Blogness! It’s rolling out — some great contributions over the last few weeks, as you can see from the following compilation. Some great podcast action too, with EXPO panel Josh Baer (Baer Fax), Forrest Nash (Contemporary Art Daily), and Paddy Johnson (Art F City), and this week’s conversations with Takeshi Murata and Robert Beatty.
Continuing his series about video games, Paul King writes about the sparse, enigmatic 140:
When 140 begins, you’re dropped into near silence. A single tone plays: low and bassy, it seems to emanate from the flat, monochromatic setting of the world. Your avatar is a lone recognizable shape: an unmoving square. Move to the left or right and transform into a circle; or jump into the air, turning briefly into a triangle before landing. 140’s protagonist-shape is instantly familiar, because it’s derived from a universal visual language. Those gentle geometric shapes are the stuff of childhood learning, the foundational building blocks of concepts such as color recognition, addition, and geometry. The square, rectangle, and triangle are a mark of simplicity, their functions instantly recognizable in motion. What’s wonderful about 140 is that every component of the game is at its most basic, most recognizable. The colors are just as sparse as the landscape, a single-color expanse that’s all right angles save for the occasional circle. Whatever origin the game’s character came from, the world came with it.
Juliana Driever talks to the NYC-based artist, Jenny Polak, who’s work, “ brings human scale to the urgent politics of immigration in the US.” When asked about the relationship between her art and activism, Polak replies:
Chicago was the first place I came to when I first arrived in the US, and the first thing I saw as I was driven from the airport was a huge demonstration about some art. (It was about “What is the Proper Way to Display a US Flag?” – the work of my husband-to-be, Dread Scott.) This added tantalizingly to my sense that in the US art could influence public opinion, which I had given up hope of in England. My activism for a time was kind of separate from my art, but I was saved by the experiences of collaborating with Repo-History and the poster collective Resistant Strains on a few projects. Plus I had had a kid, and started working for architects and there wasn’t time anymore; then it was suddenly clear to me that those things (kid, architecture) were the sources and the connections I needed for a new activist art combo. I drew on my architecture background and my immigrant activist network and made a web project (HardPlace) for which detainees from across the country supplied sketches of what they knew of their invisible prisons, (photos being forbidden) and I traced them into strange digital 3D models where you could find a few tidbits of info that cumulatively conveyed an idea of the terrifying Kafkaesque system that was proliferating since the 1996 laws had passed. The Lower East Side Tenement Museum funded the project so that I felt able to team up with web designer Lauren Gill to deliver a project that got quite a lot of attention on the predicament of detainees and the dangerous direction US immigration policy was headed in – it was launched soon after 9/11 and detention was taking on a new definition in the public imaginary and in abusive reality.
Portland Correspondent, Sarah Margolis-Pineo, talks to Anna Gray and Ryan Wilson. Margolis-Pineo begins evocatively, “I first met Anna Gray + Ryan Wilson Paulsen as they were carting a tank of helium into the desert,” and the interview goes on from there. At one point, Gray says:
And the systems and ethics around work, especially in this country, are really detrimental and limiting. We titled that banner Working Towards Non-Work, as we are trying to find a vocabulary for working and artistic activity that isn’t about productive ends, but about positively reproductive ones. There’s a lot expected of artists at this point in terms of levels of productivity in academia, in shaping the quirk and brand of a city, in participating nationally or internationally as a creative contributor, and in maintaining an exhibition and/or studio practice. How are other artists managing this workload, which by its very design seems to prevent the best work from being made?
Reflections of Samarkand courtesy of Jeriah Hildwine:
I should say now that I have never been to Samarkand (in present-day Uzbekistan), and that my views of it have been shaped almost entirely by its mythical role in Clive Barker’s novelGalilee. A quick bit of slacker research, though, reveals the essential nature of that city to match Barker’s description pretty well. Situated on the Silk Road, Samarkand was a city of wonders, the ultimate crossroads, a center of commerce as well as of art and culture. People came from thousands of miles to experience the wonders of the city itself, but more so, to meet and trade with one another.
Britton Bertran talks money, art and relevancy:
The art economy in Chicago – specific to the visual art market – is busted. It doesn’t work and hasn’t worked for a long time. Yes, this a provincial observation as we are in a global society, but ask any commercial gallery owner in Chicago that’s not one of the Mighty 5, and they’ll tell you the same. Yes, more and more people who aren’t in Chicago are paying attention to us as a viable location. Chicago is a place that has artists who make (and made) great work and some non-Chicagoans are even buying art from here (good luck in Miami y’all!). But when it comes to a localized presence, we are somewhere near the bottom of the attention totem pole. Where would you place visual art on the Chicago matrix of culture that includes Theater, Music, Dance, and yes, Food?
Alyssa Martinez interviewed Bad at Sports’ comics correspondent, Sara Drake, about her shadow puppet collective, PUPHouse. Drake, at one point offers the following:
When I was small, my dad always used to say, “What makes a good animal, a good animal?” This was meant to be soothing after some brutal animal world fact on television, a pet death, watching viruses destroy human cells on bring your daughter to work day, etc. It meant, what ensures that animal survives? Is being brutal or dark, something that a human animal might consider bad, a part of what defines that animal? “What makes a good human, good at being human?” This is how I move around in the world ad. infinitum.
August Evans considers surrealism David Lynch, Maya Deren and others :
Any attempt to place the weight of genre upon an artists’ movement like Surrealism presents problems, considering the aims of the first (and possibly only) surrealists were to explode the bourgeois order. Indeed, these initial surrealist films achieved something very unique, specific, and particular to the artists’ movement out of which they emerged. Toby Sussman deems these early films “the pinnacle of the Surrealist films…the representation of the total passion of a human event pushed beyond previously known limits…resulting in a beautiful new world of images existing somewhere between the amorphous intractability of dreams and the cold acceptance of everyday consciousness”.
Hannah Verrill posted her lat installment in the Process Notes series. Here Verrill talks to Tatyana Tenenbaum, who offered a note from her performance, Private Country:
Techno-Minimalism… TuneYards and Gang Gang Dance. Moving out of the “new complexity” (or, as my 78-year old composition professor would say, “the new stupidity.”) Moving towards audience immersion, sensory experience, spectacle as visceral sensation—where spectacle departs from tried-and-true convention—where it began as something primal, something essential to the human experience, ritual as catharsis, religious ritual, art as ritual/ and /or / religion. Contemporary pop counter culture as ritual. || None of this writing is suitable for an audience but perhaps I will try to articulate it further. || WHERE FORM MEETS - – – } FUNCTION, and this becomes aesthetic. Everything dependent. Everything related. Everything a choice. Proliferation of media means theater becomes one-dimensional in the conventional sense. Prosceniums are officially flat, not adapted to a world that frequents the 3-D movie theater. Antiquated. Dull, irrelevant? Or just self-conscious in their flatness?
We closed out with an interview between LAMPO and the Post Family. When asked how LAMPO got stared, Alex Fenchel answers:
When I started things in ‘97 I had no special expertise in music. I was a fan. I’d been listening to weird stuff since high school and going to shows since college. I liked that moment of discovery, especially live, with other people around and the artists there. I wanted to make that happen. I had no background producing events, and I learned as I went along. In retrospect, the lack of experience was helpful. I didn’t know what I was getting into or why I shouldn’t do it. But I wasn’t a complete fawn. I had spent some time around art museums through a couple of internships. I began thinking as much or more about the artists, rather than just the audience, recognizing that Lampo could offer extra support for their work. And I believed producing beautiful design would help make each project special. Alisa and I first met when Lampo was just about a year old. So, design was almost always integral to the idea.
I’m a week behind in the Week-In-Review Department, and as result today’s post will feature not only this week’s posts, but last week’s as well. Two for the price of one.
This week on the podcast, Amanda Browder spoke with Michael Velliquette and Oliver Warden; Velliquette has a show up at DCKT Contemporary, and Warden talks about GLOBALL Last week: Scandal! Economics! Wendy’s ads from the 80′s!! BAS talked to Oliver Ressler and Gregory Sholette about It’s the Political Economy, Stupid..
Caught Between The Privatized Marriage Market And The Corporatized Labor Market: The Zero-Sum Binary Of The (Failed) American Dream? Virginia Konchan reports:
Cultural treatments of what Jeffrey Eugenides (qua Austen) termed the “marriage plot” of fiction include post-romantic polemics (Laura Kipnis’ 2004 Against Love), arguments for and against biological and gender essentialism, chick lit and post-feminist writings, and queer and trans literature (as well as post-9/11 and world literatures reframing the metaphor of war as between cultures and races, rather than genders). Keeping pace with the culture industry’s manufacture of fantasy, Hollywood continues to churn out variations on the theme of marriage, whether representative, in the US, of market demand and actual statistics, or not, in reality TV (The Bachelor; Wife Swap) and, in film, such as the 2013 rom-com Austenland,directed by Jerusha Hess (an adaptation of Shannon Hale’s novel, based off Pride and Prejudice, about a British resort recreating the Austen era, to fuel the obsession that every woman’s platonic double—Mr. Darcy, aloof yet smoldering with passion—awaits us just around the corner).
Follow Jeffrey Songco as he walks to drop off his rent check. In this particular instance, he stops off at the library to check out the five (!!!) exhibits they have up concurrently, including A Little Piece of Mexico: The Postcards of Guillermo Kahlo and His Contemporaries:
The exhibition makes a fantastic case that the cultural identity of Mexico was shaped by the popularity of the photo postcard at the turn of the 20th century. With images from international photographers like Guillermo Kahlo, Abel Briquet, F. Leon, and CB Waite, the exhibition honors the iconic images that undoubtedly shaped the current contemporary branding of Mexico’s visual identity. The significance of this show to the local Mexican and Mexican-American population is palpable, while also revealing the country’s heavy influence on San Francisco’s own architecture and landscape design.
From the Twin Cities — where it is also cold — Eric Asboe writes about aesthetic [ir]ationality with a nod to Cocteau:
I gravitate toward artwork that can only be consumed through time, that makes me think, that forces my mind in new directions and challenges my notions of what the world is. I know how to live with that work outside its context. I know how to carry it around with me as it informs the rest of my life because it has already existed in my mind through successive moments. I have a harder time knowing how to live with artworks that are immediate, nebeneinander. It might thrill me to my core, but where does it live in my brain when I leave? Why does it still influence me as I continue through my days? Its momentary nature belies its potential impact. The moral erection, the immediate, nonrational responses I have to those works shifts that impact away from my rational mind to a place I cannot see, a place all the more profound because it is unplumbable.
A post about documenta13 participants from Chicago, by Chicago’s own, Daniel Tucker:
Through my study of Chicago, I have observed that this turn towards “the social” is less of a turn, and more of a ever-present fascination. It has also been observed today, as well as in reflections on history that the work in Chicago has always been more serious than elsewhere. In a dialogue held at the South Side Community Arts Center, respected photographer from the Black Arts Movement Bob Crawford spoke to his experience doing a photo show in New York City, where he observed that “the Chicago photographers’ work was usually more political. And the New York photographers’ work was a little more “art,” narrowly.” Deeply familiar with the Chicago artists and authors participating in documenta13, I traveled to Kassel last summer to see their work and consider my hometown art scene in relationship to this massive global event. Below are a few scenes from that trip.
MAINTENANCE: Mairead Case reflects on her ongoing series of literary insight:
Last May, when I wrote MAINTENANCE #1, I quoted the interview Bartholomew Ryan did with Mierle Laderman Ukeles, for Art In America in 2009. Maintenance, she told him, ‘is trying to listen to the hum of living. A feeling of being alive, breath to breath.’ That’s still my lodestar for this column. … I write about ‘the people [the writers, the editors, the publishers] who are taking care and keeping the wheels of society moving.’ I try to pay attention. Here where Our Scene is so rad and vibrant but also so segregated by neighborhood, schools, tone, etc., this is something we can always fail better at.” She goes on to review, Afrosonics by Harmony Holiday, Guy Davenport!, Manifesto Items 2 by David Lasky (self-published, 2013), Women, The New York School, and Other True Abstractions by Maggie Nelson (University of Iowa Press, 2007), Like Someone In Love: An Addendum to Love Dog by Masha Tupitsyn (Penny-Ante Editions, 2013), and The Crisis of Infinite Worlds by Dana Ward (Futurepoem Books, 2013).
Edition 20 from Dana Bassett features The Central Techno Authority, Brett Nauke, Oneohtrix Point Never, Brandon Warren Alvendia, LVL3, Miss Pop Nails, Carson Fisk-Vittori, Derek Fretch and more HERE>>>
Autumn Hays reflects on recent Queer and Trans performance panels —
We could go on to talk about the subject of the word Queer as discussed during the roundtable “New Queer Aesthetics” in late October. Queer New York International Arts Festival (QNYI) had come to Chicago to exhibit a Queer Fest as an extension of the one in New York at Defibrillator Performance Art Gallery . The Chicago show featured artists Suka Off, Bruno Isakovic, Gabreiela Mureb, and Keijaun Thomas. Queer fest distinctly pulls itself away from other Queer festivals which they feel are accepted ideas of the term Queer. As one of the festivals curators, Zvonimir Dobrović, explained, the festival seeks to redefine and challenge preconceived notions of the term Queer. Not all work is made by the LGBT community and instead is defined loosely by a sort of norm-challenging ascetic.
Thomas Friel interviewed Arturo Herrera!
Purveyor of melancholy cartoon moments, amorphous shape and line, melting abstract symbolism and form fluidly, Arturo Herrera creates new meanings from global popular culture and the discarded memories available at thrift stores. With gorgeous abstract dialogue, he cuts into our subconscious, seeking dark realities in the seemingly innocent imagery of childhood. Yet this is globally corporate sentiment which he makes us aware of; in homage to past Modernist movements, he hopes to awaken our senses from the dreamy haze they reside. References to Pollack appear as dripping webs of networked possibilities in immigration halls, allowing art to be the key to success in the cutthroat Americas. Simple gestural brush strokes, epic in scale on institutional walls, have the purity both the Ab Exs and cartoonists long for. With clear precision and acute awareness, Herrera depicts the line between the Surrealist’s dream and the failure in Dada. Partaking, we become the tight rope walker and must balance accordingly between his worlds and Art’s past. For his upcoming exhibition at Corbett vs. Dempsey in Chicago this December, he reveals new work within the intimacy of the printed book; showcasing several altered found books in a sensibility all his own; muted yet powerful, melancholic yet strong, abstract yet concrete, visceral, tangible. In this, he enlivens us to the subjugation our senses experience in the digital age.
Regarding critical art writing, LA Correspondent Jacob Wick continues his homage to the Mama’s and the Papas with his latest West Coast dispatch:
The not-so-recent hullaballoo over the use or misuse of English in e-flux press releases, which started with the dubious assertion that a language separate from English was being used in the online listserv/journal in Triple Canopy and fizzled out with an entire issue of e-flux journal dedicated to half-assed rebuttals of that thesis provides some useful fodder. e-flux is a listserv that serves some 90,000 readers across the world, and to which are submitted press releases from everywhere, all of them in English, some of them in better English than others. These press releases are generally written in a similar tone and register, a tone and register that is relatively uniform throughout early 21st-century art writing in English. These press releases, because they strive to make sense with and to each other, constitute a discourse. This is not in itself a problem. Neither is the quality of English in use, nor whether this use constitutes a separate language – which of course it doesn’t, that’s ridiculous, if anything it might constitute a sociolect (unless we are going to start talking about International Baseball English or something) – or even that English is being used (lingua francas are important if a global discourse is to be established, right?).
This week on the podcast: Duncan, Richard, and Jason Dunda talk to a cast of thousands led by Jen Delos Reyes!
Jen Delos Reyes is an artist originally from Winnipeg, MB, Canada. Her research interests include the history of socially engaged art, group work, band dynamics, folk music, and artists’ social roles. Hear it all right here.
If you want to revisit costume convos again, Jeriah Hildwine discusses the dress of personas in every day (art) life:
Of course Halloween has just come and gone, and that is the first thing most people think of when they hear the word “costume.” Costume, though, plays an important role in many aspects of life, including art. The word costume can be used to refer to any article of clothing or manner of dress. Usually, though, it implies something outside of the everyday. Depictions of historical costume is an important aspect of art history, whether it is the significance of the color of the Virgin Mary’s dress in an icon, the meaning of the steel gorget in a Rembrandt portrait (e.g. the one hanging in the Art Institute), or the absolutely pippin’ fur collar in Albrecht Durer’s later self portrait (as well as that prison striped number with the lace on sleeves in his earlier one).
New dispatch from Bloomington, Indiana courtesy of August Evans. Evans writes about Bobcat Goldthwait‘s recent visit to IA, and the connections between Goldwait’s film, God Bless America, and Lolita:
I was reminded of this particular exchange during the Q&A session following the film, when Goldthwait, in response to a question as to his rationale behind casting Barr as Roxy, said, “When she came in to read, she didn’t play it too vampy. Other actresses were sexy, coquettish, doing the Lolita thing. Tara was wearing overalls.”
Monica Westin interviewed Dieter Roelstraete about his latest curatorial project; it opened this Friday at the MCA:
Only the second exhibition at the MCA organized by Senior Curator Dieter Roelstraete, The Way of the Shovel, opening tomorrow, takes as its basis Roelstraete’s ongoing observations about the centrality of the language of archaeology, archive, and history to art discourse over recent years. Spanning a wide grouping of artists and mediums (though, not surprisingly, focused in particular on photography and video), the show is ambitious conceptually as well, attempting to cover work that challenges histories, creates its own alternate histories (with starting points ranging from Robert Smithson to histories of Chicago), and takes up the tools and practices of archaeology both metaphorically and literally. I spoke with Roelstraete the week before the show opened about the archaeological imaginary, artistic research, Freud, and 9/11.
Mark Sheering wrote about where Fish Mongery and contemporary art intersect:
To respond to the art world with a fish may be a surrealist gesture. But to respond with an entire fish counter, complete with fishmongers in white boots, ice and creative displays of the seafood itself, is surely pushing the 20th century genre to breaking point. Such is the effect of the so-called Centre for Innovative and Radical Fishmongery, spotted in public at Sluice Art Fair, London, late October. Amidst the plentiful art for sale, the wares at CIRF included a scrambling pile of langoustine and a sinister-looking hake chewing on a lemon. The artist behind the project is Sam Curtis who came to fishmongery by chance in 2006. A part time MFA at prestigious art school Goldsmiths necessitated finding work. By strange twist of fate, he found an opening on the fish counter at luxury department store Harrods.
This week’s podcast features Brian and Matt Sussman talk with Monique Jenkinson, whose work draws from dance, theater, performance art and drag. Hot topics include: staging a guerilla fashion show in a museum, the subversive power of Disney princesses and how performers are like archives. Plus, more divas than the Daytime Emmys!
Blog life began this week with a post from Paul King about narrative techniques in video games — particularly Half-Life and Gone Home. King explores the way game players develop a relationship their gamesake protagonists as they negotiate the landscape defined by developers:
… as the player gains control and the ability to define the narrative through the interactivity of the medium, the developer appears to exert less control. And when the developer wields less control, they fade from the experience of the game, allowing it to stand on its own. While the relationship between the player and the developer is an interesting one (and well worth exploring at another time), they happen to be at direct odds with either’s direct relationship to the game and the protagonist. In a sense, the developer must be able to release full control of their creation, their child, to the player, and allow them to determine the protagonist’s existence and relation to the game as a whole.
After the Creative Time Summit, Abby Satinsky dives into a question posed by Project Row House’s Rick Lowe:
“Is Social Practice Gentrifying Community Arts?”: This question posed by Rick Lowe of Project Row Houses in conversation with Nato Thompson at this years Creative Time Summit, Art, Place & Dislocation in the 21st Century, was a crystallizing moment in a series of gatherings and convening I’ve been part of the last few months. Addressing “gentrification,” the thematic buzz word of this year’s Creative Time convening, Lowe said that to really talk through the issue of gentrification, we must also address our issues with race. As he put it, communities of color are talking about race all the time as part of inescapable component of everyday experience, whereas conversations with white people results in a sort of “shadowboxing” in which one dances around the issue without addressing it head-on. To illustrate, he brought up the media coverage around the Trayvon Martin/George Zimmerman case in which Juror B37 said on Anderson Cooper that the case had nothing at all to do with race, a sentiment echoed by many commentators in our mainstream media outlets. This in stark contrast to the conversations he was having (as many were) where race was the central issue in how that case was tried and decided and which had vast implications for communities of color.
Ever wonder how art gets from one place to another? From the basement to an exhibition hall? From one state to the next? Britton Bertrand wrote about his tumblr page, INSTALLATOR:
My own Tumblr, Installator, is a curated (for lack of a better term) blog of other people’s content. Installator (wrapit-tapeit-walkit-placeit) is essentially a compendium of art in a state of movement – being installed, de-installed, moved, crated, knocked down, hung, lifted, cleaned, screwed together, and on and on. It’s about art as an object, but decidedly not the object that most people understand it to be. Not precious, or in some cases priceless, well-lit aesthetic nuggets that just seems to appear on walls, or pedestals, in fields, on buildings and above couches. These are images of artworks that are not static.
On November 9th the Queens Museum (formerly the Queens Art Museum) will reopen its doors. Juliana Driever discusses the work on display:
The inaugural season at the QM includes solo exhibitions by Bread and Puppet Theater Founder, Peter Schumann, Pedro Reyes and Jeff Chien-Hsing Liao, as well as the sixth installment of the Queens International. New installations of the permanent collection galleries impress – including, of course the panorama of New York City, easily one of the museum’s greatest assets.
Thea Liberty Nichols wrote about Chicago artist Judith Brotman, reflecting on the artist’s new body of work and how it emerged from past projects:
For the exhibition “New Word,” Brotman used the Jewish Kabbalistic prompt of finding a word to follow for the rest of your life as an impetuous to generate 1000 new words, including some of the following examples:
Brotman relinquished some control over the piece’s manifestation by “not touching the work,” tasking the organizer of the exhibition to fabricate the piece by inscribing the words on the wall for her. Although many of the words are humorous sounding, and the project on the whole involves a certain amount of playfulness, it forces a certain obligation and responsibility on the viewer as well.
Kevin Blake interviewed Josh Reames, about his approach to painting. discussing — among other things — the canon and abstraction. At one point Reames reflects:
Maybe I’m wrong, but it seems like the need for iconoclasm is outdated. I think the idea of superseding or escaping abstraction comes from some need for a linear narrative of “this became that, then that became something else” which I think has been a legit way of understanding a progression of artists, at least for the past few hundred years. But now I think it’s a little different; sampling, re-sampling, homage, and straight plagiarism are all viable forms of historical awareness in art. The drippy brushstroke has historically been an abstract tool, meant to express the presence of the artist – a remnant of the physical self. But over time, that becomes a trope, a symbol separated from it’s original context. I think this is liberating in a way. It’s sort of like Tarantino using the tropes of old kung-fu films like Zatoichi and Lady Snowblood; he takes an outdated thing and makes it fresh. In that sense, Robert Motherwell or Franz Kline didn’t have the internet, so I have a fresh set of tools to play with.
Terri Griffith posted a review of Pussy Riot’s latest book, PUSSY RIOT!: A Punk Prayer for Freedom :
Pussy Riot is just what we need right now. This little book from The Feminist Press is a compelling time capsule told exclusively from the perspective of the women themselves, and their artist supporters. I’m sure the future will provide us with an academic anthology retrospectively detailing the cultural, political, and activist implications of Pussy Riot. Thankfully, this is not that book.
& last, but not least: a list of Endless opportunities from yours truly.
James Elkins’ does it again! Listen to this week’s podcast! Episode 425 yall.
Bailey Romaine wrote about her experience during on a South Side gallery tour with Monique Meloche:
Last month, in the midst of the crazy Expo Chicago extravaganza, I had the pleasure of going on a tour with Gallery Weekend Chicago. GWC was founded by Chicago gallerist Monique Meloche in 2011 and offers annually a weekend of private gallery and museum tours. I went on the Sunday tour which took us down to the Washington Park and Hyde Park neighborhoods on the South Side and made stops at the Arts Incubator, the Smart Museum, the Renaissance Society, and the Logan Arts Center.
The Arts Incubator in Washington Park was the first stop of the day. This space, part of the University of Chicago’s Arts & Public Life Initiative, was conceptualized by Theaster Gates, who is now director of the project. The Incubator is home to an artist residency program, a community arts education program for teens, as well as an exhibition and performance space.
Meredith Kooi reflects on James Turrell using Heideggar as a lens:
Nancy Marmer’s 1981 review of Turrell’s exhibition at the Whitney, James Turrell: Light and Space, focuses on the “chilling art of deception” which is Turrell’s “more rigorous, even didactic, aspect to [his work] that tends to be ignored.”  This attention to illusion or deception isn’t specific to Marmer. From that same year, Wolfgang Zimmer’s review in ARTnews is titled “Now You See It, Now You…”  This is important. Questions about being and truth are glossed over when the work is only described as illusion and deception, simple plays of perception. This is too simplistic to fully describe Turrell’s work. Rather, it is the interplay of appearance, semblance, and phenomenon (in Heidegger’s sense: of something showing itself from itself in itself). It is not a simple either/or situation, where you either see the illusion, or the “true” material conditions of the piece. The totality of this situation of being-with the piece is the truth of the work, its unconcealedness in the disclosure of Dasein, our being as being-in-the-world.
Shane McAdams discusses a painting show in Milwaukee curated by Shane Walsh; on the way, however, he ruminates on the Renaissance with a call for letters from any and all of You:
Our current notion of the renaissance wasn’t codified until Jacob Burckhardt did so in the middle of the 19th century. And the treasures of art that signify that rebirth weren’t substantiated until the wheelings-and-dealing of mercenaries like Bernard Berenson and Joseph Duveen canonized them only more recently. The subsequent narrative about the primacy of Italy has been reinforced by a century of lectures from auditoriums dimly lit by the pale glow from Kodak slide projectors loaded with Fra Angelicos and Mantegnas.
Despite the gospel to which we’ve willingly subscribed, rolling Pico Della Mirandola, Boccaccio, Machiavelli, Cimabue, Giotto, Raphael, Titian, etc. etc., into a tidy narrative that spread Northward, I had to wonder at the Met whether, if we could press ‘reset’ on the Game Cube of Western Civilization, we would end up listening to adjunct professors recite an alternative story of the North, of Erasmus, of the Hussites, of the Hanseatic League, and Martin Luther and Gutenberg…and of course in art, of van Eyck and van der Weyden, with Da Vinci, Tintoretto and Titian relegated to supporting roles?
And once again, the week closed out with a list of job-and-writing type opportunities.