Art & Development, Community, Works

My Imaginary Group Show

A few weeks back, I posted about an assignment for artists to describe their own dream group show.

I came up with one version of my own dream group show—it’s local, site-specific and combines numerous interests. I was so excited by all the projects and artists, the only way I could keep my presentation under the six-minute limit was to read out a script of only keywords, and that’s what I’ll include here. Enjoy! And consider coming up with one of your own—it’s a fantastic, liberating exercise.

1,000 Single Steps

For Jeremy Deller,

art isn’t about what you make
but what you make happen.

Inspiration.

Jeremy Deller, Ed Hall, (Banner Maker), Procession, 2009

Jeremy Deller, Ed Hall, (Banner Maker), Procession, 2009

Manchester Int’l Festival.
Manchester History.
Industrial Revolution.
Workshop of the World.
Birthplace of Socialism.
Textile Mills.
People’s History.
Tradition of Banner-making.
Participation.
Contemporary groups working with a banner maker.
Parade.
Absurdist.
Crown of french fries.

Even the emo teens.

Participants. Jeremy Deller, Ed Hall (Banner Maker), Procession, 2009

Participants. Jeremy Deller, Ed Hall (Banner Maker), Procession, 2009

Proposed Site: The Queens Way

Summer of public programming as grand opening.

Map of the Proposed Queens Way. // Source: TheQueensWay.org.

Map of the Proposed Queens Way. // Source: TheQueensWay.org.

• 3.5-mile portion of the abandoned Rockaway Rail Line
• community-led effort
• current status: feasibility studies

Present conditions of the Queens Way. // Source: TheQueensWay.org.

Present conditions of the Queens Way. // Source: TheQueensWay.org.

I am not a natural optimist.
Anxiety and rumination, humans’ natural states.
Exercise, surefire mood-elevation.
Importance of access to clean, green open space.
For Physical health.
For Psychological health.
A society where women can go for a run in their own neighborhoods without fear.
Improve quality of life for generations.

 

Artists and Projects

Susan O’Malley, Community Advice, 2012.

Susan O’Malley, Community Advice, 2012. // Source: susanomalley.org

Susan O’Malley, Community Advice, 2012. // Source: susanomalley.org

Susan O'Malley, Community Advice, 2012. // Source: susanomalley.org

Susan O’Malley, Community Advice, 2012. // Source: susanomalley.org

Classmate, friend.
Based in California.
Site-specific variation on project.
100 participants.
2 questions.
What advice would you give your 80-y-o self? 8?
Collaboration with printmaker.
Wood type posters
Posted in the community.

Carlos Cruz-Diez, Transchromie Mécanique 1965, 1965

Carlos Cruz-Diez, Transchromie Mécanique 1965, 1965 // Source: cruz-diez.com

Carlos Cruz-Diez, Transchromie Mécanique 1965, 1965 // Source: cruz-diez.com

Immersive phenomenological optical installations.
Like Eliasson, but earlier.
Like Turrell, but happier.
Commission:
Shadows underneath elevated tracks.
Transformed to spaces of light and color.

Michelangelo Pistoletto, Lunch Painting, 1965

Michelangelo Pistoletto, Lunch Painting, 1965 // Source: afasiaarq.blogspot.com

Michelangelo Pistoletto, Lunch Painting, 1965 // Source: afasiaarq.blogspot.com

Arte Povera.
Transition from gallery oriented art object to direct social engagement.
Seminal work.
Blue-chip artist.
Museum collections.
Do not touch.
Proposed exhibition copies as public sculptures.
Please touch.

Bob and Roberta Smith, The Art Party, 2011–ongoing

Bob and Roberta Smith, The ArtParty Conference, 2013 // Source: suegough.blogspot.com

Bob and Roberta Smith, The ArtParty Conference, 2013 // Source: suegough.blogspot.com

Artist mostly known for twee sign paintings on junk.
Recent years’ increasing activism.
Reaction to Tea Party.
Opposition to cuts in Art Education in UK.
Paintings, installations, videos, events.
Defense of accessibility of art education and therefore art.
Earnest.
Populist.
Art is not elitist.
Everything is made.

Agnes Denes, Isometric Systems in Isotropic Space—Map Projections, 1979

Agnes Denes, Isometric Systems in Isotropic Space—Map Projections, 1979 // Source:  students.concordiashanghai.org

Agnes Denes, Isometric Systems in Isotropic Space—Map Projections, 1979 // Source: students.concordiashanghai.org

Proposed billboards.
Artist mostly famous for wheat field in Lower Manhattan.
Beautiful drawings of world maps.
Cube, pyramid, donut.
Love diagrams.
Queens demographics.
Always changing.
Always diverse.

Michael Jones McKean, The Rainbow: Certain Principles of Light and Shapes Between Forms, 2012

Michael Jones McKean, The Rainbow: Certain Principles of Light and Shapes Between Forms, 2012 // Source: therainbow.org.

Michael Jones McKean, The Rainbow: Certain Principles of Light and Shapes Between Forms, 2012 // Source: therainbow.org.

Bemis.
Artificial rainbow.
Water hoses.
Experiment.
Unpredictable results.
Depends on weather.
Ironic.
Makes it even better.

Fourth of July 2012: San Diego Pyrotechnic Accident

san diego 2012 fireworks display

San Diego 2012 fireworks display

Not art.
Curatorial influence of Jenns Hoffmann.
Contemporary art alongside historic art and artifacts.
Contextualizes art practice in wider cultural production.
7,000 fireworks in less than 60 seconds.
Holiday ruined?
Or expectations exceeded.
Grand Finale.

Addendum:

I also recently learned about this other spectacular fun-but-relatively-safe disaster, which I love for the same reasons as the fireworks display:

1986 Cleveland accidental 1.5 m balloon release. // Photo: Thom Sheridan // Source: Gizmodo

1986 Cleveland accidental 1.5 m balloon release. // Photo: Thom Sheridan // Source: Gizmodo

 

 

 

 

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Bob and Roberta Smith, Art Does Real and Permanent Good 2011, enamel on found material, 8.5 x 12 x 1 inches

Bob and Roberta Smith, Art Does Real and Permanent Good, 2011, enamel on found material, 8.5 x 12 x 1 inches // Source: Pierogi2000.com.

Works

Bob and Roberta Smith, Art Does Real and Permanent Good, 2011

Image
Travelogue, Impressions

Manchester and London Travelogue: Top Ten

I just returned from the UK, where Chinese Arts Centre invited me to install Irrational Exuberance (Asst. Colors) in their new project space / pop-up shop. I had a fantastic trip, extended, at the last minute, by Hurricane Sandy.

I wish all those affected by the disaster a smooth, quick recovery. Cheers to first responders, volunteers, and everyday workers—like those at JFK who, by simply turning up to work despite hamstrung transportation, allow people like me to come home.

I spent a week installing the show and learning more about the art scene in Manchester. I also visited Liverpool, and spent six days in London. Here are my UK trip highlights.

#1 Being an artist.

Like most artists, the overlap between my practice and income is small, so increasing the amount of time I can be an artist is an ongoing process. That’s why the support of organizations like Chinese Arts Centre is so valuable—it scales up my work and exhibition opportunities. CAC shared their resources, space, talent, and time so that I could create and present my art. For that, I am unspeakably humbled and grateful.

I arrived a week ahead of the opening, and got to work right away prepping the newly remodeled space. I painted the walls and readied the space for Jon, the art technician, to help me mask and paint diagonal stripes. This exhibition design detail is important to me because it relates to a psychological study that found a correlation between upward movement and positive sentiment.

Chinese Arts Centre Curator Ying Kwok and Programme and Engagement Co-ordinator Liz Wewiora making selections.

The stripey blue wall awaits art, as CAC Curator Ying Kwok and Programme and Engagement Co-ordinator Liz Wewiora make the final selections.

Cheers to Jon, Gass, and Lee, whose technical assistance was tremendous, as was their patience with English-American differences in units of measurements, names of tools and materials, etc. (FYI, Americans: If I understand correctly, joint compound, spackle, and filler area all simply known as fillers. Drywall and Sheetrock are gibberish terms to Brits. Ironmongery means hardware. Paint isn’t latex, but emulsion.)

Vinyl posters in progress.

Vinyl Posters in progress.

I also made new site-specific works—two Vinyl Posters using ribbon, thread, transparent vinyl and acrylic. They’re inspired by supermarket’s oversized sale posters, which were ubiquitous in my childhood but seem less common today.

Vinyl Poster #1 & 2, 2012, vinyl, acrylic, ribbon, thread, 36 x 45 inches each.

Vinyl Poster #1 & 2, 2012, vinyl, acrylic, ribbon, thread, 36 x 45 inches each. View from the Thomas Street windows.

None of this would be possible without the vision of curator Ying Kwok, and the support of all of the staff. I’m especially grateful to the staff and volunteers for the lovely preview they hosted; I’m so honored to have been a part of it.

Opening reception of Irrational Exuberance (Asst. Colors) at Chinese Arts Centre, Manchester, UK on October 25, 2012.

Opening reception of Irrational Exuberance (Asst. Colors) at Chinese Arts Centre, Manchester, UK on October 25, 2012.

The exhibition continues through February 16, 2013. More info at CAC’s exhibition page.

#2: Transparent democracy and the merging of art and life in Manchester.

Mike Chavez-Dawson is an artist and curator, an impresario of the contemporary art scene in Manchester, among many other things. He told me about the idea of ‘transparent democracy’ and how it shapes his practices. His art and curatorial work are integrated into his life and vice versa, and woven into the fabric of Manchester, too. For example, in addition to curating a show of propositional work by David Shrigley at Cornerhouse (through Jan. 6), he worked with Shrigley to create Shrigley’s Anti-Psychotic Brain Bread at Bakerie (with beets and ginko).

David Shrigley's Anti-Psychotic Brain Bread at Bakerie, Northern Quarter, Manchester.

David Shrigley’s Anti-Psychotic Brain Bread at Bakerie, Northern Quarter, Manchester.

MCD’s the inaugural curator-in-residence at a cool new project space called Lionel Dobie. More on transparent democracy will be forthcoming in the form of MCD’s PhD and, surely, future exhibitions.

Drawing in the Sketch-O-Mat. Sitters drop a suggested donation of £1 for a 5-minute portrait.

Drawing in the Sketch-O-Mat at Cornerhouse. Sitters drop a suggested donation of £1 for a 5-minute portrait.

MCD also let me trade off drawing with him during his Sketch-O-Matic session. The Sketch-O-Matic is like a photo booth, except an artist sits inside and makes a drawing of your likeness. It’s a brilliant idea, and I’d love to see it franchised in other places. Situated at Cornerhouse, which is really an intersection of food, drink, art, and film, the booth attracted a really wide audience. I had a lot of fun doing a public project that still allowed the privacy of a tiny studio.

My Sketch-O-Matic drawing of Mike Chavez-Dawson.

My Sketch-O-Matic drawing of Mike Chavez-Dawson.

Mike Chavez-Dawson's Sketch-O-Matic drawing of me. It's with a digital collage of Noel Gallagher's face.

Mike Chavez-Dawson’s Sketch-O-Matic drawing of me. It’s with a digital collage of Noel Gallagher’s face.

(Plus, MCD invited David Byrne, who was in Manchester, to my preview. I’m a conceptualist, so the fact that the idea of my art has been thought, even for a millisecond, in that genius mind, is kind of an honor.)

#3 The Hospitality and Kindness of New Acquaintances and Old Friends

Huge thanks to Kate and Paul, muay thai buddy Mai and Danielle, and my Airbnb hosts. I’m so thankful for their hospitality in the days while I scrambled to re-schedule my flight home to NYC following Sandy.

Best sofa-surf ever: a view of the full moon from MW's sunroom.

Best sofa-surf ever: a view of the full moon (echoed by double glazing) from MW’s sunroom.

#4 The excellent curation of photography on in London right now.

Out of Focus: Photography 
Saatchi Gallery
Partially on through Nov. 4

Maybe one of the best shows of photography I’ve seen ever. Saatchi’s perfect galleries help. But also the amount of space given over to individual artist’s projects, so that viewers get thorough looks at significant bodies of work, is really key.

Katy Grannan, Anonymous, Los Angeles, 2008, 2010, Archival pigment print on cotton rag paper mounted to plexiglass, 39 × 29 inches (99 × 74 cm) // Source: Salon94.com.

Katy Grannan, Anonymous, Los Angeles, 2008, 2010, Archival pigment print on cotton rag paper mounted to plexiglass, 39 × 29 inches (99 × 74 cm) // Source: Salon94.com.

Katy Grannan‘s portraits of people in Los Angeles and San Francisco are stunning for the character of the individuals, who express aspirations of glamour and rude realities simultaneously. Shot in unforgiving sunlight, printed large, and hung on a very low centerline, every wrinkle and scar is on display. After my initial disgust wore off (if there were two empty seats on a bus, and one of them was next to one of these characters, you might opt for the other seat), I got a sense of Grannan’s sense of  humanity for her subjects. It was a nice turn.

David Benjamin Sherry, Holy Holy Holy, 2009, traditional color print, 40 × 30 inches (102 × 76 cm) // Source: Salon94.com.

David Benjamin Sherry, Holy Holy Holy, 2009, traditional color print, 40 × 30 inches (102 × 76 cm) // Source: Salon94.com.

David Benjamin Sherry‘s lovely landscapes in color tints are majestic and somehow right, despite the unearthly color shifts.

John Stezaker, Seat (Film Portrait Collage) III 2008 Collage 10.31 x 8.46 inches // Source: Petzel.com.

John Stezaker, Seat (Film Portrait Collage) III 2008 Collage 10.31 x 8.46 inches // Source: Petzel.com.

John Stezaker‘s collages of b/w head shots are compelling. They work, but it’s not clear why. We see two faces, then one, then two again. Other collages place non-portraits within portraits, yet the brain still seeks out facial features in the patterns. Even with dozens of photos on display, the ingeniousness doesn’t wear out.

Adam Broomberg and Oliver Chanarin‘s reprints of archived material demonstrates a keen eye, penchant for acts of omission, and attraction to social violence.

Unfortunately, the show was only partially on view, as many of the galleries had been changed over for Karl Lagerfield’s The Little Black Jacket photo show. As KD said, with the oversized portraits of models and celebrities printed with a visible halftone pattern, “It’s basically like being inside a fashion magazine.” Another room, featuring huge multi-color prints on perspex, was blatantly Warholian. Yawn.

Also on at Saatchi, Prix Pictet’s exhibition, Power (ended October 28), featured works from twelve photographers, with some very strong selections.

Seduced By Art
National Gallery
Through Jan. 20

Ori Gersht, Blow Up #1, 2007, c-print mounted to acrulic 98 x 74 1/2 x 1 3/4 inches // Source: CRGgallery.com

Ori Gersht, Blow Up #1, 2007, c-print mounted to acrulic 98 x 74 1/2 x 1 3/4 inches // Source: CRGgallery.com

Seduced By Art exhibits traditional paintings alongside early and contemporary photographs that they inspired. It’s a beautifully installed exhibition, with tasteful black walls and spot lighting. The didactic texts were thankfully concise. There are a few works by photographers I recognized—Jeff Wall, Nan Goldin, Renee Dijkstra, Sam Taylor Wood—as well as many others new to me—Ori Gersht (awesome image of exploding flowers frozen with liquid nitrogen), and Helen Chadwick among others. I found it an enlightening exhibition whose premise seems obvious (unless you’re a whinging traditionalist), but whose execution is thoughtful.

Short and sweet, An Ode to Hill & Adamson is sure to charm. It’s a sped-up, making-of-a-photo video by Maisie Broadhead and Jack Cole, wherein a model and production crew re-stage a historical photo also on view in Seduced by Art. Watch it on Vimeo.

#5 The potent everydayness of the players of Tino Seghal’s show at Tate Modern.

I walked into the last night of Seghal’s show in the Tate’s Turbine Hall (closed Oct. 28) at just the right moment. There were clusters of people standing around. I stood among them and waited for something to happen. It was late, and already dark when I crossed Millenium Bridge to get here. I started to wonder if the performances had ended for the day.

Then, people started singing, en masse. People who I thought were the public were actually performers, while there where viewers like myself, and then members of the public just chitchatting. Soon the performers broke from their spots, and everyone began to disperse. As people passed me, I searched their faces for indications: Were they actor or viewer? It was a revelation—being in this situation created a change in me. I saw people differently; I saw their potential, and the possibilities for our interactions in a new way.

I observed as the ensemble walked in various formations, chanted statements, and made their way around the massive hall, while the lights went on and off at key junctures. I was attentive, but self-conscious, behaving in a way that says: I’m  respectful of your performance, staying quiet and out of the way. There were only the walls of Turbine Hall, yet I remained behind the psychological fourth wall of the theater. Then, after the ensemble  sang a composition from static positions, one of the activators walked straight up to me and, standing very closely and behaving as though we were very dear friends confiding in each other, she told me the story of her immigration and path towards finding confidence in herself. This was for an audience of one—me. I felt intensely honored to be engaged on this one-to-one level, with this larger exhibition, with this unique stranger who I might never meet again. It seemed to me a great act of generosity.

There was a statement, which I couldn’t quite remember, which seemed to be a central tenant of Seghal’s show, if not his entire purpose: that even in this technological age, the potential for humanity and human relations is great. In my words, it sounds trite, but it was enacted by such a moving, pitch-perfect ensemble that I felt like I was in a different place or time, like I was observing a super-race or our future selves, so unified and purposeful were the actions, despite the various ages and everyday appearances of the actors.

[Note: I did shoot many photos, but I decided not to include them here. These experiences and revelations are so much larger than what the work looks like; I can understand why Seghal doesn’t want his work photographed—it would reduce the gesture too much.]

#6 Painters of colorful texts. Two solo shows in London. 

Mel Bochner: If the Colour Changes
Whitechapel Gallery
Through Dec. 30

Thank goodness for art capitals. I might have to go to London to see such an in-depth survey of a longtime New York conceptualist painter, but it’s a damn fine show and I’m glad someone organized it.

In the ground  floor galleries, Bochner’s concern with the basics—texts, numbers, shapes, color, blocks and grids—is illustrated with experimental works and installations.

In the upper galleries, viewers encounter works that trace refining conceptual and textual interests.

If the Color Changes #4 (1998) features a brilliant text from Wittgenstein’s “Remarks on Color” (1950-1):

One observes in order to see what one would not see if one did not observe.

I love this text—it fuels the patience necessary for looking at art. Also, the form and content jackknife beautifully: Bochner painted this text in offset layers, so that the interactions of color provide countless opportunities for observation.

Meditation on the Theorum of Pythagorus (1974) is a surprise—it’s a series of shards of colored glass arranged on the floor in rectangles and squares, with an empty space for a right triangle.

Mel Bochner, Amazing!, 2011 oil and acrylic on canvas, two panels.  Courtesy Peter Freeman // Source: nga.gov.

Mel Bochner, Amazing!, 2011 oil and acrylic on canvas, two panels. Courtesy Peter Freeman // Source: nga.gov.

Mel Bochner, Oh Well, 2010, oil and acrylic on two canvases, 100 x 75 inches. Courtesy Peter Freeman Inc., New York © Mel Bochner 2011 // Source: http://jumpsuitsandteleporters.com/

Mel Bochner, Oh Well, 2010, oil and acrylic on two canvases, 100 x 75 inches. Courtesy Peter Freeman Inc., New York © Mel Bochner 2011 // Source: http://jumpsuitsandteleporters.com/

Lastly, a gallery filled Bochner’s two signature styles. First, tidy lines of all-caps rounded sans serif texts, including thesaurus entries. I had much more engagement with the paintings than reproductions I’ve seen in the past. I especially resonated with a positive/negative pair, Oh Well and Amazing (both 2010) Second, colorful paintings that display their own dimensions, quite baffilingly, fill Whitechapel’s wall perfectly. I wonder if this conceptual piece is re-made for every institution that shows it? If so, it’s a brilliant, if time- and materials-intensive painting series.

Bob & Roberta Smith: The Art Party USA Comes to the UK
Hales Gallery
Through Nov. 17

Bob and Roberta Smith, The Art Party USA Comes to the UK, exhibition view, 2012, Hales Gallery, London.

Bob and Roberta Smith, The Art Party USA Comes to the UK, exhibition view, 2012, Hales Gallery, London.

Bob and Roberta Smith—a single artist that goes by the moniker of a duo—might be known primarily as a painter of signs, but there is much more (especially in contrast to the the nostalgic craft artifacts exhibited in art galleries by New Bohemian Signs-affiliated sign painters) to it. As this new show demonstrates, Bob and Roberta are even more political and topical now.

Bob and Roberta Smith, The Art Party USA Comes to the UK, detail.

Bob and Roberta Smith, The Art Party USA Comes to the UK, detail.

Join the Art Party appeals directly towards Michael Gove, the Secretary of State for Education, to restore art education in the UK. Bob and Roberta encourages audiences to appeal to Gove as well.

The exhibition exudes cheeriness. The walls are lined with cloth pennants and several paintings. Kooky, folk-arty, figurative sculptures fill the space. Bob and Roberta appear in a sweet, educational-style video outlining the platforms of the Art Party (it’s shot in a small wooden shed capriciously labeled as an institute for contemporary art by the artist). The video is presented on a mobile screen, and viewers are offered brightly colored molded plastic chairs for seating. It evokes a schoolroom, gently nudging adult viewers to recall the art that lined their childhood classroom walls.

Bob and Roberta Smith, The Art Party USA Comes to the UK, 2012, Hales Gallery, London.

Bob and Roberta Smith, The Art Party USA Comes to the UK, 2012, Hales Gallery, London.

Bob and Roberta have a knack for stating truths simply: “All things are made,” he argues in the video in support of art education in UK schools. “Demand that all schools are art schools.”

The aesthetics and forms are endearing, optimistic, and winsome. It would be cloying but for the urgency of the message.

#7 Manchester’s growing contemporary art scene.

When I spent three months in Manchester in 2009, it seemed like a pretty good place to be an artist: cheap studio rent, active alternative and artist-run spaces, and vibrant activity via the universities. I was really inspired by artists’ mutual support.

This visit followed the Manchester Contemporary art fair weekend and coincided with the Free for Arts Festival. I also visited newer spaces Lionel Dobie Project and Malgras|Naudet.

Chris Kenny, Cultural Instructions, 2012, found text, scanned, enlarged, printed, mounted. On display in The First Cut at Manchester Art Gallery.

Chris Kenny, Cultural Instructions, 2012, found text, scanned, enlarged, printed, mounted. On display in The First Cut at Manchester Art Gallery. Through Jan. 27.

I sensed more energy; indeed, momentum. MCD estimated that there are many more practicing artists now. There were three shows at three venues exhibiting the work of recent graduates (Bachelor’s degree students). (I liked the title of one, So Far, So Good.) The question that occurred to me, as more artists work to gain access to more exhibition opportunities, is to what degree with the mutual support continue, or give way to an atmosphere of competition?

Corridor8 is a new publication exposing the art scene in the NW. Issue #3 includes fascinating interviews with local leaders such as Whitworth Art Gallery Director and Manchester Art Gallery Director Dr. Maria Balshaw. Those interviews lend insight on the direction of major institutions.

One thing that seems missing, however, is critical writing on all these shows happening in Manchester. A weekly column in a paper would be too centralized and limited. Something like Art Practical, with a large, distributed base of writers comprised of artists, critics, and curators, with editorial excellence, and a fixed schedule, could do a lot to document the art scene and create more rigorous dialogue. There are plenty of very, very bright minds who can provide artists and venues with a feedback loop. They just need the right platform.

#8 Fallowfield Loop.

A railway line converted into a running and bicycling path through the southern part of Greater Manchester. Cool, damp, green, quiet. A place to run for miles, away from the traffic that baffles this American.

#9 Cheap Eats.

Currency conversion = constant sticker shock. Cheers for healthy, reasonably priced bites: This and That curry in the Northern Quarter. Sainsbury’s bag of pre-washed raw veg: green beans, mange tout (snap peas) and broccoli. Onogiri from Wasabi. Thai Pie (green curry in a English pie) from the Manchester Market in Piccadilly.

#10 Turner, not the one you’d think.

I went to see the Turner Prize show a the Tate Britain, which had great drawings by Paul Noble, who continues his uncanny text/architecture drawings.

But the JMW Turner show had some pleasant surprises for me.

Color and Line: Turner’s Experiments
Tate Britain
Through Spring 2013

These interpretive rooms are educational, accessible, and not overly complicated with digital gee-gaws. In fact, there weren’t any screens. There were static (!) texts, charts and some electrical displays showing the physical properties of light á la the Exploratorium. There was a suite of amazing intaglio prints that examined how Turner’s color was interpreted by printers working in etching, aquatint, and mezzotint. Spend some time with these if you can.

There was a time line which elaborated paint colors with their years of invention, and a map that showed how Turner adjusted his palette for different sites. Finally, there was a series of drawing tables, where viewers can sketch a Turner image and display their drawing. It was a wonderfully low-tech educational exhibit.

Celmins Selects Turner
and
Artist Rooms: Vija Celmins

Joseph Mallord William Turner, The Yellow Sky, circa 1820-30 // Source: http://www.tate.org.uk/

Joseph Mallord William Turner, The Yellow Sky, circa 1820-30 // Source: http://www.tate.org.uk/

There were two additional rooms that showed museological inventiveness: In the first, contemporary realist draughtsman Vija Celmins selected Turner’s sketches and underpaintings. It’s a really lovely, exceedingly elegant set of washes and expressions of light and weather that I think a lot of young artists would relate to today. In the second room are Celmins’ own works, always a treat in their mastery and unthinkable labor. Her drawings of starry skies are unbelievable.

Vija Celmins, Night Sky 3, 2002 // Source: NationalGalleries.org.

Vija Celmins, Night Sky 3, 2002, Aquatint with burnishing and drypoint on paper, 37.20 x 47.10 cm // Source: NationalGalleries.org.

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Research

art and text

art and text

There’s a new art historical survey book out called “Art and Text,” (Aimee Selby ed., London: Black Dog Publishing) and it looks fantastic. Along with the you-guessed-its (Kruger, Nauman, Baldessari), there’s welcome contemporary artists like Bob and Roberta Smith, Simon and Tom Bloor, Martin Creed, and Stefan Brüggemann.

View a gallery of images from the book on the Guardian website. Sweet.

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Art & Development, Community, Travelogue

thameside art highlights

Shadows and lights on the Queen's Walk, Thameside, London. Sorry, none of the exhibitions allowed photography. What you see is what you get.

Shadows and lights on the Queen's Walk, Thameside, London. Sorry, none of the exhibitions allowed photography. What you see is what you get.

Some highlights from my recent trip to visit museums in London. It seems like there’s never enough time in London, but I hope to make it back for galleries and more fun.

Annette Messenger
Mark Wallinger Curates The Russian Linesman
Hayward Gallery

Messenger is amazing. The exhibition makes evident how she was influential in the development of installation art. The work highly symbolic and theatrical — “a dreamscene tableaux,” as Claire Bishop might describe it — so it’s not exactly my favorite type of installation art, but I was profoundly moved nonetheless. In particular, I really liked “Articulated/Disarticulated,” (see a photo on Urban Landfill blog) a recent, room-sized installation where stuffed human and animal forms were mechanically tortured. It really captured the essence of her dichotomies — both comical and horrifying, humorous and tragic, magical and corporeal. “Casino” is a giant installation — the most phenomenological of the works on view, I think — and it’s stunning.

Wallinger curated a show that probed perception and thresholds. Artifacts are mixed in with contemporary and historical works. It’s a really perceptive show. Fred Sandback’s space delimitations looked fantastic. I knew that the rectangular outline was comprised purely of black string, not glass or some other solid surface, but I tried to bring myself to interrupt the immaterial plane and I couldn’t. Good stuff.

Wallinger’s also got some of his own work, mixed in with a series of 3-D viewfinders of historical photos. They set a high expectation for excellence for the show, and it doesn’t disappoint.

Roni Horn
Rodchenko & Popova
Tate Modern

Horn’s work is highly idiosyncratic. I’m still mulling it over — especially the strange groupings of photographs, including the signature weather/model image — but two things immediately stuck. First, of course, I enjoyed “The Opposite of White” dyad — giant, solid cast glass sculptures in transparent glass and opaque black. Two irreconcilable, but true facts: white reflects light, hence its opposite is transparency; or is its opposite that which absorbs light (black)? Second, you have to see Horn’s hermetic, strange drawings. Reproduction doesn’t do them justice. They’re extreme — a pattern is loose and gestural, pencil marks diagrammatic, and cuts and inlays mechanically precise. They’re astounding, quiet feats, really.

Rodchenko & Popova is a major survey of the dynamic output of two pre-Stalinist artists. Paintings, graphic works (pleasingly tight in pen, weirdly wonky in color crayon, of all things), letterpress publications, films, textile design, furniture, posters, 3-D constructions, photographs and did I mention motion graphics?—means that there is loads to look at and appreciate. I really ‘get’ the Constructions in Constructivism now, and formally appreciate the simple compositions of repeated lines and circles. Most of all, I came away with the sense of avant garde fearlessness, as the couple was unafraid to make clean breaks from previous art styles, even their own. They formulated many new platforms and embraced integration and service to the public.

Altermodern
Tate Britain

Nicolas Bourriaud curated this triennial of mostly British artists. Bourriaud has coined “Altermodern” to describe an in-progress theory about the globalized, interconnected epoch to follow Postmodernism. He casts the artist as “homo viator, a traveller whose passage through signs and formats reflect a contemporary experience of mobility.” When I turned my gaze from the Tate Britain’s impressive pediment towards the Thames (where it’s easy to recognize the seat of imperial power), I wondered how fully a British art institution could embrace a new, multi-polar, Zakarian world. My skepticism was corroborated, when, in Global Modernities, the coinciding symposium, Walter Mignolo labelled the theory “a Eurocentric critique of Eurocentrism.”

I think altermodern an interesting term, and it may be useful for categorizing some existing themes in art — transitional sites (e.g., Walead Beshty’s FedEx boxes, “transit-specific works” as Galleon Trade colleague Eric Estuar Reyes would put it, see video at the Whitney 2008 Biennial site) and liminal states (Spartacus Chetwynd’s beanbag installation with psychedelic performative video, or Gustav Metzger’s crystal light show — I shit you not). The triennial is sort of, well, triennial-y: giant, well-executed spectacular installations, some big names, and limited thematic connections. Here’s what stood out:

Franz Ackermann posits what seems to be a critique of immigration and national identity. (Pics on ArtNet.)

Darren Almond delivers surprising, stunning photographs as usual.

Peter Coffin‘s staged projection- and installation-based museum exhibition, where photos and videos are projected on works from museum collections, e.g., bees on a painting by Joseph Albers. A virulent strain of MJT uncanny.

Navin Rawanchaikul‘s hand-painted Indian-style movie billboard is a riot; the accompanying documentary video of interviews of Indians who’ve relocated to Thailand seems pedestrian and conventional by comparison.

Bob and Roberta Smith create a “junk space” (as identified by Irit Rogoff, the consequences of global modernity) littered with disused stuff and the characteristically ironically upbeat-but-sad-sack enamel signs. One, “I wish I could have voted for Barack Obama,” (pic on ArtNet) is paired with a colorful plastic tricycle, highlighting the wishful thoughts of Britons. Smith pointed out that the exhibition is meant to be interrogative, but I think it’s pretty cool to have an explicitly didactic space within it via his signs. Extra points to Mr. Smith for avoiding the common UK mispronunciation of Barack (“BER-rick,” as opposed to “Buh-RAWK).

Simon Starling illustrates his brilliant reduction of forms with a series of desks commissioned by emailing low-resolution photographs to furniture makers. There’s more to it, of course, having to do with Francis Bacon and others, but the gesture is pure poetry.

Tate-to-Tate ferry
Brilliant, easy, scenic, affordable. You know, art institutions usually have short hours, so minimized travel during open hours is appreciated. Also, “Tate-to-Tate” is a nice sounding phrase, like a mirror, and also reminds me of the 1980s TV show, “Hart to Hart.”

Reconnecting with Mediha

This quote.
As an existentialist, I tend to agonize about my art/legacy/life becoming fodder for “the dustbin of history,” so it was surprising to hear the ever-optimistic M.D. say: “The great thing about history is that things disappear” in regards to the dominating influence of Conceptualism and Minimalism in contemporary art today.

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