Work by Brianna Angelakis, Eloy Morales, Ivonne Bess, Daniel Ochoa, Tara Betts, Tim Okamura, Brian Busch, Jaime Perandones, Grace Cavalieri, Marcos Raya, Matthew Cherry, Nadene Robbins, Rory Coyne, Cesar Santos, Miranda Graham, Ryan Schultz, Patrick Earl Hammie, Tracy Stuckey, Karen Kaapcke, Harry Sudman, Jennifer Koe, Torri Thomas, Lauren Levato, Daena Title, Earnesto Marenco and Nick Ward.
Zhou B Art Center is located at 1029 W. 35th St. Reception Friday, 7-10pm.
Your guide to partying for a good cause this Spring.
Nothing says Spring like “Gala,” WTT? couldn’t be more excited to see the ice finally THAW. Speaking of, have you bought tickets for the Links Halls annual spring fling? It’s on April 4th, and really more like a three-storey drunk performance art odyssey than a party. Last year I got an sickening sparkly free mani from Aiden Simon at the Girl Don’t be Dumb salon, went inside of a space photo booth, saw Hope Esser ice skate on soap and watched more burlesque than I’d like to admit. For performance art, it’s not too weird, it’s really fun and it’s not that expensive for how open the bar is, what more could you ask from a Thursday night? And the inclusion of DJ CQQCHIFruit and La Spacer this year? Too much.
Enough gushing. Clearly, this benefit season is going to be huge, but don’t worry, WTT?s got you. Here are some notes on the best auctions and charity bashes around, in my not-so humble opinion. Can not wait to see what everyone looks like without a coat on!
Spotted: Todd King getting his feet did at THAW in 2013. Andrew Mausert-Mooney does his best Jesus in the front.
LVL3′s annual benefit auction is known to bring great names at reasonable prices with all works starting at $30. Past years auctions have featured Jon Rafman and Israel Lund amongst others. This years is no exception. We also love the LVL3 auction because the raffle prizes are copious and always awesome and it doesn’t hurt that each year the event benefits local non-profit, Arts of Life. Learn more about the auction and the organization here on the LVL3 website. Full disclosure: I take no prisoners on the auction floor. The event takes place on March 29th from 6 to 10PM at 1542 N. Milwaukee Ave. Last bid is accepted at 9:30PM so be on time!
Summer Forum : Hosted by TUSK
Sandwiched comfortably in-between the LVL3 and R&C auction is the Summer Forum fundraiser and art auction at everyones favorite bite-sized boutique, TUSK. There are quite a few repeats from both LVL3 and the R&C auction, though it doesn’t look like anyone got the hat trick. E-Dogz will be on hand, serving some serious benefit crossover and unlimited food with the purchase of a ticket ($25 presale or $35 ATD). Advance online bidding begins March 31, and the IRL event starts at 7pm on Saturday, April 5th at TUSK, 3205 W. Armitage Ave.
Roots & Culture 8th Annual Spring Gala
You don’t have to be Hamza Walker to know that Roots & Culture’s Eric May throws some of the best events in Chicago. Did someone say sangria and tapas? The lineup for the auction is pretty impressive too. Britton Bertran wasn’t kidding when he called the night’s auction list an Who’s Who. The List features some of my favorite Chicago art luminaries and at least one Whitney Biennial-er.
oh shit! – @RootsandCulture announced their auction fundraiser for May 3 (always a Chicago's Artist Who's Who aka The List)
Iâ€™d tell you who I’m excited about seeing at the auction, but I want the art all for myself! Find out yourself, the auction takes place May 3, from 7-11PM at 1034 N. Milwaukee Ave.
Spring benefit season is bookended by major heavy hitters with Threewalls rounding out the season. Another reliably good time, this year’s gala is being held in the spacious digs down south at Mana Contemporary. The full lineup hasnâ€™t been revealed but, I’m jazzed on the news that DJ Earl (who you might have read about in the last edition of the T) will be there. The details might still be a little fuzzy but you can already buy tickets on their site. Looking forward to finding out what a Gunnatowski â€œwearableâ€ looks like.
FLASHBACK! Trending artist Jesse Malmed (right) with Trunk Show co-director, Raven Munsell (left) and artist Jason Lazarus (center) at Salvage One last year for Threewalls Spring Gala.
The Weatherman Report
For Chicago IL
Charles Ephraim Burchfield, Early Spring, 1917, Watercolor and graphite on paper, 21 Ã— 28 1/4 inches. James Goodman Gallery.
Bad at Sports finally trending.
What’s the TRENDING?
The Equinox is Totes Normcore
Pillows: After being relegated to cameos in the backgrounds of painting and photographic portraits for centuries, pillows are finally stepping out on their own. Last week during the Whitney Biennial/ New Yawk City hullabaloo the internet was plastered with images of the biennial and various fairs, but nothing stood out more than the freaky pillows of Bjarne Melgaard at the #WhiBi. With the help of NY based artist and collaborator Amanda Browder, Bad at Spots finally reached the cutting edge with their Volta bed-in installation and recording booth. As if the original Richard and Duncan aren’t creepy enough on their own, Browder created life-size pillow versions for the Volta booth. Good work, team!
Detail of Norwegian American artist Bjarne Melgaard’s cracked out living room installation. Image by Hyperallergic.
Browder with pillows only a mother could love.
Jesse Malmed: Usually it’s difficult for individual artists to be in enough places at once to qualify as a trend, by that’s no problem for trending artist, Malmed. The co-director of Trunk Show and UIC grad student must not sleep. This past weekend Malmed did double duty at the MCA, as one of The Nightingale programmers on Friday night and then again on Saturday for his own presentation of selections from The Body Electronic: What Television Taught Me about Art, a live televisual lecture performance. Trunk Show also hosted an opening/ 5-act play by artist Brandon Alvendia outside the Multiples fair on Sunday and whatever HALLWALLS2 is had an opening on Monday afternoon. And that’s just over four consecutive days. If you’re interested in getting in on the Malmed Madness, and you clearly should be, the artists’ MFA show at UIC is opening on April 18th. If you feel like waking with the sun tomorrow, he’s also hosting a dawn equinox performance, more info here.
This week: Duncan and Richard at CAA 2014! We talk to Michael Rakowitz in the first of what will eventually be a multiple interview series, this time we discuss his work The Breakup, currently on view at Rhona Hoffman Gallery. Next Richard’s new hero Jenna Frye on Makerness, BAS pal, artist, curator Jesse Malmed on WACH, and art book genius Matthew Smith of http://arenotbooks.com/.
This show is an epic. E P I C. So we put our hands up like the CAA canâ€™t hold us.
Is this ok? Is this a responsible use of this privilege? How much does Bad at Sports pay its writers? Its readers? I’m like you, reader. I’m in the weeds. I’m in the thick of it. Everyone is paying everyone else too much. Our government runs smoothly but we don’t have any use for it. There are no trains and no one runs for anything, not even office.
It’s been a month, but I’m saying it’s been a week. This is what I’ve been thinking about recently: bpNICHOL wrote for Fraggle Rock.
This is a record of this moment but also a place to put open tabs. We should all share all the open tabs. The radio today told me social media was 2000 years old because we used to tell each other things too. I turned off the radio and listened to myself singing and chopping.
I’m excited about this project: MAIÂ through FVNMA at SAIC as run by EF.Â
Jim Davis (Princeton [but for this work: Chicago] filmmaker)
Jim Davis (Muncie visual artist, writer) (also excellent to see a sentence where both “artists” and “entertainment” are in quotation marks)
Also, this band, The Fugue, that I saw at Bard in 2002 or 3 (first year of college). They were friends of a friend and they played a good show. Then, this year, I found this funny clip on youtube (though my interest in television courtroom interruptions).
This led me to re-visit this.
(which is really part of that this)
I can pretend I’m not thinking about this pretty often.Â Especially when linked with this.
The re-release of Codex Seraphinianus by Luigi Serafini (which learned about from Bad at Sportsers PvZ and RH).
I was missing the earth so much that I watched a 98 minute movie of the light changing from day to night high up in the Sierra Nevadas. The trees are beautiful in the way trees are, but not too showy. There is no discernible movement in the frame beyond the changing position of the sun and the automatic shutter of the camera slowly trying to adapt. I was missing the earth and I was thinking of duration and those were things I would have been thinking and feeling even if I hadn’t been at the final day of the Onion City Experimental Film and Video Festival. But I was and those were things to think and feel about.
James Benning‘s Nightfall is a curious piece. His works are often challenging structurally, but saying the logic of this one is simple is like saying the simple logic of this is one. We watch the trees and they are still. We watch the light and it changes slowly. It would change more slowly, but the camera is doing what it can to keep up. Fauna haunts the aural space and I thought I even heard what sounded like human sounds. Mostly I floated in and out of the cinematic space (the seats, the people around me, my thirst, someone else quenching theirs, the size of the rectangle, the quality of this light) the represented space (the trees are so beautiful, there are fourteen main trees, there are an additional dozen supporting trees, the light coming through the branches looks like someone I know, the light through these branches looks like a stranger) and the space between (could I sit on the stump I’m imagining for this long?, when was the last time I spent this long seated with my head facing one direction?, when was the last time I spent this long seated with my head facing one direction outside?, how much better must this be to be there instead of here?, how has the concept of nature become so abstracted from [my own, at least] daily life?, what is that phrase about seeing forests and trees?, is this based on that?).
I do well with so-called durational works. Maybe it’s because I meditated as a child or have a very (let’s not say hyper-) active interior life (though my suspicions are that everyone does) or because my durational muscle has been honed through years of grueling training. Whatever the reason, I found Phil Solomon’s Empire to be satisfying, beguiling and eminently watchable. Immediately after the screening, I asked Patrick Friel, the festival’s director, if there would be another chance to watch it. Empire is a 48 minute remake of Andy Warhol’s film of the same name. Instead of, or maybe in the stead of, an indexical film in which the titular State Building takes center stage, Solomon’s video takes place in Grand Theft Auto’s Liberty City. Time passes quicklyâ€”two minutes in the game representing an hour in the worldâ€”even if slowness is the dominant feeling.
I was going to and still might write through Empire, telling you everything that happens. I might make a newspaper of it and then scan that and put it on a thousand flash drives and throw them from the top of a scale replica of the Empire State Building (from Liberty City). I don’t have it in front of me, so my memory will have to suffice. This is another type of reenactment, of bootlegging, covering or translating. The first thing I remember is the glistening, glittery reflection of the sun in the water that I chased long after it had gone. There is slow but continuous garbage flying toward us: perhaps someone printed out my newspaper. Airplanes appear regularly about an eighth of the way across the screen. They fly a straight line and disappear once they pass by (or seemingly hit) the unharmed protagonist. At a certain point light orbs pass from one side of the screen to the other, while the building abides. The sky changes, drastically. The different buildings turn on and off at different times. The sun. The wind is mostly steady and a truly delicate lull. The moon. I saw no cars. The splotches of fog that signaled incoming weather were terrifying. The rain almost shook me to my core with anticipation. I don’t ever play video games but I feel like I should, like I’m missing some of the critical ways that culture is moving. Sometimes I read about video games so I won’t be an alien in the senior home.
I had seen Empire before, on a monitor. I probably watched for a few minutes. I chuckled because I know about Andy Warhol and know about Phil Solomon and know about video games and know about the new media one-liner and know about duration and know about simulation and am a sensitive viewer with a rich interior life. But I probably watched it for a couple of minutes at most. I am an advocate for the space of the cinema. I think it’s ok for a work of art to be bossy and tell me to sit still and watch the whole thing until the lights come up. No talking, no texting. I also love talking and texting, but I know sometimes that makes listening and watching and being present and letting the mind wander a lot harder. I’m not telling you these things because I don’t think you know them, I’m just telling you them because this is my turn to be bossy. Even if we’re both talking and texting during the production and reception of this text.