1. Mills College is looking for an Assistant Professor of Painting and Drawing. Review of applications will begin October 30, 2013, and will continue until the position is filled.
The Department of Art and Art History at Mills College seeks a full-time, tenure-track Assistant Professor of Painting and Drawing to teach graduate and undergraduate level courses. An MFA degree or equivalent is required. Candidates must be practicing artists with strong exhibition records, capable of conceptual criticism in all mediums including painting, sculpture, photography, video, intermedia, and new genres. They must be dedicated teachers and mentors at both the undergraduate and graduate levels. Teaching will include undergraduate studio courses; therefore candidates must demonstrate proficiency in the technical as well as theoretical and historical aspects of their fields. Full-time faculty must also advise students, participate in curriculum development, and serve on department and college committees. To apply, please go to mills.interviewexchange.
com. About Mills College
Mills College is located in the San Francisco Bay Area on 135 beautiful acres in the foothills of Oakland, California. Additional information about Mills College can be obtained on our website at www.mills.edu.
2. RU & GALAPAGOS: NATURAL SELECTION – 6 MONTH RESIDENCY FOR NYC ARTISTS IN SWITZERLAND (DEADLINE: OCT 21ST, 2013).
RU and Galapagos has partnered with IAAB, the International Exchange and Studio Program of the Canton of Basel, Switzerland, to each year offer an artist from New York City the opportunity to spend six months near Basel, in the Swiss countryside town of Riehen. In turn, RU supports a Swiss artist in NYC for 6 months. The studio is situated in one of the old estate buildings on the “Berowergut”, just next door to the Beyeler Foundation. When the barns located on the “Berowergut” have been renovated and the Kunst Raum Riehen has been installed, the old coach house at the back was converted into a two-storey live-in studio. The residency program is generously financed by private and public sponsors. The iaab offers a 700 square foot working and living space from January 1st to June 30th 2014, an allowance of $1,200 per month while in Switzerland to cover day to day living costs and a plane ticket to Switzerland with return to New York. In Switzerland the artist will also receive a ‘half tarif’ public transport card for all public transportation in Switzerland…and lots of chocolate! More info about iaab: www.iaab.ch
3.Chicago Alternative Comics Expo (CAKE) 2014 is now accepting exhibitor applications; the application process will close on 11: 59 P.M. CST on December 15, 2013
Starting Tuesday, October 15th, CAKE will be accepting artist’s exhibitor applications for the 3rd Annual Chicago Alternative Comics Expo. The event is a unique opportunity for artist exhibitor’s to showcase and sell their art and last year’s event hosted over 200 exhibiting artists, attracted over 2,000 attendees and featured award-winning comics guests such as Chris Ware and Phoebe Gloeckner. CAKE’s 2014 event will take place on Saturday, May 31st and Sunday, June 1st at the Center on Halsted, 3656 N. Halsted Avenue. Confirmed special guests include Mexican cartoonist Inés Estrada and Chicago native Anya Davidson, with more announcements to come. All applications will be reviewed by a jury and applicants will be notified of the jury’s results by January 20th via email. A guide to the 2014 Exhibitor Application process can be found here: http://www.cakechicago.com/2809/a-guide-to-our-2014-exhibitor-application/
4. High Concept Laboratories announces THE LIVING LOOP PERFORMING ARTS FESTIVAL APPLICATION:
We are accepting applications for performers and performances wishing to be considered for participation in a new festival to take place in the Loop, in the Summer of 2014. A $500 stipend and extensive visibility will be provided each of the 12 participating performances. The mission of the festival, presented by Chicago Loop Alliance and High Concept Laboratories, is to showcase Chicago’s diverse performing arts community in the heart of the city. The event will showcase a dynamic series of weekly performances in site-specific locations throughout the Loop. We’re looking for exemplary performers and performances to participate in this one-of-a-kind inaugural festival, featuring one performance each week for a total of twelve weeks June-August 2014. Visit the website for more information. The deadline for submissions is January 1st, 2014.
5. Call for writing via Gaga Stigmata:
After nearly four years of intensive critical-creative output and interaction with popular culture, Gaga Stigmata, in its current journal incarnation, will be coming to an end at the strike of midnight on January 1, 2014.In these final months, we are requesting submissions in the following three veins:
(1) Any new essays on Lady Gaga’s ARTPOP era
(2) New essays on any pop cultural phenomenon that manifests what we call a “stigmata effect” – that is, the blurring of lines between superstar and fan, between high and low art, between art and interpretation, between the “original” and the “copy.” In particular, we are interested in essays about about Miley Cyrus, Kanye West, Jay-Z, Ke$ha, Lana Del Rey, and Katy Perry, but you are not in any way limited by this list.
Additionally, we are also seeking essays that explore new pop cultural phenomena such as the aesthetics of new media forms (e.g. Twitter, Tumblr, YouTubers, .gifs, Vines, Instagrams, etc.)
We are also interested in essays that explore manifestations of the stigmata-esque intersection of the “art world” and the “pop world” in contemporary culture.
(3) Any essays about Lady Gaga that have previously been published elsewhere. (We would like to create a one-stop on-live archive of the best Lady Gaga scholarship and creative criticism ever published; we will of course give credit to the original source of publication).
You are welcome to write traditional essays, and/or to use a creative-critical format for your work. Youtube videos, photoshopped images, memes, and .gifs can all feature in your work. You are also welcome to submit more than one piece during this final incarnation of the journal, after which the journal aspect of the project will move into an archival stage. More info here.
6. If you’re curious about how futures trade, check out Pocket-Guide-to-Hell’s latest reenactment at The Chicago Board of Trade on Sunday, October 20th at 3pm:
THE PIT is a free and fun site-specific performance that uses costumes, props, music-and you-to tell the story of commodities trading and the futures markets in Chicago. THE PIT combines a scene from Frank Norris’s 1903 novel The Pit, about an attempt to corner the wheat market, with the form of a sports event, an idea from Bertolt Brecht. Play-by-play announcer Alex Keefe (WBEZ) and color commentators Tim Samuelson (City of Chicago cultural historian) and Mike Gorham (economist at IIT) narrate the frenzied trading in the PIT. Reporter Niala Boodhoo (WBEZ) interviews traders and members of the public alike as the corner in wheat collapses. With marching band music by Justin Amolsch and concession-based commodities by Maggie Hennessy. And the national anthem sung by L. Wyatt. And 1890s commodities traders played by volunteers from SlowFood Chicago, Northwestern University Press, Paddy Long’s, Public Media Institute, Civic Lab, Archeworks, MAKE magazine, the Hideout, and Architecture for Humanity. The PIT is part of the Chicago Architecture Foundation Open House event and has been co-planned by Ingrid Gladys Haftel. More on that here.
7. Speaking of reenactments — consider Town Bloody Hall:
I want to use the example of Jay-Z’s performance at Pace Chelsea last week as a case study for something more encompassing, without getting into all the details since it was meant as a location for a music video shoot and not as an art work. (At least, I’m hoping) So just as a recap: Jay-Z performed “Picasso Baby” from his new album “Magna Carta…Holy Grail” for six hours to a packed and rotating crowd of art world insiders, celebrities and fans last Wednesday.
A celebrity’s presence in our space, instead of the media version we tend to see them as confirms our own existence. At the same time, it complicates that existence. We are seen by those we have saw but here unto unseen by. I see (consume one’s image) therefore I am, but when I am seen, what am I? It is mindfuck of Turrell like proportions, as we lose our sense of up and down, left and right. We choke on our own vomit, we are paralyzed. In exchange, or maybe as a symbiotic response, we return them to a mediated image from our cellphone capture. Shrinking them to a 2.5” x 3.5” format, moving at a mere 16fps, they are more manageable as a digital apparition. With Jay-Z rapping in our face – a desire of many to be that close to a living legend, to be acknowledged by He who hath created the current state of Hip Hop – we are quickly overwhelmed, and thus respond with our cell phone’s sad idea of video to return to a sense of normality. It helps us relate to his intangible nature. It is in this way that we treat the celebrity both as a solar eclipse and a stripper at a gentlemen’s club. At at least one point during “Picasso Baby”, a tight circle forms around Jay-Z. We see his professional camera crew which is typically meant to be invisible. They are anything but in the many cell shots taken, reminding us that this is a planned operation, to be dissected and re-edited later. However, their visibility being an anomaly, suggests a future that is somewhat less imminent than the rapidity of the cell phone.
The shifting of time is the next big thing here, as the immediacy of cell video to internet upload has a tendency to further define the Present. This is congruent with the very sense of the 21st century that the Future is a finite entity, that one day, and one day soon, we will run out of Future. The speed of life itself is steadily increasing thanks to the plethora of communication technologies available, more immediate global awareness and the loss of physical frontiers and the tightening of borders. Every summer blockbuster movie (EVERY) of the last ten years has dealt with some sort of social horror of apocalyptic proportions or post human mutants, all of which signal a cataclysmic shift in life as we know it. THE END IS NEAR has returned to our minds (though it has rarely left us) with a vengeance and we are responding by trying to do as much as we can as fast as we can. And that means celebrities having completely proven themselves in one field must try other, usually related fields. (We will exclude Terminator X’s Ostrich Farm for this reason of “related”) For Jay-Z to stage a music video shoot as a performance in an art gallery is not a huge stretch, yet it is breaking new ground from the stand pint of those who were quick to critique it as art. Increasingly, there comes the Nike spirit of “Just Do It”, though oftentimes of DIY immediacy. (thats the cell phones, not a fully planned Jay -Z event). Complicating matters is the six hour duration of the performance. Somewhere in the preface of the “Performance Artist Handbook”, Jay must have read that 6 hours is the minimum duration of a performance work. At the same time, a music video shoot is an all day affair or more, and most galleries are open for about 6 hours in a day. BUT, looking at it through my single minded viewpoint, a 4 minute song performed repeatedly for 6 hours, starts to mess with our perception of time, by looping it, putting us in a casual Groundhog’s Day Lite scenario (if only Bill Murray was in the audience!) where we can start to see the future and we lose our sense of the past, ever so slightly, for as long as an audience member may choose to stay. We can clock time in 4 min. increments instead of seconds. And every moment sounds the same (looks different, but in a bare white walled gallery, not too much different). Stuck within a seemingly never ending 4 minute sequence, we have found a loophole in time, thus gaining an extra 5 hours and 56 minutes of life. What to do with this extra time? Upload crappy video from our cells to the internet and listen to the dumbest song of the summer seems to be the only option. Sounds like we’ve just entered purgatory.
I’d like to thank “A Private View: American Paintings from the Manoogian Collection” by Yale University Art Gallery and the Detroit Institute of the Arts for providing me with a surface to write on while preparing this text, as well as the ACTUAL audience members of Jay – Z’s performance for showing me in their YouTube video uploads that despite his admirably true giving to his audience, I didn’t miss anything.