am simultaneously extremely relieved for shutting down but will also ultimately regret doing so. After that I worked for a local philanthropic foundation doing a preliminary report investigating the feasibility of opening a contemporary art space in Chicago. Meanwhile, the aforementioned economic collapse waylaid the philanthropic element of the foundation and hence the feasibility of operating such a space. Currently I am working for another Chicago-based art education not-for-profit with a more encompassing, less intense mission that is equally as challenging but not laden with the philosophical conundrum of solving the world’s problems. It’s very satisfying and comes with a real live paycheck.
Interspersed with the jobs I have had in for the last 4 years or so, I have also had a secondary career as an independent curator and instructor in the Arts Administration department at The School of the Art Institute. Curatorially, I put together two exhibitions a year – one at a more Institutional level and one at an artist-run or alternative gallery space. As an instructor, my classes revolve around the art business, institutional contexts and the history of both.
Economics and the highs and lows of professional frustration seem to be running themes in my personal work history. The one constant is education. Its also important to point out I am not an artist. I don’t make work as “product”, but one of the ongoing mantras of art education (specifically in secondary school, but really at all levels) is the sweet dance between product and process. What is each of these things in the first place? Can you have one without the other? Where does the satisfaction of learning make itself known? Retention of information or basking in the glow of acknowledgment: which should take precedence or how should they be intermingled for maximum effect? These are the questions I have been working with throughout my “career” and I believe it will be a long pursuit.
Duncan MacKenzie: The work that I do has taken, and takes, many forms. The way that I work now is collaboratively, sometimes that means working on the “Bad at Sports” project and at other times that work is with an artist named Christian Kuras on an object and image-based practice. As a young artist, I was trained in several really active communal print shops, a series of film sets and a small graphic design firm. Those experiences left me with a real strong drive towards communal working and a need to share broadly both the authorship and the result. This is a very different way then the traditional “heroic artist” locked in their studio wrestling with a canvas. I don’t love spending my time all alone working through a series of problems and puzzles which I’ve situated for myself. I like and need the energy colleagues bring to projects.
Before these current collaborations, I had thought of myself and worked as a… I don’t know, for lack of a better term, postmodern pop artist, and developed a “style” which was reflective of pop culture, post-structuralism and of other “conceptual looking” art practices. That started to change when I confronted the reality of being a “print specialist.” The worry that was taking root had to do with how constraining a traditional printmaking practice can become and how that can limit its producers and their participation in a broader art world. Printmaking is so seductive in its process and its materials that artists attracted to it tend to become very invested in virtuoso printing and work in the closed community of international printmakers. I started to bump up against this boundary and began looking for other strategies with which to access the ways that I was thinking. Initially, I begin by looking at video and animation work and situating a practice of appropriation and collage there. Then that reach was extended out towards electronics, model building, and photography. Through those processes I began to engage sculpture and found that most of the ideas that I wanted to follow-up on needed a discourse that was more, or maybe less, lonely. Then, at roughly the same time, I started to collaborate with Christian on making sculptures, and Richard Holland and I started talking about doing a podcast about art.
Caroline Picard: For the last six years I have been running a non-profit gallery and press called The Green Lantern. During that time I have continued to work independently as an artist and a writer. I think these projects inform one another–in many ways I’ve thought about the Gallery and the Press as being significant influences on my own work; particularly when the space was in my apartment, I came to think of it as a kind studio-research. During the first five years, that’s where everything took place– in my apartment–I’m very interested in creating intersections for different artistic mediums, so it was a great place to experiment curatorially. I was also very interested in thinking about the intersection of public and private space and how that context might affect a viewer’s experience of contemporary artwork, whether it was poetry, or a painting exhibit, a music show or a performance.
After five years the city shut down the project because (and as a result of zoning) I did not have, nor could I acquire a business license. Last September I opened a second storefront space which will close in January of this year. As part of this second plan, I was trying to put together a business model which would sustain the non-profit gallery via a for-profit cafe/bar/bookstore/performance space. I couldn’t find that space, and after a continued accrued cost had to close up shop. The Press will continue and I’ll continue as its primary editor. We also have a very cool on-line indie-lit bookstore, (in my on-going championship of pipe dreams, I have a vague hope that said bookstore will serve as my primary income).
Philip von Zweck: From the early 90′s (as a student) until relatively recently most of my projects involved either producing a form for others to fill and/or making projects for a non art audience. For 15 years I produced a weekly radio program of live performance and sound art recordings that were submitted for broadcast; I have an ongoing project called Temporary Allegiance which is a 25 ft flag pole that anyone can sign up to fly anything they want on for a week at a time; I ran a gallery in my living room for 3 years in which I presented solo shows by people I trusted with keys to my apartment; I’ve made books which are compilations of pages submitted by friends; for my show museum show a few years ago I made a chain letter and mailed it to the museum’s mailing list; I co-founded the radio art collective Blind Spot which produced 1-hour works live to air- the list goes on, but there was a set of politics I was really guided by, and adhering to them eventually caused me to feel distanced from my own practice. I got to a point where I just wasn’t as interested in doing those sorts of projects, or feeling like I had to do those sorts of projects anymore. So recently, a few years ago, I begun showing paintings- I’ve always painted and drawn but didn’t show them because it didn’t fit in with the other projects and those took precedence. I wouldn’t that I have abandoned the previous set of politics and I still really like a lot of those projects; it’s just that I’ve come to a different way of thinking about them and my role as an artist.
CI: Can you describe one, or some, of the happiest and/or most satisfying period/s of production you’ve experienced thus far, and what made it so? In turn, can you talk about some of the “low points.” What brought you down? How did you pick yourself back up again afterwards and find the where-with-all to start fresh?
Britton Bertran: The opening night of the first exhibition I put together for 40000 was the happiest most satisfying 5 hours of my professional career. A completely fulfilling experience that squashed a good six months of the most terrifying anxiety I’ve ever known. Quitting my job to start my own business without any financial security or previous gallery operating know how was also one of the stupidest things I have ever done. Looking back now – part of that happiness was pure obliviousness, but seeing 300 people come and pretty much stay that night had a profound affect on me. The literal act of taking a space and preparing it for art looking is one thing, but preparing it for art socializing and art commerce is another. I learned a lot that night (process?), through the literal and figurative haze, that I still employ today (product?).
My low point was realizing how screwed I was by the overall economic situation that happened not too long ago. Either I was too arrogant to think I would never have work, or I thought I was just plain invincible, but that was the most incredibly depressing and scary 6 months of my life. Part of my problem was the fact that I had convinced myself that I had paid my dues and that a job, in the art world please, should just come waltzing my way, take my hand and whisk me off to that thing called adulthood. It was around this time (as I was selling my lovingly collected vinyl records in order to eat), that I realized I had built a solid network of individuals that could help me. Pride swallowed I groveled, professionally, and just asked. Within two months I was working.
Duncan MacKenzie: All of the most recent satisfying moments were times in which I felt very connected to our projects and felt like others were as connected to the result. One of the most amazing experiences, recently, was doing “Don’t Piss on Me and Tell Me its Raining” at Apexart in NYC. What made it such a delight was to know and have tangible proof of what our project is meant to the hundreds of people who been involved in its production. It was amazing to feel so intimately connected to so many other artists.
The low points for me are almost always the same. They are the moments that I feel like the art world is either just like a clique-y, bitchy, catty high school popularity contest or like a fashion Mall and all the things we make are just as disposable as this week’s “Entertainment Weekly.” They are always the moments that make me feel like we are not a community but a bunch of humans who represent opportunities to each other and should just be used as opportunities. It seems so obvious that we should be advocates for each other and support an overall growth but the evidences suggests that despite working in “culture” we are hyper competitive creatures. So I guess they are moments when I feel disconnected and disregarded. Thankfully it is as easy to get out of picking up the phone and reaching out. All it takes is a little reminder that we all feel alone, awkward, and like no one cares but everyone of us does this because we know how meaningful it has been to us and that we still share in it.
Caroline Picard: High points: I think my consistent favorite moment will always be the point an audience (of whatever sort) has settled into attendance–when the program has begun and the work is done–whether that’s the work of an administrator, or a producer. For me, those moments resolve the otherwise insatiable existential question (in my mind) of what art is for because art is precisely for that moment; at least that’s how it strikes me in that moment. That moment also demands a certain giving up–there is nothing left to do but allow the occasion to happen, and to try and be present for its happening. My other favorite moment is the deep concentration that happens when I am working on my own, whether writing a piece, or painting, or editing–this is my other favorite thing. That deep concentration–I don’t really know what else to call it, but it’s like everything else in the world gets quiet while I’m totally focused on exploring and developing a particular idea. That moment gives me a huge re-charge (you ask about this later). It’s maybe a little like meditation? I don’t know.
Low points include: Discovering typos in my writing, for instance–particularly if those typos point to some never-before-recognized ignorance–what are they called, lacuna? I think this space closing a second time is another one of those moments, despite my realizing that there was no specific failure involved–I am proud of what the last six months have brought, thrilled that I got to work with such great people and participate once more with the Chicago art community. Yet, I am conscious not fulfilling the larger, albeit abstract, vision I had undertaken. Why this, or realizing typos would inspire embarrassment, I don’t know–it must be some hangover of a waspy background, or a childhood fear of Scandinavian silence (my grandmother had a strategy called “deep freeze” that was remarkable). And then as far as how to get through that stuff–I don’t think there’s any trick beyond being patient and humble and adopting a sense of humor (I like to think of my consciousness like my grandmother–if it/she shames me I make a slew of jokes which, more often than not, work because they fail).
Philip von Zweck: The times when I am the most productive – and therefore happiest – artistically are generally times when everything else is going right; the times when I’m neither broke or pulled in a thousand directions (from taking on too many jobs or commitments), when I’m in good health, relationship, community, etc. When those things start going wrong it is really hard for me to make work, it becomes a feedback cycle- things not going well leads to being bummed out, which leads to not making work, which leads to being bummed out, which leads to…
Perhaps the lowest point came from doing a project in which I was treated poorly by the presenting organization. What should have been a great experience seriously made me never want to make work again. How did I pick myself up? I didn’t have a choice, I had already committed to do another project, and that one went swimmingly, actually way better than expected and that was enough- not that the previous experience has left my mind, but I’ve mostly moved on.
CI: All of you are engaged in practices that involve lots of other people (though I know that several of you maintain studio practices, too). I often think through my own personal quest for ‘sustenance’ in terms of introversion versus extroversion: sometimes, we recharge our energy by spending time with friends and collaborators, other times by being alone. So, how do you recharge — and how does it help you sustain those practices you most want to engage in?
Britton Bertran: The relationship between institutional and individual memories, as a conundrum, is fascinating to me – and worrisome. In order to combat that, I have made a real effort to reflect on my personal and professional experiences (process) in order to better inform my future (product), especially when it comes to being a part of the immediate art world around me. I also believe it has to be more than just taking pictures. The essential part that I concern myself with is finding ways to reflect, edit, and share those experiences. As official memories, of the institutional kind, seem to be becoming more and more overwhelmed by the collective desire for the next memory, harnessing something that I would call “The Slow Memory Movement” might become more essential. This Slow Memory Movement (akin to the Slow Food Movement) would emphasis the personal importance, or pleasure, of remembering and the sustainability of its impact on oneself. (I also have been reading as much post-apocalyptic science fiction as I can get my hands on which, beyond the pure entertainment factor, does wonders for the reflective process).
Duncan MacKenzie: Recharge? I read crime novels in which wizards solve crimes, and comic books. It is the source of a small amount of shame, but a couple of years ago I felt like everything in my life was connected to art production and I needed to find something that I was not going to try and plug back into an art world. Now it seems likes wizards are the order of the day and I am looking for novels about dinosaurs solving crimes.
Caroline Picard: Top 5 Ways to Recharge would include:
1) Deep and quiet thinking about a particular subject which is engaged through writing/visual work. The act of making something discrete–something very often totally “useless”–then makes me very happy.
2) Being with friends (of course), art-friends and non-art friends both.
3) Making Jokes, which I think I too easily forget. Making Jokes should probably be no. 1.
4) I have to admit, though I will immediately disown this, I also recharge watching some sort of television-thing, preferably an episodic serial drama.
5) Making non-art things like food. Or dreams.
Philip von Zweck: I don’t ever consciously think “I need to recharge” but I spend a lot of time alone and- not that I ever set out to not work on art, but really- it is very hard for me to not work on stuff. Sometimes this can be recharging, working in the studio can be a good antidote to a day at the job. But I guess for me it would be spending time with friends. A lot of ideas and projects come out of just hanging out, I think this is why I’ve done so many collaborative and social projects, they are both rewarding and rejuvenating.
CI: Thank you all so much for sharing your experiences and ideas with me and with our readers at art:21 blog.
Ever fantasized about being interviewed by the venerable Richard Holland and Duncan Mackenzie of Bad at Sports? No? Well….maybe you’re feeling bored and just need something to do tonight? Okay, good enough! Come hang out with Duncan and Richard from 5-7pm tonight at the Sullivan Galleries at SAIC, where our podcasters-in-chief will be ready and willing to interview all comers. So come! Talk to Richard and Duncan about your art, your life, your secret hopes and most shameful desires. Get it all out there and off your chest. Interviews may be broadcast on a future episode of the podcast…you never know. This is part of the Summer Studio program taking place right now at the Sullivan Galleries, and there are a bunch of other acts, I mean artists, who are opening up their on-site spaces for you to check out as well. The full lineup includes the aforementioned Bad at Sports along with Elise Goldstein, Georgia Kotretsos, Diego Leclery, Adia Millet, Jennifer Mills, Libby O’Bryan & Elissa Papendick, John Riepenhoff, Miller & Shellabarger, Cauleen Smith, and Marjorie Welish. Hope to see you there!
Thank you, Chicago magazine, for picking Bad at Sports’ upcoming event at the MCA Chicago for its weekly Guide section this week. Duncan MacKenzie will be hosting a Cabinet of Curiosity show at the Museum on the evening of April 20th. (We’ll have more details on the event soon, but we can promise that it will be magical).
Over the past two months everyone at Bad at Sports has been in a frenzy preparing for the exhibition, “Don’t Piss On Me And Tell Me It’s Raining” at apexart in New York. The show was a bit of a last-minute golden opportunity, so details have been scarce, but we now have the full scoop on what’s in store, and it’s pretty awesome. (You can keep up with Meg, Duncan, Amanda, Tom and Richard throughout the show’s installation and opening events by following Bad at Sports on Twitter and the hashtag #basapex.) The exhibition features over 100 objects, images and ephemera that will serve as a visual complement to Bad at Sports’ considerable audio archives, submitted by Bad at Sports contributors and guests of the show, including:
Carol Becker, Britton Bertran, Temporary Services, Adam Brooks and Mathew Wilson, Ivan Brunetti, Tom Burtonwood, David Coyle, Death by Design, Elizabeth Chodos, Miguel Cortez, Tony Fitzpatrick, Rob Davis and Michael Langlois, Jeremy Deller, Lisa Dorin, Jim Duignan, Dan Devening, Cody Hudson, Jason Dunda, Fendry Ekel, James Elkins, Anthony Elms, Pete Fagundo, Mary Rachel Fanning,Tony Feher, Rochelle Feinstein, Pamela Fraser, Liam Gillick, Helidon Gjergji, Michelle Grabner, Dylan Graham, Madeleine Grynsztejn, Sarah Guernsey, Terence Hannum, Anni Holm, Brian Holmes, Astrid Honold, Christopher Hudgens, Meg Onli, Amanda Browder, Tom Sanford, Duncan MacKenzie, Christian Kuras, Ben Tanner, Scott Hug, Richard Holland, Carol Jackson, Paddy Johnson, David Jones, Alex Jovanovic, Atsushi Kaga, Mark Staff Brandl, Vera Klement, Peter Saul, Gregory Knight, Monique Meloche, Leo Koenig, Chad Kouri, Steve Lacy, Caroline Picard, Jose Lerma, Laura Letinsky, Kerry James Marshall, Ed Marszewski, Eric May, Dominic Molon, Anne Elizabeth Moore, David Morgan, Julian Myers, Gavin Turk, Liz Nofziger, Jamisen Ogg, Neysa Page-Lieberman, Trevor Paglan, Raymond Pettibon, John Phillips, Allison Peters Quinn, Lane Relyea, Lawrence Rinder, David Robbins, Thomas Robertello, Julie Rodriguez Widholm, Elvia Rodriguez, Nathan Rogers-Madsen, James Rondeau, Marlene Russum Scott, Alison Ruttan, Dan S. Wang, Stephanie Smith, Deb Sokolow, Scott Speh, Chris Sperandio, Lisa Stone, Shannon Stratton, Randall Szott, Christine Tarkowski, Tony Tasset, Tracy Marie Taylor, Ron Terada, Philip von Zweck, Hamza Walker, Chris Walla, John Wanzel, Chris Ware, Oli Watt, Tony Wight, Anne Wilson, Jay Wolke, InCubate, Curtis Mann, Michael Velliquette, Clare Britt, Shannon Stratton, Damian Duffy, William Conger, M N Hutchinson, Mark Francis, Annika Marie, the artists of Blunt Art Text, and more.
The exhibition also features three related exhibition talks, all of which are free and open to the public. They’ll all be rebroadcast on upcoming episodes of Bad at Sports’ podcast, for those of you not able to catch the events in NYC.
Thursday, April 8, 6pm. On the eve of Deitch’s departure from New York, Carlo McCormick will talk to Jeffrey Deitch about his time and legacy as one of the most visible, dynamic and controversial players in the New York art world.
Wednesday April 28th, 6pm. Tom Sanford will moderate a panel of five other painters who will talk about painting, including: Kamrooz Aram, Holly Coulis, David Humphrey, Dike Blair and Deborah Kass.
Tuesday, May 18th, 6pm. Impractical Labor in Service of the Speculative Arts is a membership organization for those who make experimental or conceptual work with obsolete technology.
You can download the exhibition brochure, which features a conversation between co-founders Duncan MacKenzie and Richard Holland about the history of Bad at Sports, here.
Last but not least, the all-important details on the opening reception! This Wednesday night!
Don’t Piss on Me and Tell Me It’s Raining
Organized by Bad at Sports
Opening: Wednesday, April 7th 6-8pm
291 Church Street
New York, NY 10013
Tomorrow afternoon (Thursday March 11th), our own Duncan MacKenzie and Richard Holland will moderate a roundtable discussion at the Chicago Comics Symposium, hosted by the School of the Art Institute of Chicago (SAIC). The evening’s events start at 4:30 pm and go on ’till 7:00. The event is FREE and is located in the SAIC Ballroom at 112 S. Michigan Ave. But wait, there’s more! This is a two-day symposium exploring Chicago’s place in the comic book scene so there’s another round of events taking place on Friday March 12th, also from 4:30-7pm.
Full information can be found below. It’s free, it’s (mostly) in the evening, so nothing should stop you from going on over and soaking it all in!
The stubborn work ethic of Chicago’s comic scene will be explored in the first ever Chicago Comics Symposium, hosted by the School of the Art Institute of Chicago (SAIC) on March 11th and 12th 2010. Through panel discussions with over fifteen local comic makers, the Symposium will investigate the city’s influence on the comic making process, tackling the sad, serious, and silly topics that reign supreme in the realm of sequential art. All events are free and open to the public.
CCS will be comprised of four separate panel discussions with multiple artists on each and will be moderated by some of Chicago’s greatest thinkers, critics and (of course) readers of comics. The questions posed to the Windy City makers will address many issues including: the tasks of self-publication, the changing cultural status of comics and the difficulty of representing identity. The queries will oscillate between common knowledge and the complexity of the nitty-gritty details, giving equal enjoyment opportunity to new readers as well as true-blue comic connoisseurs.
Comics are infiltrating movie-theaters and chain book stores, sustaining independent comic shops and edging their way into academia. Comics are made any and every where, but Chicago has a distinct community of hard working doers, makers and shakers. The event will attempt to unite and uncover the inner workings of Chicago’s comics.
Attracting artists who currently live and work in the city, as well as former Chicago residents, the Symposium will bring together the old, new, big and small. Attendees include: Sarah Becan, Jeffrey Brown, Christa Donner, Surabhi Ghosh, Beth Hetland, Nicole Hollander, Paul Hornschemeier, Joey Jacks, Lucy Knisley, Ian McDuffie, Bernie McGovern, Anders Nilsen, Laura Park, John Porcellino, and Jeremy Tinder.
The Chicago Comics Symposium
Hosted by The School of the Art Institute of Chicago
Thursday-Friday, March 11-12, 4:30-7pm
SAIC Ballroom, 112 S. Michigan Ave.