Work by Samantha Bittman, Todd Chilton, Steven Husby, and Melissa Oresky.

65GRAND is located at 1369 W Grand Ave. Reception is Friday from 7-10pm.

2. I’M HERE TO MAKE FRIENDS at Happy Collaborationists Exhibition Space

Work by Aay Preston-Myint.

Happy Collaborationists Exhibition Space is located at 1254 N Noble St. Reception is Saturday from 6-10pm.

3. Group Exhibition at Hinge Gallery

Work by work by Corydon Cowansage, Aaron Delehanty, Brent Houston, Charles MaHaffee, MaryKate Maher, and Ryan Richey.

Hinge Gallery is located at 1955 W Chicago Ave. Reception is Saturday from 6-9pm.

4. SUPERSTRUCTURES at The Mission Projects

Work by Susan Giles, Jeroen Nelemans, and David Salkin.

The Mission Projects is located at 1431 W Chicago Ave. Reception is Friday from 6-9pm.

5. 120 Years at Threewalls

Work by Laura Mackin.

Threewalls is located at 119 N Peoria St. Reception is Friday from 6-9pm.

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X.V.:ATLAS currently exhibiting at the Perry & Marty Granoff Center for the Arts at Brown University

Often art spaces emerge in response to rumbling (and specific) undercurrents in a given community. In the Artists Run Chicago Digest — a book I put together with threewalls that examines artist-run art spaces in Chicag0 between 1999 and 2009— almost every interview conducted with gallery founders talk about how they opened a space because of some recognized lack. Miguel Cortez, for instance, when asked about why he started Antenna Gallery said, “Chicago has long had a history of ‘do-it-yourself’ art spaces and I felt that the Pilsen neighborhood was lacking in contemporary art spaces. I have seen alt. spaces come and go in the Pilsen neighborhood over the years. So I reopened a space on my own after Polvo closed.” In almost every case, founders feels something noticeably underrepresented — nine times out of ten it’s “good art” — and suddenly they takes it upon themselves to fill the niche. In this way, artist-run spaces create corner stones in an ongoing (and usually undocumented) conversation. Very often, whether as an unintended biproduct or a focused agenda, they reflect back on aesthetic, political and economic issues of a geographical local. Providence of course is no different. In the following interview I talk with co-founder and organizer of RK Projects, Tabitha Piseno. RK Projects is a nomadic, contemporary, non-commercial gallery. Each curated exhibit creates a dynamic and reciprocal interrogation between contemporary art work by local artists and the (often unused) architectural site it inhabits. At the moment, RK Projects has a show, “ATLAS” with work by X.V. installed at the Granoff Center in Brown University. You can download the digital album the artist made to be released in conjunction with the exhibition here.

Caroline Picard: What is your background and how did RK Projects start?

Tabitha Piseno: My partner, Sam Keller, and I started RK Projects in October 2010, a few months after graduating from the Rhode Island School of Design. While living in Providence, we had always been intrigued by the architecture of the city, the sense of its history, and how the urban layout of the city represented, or informed rather, the presiding social dynamics and economic development.

After making the decision to remain in Providence after graduation, we were immediately interested in engaging Providence outside of its academic environment; we wanted to create a socially engaged project that could speak to our interests in the city, be instrumental in responding to the lack of venues where young local artists could exhibit, while also retaining the ability to think and act critically. This was a very exciting venture for us, not only because of how stimulating we knew it would for own intellectual interests, but more so because of how it would fill a void of exhibition venues. There is a vibrant, and incredibly active, community of artists and musicians that truly thrives in Providence.(1)

We began with the intention of opening a gallery in a fixed location, but it was quickly brought to out attention that the cost of running a full-time space that would be solely dependent on sales, was not a financially viable for us. It was, in fact, discouraged by many people. From brokers of store-front commercial properties that had previously rented to galleries, to local curators who had previously run full-time galleries, to staff members of the Rhode Island State Council of the Arts and the Department of Art, Culture, and Tourism — many people made it clear how difficult it is to keep a gallery in Providence afloat due to the lack of collectors and connections to out-of-town buyers. It was clearly expressed that Providence had a track record of failed galleries, despite the profusion of local artists making work. With that in mind, the formulation of RK Projects really began; we were persistent in our interest in creating a new exhibition platform.

The first thing that came to form was our name for the project: “R.K.” which stands for Richard Keller who was my partner’s uncle. He was an outsider artist who expatriated to France in the 60s. He was a sort-of Francophile and was obsessed with the language; he taught Linguistics at the Sorbonne. While he was teaching, he continued making art prolifically. The work he made ranged from collages, drawings, and prints to bizarre Dadaist assemblage sculptures that he compiled entirely from trash he would find by dumpster-diving in the streets of Paris. After 30 years of moving to France, he became very ill and passed away from HIV in the mid-90s. He never exhibited his work. We felt naming the project in his memory was very important to us, and exemplified the purity of pursuing something you love doing no matter the means.

During our search for a fixed space we realized the extent of the economic deprivation that Providence has suffered from for many years. The abundance of vacant commercial and industrial spaces throughout the entire city sparked our strategy.

Ultimately, it was a solution and a proposal. It was our solution for creating a new exhibition platform that could invest itself in showing experimental work by local artists without having a tremendous overhead that a fixed location would have (most properties have been donated to us, or rented out to us at an extremely reduced rate). It became a curatorial proposal embedded around the idea of site-specificity –  How could we utilize each property in a way that could inform the work within the exhibition? How does the geographical location of each property speak to the work and to what we do as RK Projects? How does the presence of each exhibition affect its surrounding social and public space? In what way does the project speak to the economy of Providence, real estate or otherwise? These are questions that we take into account as we organize each exhibition, and exploring/experimenting with those answers is one of the most rewarding and satisfying aspects of what we do.

Sam Keller, Nacho Cheese Fountain., 8”x 21”x 8”, 2010

CP: As a nomadic exhibition project, how do you feel the unique architecture of Providence complements the specificity of individual projects?

TP: It’s different for each project, because the existing architecture (in a physical/historical/economic  sense) in each location we’ve conducted our project \ is so very different and unique to the particular section of town where it resides.  We organized our very first exhibition, Nostalgia for Simpler Times, in the Upper South district of Providence in a double-wide trailer located on the historic ‘Providence Piers’ waterfront. The Upper South side of Providence is a section of Providence that was the last to undergo development with the rise of industrialization in the 19^th century, and currently has the highest unemployment rate in the city. The trailer on the Piers was formerly a ticket office for a, now defunct, ferry route. It is currently managed by the adjacent “Conley’s Wharf” building which houses studios and offices for creative businesses. The exhibition was a solo-show of my partner’s work; at the time, he was using courageously silly methodologies for making sculptures, paintings, and installation work that bordered on being iconoclastic. The double-wide trailer, in the desolate context it was in, informed the work in an interesting way. Throughout the exhibition he had a 3-tiered chocolate fondue fountain on a white pedestal that was constantly pumping nacho cheese. Every morning while the exhibition was up, we had to boil over 6 pounds of cheese and transport it to the site. It was absurd – carrying these massive containers into a double-wide trailer in a parking lot while fisherman were going about their daily business along the pier. It definitely brought in an interesting crowd that we didn’t expect – people were coming in that had little or no experience with that kind of art and really appreciated. It seemed like the broadness (in a metaphorical sense) of the site kept the interpretation of the work very open. At one point we had a homeland security officer come to the exhibition because the particular area the trailer was in also housed a massive salt pile for winterizing all of Providence’s roads; there were also shipping crates directly adjacent to the trailer with storage for some equipment that belonged to the police department. He loved it; he took a good amount of time exploring the work in the show. The exhibition really exemplified the general feeling of that particular district.

The subsequent projects went from the Industrial Valley district, where we conducted a 3-day music festival and a huge exhibition that spanned 20,000 sq. ft. of a historical industrial building that was being renovated, to Downtown Providence, to the West End, to Olneyville, and then we eventually made our way to the East Side of Providence in the Mount Hope district and College Hill where our current exhibition is on display in the new Granoff Center at Brown University. We tried to allow our exhibitions to speak to each district’s existing physical architecture and social space; we traversed a lot of territory and made a lot of noise in the broader area of Providence before making our way back to the academic bubble that is College Hill. I think that itinerary speaks well to how the unique architecture of Providence complimented individual projects.

Exterior View of X.V. ATLAS

Installation View of X.V.: ATLAS

TP: Absolutely, every property we’ve chosen to work in has presented itself as a space that could be activated by the presence of an exhibition — or vice versa – the space would activate the artwork that inhabited it. What has been really interesting, and surprising, for us is how each exhibition has sort of exhumed the past history of the property it resides in. For example, the third exhibition we hosted with “Art Is Shit Editions” – Frolic, Frolic, Irresistible – was organized around the premise of consumerism and art as commodity. The property we chose for it was a downtown property on Westminster St – known as the “Heart of Providence” – it’s primarily a restaurant and shopping district.  As we were working on preparations for the show, we discovered that the property was formerly an illegal brothel. It ran in an Asian massage parlor where women were kept sequestered in the basement and attic. During the installation process, we came across remnants of this history and ended up utilizing leftover equipment and rooms, such as shower stalls, a sauna, and a massage table for installations as a way of engaging that history. For the audience that experienced the exhibition, it brought up the issue of Providence’s history of sex-trafficking and how long indoor prostitution remained decriminalized in Rhode Island (it was  made illegal in 2009).  It turned out to be a fitting context for the exhibition, not as the mainstay, but as a representation of how the exhibition had the ability to activate a particular history and bring a localized issue to light.

Installation view of Frolic, Frolic, Irresisitible organized with Art Is Shit Editions

In terms of borrowing real estate, we choose properties that we notice have remained vacant for several years and are under-recognized. We always try to reach out to a very broad audience with the hopes that someone will see the space and be interested in purchasing or renting it. In priming the space for our exhibitions, we also make it a point to leave the space in better condition than we found it. This allows us to also maintain wonderful relationships with property brokers and real estate companies that we work with. It also helps them see the worth in what we’re trying to do with the project.

CP: How have your curatorial strategies developed over time?

TP:  The curatorial strategy for the project has always been the same: to address site-specificity via a nomadic, DIY exhibition platform, and offer an alternative way for contextualizing the work of local artists.  Throughout the project I’ve been particularly fond of two books, one written by Rosalyn Deutsche called Evictions: Art and Spatial Politics, and the other by Miwon Kwon titled One Place After Another: Site-specific Art and Locational Identity. The ways in which site-specificity is framed and iterated in each of those books have resounded with me greatly, and deeply affected me as I’ve conducted the curatorial strategies for the project.  Kwon puts it perfectly when she identifies the purpose of her book as  “to reframe site specificity as the cultural mediation of broader social, economic, and political processes that organize urban life and urban space.”

That approach to site-specificity is something I find incredibly important.

What is different for each project, and continues to develop, is how the premise for each exhibition, and the work within it, is successfully supported by the context of the project. That’s an overriding programmatic strategy as opposed to curatorial, but I would like to think that creating boundaries for the two is something for conceptual fodder that fuels the project and makes it better with each exhibition.

_____________________

NOTE

(1) In a city that was literally branded as the “Creative Capital,” it was surprising to see that there were no exhibition venues that could support young, contemporary, experimental work. There were a few galleries, but they were geared towards “tourist commodities:” New England kitsch-art that proliferates because of its accessibility. We were concerned about what work was actually defining our “Creative Capital.” The goal of re-branding this city was what ex-Mayor David Ciccilline called: “[In order to build] on one of [Providence's] finest assets — its large number of artists, designers, student and faculty innovators at such schools like Brown University and the Rhode Island School of Design — the city recently re-branded itself as Providence: The Creative Capital.” Yet there was no bearing as to how this new identity was intended to build the city’s economy. At the same time the campaign disregarded the nature of arts activities initiated by RI residents who actually existed in the public community.

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Work by Adam Ekberg. In the project space: I Believe in Harvey Dent or Three Months in Valparaiso, work by Jason Robert Bell

Thomas Robertello Gallery is located at 27 N. Morgan St. Reception Friday, 6-8pm

2. Future Perfect at Co-Prosperity Sphere

Work by by Judy Natal.

Co-Prosperity Sphere is located at 3219 S Morgan St. Reception Friday, 6-9pm.

3. Rodney Graham at Donald Young Gallery

New photographs, sculptures, and paintings.

Donald Young Gallery 224 S. Michigan Ave. #266. Reception Friday, 5-7pm.

4. PHONEBOOK 3 at Threewalls

Release Party for PHONEBOOK 3

Threewalls is located at 119 N. Peoria. Party Saturday, 8-11pm.

5. The River Rats at Western Exhibitions

Work by Ryan Travis Christian, with collaborative work in Gallery 2.

Western Exhibitions is located at 119 N Peoria St, 2A. Reception Friday, 5-8pm.

+1 – The MDW Fair at GeoLofts, opening Friday at 8pm. Open to 11pm. $5, free beer.

Participating curatorial groups and galleries: 2612 Space, 65GRAND, ACRE, Alderman Exhibitions, antenna, ANTIDOTE, Bad at Sports, Chicago Artists, Coalition, BOLT Residency, Chicago Urban Arts, DEFIBRILLATOR, Devening Projects + Editions, Document, Drawn Lots, Green Gallery, Happy Collaborationists, Harold Arts, High Concept Lab, The Hills, Hinge Gallery, Hungryman, Iceberg Projects, Itsa_pony, LVL3, Trevor Martin, Abr Gallery, North Branch Projects, Nudashank, Old Seoul, Packer Schopf Gallery, Peanut Gallery, Pentagon, portage ARTspace, Reference, Reuben Kincaid, Roots & Culture, Sixty Inches From Center, Small Space, Spudnik Press, threewalls, Uncle Freddy’s Treats, Linda Warren, Western Exhibitions, What It Is, and Propeller Fund grantees 2010.

GeoLofts is located at 3636 S. Iron At. The MDW Fair will continue through Saturday and Sunday, noon to 6pm.

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Work by Jenny Kendler.

Johalla Projects is located at 1561 N Milwaukee Ave. Reception is Friday from 7-10pm.

2. Doubt Implies Guilt at DIG

Work by Bert Stabler, Nick Black, and Jasime Young.

DIG is located at 2003 N. Point #3. Reception is Friday from 6-9pm.

3. Either/Or/Both at Threewalls

Work by Hans Peter Sundquist, Samantha Bittman, Michael Milano, Casey Droege, and Stephanie Brooks.

Threewalls is located at 119 N. Peoria St., #2C. Reception is Friday from 6-9pm.

4. Transmit/Transmute at Comfort Station

Work by Adrian Moens.

Comfort Station is located at 2579 N. Milwaukee Ave. Reception is Saturday from 7-10pm.

5. Thieves In The Light at Julius Caesar

Work by Jesus Gonzalez Flores.

Julius Caesar is locate at 3144 W Carroll Ave, 2G. Reception is Sunday from 4-7pm.

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"SMILE II," installation/performance stills 2010

The first time I met Aay, he was was giving a presentation at Version Fest in 2007. Aay, Ilana Percher and Rebecca Grady had just returned from Art Shanty Projects on Medicine Lake, where they installed a soft shanty/sculpture called The Soft Shop. They reinstalled this portable, cloth shanty in the Version’s basement, (where all the other art booths stood) and talked about their residency, hosting some of the same fiber workshops they had hosted in its original location in Minnesota. Since that first encounter I have benefited from Aay’s collaborative work in multiple ways. I have been to Chances to dance-dance-dance, a short story of mine was published in an on-line magazine he organizes called Monsters & Dust. I went to No Coast and convinced Aay to make some covers for the Green Lantern Press. I point this out because his work has impacted a wide audience of which I am a part. He creates public, collaborative platforms while producing a concise, independent body of work. Despite having appreciated his work for so long, I have never taken the opportunity to ask him about how these projects relate to one another, and even how he thinks about his own practice. To me, this interview is suited to the beginning of summer. It’s hot outside, the Critical Fierceness Grant is open again (until June 30th) for grant proposals, many artists and faculty alike are facing a new open schedule, and it’s good to remember the alchemical mixture in aesthetics, politics, the body and imagination.

Mess Hall's interior, just before the opening of Celebrate! Celebrate? The Politics and Tactics of Visualizing a People's History, organized by Nicolas Lampert of Justseeds (January 2010)

Caroline Picard: You’ve been in Chicago for a number of years and have continued to work with different organizations—I was thinking as far back as Diamonds/Texas Ballroom for instance, No Coast of course and many others—I was wondering if you could talk about your participation in those different organizations; how your role has varied? Do you feel like your participation in different communal structures has impacted your visual work?

Aay Preston-Myint: Well, Diamonds and Texas were two iterations/sections of the same artists collective in warehouse space in Bridgeport, back in the day. We all did our share of programming and running events, mostly art shows and music, and let’s not forget parties. No Coast was a similar collective/consensus structure but centered around the concept and physical space of a bookstore, shared studio space, in addition to an open community workshop. When I look at these and other organizations I’ve been involved with (the online curatorial project Monsters and Dust, the experimental cultural center Mess Hall, and the microgrant/queer dance party called Chances), the difference is not so much in work or ‘roles,’ but the content of each project itself. These are ventures that have all been run by consensus to serve a specific audience or community. As such, roles can shift depending on interest, ability, and the needs of our contingents. I think the impact on my own work has been that I have a desire to engage, entertain, and encourage dialogue through my practice. I enjoy using color, a richness in materials, humor, mystery/seduction, and participation to engage the viewer. Creating a gravitational pull, drawing people into an active space — that’s what all the organizations I work with have done.

CP: Do you categorize different aspects of your art practice?

APM: In a way those divisions (solo work, collaborations, and design/commissions) are often a matter of convenience — an easy way of categorizing, but the nature of the work is different too. I think my solo work has more of a clear narrative, using conceptual, material, and stylistic threads that weave in and out of the work. Collaborations of course deal with similar concepts and interests. However that work tends to take on forms, processes, or issues that I don’t always deal with on my own because of the influence of my partners — each collaboration tends to stand apart. The design work, while perhaps more aesthetically my own, is a whole other beast, often because it’s not used in an art context, and also because the content is decided by the client and maybe even pushed to the background. I think each category exhibits a different kind of development over time, and it can be interesting to compare how they are disparate but also influence one another. From the subject matter of my solo work, to the clients I choose to design for: there are connections that become apparent when you zoom out.

CP: Will you talk a little bit about your relationship to materials?

APM: Responding to materials have always been a key part of my work. For a while when I drew it was almost like I had an issue with attention span; I needed something to respond or anchor myself to, a fabric, wallpaper, a photograph — I disliked drawing on a blank surfaces. Now it’s more about responding to the social, historical, or affective associations with an object or material — rope, a flag, hair, light, even scent. I think in a body of work like mine — which is so about embodiment — the choice of materials is really key when interpreting form.

CP: I’m also really curious about your Hybrid Moments Project—can you talk about that a little?

APM: Hmm, yes — as you can tell from the text banner series that I made a couple years ago, I like to use pop songs as titles and content sometimes. After I made the first series of screen prints, Hybrid Moments seemed to be the right phrase to contain my work at the time — I think of the title more as a container than the name of a single “project.” I think it still works for the prints and maybe some of the discrete/smaller sculptures, but not so much for the larger sculptures anymore. But in general, it’s the body of work I’m engaged with now. The works make propositions of what mutating, unpredictable forms that community, identity, and the environment—both built and natural — may take on in an unspecified future moment — all through the lens of a critical queerness.

CP: Do you have a static, projected future point that your work is speaking to? Or does that future-vision shift, depending on what your working on?

APM: The future I depict is definitely mutable and unpredictable, that’s kind of the crux of my whole viewpoint. I think part of the criticality of my work is that our projections of the future never match up to what we imagine — I use mutation as a metaphor or allegory for that unpredictability. As soon as one struggle is overcome, new power relations form in place of old ones. Often abuses and rivalries emerge instead of coalitions. The future I imagine is always out of reach.

"It Gets Worse," open edition of digital/offset prints dimensions variable 2011-ongoing

CP: And your SMILE series too—that struck me, partly, because of the element of performance required. I was thinking about it because in Hybrid Moments you seem to be interested in gestures and the significance of those gestures, but then in that instance (am I right?) the resulting work is divorced from living people….

APM: That’s a great question because I think over time those two projects have influenced each other in ways I hadn’t anticipated and, at least in my mind, they aren’t differentiated anymore. The first iteration of SMILE was, I think, the first iteration of my continuing and relatively “mature” body of work. However at that time it was still lacking a specific goal or agenda in terms of content, despite having established the visual style and material concerns. I started Hybrid Moments soon after this, and through those works I began to lock down the kinds of gestures, characters, and ideas I am interested in. Queerness, futurity, power relations, color theory/theories, toxicity and mutation to name a few. So when I did SMILE a second time (at SFCamerawork in September 2010), it became folded into what had become my practice. Some objects that were previously presented as sculptures became props for SMILE — because all these works now inhabited the same world. I was delighted to see some of the situations in my drawings accidentally re-enacted in performance, and in turn, I’ve used the gestures and actions performed in SMILE to create new drawings (e.g. “Totem Ascending”, which was included in this year’s threewalls CSA). The SMILE performances have also helped me to rethink the concepts of figure, site, and the object/viewer relationship in my sculptural work.

"SMILE II," installation/performance stills 2010

The second part has to do with the research elements of my practice — looking, reading, writing. As I was working on my written thesis I was isolating these core concepts (embodiment, utopia, queerness, etc). The commonalities between the different works I make, and the works of others that I am influenced by. I started making lists, thought maps, and diagrams which would explode these concepts and then bring them back together in different configurations. With the encouragement of friends and teachers, these sketches and diagrams eventually became works in their own right.

APM: Oh yes, there is definitely a connection. However, in my research I don’t talk so much about the optical domination of one color over the other, as much as looking at the social constructs and hierarchies around color.  I’m interested in how colors carry associations with certain emotions, objects, situations, and even social and political movements and attitudes. I’ve been especially invested in mixed colors, day-glo colors, and pastel colors — my written thesis was titled “Who’s Afraid of Pink, Purple and Brown?” in contrast to Barnett Newman’s “Who’s Afraid of Red, Yellow and Blue?” I’ve done an artist talk solely on the color pink. It’s a pretty amazing color, not enough people take it seriously. Transgression, difference, queerness, sex, repulsion, obsession, fantasy….it’s all there in that one color.

APM: I think that grad school has been really invaluable to my process….until now I’ve never been able to totally commit myself to developing an artistic stance or worldview, and turn that into a cohesive body of work over time. I can really reflect on how one piece relates to the next, and engage in intense and productive critique from myself and others at a level previously unreached. As hinted at above, I’ve also been able to take advantage of scale and material in a way I hadn’t had the time or financial backing to do before. I’ve been really fortunate to attend a program (UIC) that fosters community, improvisation, self-critique, and collaboration, due to its size, and in particular, the awesomeness and warmth of my cohort. In that way, it really hasn’t been too much different than my DIY experiences. I think my class in particular has truly been like family.

CP: What are you working on right now?

APM: Interesting that you say that — well, the fact is, I’ve just graduated and am looking forward to a lot of travel this summer, and not really sure what kind of work awaits in the fall (residency? teaching? design? working at a bar? these are all options). This means that for the time being, I’m not going to have the large scale modes of production, storage, and display available to me during graduate school — so I unfortunately might have to put the brakes on the large sculptural work for now. It’s strange how time, place, and life situations can have as much, if not more, impact on the work you do as your own concept/process. That said, I’m focusing on prints, drawings and the web at the moment — things I can do at home and at my shared studio at Roxaboxen in Pilsen. Mostly developing the imagery in the Hybrid Moments prints and the It Gets Worse Series — my long-time No Coast collaborator Alex Valentine and I will be taking these and other print/book projects to the Tokyo Art Book fair in July. Also, I can finally put my nose to the grindstone on Monsters and Dust — which you yourself have also made an awesome contribution to. Our next issue is way overdue. But as soon as I get enough space I think I’d like to start working on a “living vomitorium” idea that has been at the back of my head for a while.

Bottomless Loop, wire, polyester, cotton, false flowers, plexiglas, poured enamel 10' x 12 ' x 2' 2011

CP: How do you determine if a show with your work is successful?

APM: I guess there are a few ways. Of course people might just like the whole thing, which feels great, but I’m often excited when people respond to the work that I’ve had the most doubts about, or the piece that I almost didn’t include. It reminds me to continue thinking outside of myself and to trust other people’s input. If the work motivates people to ask challenging questions rather than just congratulate, that’s great too. I also think a work is successful when people ask funny questions or give things names – “Is that a gloryhole?” or “I like this hair donut,” or “This one is the great birth mother, right?” or “What’s that smell?”

You can see more of Aay’s work by visiting his website.

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Work by Aaron Orsini, Adam Farcus, Adam Grossi, Alberto Aguilar, Alicja Zelazko, Angeline Evans, Arielle Bielak, Adam Trowbridge, Ben Russell, Big Bad Ron, Brandon Alvendia, Brian Wadford, Burak Birinci, Chris Hammes, E. Aaron Ross, Eric Fleischauer, Emily Keuhn, Hooliganship, Isak Berbic, Jake Myers, Jerimiah Chiu, Jesse Avina, Jon Satrom, Kevin Jennings, Kevin Robinson, Kirsten Leenaars, Kyle Fletcher, Laura Boban, Lara Stall, Mark Sansone, Michelle Harris, Michael Radziewicz, Miguel Cortez, PaperRad, Philip Parcellano, Philip von Zweck, Rob Ray, Silas Reeves, Steven Pate, Tim Pigot, Tom Burtonwood, Theo Darst and more.

Octagon Gallery is located at 1318 N Milwaukee Ave, #300. Reception Saturday, 7-10pm.

2. A Rod Stewart Little Richard Prince Charles Manson Family at LVL3

Work by Carson Fisk-Vittori, Derek Frech,  Justin Kemp, Joe Lacina, Joshua Pavlacky and Daniel Wallace

LVL3 is located at 1452 N Milwaukee Ave, 3. Reception Saturday, 6-10pm.

3. IF OUR WORLD PROTECTS at Monument 2

Work by Lenox-Lenox.

Monument 2 is located at 2007 N Point St. Reception Saturday, 7-10pm.

4. Registry & Milking at Threewalls

Work by Betsy Odom and Montgomery Perry Smith, respectively.

Threewalls is located at 119 N. Peoria St., #2C. Reception Friday, 6-9pm.

5. Marshland & 21st. C. Slideshows at Catherine Edelman Gallery

Work by Fred Stonehouse and Tim Tate, respectively.

Catherine Edelman Gallery is located at 300 W. Superior St. Reception Friday, 5-7pm.

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Artist Mindy Rose Schwartz has shown her sculpture and installations throughout the United States with exhibitions in Houston, TX; Brooklyn, NY; St. Louis and Kansas City, MO; Miami, FL and Chicago. Her work has been written about in artnet Magazine, Beautiful Decay (online), Time Out Chicago, The Chicago Tribune, Newcity, ArtForum, Frieze Magazine, Art in America and Whitewalls.  Schwartz earned her MFA at the University of Illinois, Chicago. I caught up with her after the close of her most recent show of work at Threewalls. The following is our conversation.

"Credenza". Image courtesy of the artist.

DG: How do you think about your materials?

MRS: The materials and processes I use have to make sense in relation to the meaning of the piece.  So, for example, in this body of work, one of my reference points are remembered objects from the house I grew up in.  So my use of ceramics, macramé, white stones, and gold chain are materials I came in contact with in my past and have resurfaced to add to a palette of materials for sculpture.  I am also interested in processes and skills that I learned while growing up, before I made it to art school.  Why do I know how to make every type of lanyard key chain, or a macramé belt, or to crochet a yarmulke, or to paper mache? They are a window into specific class, cultural and gender specific moments that shaped my experience.

DG: What else makes up those “reference points”?

MRS:  As I was developing my proposal for Threewalls, I wanted to transform the gallery space into an idealized and symbolic domestic space. There is a smaller room as you enter, a large grand space in the center and a smaller more intimate space at the end.  As you walk through, I thought of the first room as the foyer, the next as a living room and the last, a sunroom. In a home these are the spaces that you pass through, or only use on occasion or special occasion, not the every day living spaces.

The sculptures in each of the spaces are an amalgamation of the furniture, objects and people that would reside there. They reflect the kind of pictorial or fictive aspect that each of those rooms implies.   Some of the sculptures in the living room space are: Chandelier, Credenza, and Vanity. I mean the credenza, what is it for? Who has room for the credenza? It’s a piece of furniture that’s purpose is to hold and display decorative objects and fancy dishes. The Chandelier too has a type of aspiration to it, a light that is dressed up in its finest jewels. These objects and what they represent become starting points to imagine their transformation into something else.

DG: Then what about the sunroom?

MRS: I was trying to create a space that was sort of mournful and had a kind of longing to it, but peaceful too. The sunroom has a sun in it, of course.  It is created through a technique called, string art, which was a craft process I learned in fifth grade.  It was supposed to teach that straight lines create a curve. The piece is called The Tender Light of Hope. In the living room space, it has its counter part in a piece called, The Depths of Bleak Despair.  These two pieces provide a kind of emotional bracketing for the show.

Two other pieces in the space are called Friends, and A Peaceful Man.  Friends are two, coil pot, heads sitting on the remnants of my grandmother’s mink coat. The coat was handed down through the family, repurposed, refashioned and redistributed as: a sporty jacket, a hat and some earmuffs. A Peaceful Man is also just a head, but his beard and mustache swoops down to form his legs and sprout a flower. I thought of it as my “Giacometti moment”.

"The Tender Light of Hope" and "A Peaceful Man" Image courtesy of the artist

DG: You mentioned collectibles, how do they factor in? What kind of symbolism lies within them?

MRS: I was trying to find a way to get the figure back into my sculpture, in an effective way. As a sculptor, you’re kind of off the hook.  You don’t really have to use the figure, because the viewer is the figure. The sculpture exists in the same space as your body. There is this uncanny weirdness when you perceive your body in relationship to this representation of one. That begs the question. How does it get in there and not be a statue. Statues are hil-ar-e-ous! They’re so heavy. There is funniness to them.  How to show the body… I tried to think of them along those lines then, to not be “figurative” but “figurine-ative”

Figurines and decorative objects have a strange life span to them, right? They sit in the home in one spot for a whole lifetime. Then they get handed down, auctioned off or go to a thrift store and go to another house to sit in one spot for another lifetime.

The collectible object is really a way many people experience sculpture in their everyday lives.  It is like the three dimensional version of a Picasso poster or, depending on your taste, a Margaret Keen poster.  That is how I experienced it mostly, more often through home decorating than a trip to the art museum or a stroll through a sculpture park. So there are these mass-produced objects that one way or another make it into your life and stay. Over time it will look very different and mean something very different to whoever has it. In fact two identical objects become fundamentally very different things. I’m trying to show how my history with specific objects morphs their form and how I perceive them with the their stories still attached.

Of the definite genres of collectible figurines some interest me more then others. I particularly admire ones that address the landscape or nature.  I made my versions of this type for Credenza.  There are also characters that reoccur across many different brands of collectible objects; the CLASSIC mainstays of every family of Precious Moments, Lladro, or Royal Dalton are the harlequin, mime and ballerina.  I made a series of those characters for the “Vanity” piece.

Aside from the emulated realism of collectible objects, I love the sincerity of those that adopt a modernist “look” as their most prominent style.   There is nothing like the grace or elegance of an abstract dancer’s elongated neck or the motion of flowing dance attire captured in porcelain or electroplated aluminum.

Detail of "Credenza". Image courtesy of the artist.

DG: So you see the forms of décor as the remnants of Modernism?

Well, I guess this comes back to how and when I experienced Modernism as a  trickle down influence in popular culture during the seventies.  I saw a lot of Hollywood musicals growing up.  Most of these movies started out on Broadway and one of the byproducts of their translation into cinema, seemed to be these inexplicable dance sequence that would interrupt the regular narrative of the story to express some kind of emotional drama or conflict in the story. The Dream Sequence Ballet in Oklahoma and the Rumble scene in West Side Story are real stand- outs.  The main characters come onto these angular abstract sets and work it all out through Modern dance.  The piece Dream Sequence Ballerina has a little stage set and dancer’s graceful head as a fantasy interlude atop a modernist piece of ceramics.

DG: As you think about the decorative object, is there also a kind of spiritualism, mysticism or “pop-religion” that is also reflected in it?

MRS:  Objects are very powerful, especially in how they can absorb meaning or deflect it, depending on the context.  There are a couple pieces in the show that allude to religious Jewish objects. For instance The Hands of God in the foyer,  references a religious object call the “yad”.  “Yad literally means ‘hand’ in Hebrew.  It is an object that is used to read from the Torah because you are not allowed to touch the scroll.  It is an ornate stick about seven inches long with a very realistic hand on the end of it. They really are amazing looking objects. I made two yads. These long skinny arms with big hands swoop down from the ceiling. They are the hands of God giving birth and from their palms emerge people. The figures are these half formed little homunculus men.

"The Hands of God". Image courtesy of the artist.

Other figurative references are more specific to cultural or historical milieu. I’m thinking of the Credenza, actually, it’s feet are the “keep on trucking” foot and it’s pointing hand is from the “I’m with Stupid” Tee Shirt.

DG: Ha! So how does humor function in your work, is it important?

MRS: I try to combine several different emotions in one object like: Sad and pretty, or funny and strange, so there is more than one way to read the work at the same time. Humor is definitely in the mix.  I think through humor and often, unlikely connections result in something amusing. Another aspect to humor in my work is through bad taste.  Humor itself often has a double edge to it.  It can be really nice and really mean at the same time.

DG: Can you discuss your relationship to process and craftsmanship?

MRS: The finished object shows the history of how it’s made. There is a particular look to materials when you first learn a skill that I happen to really like.  There is a type of enthusiasm and inventiveness that translates to the work as you try and form it into something. This has a unique type of meaning that is very different then something that has no loose ends.  The final look of the work has to support the meaning of it.

DG: How do you know when you’ve gone too far, or haven’t gone far enough with your sculptures?

MRS: If it doesn’t have a kind of balance between emotional responses it’s not finished. For example I made a piece for the show where I wanted to reference something whimsical but to actually express a totally different feeling. The piece t ended up just being whimsical. There was no tension in it.  I’ll still work on it, but it definitely didn’t make the cut. There is a fine line between trying to make work about something and just making the thing in and of itself.

Dan Gunn is an artist, writer and educator living in Chicago.

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Work by Em’rynn Artunian, Thomas Hagen, and Billy Pozzo.

Co-Prosperity Sphere is located at 3219 S. Morgan St. Reception is Friday from 6-9pm.

2. Uh-Oh It’s Magic at Threewalls

Work by Ben Russell.

Threewalls is located at 119 N. Peoria St., #2C. Reception is Friday from 6-9pm.

3. Dawoud Bey: Early Portraits at Stephen Daiter Gallery

Early work by Dawoud Bey.

Stephen Daiter Gallery is located at 311 W. Superior St., #408. Reception is Friday from 5-8pm.

4. Black at Peregrineprogram

Work by Candida Alvarez.

Peregrineprogram is located at 500 W. Cermak Rd., #727. Reception is Saturday from 1-4pm.

5. Waiting for Daylight at Iceberg Projects

Work by Dana Carter.

Iceberg Projects is located at 7714 N. Sheridan Rd. Reception is Saturday from 6-9pm.

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Work by Jon Rafman, Parker Ito, Micah Schippa, Tabor Robak and John Transue.

Antena is located at 1765 S Laflin St. Reception is Friday from 6-10pm.

2. TYPEFORCE 2 at Co-Prosperity Sphere

The Annual Showcase of Emerging Typographic All-Stars: Andy Luce, Bill Talsma, Bud Rodecker / 3st, Caroline Corboy, Chris May, Emily Vanhoff, Frances MacLeod, Gary Rozanc, Jarred Kolar, Jessica Lynn White, Justin Gilman, Kyle Fletcher, Margo Yoon, Mark Addison Smith, Matthew Hoffman, Meng Yang, Nancy McCabe, Nick Adam, Nicole Briant, Quite Strong, Scott Reinhard, Sean Fermoyle, Sonnenzimmer, Studio 1a.m., and Tami Churns.

Co-Prosperity Sphere is located at 3219 S. Morgan St. Reception is Friday from 6pm-midnight.

3. Views From the International Park System at Packer Schopf Gallery

Work by Renee McGinnis.

Packer Schopf Gallery is located at 942 W. Lake St. Reception is Friday from 5-8pm.

4. Subtitles 2 at Threewalls

Work inspired by Roald Dahl.

Threewalls is located at 119 N. Peoria St., #2C. Event is Friday from 6-8pm.

5. Instruments of Resurrection at Roots and Culture

Work by Zachary Cahill, Theaster Gates, Mathew Paul Jinks, Aspen Mays, and Cauleen Smith.

Roots and Culture is located at 1034 N. Milwaukee Ave. Reception is Saturday from 6-9pm.

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My second and last, lovingly delivered plug of the day is Chicago-centric:  ThreeWalls is presenting the first session of an ongoing series called the @work SALON. Tomorrow night, Tuesday, February 1, at 7:00 pm, they’ll be discussing alternative curatorial practices with Anna Cerniglia (Johalla Projects), Nicholas Frank (Inova), Aay Preston Myint (No Coast) and Kelly Shindler (Art:21). This is an open discussion that depends on audience participation, so if you’re interested in things curatorial, brave the coming blizzard and get your asses in those folding chairs (or on the floor, if you don’t arrive early enough)! The topic, and the speakers, all sound really terrific. Here are all the details, below.

threewallsSALON: Curating the Turn

Tuesday, February 1, 7:00 pm

In the first session of the @work SALON series, we explore alternative models of curatorial practice.

In May 2010, e-flux editor Anton Vidokle published “Art Without Artists?” in which he described the dangers and demerits of the rising power of the Superstar Curator. The polemic essay elicited a flurry of equally polemic critical response from curators and artists, thus kindling the flames of a discontent with the increasingly independent role of the curator that have flickered since the 1970s.

In this SALON session, we respond to this discussion by proposing to move beyond it. Instead, we accept the premise of the creative curator, and ask: what are some boundaries-pushing, interdisciplinary curatorial models that fully embrace all the potential inherent in that role? How has the “educational turn” changed the stakes for independent and institutional curators? How are curators (aspiring or established) responding to, profiting from, or perhaps even ignoring, the academicization of their practice? And what are some thoughtful ways in which curatorial practice is responding to different institutional models, as well as reaching beyond the arts institution, to address activism and politics?

Invited guests Anna Cerniglia (Johalla Projects), Nicholas Frank (Inova), Aay Preston Myint (No Coast) and Kelly Shindler (Art:21) will help to lead a discussion that will address these questions and many more.

Anna Cerniglia is a curator, visual artist, and the director of Johalla Projects. She received her BFA in photography from Columbia College Chicago in 2006. Over the past five years, she has worked throughout Chicago to convert unconventional spaces into alternative venues for exhibiting art. Cerniglia founded South Union Arts in 2005 and has since curated for ALLRiSE Gallery, Grolsch, Buchanan Art Project, Lakeview East Art Festival, and Johalla Projects. Outside of the United States, she has worked as an assistant curator as at Berliner-Liste and as a co-curator at La Porta Blu Gallery of Rome. Most recently, she has begun working with the aldermen of Wicker Park and Logan Square (Joe Moreno and Rey Colon, respectively) to foster and promote public displays of art.

Nicholas Frank is curator at the Institute of Visual Arts (Inova) and a co-founder of the Milwaukee International. He ran the Hermetic Gallery in Milwaukee from 1993-2001. His projects and work have been exhibited at the Tate Modern (London); Kölnischer Kunstverein (Cologne); Swiss Institute, Gavin Brown’s Enterprise’s Passerby and Small A Projects (New York); Angstrom Gallery (Los Angeles); Locust Projects (Miami); Hyde Park Art Center, SAIC Sullivan Galleries, and many others. His solo and collective activity have drawn attention from The New York Times, Art Forum, Art in America, Sculpture, ANP Magazine and New City. He has written on art and other subjects for New Art Examiner, Purple, X-tra, Sculpture and Artpapers. A current project is featured at the Poor Farm in Manawa, WI. Frank is represented by Western Exhibitions, and teaches at MIAD.

Aay Preston-Myint is an artist, printmaker, and educator who does collaborative programming with No Coast, Mess Hall, ACRE, and Chances Dances, and edits an online journal called Monsters and Dust. He has exhibited nationally in San Francisco, Minneapolis, New York, and has contributed original writing as well as had multiple reviews of work in the Chicago Reader, New City, Proximity, and AREA. He is currently an MFA candidate in Studio Arts at the University of Illinois at Chicago.

Kelly Shindler is currently completing a dual Master’s in Art History, Theory, & Criticism and Arts Administration & Policy at the School of the Art Institute of Chicago. She holds a B.A. in English from the University of North Carolina at Chapel Hill. Since 2003, she has worked at Art:21, producer of the Peabody award-winning PBS documentary series, Art:21—Art in the Twenty-First Century, where she is presently Director of Special Projects and runs Art:21’s blog. She also works with SAIC’s experimental moving image series, Conversations at the Edge. As a curator, Kelly co-founded of the Package Deals film series, whose programs have screened in over thirty cities around the world. She has curated exhibitions and programs for the Australia Cinematheque, Oulu Music Video Festival in Finland, Scandinavia House in NYC, Sequences Festival in Reykjavik, and the Sullivan Galleries in Chicago, among others.

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