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Episode 334: Kelly Kaczynski

Christopher — Tue, 24 Jan 2012 17:17:32 +0000

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This week: Philip von Zweck sits down to talk with artist and educator Kelly Kaczynski.

GO CHECK OUT HER SHOW AT THE COLLEGE OF DUPAGE-GAHLBERG GALLERY! I heart the Gahlberg Gallery.

Kelly Kaczynski: Study for Convergence Performance (ice)
Jan.19 to Feb. 25, 2012

Study for Convergence Performance (ice) is the second work in a series that seeks to conflate the artist’s studio as a performative site of production, the space of display as the reception of image, and landscape as site for epic but apathetic metaphor. It uses the devices of the theatrical stage and the green screen; both of which operate as a “non-space” that allows the conflation of multiple contexts or sites. She uses imagery from landscapes that shift in time, such as bodies of water including glacier fields. The title of the piece refers to Robert Smithson’s idea of “the range of convergence between site and non-site” whereas the land from the originating site is placed in the container of the non-site. In Study for Convergence Performance, the site of origin and the sign of site converge as they transpose in a collapse of time.

Kelly Kaczynski is an assistant professor and assistant chair in the Department of Art Theory & Practice at the Weinberg College of Arts and Sciences, Northwestern University. Kelly is a sculptor and installation artist. Her work, while existing in a temporal-spatial platform, is deeply materials based. She received an MFA from Bard College in 2003 and a BA from The Evergreen State College in 1995. She has exhibited with threewalls, Chicago; Hyde Park Art Center, Chicago; University of Buffalo Art Gallery, NY; Rowland Contemporary, Chicago; Triple Candie, NY; the Islip Art Museum, NY; Cristinerose/Josee Bienvenu Gallery, NY; DeCordova Museum, MA; 123 Watts Gallery, NY; and the Boston Center for the Arts, MA. Kaczynski’s work was included in the Boston Drawing Project at Bernard Toale Gallery, Boston. Public installations include projects with the Main Line Art Center, Haverford, Pennsylvania; the Interfaith Center of New York; the Institute for Contemporary Art, Boston and the Boston National Historic Parks; and the Boston Public Library. Kaczynski has taught at the School of the Museum of Fine Arts, Boston, the University of Pennsylvania, the University of Illinois at Chicago, and University of Chicago.

Episode 330: Carolee Schneemann

Christopher — Wed, 28 Dec 2011 17:06:15 +0000

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This week: Living legend, innovator, visionary, Carolee Schneemann.

Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, “Looking at Men, Then and Now” [LINK: http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition, Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently published Millennium Film Journal #54: “Focus on Carolee Schneemann.” Art Practical’s Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work.

Carolee Schneemann [LINK: http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including in Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK: http://www.henryart.org/exhibitions]

An abridged transcript of this interview appears in Art Practical’s ”Year in Conversation” issue, which you can see here: http://www.artpractical.com

Episode 326: Jim Campbell

Christopher — Mon, 28 Nov 2011 15:17:23 +0000

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This week: Brian and Patricia talk to Artist Jim Campbell.

Episode 311: David Hoffos and the Fulton Street Collective

Christopher — Mon, 15 Aug 2011 14:11:02 +0000

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This week: We talk to artist David Hoffos. Next, we talk with Joe Lanasa about the Fulton Street Collective.

About David:

Scenes from the House Dream opens at the Illingworth Kerr Gallery, Alberta College of Art and Design, Calgary, Oct. 27

and runs until Dec. 31, I think.

In 1994, David Hoffos received a BFA with great distinction from the University of Lethbridge. Since 1992 Hoffos has maintained an active exhibition schedule – with over 30 solo exhibitions, including Catastrophe, 1998 (Illingworth Kerr Gallery, Calgary; Fundació Joan Miró, Barcelona; Or Gallery, Vancouver; and Blackwood Gallery, Mississauga) and Another City, 1999-2002 (Southern Alberta Art Gallery, Lethbridge; Trépanier Baer, Calgary; Joao Graça, Lisbon; The Art Gallery of Ontario, Toronto; and Museé des Beaux-Arts, Montréal). In 2003 Hoffos (with Trépanier Baer) launched the first phase of Scenes from the House Dream, a five-year series of linked installations. The entire series is set to begin its cross-Canada tour in the fall of ’08. His single-channel work has been shown in festivals in over twenty countries, and he recently represented Canada at the 48th Oberhausen Short Film Festival, Germany. A survey of his installation work debuted at the Edmonton Art Gallery in December, 2003. His first theatre piece – Hoffos/Clarke Conspiracy (with Denise Clarke/One Yellow Rabbit) – debuted at Calgary’s High Performance Rodeo in 2006. He has just completed scenic and visual effects design for the Decidedly Jazz Danceworks production wowandflutter. Hoffos has been invited to several residencies, including three at the Banff Centre. The artist has received awards including 2nd place in the inaugural Sobey Art Award, December 2002; the 2004 York Wilson Endowment Award; Images Grand Prize, 2007; and a Long-Term Visual Arts Project Grant, 2008. David Hoffos lives and works in Lethbridge, Alberta. He is represented by Trépanier Baer, Calgary.
About Fulton Street Collective: In the early 1990s, Anna Fermin and I were struggling singer-songwriters on the northside of Chicago, rehearsing in a corner room of a print-shop business owned by Don and Janeen (who also managed our budding musical careers). We were the epitome of poor, downtrodden, and struggling artists. One day Don and Janeen decided they wanted to leave the stress of Chicago, and relocated to the Pacific Northwest coast of Washington state. They gave their business to a “collective” of printers.

The printers business didn’t do very well and one day they informed Anna and I that we had to leave the very next month. By this time Anna was developing a popular fan base in Chicago with her unstoppable talent, in alt-country bands (AnnaBoy and Trigger Gospel), and I was turning my angst-ridden, heart and soul-wrenching songs into rock anthems and road-house dance parties (Fulton St. Saints, JLB).

We didn’t want to jinx anything by leaving our sacred practice venue, so we put our heads together to figure out how to keep the space. We negotiated with the building owners (Industrial Council of Nearwest Chicago), which provides small businesses incubator environments in the neighborhood.

Anna suggested that we could create an environment geared towards artists and other creative people by purchasing the 2nd and 3rd floors. So we did. We worked, mostly by ourselves, to completely gut the 2nd floor of the building (we whitewashed the walls with a spray painter that left us spitting out white paint still to this day). We then put an ad in the newspaper for artists, and before long, the 2nd floor filled up, and so we expanded to the 3rd floor, which is now very active as well.

Episode 294: Ebony G. Patterson

Christopher — Mon, 18 Apr 2011 15:14:26 +0000

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This week: A conversation with Ebony G. Patterson & Tumelo Mosaka at Monique Meloche Gallery. Patterson (Jamaican, born Kingston Jamaica 1981, lives Lexington, KY) will have a dynamic mixed-media installation that investigates Jamaican dance hall culture in the gallery’s window facing Division Street. Mosaka included Patterson in his 2007 exhibition Infinite Island: Contemporary Caribbean Art at the Brooklyn Museum of Art where he was formerly Associate Curator of Exhibitions. Recently, Mosaka has become the Contemporary Art Curator at the Krannert Art Museum, Champaign, Illinois. Patterson’s installation Gully Godz in Conversation-Conversations Revised I, II and III will continue through March 26 as our 4th on the wall project.

link to series…

http://moniquemeloche.com/winter-experiment-2011/

Episode 290: Jonn Herschend

Admin — Mon, 21 Mar 2011 17:44:39 +0000

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This week: Brian and Patricia are joined by Tess Thackara in a rollicking conversation with artist Jonn Herschend. They discuss amusement parks, rugby, the art world’s need for humor, THE THING Quarterly, and of course Jonn’s diverse studio practice.

Raised in a midwestern amusement park, Jonn Herschend is an interdisciplinary artist, filmmaker and experimental publisher preoccupied with how emotional confusion, absurdity and veracity play out in the realm of the everyday. His performances, video work, and installations have included works such as a self portrait as a PowerPoint proposal for an amusement park ride, an infomercial about ambiguity, and a motorized trolley tour of places where personal crisis became public.

His work has been exhibited nationally and internationally including the Stuttgarter Filmwinter Film festival, Germany; Koh-i-noor, Denmark; LKV Gallery, Norway; the Cleveland Museum of Contemporary Art; the Pacific Film Archive, Berkeley; Southern Exposure and The Yerba Buena Center for the Arts in San Francisco. He is the co-founder and co-editor, along with Will Rogan, of the experimental publication THE THING Quarterly, and is a recent recipient of a Danish Arts Council grant for his work as co-curator, along with Heidi Hove, of the Deadpan Exchange international exhibition series, He has been a visiting lecturer at the University of California Berkeley, San Francisco State University, California College of Art and Stanford University.

Episode 244: Nathaniel Stern

Christopher — Mon, 03 May 2010 05:48:31 +0000

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This week: Duncan talks to artist/educator/agitator Nathaniel Stern.

Nathaniel Stern (USA / South Africa, born 1977) is an experimental installation and video artist, net.artist, printmaker and writer. He has produced and collaborated on projects ranging from interactive and immersive environments, networked art and multimedia physical theater performances, to digital printing and collage, stone lithography and slam poetry.

He’s won many awards, fellowships, commissions and residencies between South Africa, America, and all over Europe. Nathaniel holds a design degree from Cornell University, studio-based Masters in art from the Interactive Telecommunications Program (NYU), and research PhD from Trinity College Dublin. He is an Assistant Professor in the Department of Art and Design at the University of Wisconsin – Milwaukee.

Nathaniel has held solo exhibitions at the Johannesburg Art Gallery, the Johnson Museum of Art, the Museum of Wisconsin Art, the University of the Witwatersrand, and several commercial and experimental galleries throughout the US, South Africa and Ireland. His work has been shown at festivals, galleries and museums internationally, including the Venice Biennale, Sydney Museum of Contemporary Art, South African National Gallery, Kunsthalle Exnergasse, International Print Center New York, Milwaukee Art Museum, Modern and Contemporary Art Center (Hungary) and Grahamstown National Arts Festival (South Africa). Public collections include the Johannesburg Art Gallery, The Rose Goldsen Archive of New Media (Cornell University), turbulence.org, Contemporary Irish Art Society, and the Universities of South Africa (UNISA) and the Witwatersrand; he is in private collections all over the world. Recent features on Nathaniel’s work can be seen in the Leonardo Journal of Art, Science and Technology, Leonardo Electronic Almanac, NY Arts and Art South Africa magazines, Rhizome.org, PBS.org, the Wall Street Journal and the Milwaukee Journal Sentinel.

Episode 225: Monica Bonvicini

Christopher — Mon, 21 Dec 2009 04:51:07 +0000

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This week Duncan and Richard interview Monica Bonvicini about her work and her show Light Me Black which is the current Focus show at the Art Institute of Chicago. Well, it was largely Richard as he would not shut up and Duncan had to be wheeled into the interview on a gurney due to his case of swine/bird/monkey flu/pox, and therefore did not have the strength to lift the stun gun of containment which is typically used in these situations.

The following text was shamelessly lifted from the Art Institute’s web site.

November 20, 2009–January 24, 2010
Gallery 182

Overview: Equal parts beautiful and menacing, Monica Bonvicini’s sculptures, installations, videos, and drawings provoke an acute awareness of the physical and psychological effects of institutional, particularly museum, architecture. Favoring industrial materials that reference the modernist canon, such as metal and glass, often combined with the trappings of sexual fetishism—leather, chains, and rubber—Bonvicini confronts the power structures and contradictions inherent in built environments.

Text quoted from a variety of sources, including literature, psychoanalytic theory, popular music, and architects’ own words, adds yet another layer to her wry commentary. More than any other artist working today, her projects aim to expose the disparity between the sexy, utopian, and avant-gardist claims of certain—largely male—“starchitects” and the realities of the spaces they create.

The first Focus exhibition in the museum’s new Modern Wing, Bonvicini’s project brings together three works that directly engage the Renzo Piano–designed building both formally and conceptually. Created specifically for the Art Institute, Light Me Black, an immense sculpture comprising 144 custom-made fluorescent lighting fixtures suspended from the ceiling, recalls the emphasis on light throughout the Modern Wing. In the now-iconic 1998 installation Plastered, re-created at the Art Institute, the entire gallery floor is constructed out of unfinished drywall panels that progressively crack and fragment as visitors move through the space.

The third part of the exhibition consists of three glass panels depicting altered renderings of earlier sculptural projects by Bonvicini and invoking the building’s glass-curtain façade—replicated in a smaller scale in Gallery 182. The three discrete elements work together to acknowledge the aesthetic achievements of the building while hinting at its potential vulnerabilities.
Monica Bonvicini
100 Contemporary Artists
Light Me Black
Lisa Dorin
Renzo Piano
Carl Andre
Richard Serra

Four 35ft Interactive Installation Art Screens Adorn Microsoft Campus

Christopher — Fri, 25 Sep 2009 18:22:41 +0000

Mode Studios designed and installed four 35ft long Interactive Installation Art Screens throughout the International Headquarters of Microsoft. The screen is made up of a horizontal series of hanging vertical tubes with LEDs built into them to create a solid image. The visual display is completely procedural without any prerecorded interactions or video. Everything that is shown is a byproduct of multiple variables from room traffic, weather, noise and heat in the focus locations in the room to create the movements or subjects on the screen with the potential of never showing the same interaction twice. The video of the installation is below and apart from the promotion hard sell it is a good example of art installation tech that is growing now.

Oversize Art, How Does It Fit In A Undersize Economy?

Christopher — Thu, 24 Sep 2009 20:57:38 +0000

Kelly Crow with the Wall Street Journal kicks off the new Weekly full color arts coverage in WSJ magazine with “Out Size Art” an article that explores the influence that the recession has on consumers desire to invest in large-scale art installation pieces. As buyers scale back, large pieces are the first to go asking are they more of a headache then a dramatic statement.

Ernesto Neto’s “Mother Body Emotional Densities, for Alive Temple Time Baby Son” (2007)

Bad at Sports » Instalation Art

Episode 334: Kelly Kaczynski

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Episode 330: Carolee Schneemann

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Episode 311: David Hoffos and the Fulton Street Collective

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Four 35ft Interactive Installation Art Screens Adorn Microsoft Campus

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