Jerry Saltz is interviewed in Time Out Chicago this week about his role in the much-anticipated (among reality t.v. fans and art snarks like me, anyway) new television show Work of Art. I never knew Saltz was from Chicago! Nor did I realize he was an adjunct faculty member of the School of the Art Institute, either. Check out the full interview here; a brief excerpt follows.
Why’d you want to be a judge on Work of Art?
It isn’t for the money. I won’t tell you what I make, but it’s really not much. I wanted to perform criticism in public to show that it’s not an elitist practice but specialist and subjective—and more thrilling than people imagine.
So you think the show will help make visual art more accessible?
I do. People are frightened of looking at and making judgments about art, and they don’t need to be. They just need to look longer, see harder, listen to themselves, and they’ll hear voices they didn’t know they had in their heads, voices of real discernment.
It helps that, unlike with Top Chef, viewers experience the products themselves, so they form their own opinions as the judges form theirs.
Yes. I think the act of making art is not inherently sexy to most people. With food, that’s implied penetration and sexual. Sometimes watching somebody saw a piece of wood—not so interesting. To me, however, it’s metaphysically sensual—watching somebody try to imbed thought in material.
More than any other art form, visual art seems off-putting to people.
Why do you think that is?
We are not sure as a culture what art is to us. So when people are presented with stuff that is called art, nobody knows what to do with it. And that’s sad to me because people make visual judgments every single day: what color are you wearing, what material is it.
Has the art world itself contributed to that sense of inaccessibility?
It takes a lifetime sometimes to understand why an all-white painting is art. It’s hard for me sometimes to remember, to relive why a bicycle wheel mounted upside down on a stool is art.
Yesterday we all saw the gossip on Proximity‘s blog about the laying off of almost all full time employees at The Spertus Institute of Jewish Studies. Time Out Chicago got on the case and spoke with Spertus spokeswoman Susan Baum about the rumors.
“…When asked about staff reductions, Baum would only say, ‘There have been some changes made.”’She referred me to incoming Spertus president and CEO Hal M. Lewis, with whom I hope to speak later today.
Baum acknowledged, however, that in September, after the museum’s current exhibition ‘A Force for Change: African American Art and the Julius Rosenwald Fund’ closes, the Spertus will only be open ‘every other Sunday’ and during special events. The museum may also be open one night each week and by appointment only, she adds, explaining that the schedule isn’t fully set yet. (According to a statement on the Spertus’s website, the museum will be open the second Thursday evening of each month.)…”
Read the entire article here.
Are re-blogged links the blogger’s version of the sitcom flashback episode? Uh, maybe, but in any case, here’s a partial and purely subjective roundup of the past week in art, culture, etc. in Chicago and beyond, via a whole mess o’ handy links, of course….
*New City art editor Jason Foumberg has a nice recap along with some thoughtful analysis of last week’s “The Invisible Artist: Creators from Chicago’s Southside” panel discussion at the School of the Art Institute. UPDATE 4/4: There is some very interesting, enlightening, and pretty damn sharp back-and-forth going on in the comments section of this article by panel participants and others who strongly disagree with (or have misunderstood) Foumberg’s assessment of the panel and the issues it addressed.
*The mass firings of adjunct fine art faculty at Parsons The New School for Design: blogger Hrag Vartanian’s coverage has been some of the most thorough thus far. Check out his posts here, here and here as a start.
*Time Out Chicago writer Lauren Weinberg has a piece this week on the ways in which Musuems in Chicago and elsewhere are using social media.
*Big yawn: on the Twitter front, an update on @platea’s Twitter happening I blogged about a few weeks ago. UPDATE 4/4: NewCity reported on what happened during the Twitter Island project discussed in that same blog post, here.
*Via C-Monster: The Architecture of the Drug Trade. A fascinating look at the landscape of weed and the architecture of the grow house. Especially loved the comparison of the latter to Max’s bedroom in Where the Wild Things Are.
*Paddy Johnson of Art Fag City writes for The L Magazine on why Jenny Holzer is not the patron saint of Twitter in her review of Holzer’s Protect Protect Project, which originated at the MCA and is now at The Whitney.
*And finally, the hermeneutics of “pin diplomacy”: via Artnet Magazine, Madeleine Albright’s pin collection to be shown at the Museum of Arts & Design in New York. Pins weren’t mere jewelry for Albright, they added a subtle layer to her diplomatic efforts. She wore a bee pin when talks were getting pointed, a balloon pin when she felt hopeful, and a snake pin after Sadaam Hussein’s people called her a serpent. I’m so there!