Yes. It is true! We rocked Miami this year! It was an epic good time… Lives were changed. Bad decisions were made, but we all survived! Three cheers for the art carnival that is the Miami Basel weekend.
Dana has already done a great job of sharing the gonzo good time that is Miami and you yourself will get a chance to hear what Bad at Sports did with Cannonball and PULSE, but probably not till February. In the mean time you will have to be contented with the knowledge that we made 6 gig posters with 6 incredible artists, we rocked the local air waves at 91.1 fm, knocked out 14 interviews over 4 days, and partied like rock stars.
Thanks go out to…
Chuck Loose and Iron Forge Press
Christian Kuras and Duncan MacKenzie
Dan Grzeca for making great posters!
(we sold a bunch but we have a few left which we will sell to you in January when everyone is back from the break. They are outstanding.)
INTERVIEWS with… (in order of appearance)
Rachel Adams and Jennie K. Lamensdorf – Curators
Mary Mattingly – Artist
TM Sisters (Monica and Tasha López De Victoria) – Artists
Frank Webster - Artist
Josh Rogers and Lesley Weisenbacher – Collectors
R&R Studios (Roberto Behar & Rosario Marquardt) – Artists
Dawn Kasper - Artist
Sharon Louden – Artist/Author
Sylvie Fortin – Director or the Biennale de Montréal
Tatiana Hernandez – Knight Foundation
Adler Guerrier - Artist/Gallerist
Patti Hernandez and Domingo Castillo – Artists
Christy Gast - Artist
Jillian Mayer – Artist
The show would not have happened with out the help of these three cats… (hug them next time you run into them…)
The following images were taken by Vinson Valega
Sure. 91.1 fm seems like a strange band width but we will never forget, you shouldn’t either.
This week: San Francisco checks in with a discussion with Aaron GM and Ginger Wolfe-Suarez
In this episode Art Practical contributors Zachary Royer Scholz, Elyse Mallouk, and Patricia Maloney speak with artists Aaron GM and Ginger Wolfe-Suarez. This was one of several conversations held over the weekend of the fair as part of “In and Out of Context: Artists Define the Space between San Francisco and Los Angeles,” a program that invited artists to consider the two cities as a continuously evolving constellation of dialogues, shared interests, and overlapping approaches. An abridged transcript of the conversation can be read on Art Practical.
Aaron GM lives and works in Los Angeles. He studied at both San Francisco Art Institute and UCLA. Recently he exhibited a solo presentation at the NADA Art fair in Miami Beach (2010). Other Recent solo exhibitions include capezio (2010) at ltd los angeles, Timeshares (2009) at Parker Jones Gallery in Los Angeles, and sales calls(2008) at Blanket Gallery in Vancouver. Aaron has shown in group exhibitions both nationally and internationally.
Ginger Wolfe-Suarez is an emerging conceptual artist, writer, and theorist. Her work often takes the form of large-scale sculpture, exploring the psychology of built space. Both an exploration into the experiential phenomena of body-object relationships, and a questioning of the material nature of sculpture interweave concepts of memory and process. Wolfe-Suarez teaches studio critique and art theory, and is currently Visiting Faculty in the graduate program at San Francisco Art Institute. Her writings on art criticism have been published internationally, and her artwork has been recently exhibited at Silverman Gallery, ltd Los Angeles, KUNSTRAUM AM SCHAUPLATZ in Vienna, Artist Curated Projects in Los Angeles, Mills Art Museum, Yerba Buena Center for the Arts, and High Desert Test Sites, among others. She studied at Goldsmiths College in London and later received her BFA from The School of the Art Institute of Chicago, and her MFA from the University of California at Berkeley. Wolfe-Suarez lives and works in Richmond, CA, where she raises her three-year-old son.
April 30, 2011 · Print This Article
This week: Patricia tailgates with Lisa Anne Auerbach and Michael Parker!
As part of the Art Los Angeles Contemporary art fair, which took place January 27-30 at the Barker Hanger of the Santa Monica Airport, the crew from Art Practical produced “In and Out of Context: Artists Define the Space between San Francisco and Los Angeles,” a series of conversation that imagined the two cities as “a continuously evolving constellation of dialogues, shared interests, and overlapping approaches.”
In this episode Patricia Maloney, Catherine Wagley, and artist Elyse Mallouk tailgate with LA-based artists Lisa Anne Auerbach and Michael Parker from the back of Auerbach’s aqua blue Mini Cooper, parked behind the airport hanger. As prop planes rumble by on their way to takeoff, Auerbach and Parker discuss topics ranging from torn porn and being one’s own bumper sticker to the Shakers and how artists can make change in the work.
Lisa Anne Auerbach’s practice is interdisciplinary and takes the form of photography, publications and, more often than not, knitting. Combining humor with a biting critique of the complacency and routine of modern life, her work inserts itself into the visual and social fabric of the communities that she engages. She received her BA from the Rochester Institute of Technology and her MFA from Art Center College of Design. She is represented by Gavlak, West Palm Beach, Florida.
Michael Parker work makes use of the concept of Temporary Autonomous Zones to produce microtopias, experiments that are situated between idealist notions of community and pragmatic methods for narrating the actions of individuals and groups. He received his BA from Pomona College and his MFA from the University of Southern California. His work was recently featured in in “Landfill, Part 2.” in Art Practical.
SFMOMA’s Open Space blog has an interview with Art Practical editor Patricia Maloney, who is also one of Bad at Sports’ San Francisco correspondents. Art Practical is a new online magazine that covers the visual arts in San Francisco and shares SF-related podcast content with Bad at Sports. A brief excerpt from the interview follows; go on over and check ‘em out!
From the beginning, your strategy has been to partner with other web-based content providers. How does this strategy reflect the larger philosophy and approach of Art Practical?
In the mission statement, I wrote that Art Practical is not a proprietor of information; our goal is to generate pathways for investigation. In additional to the original content that we produce, which appears as Reviews and Features in issues, we share content with three web-based platforms—the calendar and directory Happenstand, the podcast Bad At Sports, and the forum Shotgun Review—as well as one quarterly print publication, Talking Cure.
Shotgun Review now exists as a section within Art Practical; the other entities operate fully outside of Art Practical as well as providing us with content. Our event listings for openings and closings, as well as our editorial picks, come from Happenstand; we conduct interviews that appear simultaneously as Features on Art Practical and podcasts on Bad At Sports, and many of our Features are published first in Talking Cure. Together, we function as a coalition that provides comprehensive information and analysis of events, practices and exhibitions.
Art Practical is the site that choreographs this coalition. The idea came together via conversation with and the generosity of the people involved with the respective entities you, Joseph, and Scott Oliver (Shotgun), Lucas Shuman (Happenstand), the Bad At Sports team, and Jarrett Earnest (Talking Cure). I had no interest in duplicating their activities, but instead saw an opportunity in which we could mutually support our shared objectives. Collectively, we create visibility for individual projects and a forum for critical reflection for an audience much broader than our individual efforts.
Art Practical itself is a collective endeavor, emblematic of the collaborative spirit of the Bay Area visual arts culture, which has a long local history of incubating experimentation and innovation. The team members that have created Art Practical and produce each issue have each played crucial roles in creating a model for visual arts criticism that is highly conscious of the audience it is serving. Perhaps more than anyone else, Stoyan Dabov, our developer, recognizes and articulates the ways in which familiar forms of communication are being ruptured. As the site evolves, he is pointing us toward embracing new approaches. The Editorial team, Hope Dabov, Vicky Gannon, Catherine McChrystal, and Morgan Peirce, work tirelessly in encouraging our writers to be creative, to find new modes of description and criticism, and to further define their personal voice. Their collaboration reflects our entire approach. (Continue reading here).