Here’s the latest, linky roundup of (good) shit that comes our way….please to enjoy:
*Wanna visit MOMA for free for a year? How to make your own MOMA artist pass.
*Or on second thought, maybe you should buy a real museum membership instead: President’s Proposed 2012 Budget Cuts NEA, NEH Funding by 13%.
*ARC Gallery in Chicago has a call out for entries to its upcoming “Sequential Art: Comics and Beyond” exhibition. This is an “open walls” exhibition, meaning all entries will be accepted. You literally have nothing to lose.
*Missed the Jose Munoz lecture at SAIC last week? Art21 has a nice, concise summary of Professor Munoz’ talk.
*Worthy of advance plugging: AA Bronson speaks at Gallery 400 next week as part of UIC’s Voices Lecture Series. Tuesday, February 22nd at 5:00pm.
*You think quilting isn’t ‘real’ art? You are so wrong, buddy. Check this out: Haptic Labs’ Custom City Map Quilts; and Jimmy McBride’s Stellar Quilts. I would love to go to bed under any of those beauties, although I’d be afraid one of my dogs would puke on it. Sigh.
*Let Your Motto Be Resistance: African American Portraits at the Du Sable Museum of African American History, through March 6th.
*Who doesn’t like browsing through online photo archives? The Field Museum Library has a veritable treasure trove available via its Flickr photostream…right now, they have hundreds of photographs up, including images from two scanning projects: Urban Landscapes of Illinois and 1893 World’s Columbian Exposition. (Via Things).
*Earlier this month Edward Winkleman posted on the crisis in the arts funding landscape, which we discussed in our podcast for Art21 this month. As always Winkleman’s take on the issue, along with the ensuing comments, are well-worth reading.
Performance artist Anya Liftig costumed herself as Marina Abramovic’s double (long blue dress, sideswept braid) and sat across the table from Abramovic all day long last Saturday, March 27th, during Abramovic’s marathon performance piece “The Artist is Present,” part of her current retrospective at the Museum of Modern Art. Liftig considered her action to constitute a performance of her own, and even has a title for it: “The Anxiety of Influence.” Bombsite has an interview with Liftig here. An excerpt:
Tatiana Berg: When I read reviews of “The Artist is Present,” writers often describe Abramovic’s piece as her “interacting” with her audience, which I think is a misnomer. The performance is really as far from interaction as you can get, since in the museum setting surrounded by guards on all sides—who won’t even let you take a picture—the audience’s available set of actions is very limited. So rather than interacting with Abramovic, it’s more like she’s inviting the audience to sit there and contemplate themselves, not her.
What I liked about your performance was that you totally played by the museum rules: no one said you couldn’t be dressed a certain way, no one could say you had to get up and let someone else have a turn. Did you nevertheless feel like a transgressor? A museum interloper?
Anya Liftig: I did feel like a transgressor but I love the subtle art of subversion—playing with ideas from the inside out. As I was sitting there, I felt like that was one of the strongest elements of Marina’s piece. She is attempting to “interact” with the audience, but really, the endeavor for empathy is one of implicit sadness, as we connect and miss one another. It is not meant to be read at face value. It also brings up the role of the artist, how they connect on an individual, emotional level with others when they are constantly being observed and commented upon by the masses held at bay by the guards.
Read the full interview on Bomb’s website; it’s really interesting and, based on the interview, Liftig seems to have approached her action with sensitivity and thoughtfulness rather than as a cheap stunt.
Does the Museum of Modern Art’s live feed of Marina Abramović’s performance “The Artist is Present” defeat the purpose of the piece, or enhance it? “The Artist is Present” is the title of both Abramović’s retrospective, which opened at MoMA on March 14th, as well as her new live performance, which takes place in MoMA’s Marron Atrium throughout the run of the exhibition. In her performance, Abramović sits on a wooden chair in front of a wooden table. The chair across from her is occupied by different museum visitors, who are invited to take a seat across from the artist and gaze at her while she gazes at them. Visitors are allowed to sit in the chair for as long as they want. (One man stayed for seven hours). MoMA’s exhibition website notes that the retrospective as a whole endeavors to “transmit the presence of the artist” by including “live re-performances” of Abramović’s works by other people, along with this new durational performance by the artist herself.
I couldn’t find any mention of how live streaming the performance fits into the exhibition’s overall attempts to “transmit the artist’s presence,” however. Ideally, of course, viewers will experience Abramović’s performance in a more direct fashion, either by sitting across from her or watching from the audience as other people share her gaze. But the existence of MoMA’s live streaming “marina-cam” (my nickname, not theirs) is downright puzzling. What’s the purpose of streaming a performance–one which purportedly explores what it means to “be present” in this particular historical moment — for the benefit of anonymous internet users who can engage with it only by staring at their computer screens for a few seconds at a time?
For a work of art that necessitates ‘presence’ in all the multivalent meanings of the term, I find it curious that Abramović agreed to the livecam broadcast in the first place. Read more