1.Â Mills College is looking for an Assistant Professor of Painting and Drawing.Â 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.Â 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 toÂ mills.interviewexchange.
com.Â 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 atÂ www.mills.edu.
2. RU & GALAPAGOS: NATURAL SELECTION â€“ 6 MONTH RESIDENCY FOR NYC ARTISTS IN SWITZERLAND (DEADLINE: OCT 21ST, 2013).Â
RU and Galapagos has partnered withÂ IAAB, the International Exchange and Studio Program of theÂ 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.Â The studio is situated in one of the old estate buildings on the â€œBerowergutâ€, just next door to the Beyeler Foundation. When the barns located on the â€œBerowergutâ€ 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.Â The residency program is generously financed by private and public sponsors. The iaab offers a 700 square foot working and living space from January 1stÂ 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 â€˜half tarifâ€™ public transport card for all public transportation in Switzerlandâ€¦and lots of chocolate!Â More info about iaab:Â www.iaab.ch
3.Chicago Alternative Comics Expo (CAKE)Â 2014 is now accepting exhibitor applications;Â the application process will close onÂ 11: 59 P.M. CST onÂ December 15, 2013
Starting Tuesday, October 15th, CAKE will be accepting artistâ€™sÂ exhibitor applications for the 3rd Annual Chicago Alternative ComicsÂ Expo. Â The event is a unique opportunity for artist exhibitorâ€™s toÂ showcase and sell their art and last yearâ€™s event hosted over 200Â exhibiting artists, attracted over 2,000 attendees and featuredÂ award-winning comics guests such as Chris Ware and Phoebe Gloeckner.Â CAKEâ€™s 2014 event will take place on Saturday, May 31st and Sunday,Â June 1st at the Center on Halsted, 3656 N. Halsted Avenue. ConfirmedÂ special guests include Mexican cartoonist InÃ©s Estrada and ChicagoÂ native Anya Davidson, with more announcements to come.Â All applications will be reviewed by a jury and applicantsÂ will be notified of the jury’s results byÂ January 20thÂ via email.Â A guide to the 2014 Exhibitor Application process can be foundÂ here:Â 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 $500 stipend and extensive visibility will be provided each of the 12 participating performances.Â The mission of the festival, presented by Chicago Loop Alliance and High Concept Laboratories, Â is to showcase Chicagoâ€™s diverse performing arts community in the heart of the city. The event will showcase a dynamic series of weekly performances in site-specific locations throughout the Loop. Weâ€™re looking for exemplary performers and performances to participate in this one-of-a-kind inaugural festival, featuring one performance each week for a total of twelve weeks June-August 2014. Visit the website for more information.Â The deadline for submissions is January 1st, 2014.
5. Call for writing via Gaga Stigmata:
After nearly four years of intensive critical-creative output and interaction with popular culture,Â Gaga Stigmata, in its current journal incarnation, will be coming to an end at the strike of midnight on January 1, 2014.In these final months, we are requesting submissions in the following three veins:
(1) Any new essays on Lady Gagaâ€™sÂ ARTPOPÂ era
(2) New essays on any pop cultural phenomenon that manifests what we call a â€œstigmata effectâ€ â€“ that is, the blurring of lines between superstar and fan, between high and low art, between art and interpretation, between the â€œoriginalâ€ and the â€œcopy.â€ In particular, we are interested in essays about about Miley Cyrus, Kanye West, Jay-Z, Ke$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 â€œart worldâ€ and the â€œpop worldâ€ in contemporary culture.
(3)Â 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.Â 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.Â 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.Â 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.Â With marching band music by Justin Amolsch and concession-based commodities by Maggie Hennessy. And the national anthem sung by L. Wyatt.Â 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.Â 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 â€” considerÂ Town Bloody Hall:Â
October 16, 2013 · Print This Article
The Art Market is inflating out of control, making all but the wealthiest few cry foul. Like it or not, this is affecting the way contemporary art is viewed and thought about. Meanwhile, Jeff Koons continues to be the perfect Poster Boy for the inflation, and it just so happens he has work depicting the nothingness inside the bubble. Simultaneously, Banksy goes for a stroll in New York’s neighborhoods proposing a different model. Is this the beginning of the end of the glutonous market? Or is this merely a long beginning?
Donâ€™t make the mistake of trying to analyze the Jeff Koons album cover work for Lady Gaga as if it were art. Think of it instead as a publicity stunt to drum up hype for his upcoming retrospective at the Whitney this summer. On the day the album cover was released, mtv.com ran a story with the headline: â€œLady Gaga is Jeff Koonsâ€™ Biggest Fan…But Who is He?â€ This collage of leftover studio remnants and a Botticelli print gets him access to a generation of people who are not likely looking at a lot of contemporary art, beefing up his celebrity status which he craves, at the same time adding to ticket sales. This, and the animosity from art enthusiasts will help make his retrospective THE BEST EVER!! Just a couple weeks before the Lady Garbage cover, T magazine – the glossy pulp supplement in the NY Times – had a stereotypically vapid conversation with the artist about his recent commission from Dom Perignon to made a limited edition DNA – shaped champagne bottle. Low end and high end commodity containers from olâ€™ Koonie Balloonie. Not too different from anything he has done in the past, but the labeling becomes ever more irksome. Consider his output for the last decade, where most of his work is sold before its finished, and may only show at auction instead of a gallery or museum. Not that this is such a terrible thing. What has basically become a high end boutique practice is frustrating mostly because it is helping fuel the glut of the art market, and then regurgitated into the art world as important to the production and dissemination of art, to negative affect. As long as we wallow in the crystal palaces of Koons, Hirst and Murakami, weâ€™ll think that art is as uninspired as Gormley, Marden and Â Whiteread.
Koons is in this rare position of being accessible to everyone but only collectable to a small handful of the richest in the world. As Carl Swanson recently stated in Vulture: â€œKoons can be the art worldâ€™s great populist artisan, even as he operates as its most exclusive salesman.â€ Â Everything about the work is right there, so thereâ€™s nothing to get. It is perfection and simplicity, the kind of thing that mocks you for looking too hard at it. Since critics are trained to look hard at things, they tend to hate Koons. And its boring to write about art just by describing what it looks like, so people tend to write about his career, his collectors, his record breaking prices at the market, his studio and the process of making his work. This only helps to build a persona around the artist, giving him the superstar flair that these major collectors are after. (And with this weekâ€™s art fair, Londonâ€™s Frieze officially bigger and more bloated than ever, superstars have never been more in vogue.)
Both interesting and frustrating is how Jeff Koonsâ€™ rise to the art commodity machine that he is may have helped shape the way the art market is an increasingly insiders game of fewer and fewer players more knowledgable about trading commodities than how to tell good work from bad. And with the auction prices soaring, the big named galleries just keep getting bigger in a kind of go-for-broke mentality* (not breaking them, just the artists they rep, in less of a financial type of broke and more of an artistic quality and integrity type.)
[*for a throughly depressing take on this, see Jerry Saltzâ€™s article on Vulture this week.]
At the same time all the grumbling about Koons’ latest fart hit the web, Banksy has been doing a residency in NYC, creating work in the city in his typical fashion – covert and unannounced – the opposite of how youâ€™re supposed to make art. While seemingly on the other side of the art world, there are a lot of similarities between the two artists. Maybe Banksy isnâ€™t able to sell his graffiti work for 33 mil, but he is still operating inside the art market, selling regularly and at high prices. Lately, his work is often either garishly covered by a piece of plexiglass bolted to the wall he painted it on or is removed and sold, either way being seenÂ by an enterprising public as separate from graffiti art and rebornÂ as high art/commodity. His work is no stranger toÂ auctions, museum and gallery shows, while being loved by mainstream society. His imagery is understood at first look, you donâ€™t need to read into it, and if you are, then you probably donâ€™t get it. Also like Koons, art critics hate writing about Banksy, saying there isnâ€™t enough to write about, because it is too surface and he isnâ€™t playing the game. But this game is being co opted by the wealthiest of collectors who have realized there is a market that wonâ€™t burst and canâ€™t crash, so theyâ€™ve taken advantage of it. Buying a Koons gets you a ticket into Â a very exclusive club. Buying the Banksy at auction though, means that you probably donâ€™t get it, because his work is to be freely viewed and is mocking the very lopsided system of capitalism that allowed you to buy it at auction in the first place. Getting it, though, is no longer important. Its having it.
As his position in the art world becomes more clear, Banksy’s art frequently criticizes the market, and the latest example of this was a street sale of many of his iconic works on white canvases for $60 on the sidewalks of NYC. The work and the saleÂ later appeared on his website, which is his way of providing provenance. These single color spray painted politically charged images lost all meaning shoved within the borders of these small store bought canvases, sold on the street among vendors hocking watercolors and prints of impressionist styled paintings. Subverted now to talk about the politics of class, taste and accessibility in a market that is more often hurting artists and keeping way too many people out of collecting art. It stifles artistic creativity to the point where every idea is either a recombination of greatest hits by the artist or an experiment to see how much money can prop up a bad idea. Artists start to flounder when they should be thriving. Shows are created for the specific tastes of the market and of a few clientele. Everything becomes dross and it feels like you are wading through a lake of effervescent puke whenever you go to a big exhibition, and anymore, theyâ€™re all big. ‘Cause if not, they may as well not happen at all. More and more, it sucks harder and harder to be a practicing artist in this climate. Unless, of course, youâ€™re Jeff Koons.
The economy may be turning around again (what is it is now, the third time in a year or fourth?) but the Art world seems to be talking about nothing but death & loss.
First off you have the well publicized and it seems anticipated Kanye West music video for his single “Power” which is being described as “apocalyptic” “dark, personal conflict” & “beautiful death”. Â With the video directed by artist Marco Brambilla who has a habit of creating work with a strong bent towards monolitic, time lapse laiden video art with a dark dramatic stuttering low light qualityÂ it will be interesting to see how it turned out.
For me music videos have been on kind of a artistic hiatis since Chicago’s own Mark Romanek moved to feature films. It seemed his departure timed well with the crash of the industry and music videos have been on a healthy but slow DYI recovery since then largely.
Requiem for Kodachrome
Kodak has been singing the executioners song for Kodachrome slideÂ processingÂ for some time but the last roll was made a while back and given to the well known photojournalist and National Geographic regularÂ Steve McCurry. That roll is currently being processed in the sole remaining processing studio Dwayne’s Photo Service in Parsons, KS. What will it have on it again no one know but if it is in style with the current visual theme for 2010 it will have a skull in it (skulls have been everywhere since Art Basel Miami Beach, more things change the more they stay the same). Read more here
Ellen Bows Out Of American Idol
I don’t watch the show personally but I do know there are two things the art wold in general loves to do. One, bemoan the pointlessness of “Work of Art” on Bravo (as if an art realityÂ competitionÂ ever had a hope at quality or legitimacy? seriously?) and Second talking about American Idol (two years ago it was Mad Men but no one seems toÂ rememberÂ that show now?). So now that Simon has left Ellen is not reup-ing for a second year. Rumor is J-Lo will be on the table Read more here
That Dark Shadowy Figure Caravaggio Keeps Getting Press
For the last three years Caravaggio (who I admit I do love) keeps getting press touting his mastery and forward thinking when it came to composition and cinematicÂ intimacy now is no different. Read more here
[insert outrage here] garnish with 28 works by artists such as Tracey Emin, Duncan Grant, and Lee Miller Read more here
Ansel Adams Estate Fights Man Who Bought Negatives At Yard Sale
The estate of Ansel Adams (Adams’ grandson Matthew Adams)Â contests that negatives are almost worthless unless the hand of the artist is used to make prints, so basically by that logic art restoration damages work since even though it continues the outline set by the artist it is not the true hand of the artist. Glad to see Matthew Adams isn’t sour or anything. Read more here