January 15, 2011 · Print This Article
Ack, I meant to post this yesterday and totally forgot. Huge apologies, because this thing looks great – so many fantastic artists are involved in this show! But luckily there’s still time for you to catch the first of an ongoing “Winter Experiment” at Monique Meloche Gallery if you hop on by the space TODAY, Saturday, at 1pm to listen to the talk between Ebony G. Patterson & Tumelo Mosaka taking place in the gallery. They will have treats and hot drinks (provided by Letizia’s Natural Bakery), and Duncan will be on site recording this and all the other upcoming talks for Bad at Sports’ podcast, so stop by, hang out, and say hi to your friends! The full schedule of events follows….
Winter ExperimentÂ -Â Calendar of Events
Saturday January 15, 1pm: Ebony G. Patterson & Tumelo Mosaka
Patterson (Jamaican, born 1981, lives Lexington, KY/Kingston, Jamaica) will have a dynamic mixed-media installation that investigates Jamaican dance hall culture in the gallery’s window facing Division Street. Mosaka included Patterson in his 2007 exhibition Infinite Island: Contemporary Caribbean Art at the Brooklyn Museum of Art where he was formerly Associate Curator of Exhibitions. Recently, Mosaka has become the Contemporary Art Curator at the Krannert Art Museum, Champaign, Illinois. Pattersonâ€™s installation Gully Godz in Conversation-Conversations Revised I, II and III will continue through March 26 as our fourth on the wall project.
Saturday January 22, 1pm: Dan Gunn & Michelle Grabner
Gunn’s (American, born 1980, lives Chicago) paintings, sculptures, and installations investigate the power and perception of pattern and light as well as the roles of spatial and cultural context to the assignment of meaning in contemporary art. Michelle Grabner, who is an artist, curator, writer and the founder of The Suburban in Oak Park, taught Gunn at the School of the Art Institute, where she is Chair of the Painting and Drawing Department and where Gunn received his MFA in 2007. After the conversation, follow us for the opening of Grabnerâ€™s solo exhibition Like a rare morel at Shane Campbell Gallery.
Saturday January 29, 1pm: Ben Fain & Shannon Stratton
Fain (American, born London 1980, lives Chicago), who is best known for his controversial public-performances and parades, recently taught the course The Parade Float as Guerrilla Art in Northwesternâ€™s Department of Art Theory and Practice. Stratton, the founder and Executive Director of local non-profit Threewalls, is intimately familiar with Chesterhill, OH, the location of Fainâ€™s most recent parade and the subject of his current project. Together they will discuss this project along with new contexts for art making and exhibiting.
Saturday February 5, 1pm: Anna Shteynshleyger & Andreas Waldburg-Wolfegg
Shteynshleygerâ€™s (Russian-American, born Moscow 1977, lives Chicago) photographsâ€”portraits, still-lifes, landscapes, and interiorsâ€”display a historic sensitivity that is at once personal and political. Arts patron Waldburg-Wolfegg is on the Advisory Committee of the Museum of Contemporary Photography and the International Committee of the Renaissance Society, where Shteynshleyger had solo exhibitions in 2004 and 2007 respectively. Shteynshleyger will be previewing some of her new work in progress.
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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.
We’re back from vacay this week, and catching up on a few weeks’ worth of happenin’s and art chatter. Last week, Georgia Kotretsos of art21:blog posted an interview with Mary Jane Jacob, Michelle Grabner and Kate Zeller on the School of the Art Institute’s “Summer Studio” program (at which Bad at Sports happily pinged, ponged, and otherwise partook) as well as their recently published The Studio Reader, a critical anthology of writings on the artist’s studio. An excerpt from art:21’s interview is below; click on over for the full-length interview.
Georgia Kotretsos: Within the first few lines of The Studio Reader preface, your words speak of a condition that sum up the essence of the artistâ€™s studio: â€œEven when the making is not so visible, it is always present.â€ Is it that â€œpresenceâ€ that Tehching Hsieh is exhausting by keeping a studio space without having made any kind of art for over a decade as we read in Barry Schwabskyâ€™s essay, The Symbolic Studio?
Mary Jane Jacob: When I said that â€œthe studio is more than a physical place and even more than a mental space; it is a necessity of being,â€ I intended to convey that making art is an omnipresent thing; it works in consciously, semi-consciously, and in unconscious ways. It is always just below the surface, if not right there â€” in the head and hand. Yes, one can also think of this as non-studio practices that are less material and in The Studio Reader, we have such discussions of Tehching Hsieh or Kimsoojaâ€™s thought that her body is her studio. But it is also true for the painter, the sculptor, the printmaker, and we could go on with this list; it is not media specific.
How we locate an idea for art, a solution to an artistic problem, and especially the development of a work and of an ongoing practice is by living art â€” and this happens in the very being of being an artist. So when I speak of consciousness, I mean that we bring to our work a certain perception and mindset, and that also is present in our life. The relation of art and life is not just a 20th-century, modern, or avant-garde position; it is an essential art condition. Cultivating a deep and wide consciousness is important to many artists because, then, that just-below-the-surface state can be called into operation, seamlessly, and with this openness or permeability, a natural flow can occur that can contribute to the making of art in the studio that we take on our back.
GK: I appreciate an introduction that offers insight and a cohesive historicity on a subject, such as the one you wrote about the studio in The Studio Reader. Your closing sentence â€” â€œCritical, ironic, sentimental, and practical, the practiced place of the studio is no longer the fixed space of inspiration that Poussin laid eyes on four hundred years agoâ€ â€” wisely makes room and gives reason for the rest of the book to unfold. So, what is the studio today? What does The Studio Reader tell us?
Michelle Grabner: I believe that the idea of the studio today is unambiguously foundational to the complications and contradictions of contemporary art practice.
At its most pragmatic, it is simply a necessary space of production and display. After researching the multitude of shapes and forms comprising the contemporary studio, they are no more fascinating than oil stick, video, clay, or canvas: the studio akin to a medium. However, the studio can also be a subject. And this is where it gets interesting and I hope The Studio Reader points to conditions in contemporary art production that can be sussed out through the lens of the studio.
For example, the many artistâ€™s contributions to The Studio Reader are intriguing and insightful accounts into day-to-day studio engagement, yet it is only in their collectivity that one can start to assess how the space of production, invention, creativity, and meaning are being culled by artists today.
I think one of the most interesting disagreements in contemporary art exists between the totalizing embracement of the studio and artâ€™s democratization: â€œPeople just make things. And so I donâ€™t know whether itâ€™s so necessary to â€˜revealâ€™ anything anymore,â€ writes Cory Arcangel. With a swift retort, Houston-based critic Mary LeClere writes, â€œThe question isnâ€™t whether itâ€™s art, but whether it needs to be. Why hold onto the name if it no longer refers to something that has a cultural, and therefore shared, meaning?â€
So why the need for studios? Here within lies a complex web of contradictions that configure contemporary art and culture. The contemporary studio lays the foundation for new research into those long disparaged notions of authorship, talent, and mÃ©tier.
Read the full post at art:21 blog here.
The five year behemoth is upon us! Episode 260 kicks off with a discussion with Mary Jane Jacob and Michelle Grabner about the artist and studio. Then we turn the camera on ourselves and have a discussion about where we are and where we are headed, if anywhere.
Thanks for listening! It has been a great five years!
P.S. Cauleen S. you are a sad, sad, petty whiner. Grow the hell up.
A few noteworthy links and stories for your midweek perusal…plus a freebie at the bottom.
****College Art Association (CAA) has made eighty-one audio recordings from the panels at last month’s conference in Chicago available for download. They’re kind of expensive ($149.95 for the complete Set of CAA 2010 Conference Recordings on Interactive MP3 Audio CD-ROM or MP3 download; $24.95 for an individual panel MP3 download), but if you couldn’t come up with the cash to attend the conference in full, like moi, this could be a great way to access the panels you missed in person. I’ll be choosy, but will most likely buy at least one.
****“Palestinian Avatars”: This is fascinating; apparently, the movie Avatar and its indigenous aliens the Naâ€™vi have been appropriated by Palestinian rights activists, who painted themselves blue and wore costumes inspired by the Na’vi during a recent protest in Bil’in, a Palestinian town divided in half by the wall. This post on Provisions Library provides further background along with some pretty brilliant analysis: “The most striking aspect of thisÂ re-appropriationÂ of a distinctly American, Avatar meme, is the irony. And right across the barbed-wire fence opposite from Bilâ€™in are Israeli soldiers whose weapons supplied by American taxpayers. So, as Joseph Nye would explain, thatâ€™s an example of U.S. â€œhard power.â€ Then, on the other side, the Palestinians to score by appropriating imageryÂ siphoned with sophistication from the mighty currents of American â€œsoft power.â€ Wow. Elsewhere, you can find additional photographs of what’s been dubbed the “Palestinian Avatar”Â protests here, along with a video of the demonstration.
****Artnet’s Charlie Finch asks “Who is Dakis Joannou?” Finch speculates that Joannou’s future as the Chairman of J&P (Overseas) and J&P-AVAX, both publicly traded Greek companies, “could yield two divergent prospects for a complex, interlocking business, dependent on amortization and wide debt-to-capital ratios. The first is that Dakis is smart enough and aggressive enough to take advantage of buying opportunities during a worldwide recession and increase his bottom line significantly. The second is that J&P is so overleveraged and so dependent on the luxury market that it is at serious risk of default, should its capital pipeline dry up. J&P’s low stock price would indicate a potential problem in this area.” If it’s the latter, it’s probably safe to assume that Joannou may indeed peel off some of that Skin Fruit in the not-so-distant future.
****Ikea plans to commission major works by contemporary artists Piotr Uklanski, Jeppe Hein and Jim Lambie for its â€œairport-sized,â€ Moscow-based development slated forÂ 2012.
****Auction sales for work by African-American artists surged at recent Swann sale, and the market for art by African Americans continues to grow.
****The Grand Rapids Art Museum will present GRAM and Ox-Bow: Joint Centennial Celebration Exhibition and Artist Series this summer. 30+ artists from throughout Ox-Bow’s history will be featured at the Grand Rapids Art Museum in a special exhibition. (via Curated).
****I Like Your Work: Art and Etiquette: a pamphlet published by the contemporary art journal Paper Monument, addresses the topic of “manners in the art world” via interviews with 38 artists, critics, curators and dealers. Read this excerpt, a series of questions about art-world politesse posed to artists Michelle Grabner and Ryan Steadman, online here.
****Ohhhhh. So. Incredibly. Beautiful: An Elizabethan Bestiary: Retold. Go click on this one right away, you won’t be disappointed.
****I am not one of those women who is “into shoes”, but Dezeen’s top ten list of past shoe features makes me wish I were a bit more of a fetishist when it comes to this particular area of my body. Though no way inÂ hell would I ever wear these french bread loafers.
****Jokes: Philosophical Thoughts on Joking Matters, by Ted Cohen, is now available for free download at The University of Chicago Press website – for the month of March only. (The Chicago Blog). The U of C Press offers a free downloadable book each month, so check back to see what else they’ll have available for you in the future!
****An exhibition of Grateful Dead paraphernalia opens at the New York Historical Society…and no, its not that kind of paraphernalia.
****And finally….all you need to know about Professional Female Stoners. This is not, unfortunately, a description of an up-and-coming growth sector in the jobs market.