This week: Duncan, Brian, and Abigail Satinsky in conversation with Christine Hill at theÂ Open Engagement conference, which took place from May 13 to 15, 2011 at Portland State University.
Open Engagement is an initiative of PSUâ€™s Art and Social Practice MFA program that encourages discussion on various perspectives in social practice.
Hill has exhibited and lectured widely internationally. She has been the subject of numerous publications and she shows regularly. Recent solo exhibitions include Ronald Feldman Fine Arts, New York; Galerie EIGEN+ART, Berlin; the Museum of Contemporary Art Leipzig; the MigrosMuseum in Zurich and the Martin-Gropius-Bau in Berlin. Â She was included in documenta X in 1997, and has participated in numerous international group exhibitions. Her work has been reviewed extensively, including in Artforum, The New York Times, The Village Voice, Art in America and in considerable international publications. The Â³Volksboutique Style ManualÂ² is in the collection of the Museum of Modern Art, New York. Â The Volksboutique project Â³MinutesÂ² was included in the 2007 Venice Biennale under the curation of Robert Storr. A forthcoming review of Volksboutique sculptural work will be shown at the New Museum in Weimar, Germany in April 2012.
The current Organizational Venture, The Volksboutique Small Business, is housed in Â her studio’s storefront in Berlin’s Prenzlauer Berg neighborhood and is open to the public. For more information and opening hours, you can contact firstname.lastname@example.org
This week: Duncan talks to “super G” certified genius artist Camille Utterback.
Camille Utterback is an internationally acclaimed artist whose interactive installations and reactive sculptures engage participants in a dynamic process of kinesthetic discovery and play. Utterbackâ€™s work explores the aesthetic and experiential possibilities of linking computational systems to human movement and gesture in layered and often humorous ways. Her work focuses attention on the continued relevance and richness of the body in our increasingly mediated world.
Her work has been exhibited at galleries, festivals, and museums internationally, including The New Museum of Contemporary Art, The American Museum of the Moving Image, New York; The NTT InterCommunication Center, Tokyo; The Seoul Metropolitan Museum of Art; The Netherlands Institute for Media Art; The Taipei Museum of Contemporary Art; The Center for Contemporary Art, Kiev, Ukraine; and the Ars Electronica Center, Austria. Utterbackâ€™s work is in private and public collections including Hewlett Packard, ItaÃº Cultural Institute in SÃ£o Paolo, Brazil, and La Caixa Foundation in Barcelona, Spain.
Awards and honors include a MacArthur Foundation Fellowship (2009), a Transmediale International Media Art Festival Award (2005), a Rockefeller Foundation New Media Fellowship (2002) and a commission from the Whitney Museum for the CODeDOC project on their ArtPort website (2002). Utterback holds a US patent for a video tracking system she developed while working as a research fellow at New York University (2004). Her work has been featured in Art in America (October, 2004), Wired Magazine (February 2004), The New York Times (2009, 2003, 2002, 2001), ARTnews (2001) and many other publications. It is also included in Thames & Hudsonâ€™s â€˜World of Art â€“ Digital Artâ€™ book (2003) by Christiane Paul.
Recent public commissions include works for The Sacramento Airport, The City of San Jose, California, The City of Fontana, California, and the City of St. Louis Park, Minnesota. Other commissions include projects for The American Museum of Natural History in New York, The Pittsburgh Childrenâ€™s Museum, The Manhattan Childrenâ€™s Museum, Herman Miller, Shiseido Cosmetics, and other private corporations.
Utterback holds a BA in Art from Williams College, and a Masters degree from the Interactive Telecommunications Program at New York Universityâ€™s Tisch School of the Arts. She lives and works in San Francisco.
It’s part installation art, part sculpture & part performance art JDS architects: experiencing the void is a proposal for the interior core of the Solomon R. Guggenheim Museum, New York where a heavy duty orange mesh net is installed like a archimedean screw so people can walk, run, lay and marvel at the space floating 6 stories up in the air.
The installation & sculpture art is obvious, the performance part comes into play when the lawyers standing at the base of the work all fall over dead like dominoes from the mind shattering liability at stake.
So needless to say the odds of this ever happening are much the same as Bad at Sports taking over the reins of MOCA. Which sadly like Leno we are more then willing to do if Mr. Deitch doesn’t quite work out.
Chicago artist Dan Peterman’s Running Table begins installation in Millennium Park’s Chase Promenade today, and will be ready by Thursday, July 2nd, just in time for the Park’s Independence Day picnic and musical festivities. The Table will be available for public use for the rest of the Park’s 2009 summer season.
The one hundred foot long picnic table was first installed in 1997 in Grant Park.
Made from “the equivalent of two million recycled milk bottles,” Peterman’s table emphasizes the communal aspects of park experiences and public space in general.
Laurie Palmer described Peterman’s Table in a 1997 issue of Frieze:
“On close inspection, the surface of the table is rough to the touch, chaotic and unfamiliar – the swirls and strings of re-melted plastic asserting themselves. Stepping back, you can see subtle undulations in the extruded panelling: unlike wood, once-again plastic remains supple – as thick as you make it, it will still want to sag. Like other works by Peterman made of recycled plastic and suggesting infinite progression, the table is of modular construction so that, by implication, it could keep going for as long as there is space to accommodate it. Supply of materials is not a problem, since what the table is in part designed to be used for – consumption – provides the raw material for its continual extension. Here, the modular form is interlocking, so that the table can’t be broken up into separate tables of reasonable size-if you took it apart, you’d have slivers of tables, like puzzle pieces, a design feature that ensures the integrity of the idea. (The bench components, however, built into the overall design, are discrete, to allow for swinging the legs around, and some semblance perhaps of smaller groupings within the collective whole).”