Guest post by Thea Liberty Nichols
Email interview conducted with Steve Ruiz
Steve Ruiz is an artist and writer from Chicago. He is the Managing Editor of Chicago Art Review (.com) and has contributed to a number of publications including Jettison Quarterly, NewCity Magazine, and Proximity Magazine. Information on his artwork can be seen at steveruizart.com.
TLN: Can you start by telling us a little bit about Chicago Art Review? I’m especially interested (as a former participant) in the audio component you have on there, which, as far as I’m aware, is unique to your site as a listings format.
SR: I started Chicago Art Review in April 2009, right around the time I was graduating from college. The blog started as a joke (I’d told my former professor, Geoffrey Todd Smith, that I would write a gonzo review of his show) but I quickly realized the project’s potential as a way of engaging with the Chicago art community, which I was pretty unfamiliar with after spending five years studying elsewhere. Chicago Art Review became a reason to get out to shows, meet artists, and know about their work. My idea was to learn in a public way and I think people appreciated the effort, especially as I didn’t really know anything or anyone and was writing from the hip on first impressions.
TLN: On that note, since several of the folks you just mentioned also have blogs or websites of their own, or contribute to other publications online or in print, can you tell us a little bit about how you expanded your network to include them? And do you feel like more an editor (vs. a writer) because of it?
SR: I My approach to involving other writers with Chicago Art Review is pretty casual. I don’t have any regular contributors, but I try to involve other people when I think they have an interest in writing something that I’d like to read but wouldn’t otherwise have a place to read it. The loose format on the site allows me to publish writing that wouldn’t fit elsewhere for whatever reason, and sometimes the appeal of “do whatever you want” is enough to get contributors on board. But no, I don’t think I work hard enough to feel like a Managing Editor.
TLN: It sounds like Chicago Art Review takes a very experimental approach to things and is happy to evolve by recognizing what works best for it– knowing what you know now, do you ever wish you could go back and take a different tact? Like do you feel the internet is written in stone or invisible ink? And where do you see Chicago Art Review going next– anything interesting in the hopper?
SR: No, I don’t think I’d change anything I’ve done, but I’d like to have done more of it. But its early, we’ve got time.
If anything, I’m happy to have established a sort of authoritative sounding brand based on formal experimentation and stubborn amateurism. Not to flatter the context here, but a lot of my ideas about art criticism were informed by seeing how the Bad at Sports podcast could deliver rich critical content in form based on the unlikely combination of a lack of claimed authority, persistant volunteerism, over-education, topical expertise, conversational tones, and alcohol. That relationship with criticism feels much more appropriate for this city’s community. I’m interested in finding a written form and style that reflects the culture here, and that serves our needs and demands for writing, which are very different than in other cities. Some things are valued less, some more, and I feel like that should be taken into consideration.
As for going forward, a few months ago I started – but do not claim any ownership of – a Facebook group called #chiart for art writers and artists to talk to each-other about art in Chicago. The name comes from a slightly problematic twitter hashtag I’d got going, but which was hard to use for bigger conversations. The Facebook group has worked much better, and I’ve been amazed at the quality of conversation there and at the ability for a certain number of engaged individuals to generate high-value critical dialog while essentially slacking off at work. Its easily my primary resource for almost all the tasks I’d previously have gone to didactic journalism for, making it harder to justify writing that kind of thing. I’m fascinated by the idea of body surfing legitimate critical discourse on crowds of distracted experts, and am looking for ways to turn that kind of conversation-based model into something that can produce discrete pieces of writing for us to print for binders and to cite on our CVs. Doesn’t that sound fun?
Thea Liberty Nichols is an arts administrator, independent curator and freelance writer. To listen to an excerpt from the “Form and Content of Writing” panel she moderated as part of Stockyard Institute‘s exhibition at DePaul University entitled Nomadic Studio, please click here. (Featuring commentary from Patrice Connolly, Claudine Ise, Abraham Ritchie and Bert Stabler)
Organized by Karly Wildenhaus.
Golden Age is located at 119 N Peoria St. #2D. Reception is Friday from 6-9pm.
Work by Zak Arctander presented as part of the ACRE Exhibitions program.
The New Gallery is located at 1344 W. 18th Pl. Reception is Friday from 6-9pm.
3. (Fig. 4) at Pentagon
Work by Anthony Creeden, Bret Schneider, Liam Murtaugh and Xavier Jimenez.
Pentagon is located at 2655 W Homer St. Reception is Saturday from 7-10pm.
Artist talk with float builder extraordinaire Ben Fain and 3Walls co-founder Shannon Stratton.
moniquemeloche is located at 2154 W Division St. Artist talk is Saturday at 1pm.
Work by Erik L. Peterson presented as part of the ACRE Exhibitions program.
Happy Collaborationists Exhibition Space is located at 1254 N. Noble St. Reception Saturday from 6-10pm.
December 21, 2010 · Print This Article
I like the concept of this exhibition so much I had to blog it here – the more submissions the organizers receive, the better this show will be, don’t you think? Karly Wildenhaus, who runs the invaluable online Chicago visual arts calendar On the Make, is currently working with Golden Age on an exhibition of individual pieces of “take-away” art. The show is called Twice Removed. Right now, Karly is seeking submissions of take-away art from personal collections. All submissions (if accepted) must be mailed or dropped off at Golden Age by January 18th. Full details below. If you’ve got one of Félix González-Torres’ pieces of candy lying around – now’s the time to share! (Funny – I never thought of saving mine. I just thoughtlessly ate it. What is wrong with me??).
Encountering the “take away” artwork, consisting of unlimited or large-run editions whose individual pieces are free for the taking, has become a common occurrence in contemporary art exhibitions. A strategy notably employed in Félix González-Torres’ “stack” works, the take away has been used by many other artists with a variety of intents and forms. The spirit of generosity, an exploration of dispersion and the attempt to circumvent the art market are just a few of the potential motivations cited for generating take away works. Twice Removed aims to provide a venue where the multiplicity of meanings and post-exhibition life implied by the take away model can be considered by exhibiting single units of these works together.
Golden Age is soliciting individual pieces of take away artworks from personal collections for temporary loan during the length of the exhibition. To contribute, please send a brief description of your items for further submission and loan information. Items must be received by mail or dropped off at Golden Age’s location in Chicago by January 18, 2011. Any further questions? Contact firstname.lastname@example.org.