Just wanted to let you all know that the Oak Park, IL domestic art space What It Is has made catalogs from several shows from its 2009 and 2010 years of programming available for purchase on their website. I don’t know how long these publications have actually been available, but the info just hit my RSS feed today and since they all look so nice, I thought I’d pass this along as an FYI. Publications on Jonathan Franklin, Sabina Ott + Michelle Wassen, Irene PÃ©rez, Michelle Welzen, Collazo Anderson & Bernard Williams, Andrew Rigsby, and the group shows Permission to Work and Physicality, Perspective and the Consciousness of Relating are all available via the website. Each catalog even has this neat little preview slide show thingee so you can page through and take a look at the book in advance, before buying. Way to go guys!
Here’s what I want to know: if What It Is, a shoestring-budget domestic art space, can publish small catalogs in conjunction with many of its exhibitions — why the heck can’t the MCA do the same for its 12 x 12 series??
Sometime over the weekend, as I was pouring coffee beans into a canister, I happened to read on the package that proceeds from the coffee had been used to fund a library. Pretty cool, I thought; but then in my cynical way, I began to speculate about just what kind of structure this library actually was, how big, how many books, and what, exactly, constituted a library in the minds of the coffee bean distributors. Maybe their library was more like a bookmobile, or maybe it was just a partitioned section of a large hut somewhere far away, with a few piles of donated paperbacks stacked haphazardly on a couple of wooden stools. At any rate, when I came across the L.A.-based artist Dave Hullfish Baileyâ€™s images of the Lizard Tree Library in Slab City, California (not far from Imperial City), my first thought was, aha–hereâ€™s the kind of library that coffee money might have funded.
Baileyâ€™s installations converge with social historiography and land use studies in their exploration of alternative models of community and urban planning. Slab City, a squatter and R.V. community built over an old U.S. military base, provides a case study that, in his exhibition at The Suburban, Bailey has approached in a more or less documentary fashion.Â A series of 15 framed photocopied images of the Slab City library have been installed sequentially along the galleryâ€™s four walls. Each image presents a view of the library from a slightly different vantage point that corresponds to the photographerâ€™s path around the perimeter. I didnâ€™t know about Slab City before encountering these images, but a little Internet scouring brought up a few useful websites, particularly this one.Â Slab Cityâ€™s inhabitants would probably not describe themselves as â€œsquatters,â€ though none pay rent. Theyâ€™ve built the physical structures that house this community from the ground up, along with the social institutions or â€œclubsâ€ that bring residents together. The library appears to be one of several sacred spaces here that have been constructed entirely by human hands, in this case by a woman named Rosalie who died in 2003.Â Itâ€™s a quiet place where people can borrow books without I.D. cards, read on the patio, or retreat to in the middle of the night when insomnia hits.
Bailey is interested in the ways that idealism shapes space concretely and ideologically, as when, for example, people from very different backgrounds come together in the wake of hurricanes or riots to create ad hoc spaces of refuge and community support. These chaotic moments have the potential to transform utopian impulses into pragmatic solutions. In Slab City, ordinary folks have put their highest aspirations of self and community to the test. Baileysâ€™ trajectory around the Slab City library circumscribes a Utopia twice removed; one that looks and feel a lot more down-to-earth than we, or its residents for that matter, may have previously imagined.