Takashi Murakami at the ChÃ¢teau de Versailles
Takashi Murakami’s new exhibit in Versailles has recently opened (closes December 12th if you are of the jet set type) and from what I have heard and seen it is a show not to be missed if for no other reason then it’s striking contrast andÂ humorousÂ seemingly paradoxicalÂ existence. read more here
InauguralÂ Art Loop Open Competition Begins
From October 15-29, Art Loop Openâ€”Chicagoâ€™s new art competition (presented by the Chicago LoopÂ Alliance)â€”will transform ten venues throughout Chicagoâ€™s Loop into interactive public art exhibits (200 artists in total) having the public voting on the winner with 1stÂ receivingÂ $25,000 2nd: $15,000 & 3rd: $10,000. It looks to be a fun and smart program to engage the general public (which I still think we could do oh so much more in terms of) but sadly haven’t given it much promotion due to not knowing exactly how to aproach it. I will be looking forward to seeing how it plays out and more so to year two.
From what i canÂ gleamÂ the jury process was pretty solid and most of the artists involved I have either seen, worked with, known or interviewed so I wish them all good luck and more so remind them to forget the prizes this is a greatÂ opportunityÂ to rewrite the image of the Chicago artist with the general public so in short “don’t be obtuse, rude, impatient or a douche” also Check out Tom Burtonwood and Pamela M Johnson’s work here & here respectively. Read more here
Banksy does the TitleÂ SequenceÂ to the Simpsons
Interesting Video on How Printing Ink is Made
Having been a child in the heyday of Mister Rogers’Â Neighborhood I grew up with a love of lilting jazz music & seeing how everyday items are made (plus hand puppets but thats private) so it’s interesting to watch just how what I spend most of my money & art career touching plus half of my business career fighting with is made. watch it here
Race & Ethnicity Mapped By Block
As a footer for this week there is a visual map done by Bill Rankin using dots to show the more subtle changes across neighborhoods in ChicagoÂ using block-specific US Census data.Â Called a “taxonomy of transitions” it is quite interesting both visually and mentally but then again I am a data & logistics wonk so might just be me.Â read more here or even read about music preferences on Last.fm by gender here if you are so brave.
The Guggenheim as of this past Monday has begun accepting submissions for a video art exhibition in October that will be at all of the foundationâ€™s museums: the Solomon R. Guggenheim in New York, the Deutsche Guggenheim in Berlin, the Guggenheim Bilbao in Spain and the Peggy Guggenheim Collection in Venice.
The catch is they want all submissions via Youtube.
The plan titled “YouTube Play” is planned on being a Â biennial event to discoverÂ innovativeÂ work outside of the contemporary art track. Deadline for submissions is July 31st and will go before the Guggenheim curatorial staff. Submissions will be trimed to 200 from which 20 will be chosen via a jury of diverse disciplines.
The final 20 will then go on simultaneous view at all the Guggenheim museums. The 200 will be promoted on the YouTube Play channel.
All in all this will help bump the visability of Â the Guggenheim, give Youtube some cultural cachet and remotely possible, court the Guggenheim some atypical advertisers which are becoming more and more sought after players.
There is concern from various sections that this type of potpourri art that is only good for a short time and then tossed out, doesn’t build a common voice in the greater art discussion, doesn’t build artists andÂ allowÂ them to grow and doesn’t give institutions any foundation for future work. As much as I am more egalitarianÂ on this subject then many I whole heartedly agree that it’s just junk food.
I agree with the Guggenheim’s response that if this was the only thing they did it would be an issue but it isn’t and honestly this is better then a motorcycle exhibit potentially in the long term.
I still think largely the issue that is the elephant in the room is the general populace is caring less and less and the numbers on multiple fronts reflect that and even pandering doesn’t work.
This Youtube Play is little more then a American Idol, Art/Design Star attempt on a zero budget and maybe something good will come out of it? I am still interested more so to see what MOCA will produce in the months to come. I feel that is the most intelligent and serious test case for this debate in play.
I don’t see institutions solving this problem, nor more focus on curatorial practicesÂ sadly. We are at a back to basics issue in my mind and the first group of banded artists that can properly create remotely unified work that speaks to the general public on a regional level while having some teeth and is smartly marketed will be the spark that can get things rolling again on a mass level.
I almost caught a glimpse of that in 2008 with the election, the general public seemed toÂ rememberÂ the power of the visual image and joyfully get caught up in it. I would love for something other then politics or sex to do that but it’s still interesting.
Christopher Knight, the Los Angeles Times Art Critic has written up an interesting article on Jeffrey Deitch’s start as Director (the fourth in 30 years) and gives his point of view on where the reality of life in LA can begin to match the goals of the Museum. Numbers mater in the Art world even if we don’t want to talk about it and MOCA’s attendance has been dropping steadily for years. Couple that with the fiscal mismanagement gamble back in 2008 where they created a budget that relied on donor money to coverÂ aroundÂ 80% of the cost (money that evaporatedÂ with the crash) and things were pretty bleak.
The consensus & expectation is that Jeffrey Deitch will bring the kind of shows and energy that will rally the general population of LA and raise attendance above it’s current 600 people a day. Think about that, 600 people, more people visit this site then MOCA in a given day and MOCA is spending $20 Million a year. MOCA has a wonderful collection and this isn’t a referendum by the people of LA on Art but on the growing disconnect between Art Tastemakers and the general population. A rift that has been growing for years with little to noÂ abatement.
It’s not just LA, we have had the same debates on hours of operation & marketing of events in Chicago for over 5 years. Christopher Knight goes on to offer his advice on what Mr. Deitch might want to examine as Director and the second I can agree with aspects of, the first not so much:
1. General admission: take it from $10 to free
I have always questioned why everything needs to be free. In my experience people have a habit of discounting what they don’t pay for and it effects the overall opinion. Work at a bar (or the music industry these days) and you can see that in action, lines and a small cover even if they are annoying increase the overall pleasure of the experience as long as guests expectations are met once they enter. Also even if the door charge is less then 10% of the budget that is still a valuable/usefull daily cash flow even for an institution of that size. Art like any other business lives and breathes on cash flow.
I would suggest price pointing it at $5 a person and make it free to seniors, students & active military (for many solid reasons not worth rehashing here). At that price it has a real value, isÂ proportionedÂ correctly to films, concerts & other nightlife activities and doesn’tÂ nullifyÂ the whole selling point of yearly membership.
2. Hours of Operation: take it from closing at 5-6pm & 8pm on Thursday to moreÂ befittingÂ late nights.
No argument but very tricky and might not be asÂ usefulÂ as even I thought years ago. This just might be a tourist/weekday local/weekend world we live in.
The one thing that Mr. Knight doesn’t tackle is the one thing that everyone is so afraid of about Jeffrey Dietch as Director, the “curatorial” focus of the exhibits and I think more so “how they are marketed to the world”. Everyone is waiting on baited breath since it seems no one has faith that anÂ intelligentÂ discussion on Art can be molded into a form of interest to the general public. That is the great experiment going on in LA and if it is successful could echo throughout the American Art World as a whole and faster then you might think.