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This week: Bad at Sports changes in to 88.5 “the shack” for NADA Miami where we were kindly and patiently hosted by Ox-Bow and Jonas Sebura and Alex Gartelmann (who let us set up our lunacy in their sculptural installation).

We talk to John Riepenhoff, artist, gallerist, awesome person (who has work in a show at Western Exhibitions opening this Friday).

Then Art Practical sums up the fair(s) and Patricia expresses her desire to cross genre to breed with a sandwich. Which is odd in that early in the show, and uknown to Patricia, Richard expresses the crushing sadness caused by the loss of a sandwich when Abu’s on Farwell changed owners and became awful.

This show is a fucking masterpiece, stop reading this and listen.

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This week: The final report from NADA 2009! Duncan and Amanda talk to artists Nicole Awai, and Valerie Blass.

This weeks intro contains lots of important information. Bad at Sports needs your help with an exciting new project. If you have a question you want answered related to the art world, we’ll get you answers!

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This week Bad at Sports begins a three or maybe four part series that we produced at NADA (the New Art Dealers Alliance) Art Fair for 2009.

This week Amanda Browder and Duncan MacKenzie we sit down with Heather Hubbs, NADA’s Director and Chris Duncan, a San Francisco based artist showing with Baer Ridgway Exhibitions. The conversations span a huge gulf as Heather talks about the roll she played in Chicago, galvanizing a scene and what she has done with NADA, while Chris talks about being in the studio, making and what things are like in SF.

Great conversations to kick off a great series that was produced inside one of the best fairs in the country.

We produced a set of limited edition Bad at Sports T-Shirts for the event and have a small number of L, XL, and XXL’s (maybe one or 2 mediums or smalls) left which are available from us for $20.00 a piece. Contact us at mail@badatsports.com if you are interested.
New Art Dealers Alliance
Heather Hubbs
Chris Duncan
Baer Ridgeway Exhibitions
Tom Blackman
Art Chicago
TBA Exhibition Space
Joymore
Art Basel
Britton Bertran
Law Office
Art Book Swap
Jim Lambie
Downtown Brooklyn Partnership
The Armory Show
Josef Albers
Homage to the Square
Marfa, Texas
Rothko Chapel
David Wilson
Hot and Cold zine
Santigold
New Jersey!
Life’s Blood demo

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This week: The AMANDA BROWDER SHOW! Amanda and Tom start 2010 off with an interview with Miami artists Alain Guerra and Neraldo de la Paz about their collective Guerra de la Paz (awesome composite of their names) about their work, and how clothing can be more than just a shell over one person’s nubile body..but a story and a basis for sculptural exploration.

Then, Mike Benedetto returns!!! He offers up a meditation on Steven Seagal, Lawman.

Guerra de la Paz is the composite name of Cuban born, American artist duo Alain Guerra (born 1968) and Neraldo de la Paz (born 1955), who have been collaborating since 1996. They are based in Miami.

Guerra was born in Havana and de le Paz in Matanzas. Guerra de la Paz work in sculpture, installation and photography. Their work references the politics of modern conflict and consumerism alongside symbols of faith; they often use old clothing to build their sculptures.

Alain Guerra
Neraldo de la Paz
Guerra de la Paz
Steven Seagal
Cobble Hill, Brooklyn
“pepe” stores
Escada
Versace
Fendi
Ralph Lauren
Saatchi Collection
Art Basel Miami
Chicago Cultural Center
Tyson
JCVD

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New World Symphony Mockup

Now that the concert hall is under way, on time and on budget, things seem to be coming apart. The city aparently didn’t equate the budget fully since now they are renegotiating the fee for the architect and pushing for the next door park to be designed by a less expensive group.

Gehry says fine and said Friday he is withdrawing from the park project. And he threatened to walk away from the project completely if city commissioners continue to harp on his fees, which he says they have exaggerated and misrepresented.

”I really find it insulting,” Gehry said in a phone interview from his Los Angeles studio. “I’m offended. If they keep messing with me, if I get insulted enough, I will withdraw completely.”

More can be read at the Miami Herald Report.

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Art Basel is mentioned as the go to location for foreign employees of UBS to illegally recruit wealthy individuals to help them avoid reporting billions of US dollars in assets. Clients were at times told to use code words when communicating with UBS. Testimony states that roughly 80 UBS bankers traveled to the US 4-6 times a year to pitch the bank’s secretive services to clients at upscale events as Miami’s annual Art Basel fair.

The bankers used encrypted computers, devised codes for their clients’ identities, told Customs agents the trips were for vacations, notbusiness, and advised clients to place jewelry, paintings and other assets in Swiss safe deposit boxes, Birkenfeld testified in June, when he pleaded guilty to helping California billionaire Igor Olenicoff evade $7.2 million in U.S. taxes.

Former LGT computer technician Heinrich Kieber helped tax investigators around the world flesh out those statistics by handing over data on approximately 1,400 of the bank’s clients.

Kieber is in hiding as Liechtenstein authorities seek him on charges of violating secrecy laws.

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Via Brett Sokol for New York Magazine:

If the glory, freneticism, excess, and sunny evanescence of the current contemporary-art boom has a symbolic home, it’s Miami Beach. Thanks to the appearance of an exponentially more fabulous Art Basel Miami Beach fair each December since 2002, the once-tattered resort town has gained a new sense of itself as an aesthetic destination that goes beyond the mere appreciation of a set of well-wrought silicone implants. Now members of the local Establishment, enamored with their smart new friends—collectors, artists, and curators from around the world—want to see if they can get them to stick around. It’s partly about wishing to be taken seriously as a cultural alternative to New York and Los Angeles. But it’s also a bet that fertilizing the creative class is good economic-development policy—especially in a city hit hard by the real-estate meltdown. Which is why a local developer and collector, Craig Robins, is starting a free postgraduate art program in Miami.

He’s not alone in this municipal-improvement gambit: Terry Riley, a former Museum of Modern Art curator, moved down two years ago to be director of the Miami Art Museum and oversee building its $220 million Herzog & de Meuron–designed home. Riley cites the example of Spain and its Guggenheim Bilbao as a model: “They wanted to catch up, join the European Union, and transform the country. They realized that to do that, they had to go from being a cheap vacation destination of sangría, sand, and sun to a place that could compete with the rest of Europe as a major cultural destination.”

That’s what Robins, a mam trustee, wants most of all, too. “Miami is on the verge, but we need to keep stimulating creativity,” he says, rising from his office desk and passing a John Baldessari painting—a dead plant emblazoned with the credo that always happens. (“Looking at it keeps me sharp.”) “I felt that the only thing missing was a graduate school. Our artists get to the next level and have to leave Miami if they want to continue their education. Why should we lose them to Yale?” In fact, the current Whitney Biennial features three Miami artists—William Cordova, Adler Guerrier, and Bert Rodriguez—more than any other city except New York and L.A.

The son of a local developer, Robins is a Miami Beach native who’s always had an interest in art (he wanted to trade in his graduation Rolex for a Salvador Dalí print). He learned that there’s added value in a cleaned-up bohemia. “Everybody thought these properties were useless,” he recalls of South Beach’s cheaply purchased Art Deco buildings, many of which his company restored as boutique hotels and chic retail strips. Artists were a key part of the mix that revived the area: Courtesy of Robins, many found themselves with subsidized studio spaces or special commissions—enough that in 1992, this magazine christened the resort “SoHo in the Sun.” Art has been part of his real-estate strategy ever since, from the $250 million Aqua residences, bedecked with work by Guillermo Kuitca and Richard Tuttle, to Miami’s design district, where the Robins-founded Design Miami fair (in partnership with the owner of Art Basel) has drawn crowds to otherwise deserted streets. Not coincidentally, Robins is the district’s biggest landlord.

This area will also be home to his new program, headily named Art + Research. If all goes according to plan, it’ll open in September 2009 with eight-to-twelve “resident artists”—who will receive full scholarships, studio space, housing, and stipends. They hope to expand it later. The University of Miami–operated venture already has an impressive roster of New Yorkers onboard. Founding faculty include artists Liam Gillick and Rirkrit Tiravanija, both of whom teach in Columbia’s M.F.A. program; Yale instructor Steven Henry Madoff; and White Columns gallery director Matthew Higgs (they will all squeeze Miami tutorials into their current gigs). Former Columbia art-school dean Bruce Ferguson consulted on it. And for added star power, sitting on the board of Robins’s nonprofit Anaphiel organization to guide the school are former Whitney director (and Robins’s cousin) David Ross, John Baldessari, and ex–Art Basel director Sam Keller. Robins will kick in $2 million to help fund Art + Research for its first four years, and the University of Miami has promised to help raise another $2 million.

Unlike at Columbia and Yale, there won’t be any formal M.F.A. degrees awarded to those who complete the two-year program, which will revolve around a topical theme that changes with each entering biannual class. Accordingly, don’t expect to see the “resident artists” hunker down in front of easels and live models. “Most art is conceptually based now. It’s art based on an idea,” says Madoff. “It didn’t turn out that the twentieth century’s most influential artist was Picasso. It turned out it was Duchamp … We don’t need to do foundation courses, how to draw, how to sculpt … You don’t need three credits for American Art History From 1945 to the Present.”

Read the full article here

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Messe Schweiz, the art fair’s owner, reported 43,000 visitors attended the fair, which officially kicked off Dec. 6 but began informally with collector parties, museum exhibition openings and other cultural events on Dec. 3.

The 200 galleries from 30 countries were selected from 850 applicants — the most the fair has received since it launched in December 2002. Art works by more than 2,000 artists were exhibited for sale inside the Convention Center and in shipping containers retrofitted for gallery space in Collins Park.

In addition to setting new attendance and gallery participation records, this year’s fair was the last under Art Basel Miami creator & director Sam Keller, who launched the inaugural fair as a sister to the original Art Basel in Switzerland.

In January, Keller will become director of the Fondation Beyeler in Riehen, Switzerland.

He will be replaced by a triumvirate to include director of operations and finance Annette Schonholzer, artistic director Cay Sophie Rabinowitz, and director for strategy and development Marc Spiegle.

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