Can I just say once again how grateful I always feel to people and organizations who post videos and/or audio of their panels, talks, conversations, etc. online? For near-agoraphobes like me, it’s a lifesaver. This talk happened locally at the Museum of Contemporary Art in Chicago–although I fear it’s just another variation on the old ‘what does it mean to be a Chicago artist’ chestnut, hopefully it’ll be of interest to many of you who live outside our fair city as well:
Home Base: Michael Darling, Michelle Grabner, and Lane Relyea in Conversation
What does it mean to characterize an artist by where they live and work? And similarly, what does it mean for a collection to be of a place — to reflect a museum’s history and artistic community, to be shaped by the dynamics of a city, to be used by and be seen as part of the locale where it lives? The MCA’s new James W. Alsdorf Chief Curator Michael Darling, artist and writer Michelle Grabner, and critic Lane Relyea delve into these questions, looking at examples from the United States and internationally.
The MCA just made it available on their “MCA Interactive” page (where–I love this–they provide a helpful answer to the question ‘What is a Podcast’?). The talk is available in two forms – MP3 download and/or streaming media. Click here to access the download. There are a ton of other MCA talks and walk-thru type discussions on the download/streams page for you to peruse, as well.
October 26, 2010 · Print This Article
I know it was a long time ago. We’re nearing the end of October, already, and for my tardiness I apologize. It’s just that this show has stuck with me for a couple months now, I’ve been doing some writing about it here and there, on scraps of paper or loose napkins–sites for thinking that get lost, wilt, tear or bleed. I wanted to take this opportunity to compile what I remember of those thoughts. I hope you’ll bear with me. I’ve always been the sort of person to write at a distance. It takes me a while to process things and put them in perspective. Perhaps for that reason, I have been unable to let On The Make go.
Studio as Portal:Â Musing Carrie Gundersdorf
a summer 12×12 at the MCA
by Caroline Picard
We have not only traversed the region of pure understanding and carefully surveyed every part of it, but we have also measured it, and assigned to everything therein its proper place. But this land is an island, and enclosed by nature herself within unchangeable limits. It is the land of truth (an attractive word), surrounded by a wide and stormy ocean, the region of illusion, where many a fog-bank, many an iceberg, seems to the mariner, on his voyage of discovery, a new country, and, while constantly deluding him with vain hopes, engages him in dangerous adventures, from which he never can desist, and which yet he never can bring to termination. â€“ Kant, Critique of Pure Reason
Gundersdorfâ€™s show at the MCA this last summer included abstract drawings of planetary bodies. These works simultaneously point to the limits of human perception while embracing the uncertainty those limits provide. Such a philosophical position is difficult to occupy, for it confounds oneâ€™s preferred sense of security. Likely for that reason I was totally smitten with the show. While investigating a conceptual perception, Gundersdorf aligns herself with the history of painting, stepping off from Modernismâ€™s abstract platform while incorporating contemporary tools for research and celebrating the very literal limitations of human understanding.
Months ago I heard a program on the radio about stars and galaxies. In that program a woman called up in order to ask if the images sheâ€™d seen of planets and stars were accurate. She wanted to know in order to anticipate what her world would look like when she died (and went to heaven). The ensuing conversation was remarkable as the host tried to answer her question. â€œWill it look like those pictures when I die, thatâ€™s what I want to know,â€ she said. â€œWhat will I see?â€ Although unruffled, he nevertheless paused. â€œIt could look that way?â€ he said. â€œAt the same time all of the images you see in books have been manipulated to highlight different data. It wouldnâ€™t be as colorful, although I really donâ€™t know what your eyes would be like and how you would see, so you might actually see a whole host of other colors. Or perhaps you wouldnâ€™t see anything. It might be completely dark.Â You might only feel the universe.â€ I believe the caller hung up unsatisfied.
The Cosmic Microwave Background is another illustration of the literal bounds of human knowledge. With a radio-wave telescope, scientists measure the microwave region of that wavelength. In doing so, it is possible to measure the Big Bangâ€™s residual radiation. Because no one can explain this radiation without using the Big Bang as a model, it has become the preferred explanation of where â€œweâ€ come from. Even with that theory, however, there is a â€˜beyondâ€™ to that microwave background. It is a conceptual beyond, however; we cannot â€œsee/feel/measureâ€Â it. We only posit its existence because the alternative would suggest a kind of Shel Silverstein drop off, where the universe ends as his infamous sidewalk. Just as Kant described the limits of understanding so the human being is incapable of going beyond certain perceptual bounds. Nevertheless there is a deep-seated impulse is to press past and conquer.
Not so with Gundersdorf.
She celebrates those boundaries in her work, using a combination of abstraction and lo-fi production (paper, color pencil) that seem so far removed from traditional celestial explications as to be unrelated. Her images, while based on scientific astral data, deconstruct that high-resolution imagery, breaking it down and simplifying itâ€™s celestial character into blocks of color and thick radiating, parallel lines. Via that transcription, Gundersdorf destabilizes the assumptions of knowledge, pointing to an obvious post-modern subjectivity and pairing it with a limited ability. It is not simply that each individual is the center of his or her own universe (and thus create discrepancies in experience because of perception). It is also that our eyes are not astute enough to seeÂ unequivocally. The customary images of outer space suggest an apprehension of that space, a mapping that conveys an impossible physical/visual experience. Consequently Gundersdorfâ€™s work offers a more accurate depiction of my understanding of the environment outside the earth.
While referencing the language of modernism, she also undermines its self-assurance. As I see it, Modernism was an attempt to simultaneously dispute the previously accepted coherent universe (wherein the creator is a watchmaker and the world a watch, for instance) while celebrating the ability of a single individual to create monuments within an otherwise chaotic world. While Gundersdorf embraces and incorporates the impulse of abstraction, just as she is fully aware of the cannon she participates in, she nevertheless undermines the idea of a apprehension. While she interprets light, that light is artificial or illustrative. Even through the process of a single painting, during which time she no doubt studies a single image, she comes no closer to an objective â€œtruthâ€ of that image. Instead she develops a subjective relationship to her already interpretive source material. The light she works from is conceptual, intended to highlight certain scientific truths. The resulting work has a personal touch, creating a signifier of a faraway place.
In each piece her hand is ever presentâ€”this is not a slick photorealist surface, rather it is a surface that questions itself, borrowing naive materials to illustrate the naivete of our assumptions. It admits some deep insecurity, one perhaps endemic to present times, where the footing of an individual and his or her beliefs is unstable, shifting, subjective and flat. Nevertheless the character of her line, the painstaking way in which she colors the entire surface, is endearing to the subject and evidence of care. While it may examine unapprehendable distances and imperceivable phenomena, this work is not about alienation; perhaps itâ€™s most important feature. It demonstrates, by of example, a way to deal with subjectivity, a way to deal with historical precedents and dialogues, without feeling overwhelmed. Because this work isÂ unapologetic–large scale drawings, with large, unaffected blocks of color– Gundersdorf shows a way to embrace the unknowing, to celebrate forays into intuitive and immeasurable spacesâ€”to consider the space beyond oneâ€™s ken as a place for inspiration rather than fear.
Astral systems have always been fascinating placesâ€”almost inconceivable landscapes through which the earth sails. Rife with different phsyical properties and laws, outer space is bold and full of myth. It is a place we go to examine philosophical questions: Who am I? Where did I come from? It is also a space of hypothesis and conjecture, for outer space does not speak our language directly. It does not afford concrete answers. That’s why On The Make was so compelling to me, even relieving–because it began to talk about translating that space and gently soothing the out-of-focus-ness of existential answers. The answer, after all, is in divining those answers and putting them to paper. Perhaps those modernists were right about monuments after all?
The most recent installment of Anatomy in the Gallery. This round is a group exhibition curated by local artist Vanessa Ruiz and features artists from around the country, including CAKE (New York), Heather Tompkins (San Francisco), Robyn Roth (Kentucky), Jason Freeny (New York), David Foox (New Zealand), Emilio Garcia (Spain), Noah Scalin (Virginia), and Stephen J. Shanabrook.
International Museum of Surgical Science is located at 1524 N. Lake Shore Dr. Reception Friday from 5-9pm.
The first of a pair of introspective, desert themed shows opening this weekend. This one, featuring the work of Pilsen resident Mark Nelson, explores the desert of Arizona through video and installation.
Antena is located at 1765 S Laflin St. Reception Friday from 6-10pm.
The second desert work opening this weekend, Ben Russell’s Trypps. The show consists of a series of screenings of Russell’s Trypps series, included the featured image above, Trypps #7 (Badlands) which, “charts, through an intimate long-take, a young woman’s LSD trip in the Badlands National Park before descending into a psychedelic, formal abstraction of the expansive desert landscape.” Opening is during First Fridays, so get yourself comped in, or wait till after the meat market to see the show.
Museum of Contemporary Art is located at 220 E. Chicago Ave. Reception Friday from 6-10pm.
Something on the cutely morbid side to lighten your weekend.Â Not exactly critical work, but fun. Half the show (Bare Squared) features the work of bro-sis duo Max and ZoÃ« Bare. The other half (Bedtime Stories) features monsters by Amanda Louise Spayd.
OhNo!Doom Gallery is located at 1800 N. Milwaukee Ave. Reception Saturday from 6-10pm.
Wrap up your weekend at one of Chicago’s awesome alternative spaces, Julius CÃ¦sar. Another kind of creature feature, the paintings at JC by artist Autumn Ramsey reference art history and mythology.
Julius CÃ¦sar is located at 3144 W Carroll Ave, 2G. Reception Sunday from 4-7pm.
This week: We talk to Artist Nathan Carter who has a work in the current MCA Exhibition â€œAlexander Calder and Contemporary Art: Form, Balance, Joyâ€about his work, the youth perspective, and the secret trasmissions of numbers stations.
Here is a slightly outdated bio I lifted: Nathan Carterâ€™s wall reliefs, sculptures, collages, and hanging objects are inspired by myriad aspects of contemporary society: modes of transportation, mass communication devices, sports insignias, and architecture for mass gatherings like stadiums and parade grounds. At once gestural and reductive, his works amplify strategies first explored by modernist artists in the early 20th century. Deeply rooted in a fascination with how visual abstract codes represent a means of abbreviated, if not universal, communication, Carterâ€™s free-form compositions are simultaneously non-objective and referential.
Playful at first impression, Carterâ€™s art contains allusions to mundane yet foreboding engagements, such as radio transmissions, encoded transcriptions, and other electronic communications that serve not only to link us to world networks, but also to place us under surveillance and deprive us of our privacy. Often our dependence on these tools and the despair that results from their failure to properly operate is a recurring leitmotif in his work.
Nathan Carter was born in Dallas, TX, in 1970 and currently lives and works in New York, NY. He received his MFA from Yale University, New Haven, CT, in 1999. He has had solo exhibitions at GalerÃa Pilar Parra, Madrid (2007); Casey Kaplan Gallery, New York (2006, 2004, 2001); and Esther Schipper, Berlin (2006). He also participated in Art 33 Basel, Basel, Switzerland (2002). Selected group exhibitions include Neo Baroque, DA2 Centre of Contemporary Art of Salamanca, Spain (2005-06); Greater New York 2005, P.S. 1 Contemporary Art Center, Long Island City, NY; and GNS, Palais de Tokyo, Paris (2003).
â€‹This week: Brian and Patricia talk to Artist Natasha Wheat.
As part of the ongoing collaboration betweenÂ Bad At Sports andÂ Art Practical, as well as the summer series exploring social practice, this week Brian Andrews and Patricia Maloney sit down with Natasha Wheat as she prepares for her upcoming exhibition and temporary restaurant â€œSelf Contained,â€ which opens at the Museum of Contemporary Art, Chicago on July 13.
Currently based in San Francisco, Wheat is an American artist whose work attempts to understand and interrupt the way that human beings exist together. She is interested in the social hierarchy of space, utopian attempts, and the tension between exclusivity and inclusion. Wheat founded Project Grow, a Portland Oregon based Art Studio and Urban Farming Project that includes people with mental diversity. Her recent work examines agriculture in relationship to human culture, distribution, and control. She received her BFA from the School of the Art Institute of Chicago in 2008.
Wheat has exhibited collaboratively and individually at The UC Berkeley Art Museum; The Pete and Susan Barrett Gallery, Santa Monica; Rogaland Kunstsenter, Stavanger, Norway; G2, Mess Hall, and the Museum of Contemporary Art, Chicago.
Check out the text version of this interview, starting July 1, in Issue 18 ofÂ Art Practical.