Mon, 30 December 2013
This week: Patricia talks to artist Christian Jankowski. Chaos ensues. Chewing too.
Mon, 23 December 2013
This Week: Do Duncan and Richard take a week off, kick back, drink that eggnog Duncan makes with lighter fluid??? NO, no they do not. They undertake to make a holiday special so labor intensive, so wacky, so stupid it is hard to beleive. Yes, it is here.
HO HO HO.
Direct download: Bad_at_Sports_Episode_434-2013_Holiday_Special.mp3
Category:podcast -- posted at: 12:45am EDT
Mon, 16 December 2013
This week: Duncan and Richard at Expo Chicago 2013 talking to Sanford Biggers, Elysia Borowy-Reeder and José Lerma.
From Expo's info:
Sanford Biggers, Elysia Borowy-Reeder and José Lerma in conversation with Richard Holland and Duncan MacKenzie
Mon, 9 December 2013
This week: First up, Sonnenzimmer!Duncan talks to Nick Butcher and Nadine Nakanishi about the poster scene, the business of art and design and more!
Sonnenzimmer is the Chicago-based studio of Nick Butcher and Nadine Nakanishi. Merging backgrounds in typography, printmaking, graphic design and fine art, we create hand-crafted posters, books, and music packaging for a wide array of clients. Most of our projects are screen printed in-house. We are always up for the challenge of creating unique visuals for projects. If you are interested in working with us, don’t hesitate to contact us. To read about our process, check our FAQ page.
We’ve had somewhat of an elastic existence in our 7 year history. Beginning as a shared painting studio, equipped with industrial screen printing equipment, the venture quickly morphed into a design and print studio specializing in hand-crafted prints and design for some of the city’s most recognized cultural institutions. As image making is becoming more and more present in commerce and enjoying a true revival in print making and painting, we hope our mixture of fine and applied art will be looked at as complimentary assets. That people understand they are not mutually exclusive. We are interested in idiosyncratic imagery. This is explored through many lenses of an ongoing practice – may it be of collaborative, experimental, or commercial nature.
Sun, 1 December 2013
This week: San Francisco checks in with a great interview. Bad at Sports contributors Brian Andrews and Patricia Maloney sat down with artist Takeshi Murata and sound designer Robert Beatty on November 9, 2013, at Ratio 3, in San Francisco, to discuss Murata’s most recent digitally animated video, OM Rider (2013). OM Rider follows two animated creatures: a wizened old man that Andrews describes as “half the Curious George Man in the Yellow Suit, half like the butler from Rocky Horror Picture Show,” and a hipster wolf, which rides a moped through a barren landscape and performs other aimless tasks. The video begins with the creature playing a synthesizer that gives the video its title. Om Rider contains Murata’s characteristic absurd humor and aesthetic, which mixes highly attuned lighting and composition with more retro modeling and minimalist, almost antiseptic spaces.
Takeshi Murata was born in 1974 in Chicago. In 1997, he graduated from the Rhode Island School of Design, where he studied film, video, and animation. He currently lives and works in Saugerties, New York. Murata has exhibited at the New Museum, New York; the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Fondazione Sandretto Re Rebaudengo, Turin, Italy; Sikemma Jenkins & Co., New York; Gladstone Gallery, New York; and Salon 94, New York. Murata’s work is featured in the collections of the Hirshhorn Museum and Sculpture Garden, Washington DC; DESTE Foundation for Contemporary Art, Athens; and The Smithsonian Museum of American Art.
FYI, AP will post an excerpted text version of this interview on Dec. 3, and the link for that conversation should be:
And here is a related review Brian wrote for his previous show: http://www.artpractical.com/review/get_your_ass_to_mars_andrews/
Mon, 25 November 2013
"Who owns the internet?"
Josh Baer - Baer Fax
Forrest Nash - Contemporary Art Daily
Paddy Johnson - Art F City
Richard Holland and Duncan MacKenzie - Bad at Sports
Direct download: Bad_at_Sports_Episode_430__EXPO_Panel_Internet.mp3
Category:podcast -- posted at: 3:35am EDT
Mon, 18 November 2013
This week: The Amanda Browder show rolls in to town! Amanda talks to Michael Velliquette and Oliver Warden
Michael Velliquette has a show up at DCKT Contemporary!
MICHAEL VELLIQUETTE (b. 1971) is a mixed media artist known for his densely detailed and dimensionally complex paper sculptures, installations, and drawings.He has recently had solo shows at DCKT Contemporary, New York, NY; Disjecta, Portland, OR; Morgan Lehman Gallery, New York, NY; and Rhodes College, Memphis, TN. His museum exhibitions include Slash: Paper Under the Knife at the Museum of Art and Design, New York; Art on Paper at the Weatherspoon Art Museum; and Psychedelic at the San Antonio Museum of Art.His work is in the collections of the Museum of Wisconsin Art; the Racine Art Museum; the Progressive Corporation; Western Bridge, Seattle; The John Michael Kohler Art Center; The Linda Pace Foundation; The State of Wisconsin; Boston Children’s Hospital and the San Antonio Museum of Art. A catalog chronicling his work from the past 10 years titled "Michael Velliquette: Lairs of the Unconscious" was released in 2011 through Devibooks Publishers.
Then a conversation with Oliver Warden about his project Globall!
GLOBALL is a new take on a social network created as a work of art by artist Oliver Warden.
Mon, 11 November 2013
This week: Scandal! Economics! Wendy's ads from the 80's!! We talk to Oliver Ressler and Gregory Sholette about It's the Political Economy, Stupid.
The economic crisis that we face today has also become a major crisis for representative democracy. The very idea of the modern nation state is in jeopardy as the deterritorialized flow of finance capital melts down all that was once solid into raw material for market speculation. It is the social order itself, and the very notion of governance with its archaic promise of security and happiness that has become another kind of modern ruin.
It’s the Political Economy, Stupid brings together an international group of artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to the current calamity, this exhibition asks if it is not time to push back against the disciplinary dictates of the capitalist logic and, by use of artistic means, launch a rescue of the very notion of the social itself.
The Austrian Cultural Forum New York is pleased to present this new group exhibition which was curated by the Austrian-American team of Oliver Ressler and Gregory Sholette. The show derives its title from the slogan which in the early 1990s came to define then presidential candidate Bill Clinton’s campaign, “It’s the economy, stupid”.
"In the wake of the capitalist crisis, very few cultural institutions have dared to address the horrors of greed that plague us in such a direct and haunting way as the Austrian Cultural Forum." - Alexander Cavaluzzo, Hyperallergic.com, Feb. 13, 2012
"Curated by Gregory Sholette and Oliver Ressler, this is a good old political exhibition, full of sarcasm, hope, protest, and information." - William Corwin, Saatchi Online Magazine, Feb. 21, 2012
"Curated by Oliver Ressler and Gregory Sholette, this is a smart exhibition that I suspect will be preaching to the converted, but in style. [...] This is the gallery version of Occupy Wall Street." - Andrea Kirsh, Feb. 14, 2012, theartblog.org
"Visible from the sidewalk on a block that the Austrian Cultural Forum shares with Cartier, Ferragamo and Tourneau, the work [by Dread Scott] affirms a disheartening truth about the cultural mindset this well-curated exhibition aims to critique: many would prefer to see their money burn than have it distributed equitably." -David Markus, Art in America, Mar. 28, 2012
"Ressler’s and Sholette’s show does indeed achieve its objectives, occupying the Austrian Cultural Forum through a diverse range of artworks stemming from the 2008 crisis of finance capitalism. It does so principally by drawing together a selection of works which both educate and entertain, offering invaluable information and welcome critical reflection." - Thom Donovan, Art:21 Blog, Apr. 16, 2012
Mon, 4 November 2013
This week: Duncan, Richard, and Jason Dunda talk to a cast of thousands led by Jen Delos Reyes!
photo credit: Motoya Nakamura
Sun, 27 October 2013
This week: This week Brian and Matt Sussman talk with Monique Jenkinson, whose
We'll miss you Lou.
Matt says "The photo should be credited to Arturo Cosenza".
Mon, 21 October 2013
This week: James Elkins returns to Bad at Sports.
Direct download: Bad_at_Sports_Epsiode_425-The_Return_of_Elkins.mp3
Category:podcast -- posted at: 2:22am EDT
Mon, 14 October 2013
This week: Duncan live from LA! This week he talks with artist Sarah Conaway.
Sarah Conaway (b. 1972 York, Pennsylvania) makes seemingly straightforward photographs that invite us to think magically, imbuing mundane objects with mystery and potential. Her recent photographs—printed in a range of sizes and primarily in black and white, with an occasional work in vibrant color—capture a series of actions set up by the artist in her the studio. Beyond the objects or materials that they portray, they express a residue, aura, or presence that we sense but do not necessarily see depicted. Although the act of photographing her sculptural constructions and still lifes—at times as ordinary as a crumpled strip of canvas or a piece of string—reduces the subjects’ dimensionality, it focuses our attention on texture, light, and shadow—and the sheer pleasure of looking. Conaway’s techniques are deceptively simple: her touch is light, the scale of the forms uncertain, the color and contrast stark. These arrangements of simple materials and common objects reveal their potential as architecture, figure, landscape, fantasy, or apparition while maintaining a tenuous state of balance and compositional harmony.
Mon, 7 October 2013
This week: People are called Ninny! Art school is shit-talked! TMZ! Lawsuits! Hot chicks! Artists traded like sports players. Art world badass, gallerist, curator, writer, swell mofo Mat Gleason!
Mon, 30 September 2013
This week: Duncan and Brian drop in to LA's ChinaTown and visit the Institute for Figuring!
The mission of the Institute For Figuring is to contribute to the public understanding of scientific and mathematical themes through innovative programming that includes exhibitions, lectures, workshops, and participatory, community based projects. The IFF is a 501(c)(3) nonprofit organization.
Located in the Chinatown district of Los Angeles, the IFF’s venue functions both as an exhibition space and as a “play tank” for developing new methods of creative engagement with topics ranging from geometry and topology, to physics, computation, and biological form.
Founded in 2003, the IFF has developed exhibits and programs for museums, galleries, colleges, and community groups around the world. We have worked with: the Andy Warhol Museum (Pittsburgh), The Hayward (London), the Science Gallery (Dublin), the New Children’s Museum (San Diego), Art Center College of Design (Pasadena), the Museum of Jurassic Technology (Los Angeles), and the Smithsonian’s National Museum of Natural History.
The Institute’s Crochet Coral Reef is now one of the largest science + art projects in the world.
At the core of the IFF’s work is the concept of material play. We believe that ideas usually presented in abstract terms can often be embodied in physical activities that engage audiences via kindergarten-like practices. Through activities such as cutting and folding paper, we affirm that the hands and eyes can serve as guides to developing the human mind. By inviting our audience to literally play with ideas, the IFF offers a new, hands-on approach to public science education that is at once intellectually rigorous, pedagogically rich, and aesthetically aware.
Direct download: Bad_at_Sports_Episode_422-Institute_for_Figuring.mp3
Category:podcast -- posted at: 1:39am EDT
Mon, 23 September 2013
This week: Duncan and Richard talk to Spencer Finch about his current exhibition "Study for Disappearance" at the Rhona Hoffman Gallery.
What is the color of the threshold - of that liminal space before day plunges into night? Spencer Finch attempts to answer this question through his most recent body of work created specifically for Study for Disappearance, his fourth solo exhibition at Rhona Hoffman Gallery. Each watercolor diptych in this new series individually renders violet, blue, green, yellow, orange, and red as they appear on objects in his Brooklyn studio. On one side of each diptych, Finch has labeled the swatches of varying hues of a single color according to the object that bears them: “candle,” “brick sample (Baltimore),” and “bull-fighting poster” to name a few. This study is paired with that of the identical collection of objects observed as the colors shift to grayscale with the dimming daylight. Slowing down the viewer’s process of seeing, Finch guides us through the nuances of the fading light and the stages of visual perception. Accompanying the watercolor diptychs is a new light box piece, Color Test 600, comprised of various multicolored squares layered together to create an abstract study of darkness.
Mon, 16 September 2013
This week: after some needless refernce to THC containing plants (look up 420 if confused) we get down to business. First we check in with Edition the new fair coming to town.
This week Amanda Browder travels to Detroit MI to interview Christina Roos and Thomas Bell about their newly formed residency Spread Art. We talk about the art scene in Detroit, their residency and what it was like moving from New York to Detroit.
Spread Art is an artist run creative Incubator designed to foster new works and collaborations by artists from around the world.www.spreadart.org
MissionSpread Art is an artist-run creative incubator designed to foster new works through collaborations with artists, curators, and organizations from around the world. Spread Art supports emerging artists through group and solo exhibitions, music events, and performance showcases, and also facilitates opportunities for youth and adults to explore their creativity and increase self-awareness through art. Spread Art supports the creation and evolution of art festivals and cultural collaborations locally, nationally, and internationally.
Mon, 9 September 2013
This week: BAS on the west coast! We talk to Adriana Salazar and John Spiak, director and chief curator of the Grand Central Art Center, which has an exhibition of Adriana's work up currently. Also, we talk to Sabina Ott about The Terrain Exhibitions Biennial which is this coming weekend!
ADRIANA SALAZAR: NOTHING ELSE LEFT
Is there an end to our existence? Can we be separated from our bodies and be transformed into something else? Adriana Salazar's work has continued to revolve around these questions in different ways. This is why the realm of mortuary customs appeals to her: it presents numerous ways to approach the ultimate unknown.
Her past series of works have attempted to bring inanimate objects to life; crystalize human actions into mechanical devices; worked to blur the line that separates the natural and the artificial. Death has been an ever-present part of her work, understood in a broader sense, in her own words, "I want to address death as a dare to the certainties of knowledge, and as a challenge to deeply rooted traditions. Thus, my work has taken its course transforming mechanical actions, obsolete objects, fading plants and passing life into installations and objects that could become questioning situations themselves."
For this current series, created during a two-month residency at Grand Central Art Center, the artist desired to go deeper into that moment of transition between life and death, finding out as much as she could about what happens with our bodies, with our consciousness and with everything we build around the death of others. In her words, "I found, amongst other things, that there is an aesthetics of transition, that there are rituals trying to maintain life after death, and laws which govern our bodies, even when we are not fully present. I also found out that there are transitional techniques and an intricate industry around them."
Some of these techniques of transition have the purpose of dematerializing the body - its physical presence, associated to life and its impermanence - replacing it with a different kind of immaterial presence. In the crematory, a compartment ignites at a very high temperature until the body is almost entirely dissolved. In order to secure the transparency of this transition, all particles of bone are carefully separated from any other solid object that might exist in our remains. These foreign bodies - implants, replacements, metal bodily parts, and every sign of our artificial self - must be removed. All that is left are bones, which are then reduced to the size of grains of sand. These remains are kept in homes, spread at symbolic locations, interned at traditional burials site, or used in other creative manners. The artificial parts, on the other hand, are usually recycled for their metals or tossed away.
Salazar has decided to rescue as many cremated artificial body parts possible. These parts remain as solid as they were inside their bodies and are nevertheless considered residue. She found their value in this very ambiguity. They embody the question of the status of our own existence on a physical level: their materiality creates confusion between those objects as parts of a physical body and our own body, thus opening the gap between our certainties and uncertainties, beyond the matter of human death itself.
The simple presence of these objects puts the status of life into question, allowing us to see, on one hand, the death of usage and value as something applicable to our own bodies. They allow us to see, on the other hand, the possibility of our existence as purely impermanent, earthly and physical. They allow us to see our possible becoming.
Terrain Exhibitions Biennial
Mon, 2 September 2013
This week: The second installment in our Open Engagement 2013 series! Caroline Picard talks to Amy Spiers.
Amy Spiers is a Melbourne-based artist and writer interested in socially engaged and participatory art. She employs a cross-disciplinary approach that includes photography, video, installation, text and performance for both site-specific and gallery contexts. Amy completed a Master of Fine Art at the Victorian College of Art in 2011. During her studies she explored strategies for inviting viewer participation in her art.
Amy has presented numerous art projects in festivals and galleries across Australia, including Melbourne Fringe, Next Wave, Tiny Stadiums, This Is Not Art, Performance Space, Platform, Inflight ARI and SASA Gallery.
For more information about Amy’s work go to: amyspiers.tumblr.com
Mon, 26 August 2013
This week: Part one of the Open Engagement conference 2013 series. Caroline Picard talks to Caire Doherty!
Claire Doherty is Director of Situations. Claire initiated Situations in 2003 following a ten-year period investigating new curatorial models beyond conventional exhibition-making at a range of art institutions including Ikon Gallery, Birmingham, Spike Island, Bristol and FACT (Foundation of Art and Creative Technology), Liverpool. Claire has worked with a diversity of artists including Lara Almarcegui, Uta Barth, Brian Catling, Phil Collins, Nathan Coley, Lara Favaretto, Ellen Gallagher, Joseph Grigely, Jeppe Hein, Susan Hiller, Mariele Neudecker, Cornelia Parker, Roman Ondak, Joao Penalva and Ivan and Heather Morison. She has advised a range of organisations as curatorial consultant including Tate, Site Gallery Sheffield and is author of the public art strategies for the University of Bristol and Bjorvika, Oslo Harbour.
Mon, 19 August 2013
This week: 8 years!!! We wrap up season 8 with the Artist as Arbiter panel from CAA 2013.
Moderators: Duncan Mackenzie, Columbia College, Chicago/Director, Bad At Sports AND Shannon R. Stratton, The School of the Art Institute of Chicago, Chicago/Director, threewalls
With our powers combined: queer collaboration, distribution, intervention, gentrification
Independent artist, curator and critic
Laurie Beth Clark & Michael Peterson
Where’s the art? Hosting/Framing Creativity
University of Wisconsin & University of Wisconsin-Madison
E. G. Crichton
Migrating Archives: how I became a matchmaker and archive activist
University of California Santa Cruz/The GLBT Historical Society
Parallel Practice: The Artist as Curator
Professor, Painting and Printmaking, Virginia Commonwealth University
Philip Von Zweck
On Nested Authorship
Columbia College, Chicago
Mon, 12 August 2013
This week:Amanda Browder (of the Amanda Browder show) chats with artists and curators Keri Oldham and Jacob Rhodes, founders of the artist run space Field Projects located in Chelsea, NYC. Listen to our conversation about artists as curators, the current gallery system and the ways these two have worked to make Field Projects a space for innovation and a more open dialog between artist and gallery.
Next, Max and Hank do the shortest interview in the history of the show at Chicago Comic Con.
Lastly, Bad at Sports remembers Eydie Gorme.
Field Projects is an artist run project space and online venue dedicated to emerging and mid-career artists. Centered on short-term curatorial projects, Field Projects presents monthly exhibitions at their Chelsea location in addition to pop-up exhibitions throughout New York City. Artists and curators are invited to submit their work for consideration in future exhibitions through our open call submissions guidelines.
Keri Oldham is a New York-based artist and curator working in watercolor, paper and video. Her work deals with issues of identity, religion, love and death in cinema. Originally from Dallas, Texas, Oldham has exhibited her work throughout the country, including: Jen Bekman Gallery in New York, Kirk Hopper Gallery in Dallas, The Hardware Store Gallery in San Francisco, Camel Art Space in New York, The Dallas Contemporary, The Reading Room and 500X in Dallas. She was a 2011 Summer Central Track resident and has received other awards including a 2010 New Media Fellowship with BRIC Arts in Brooklyn.
Oldham is also founder of Field Projects, an artist-run project space in Chelsea. Her work has been spotlighted and reviewed by Beautiful/Decay, Gwaker Arts, Glasstire, D Magazine, San Francisco Weekly and others.
Jacob Rhodes' work explores codes of masculinity, class and the inherent violence in homo-social interaction. The middle child of three boys born to a car mechanic and a school cafeteria cook, Jacob spent his youth touring in punk bands, publishing zines, and self producing records. He received his BFA in New Genre and Photography from in Los Angeles where he studied under Larry Johnson, Bruce Hainley, and Richard Hawkins. After graduating, he joined the , spending three years in Alaska at Fort Wainwright’s 172nd Arctic Infantry Brigade. In 2005, he returned to school attending and then earned his MFA in Sculpture at of Art in 2007. Jacob has shown at the Bronx Museum, Alona Kagan Gallery, New York, Federal Art Project, Los Angeles, Galerie Im Regierungsviertel, Berlin, and Bart Wells Institute, London. He currently lives and works in Brooklyn, NY.
Mon, 5 August 2013
This week: We talk to artist, podcaster and educator David Linneweh. We discuss David's podcast Studio Break and his kickstarter campaign "Remembering Place".
Mon, 29 July 2013
This week: First SF Checks in from SIGGRAPH! Brian haunts the halls of the Anaheim Convention Center at SIGGRAPH 2013. First he sits down with Victoria Szabo, curator of this year's gallery exhibition XYZN: Scale. Following, he talks with Jackie Morie, founder of the Digital Arts Community about the role of the community in the art world and the technology community.
Then, we talk to Greg Sholette!
Gregory Sholette is a New York-based artist, writer, and founding member of Political Art Documentation/Distribution (PAD/D: 1980-1988) and REPOhistory (1989-2000). His recent books include Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2010) and the co-authored book It’s The Political Economy, Stupid with Oliver Ressler, (Pluto 2013), which is also a traveling exhibition (New York, NY; Thessaloniki, Greece; Pori, Finland; Belgrade, Slovenia; Chicago, Illinois). The first episode of his graphic sci-fi novel Double City appeared in Frieze magazine (summer 2013), and Chapter 2 in Shifter:21 (Oct. 2013). His most recent installations include: Exposed Pipe/ ماسورة موسيقية for the American University Beirut art gallery; Torrent for Printed Matter Books in Chelsea; iDrone for cyberartspace.net; 15 Islands for Robert Moses for the Queens Museum of Art Panorama, and the traveling installation Imaginary Archive (Wellington, New Zealand; Galway, Ireland; Graz, Austria; Kiev, Ukraine). He is a frequent lecturer and seminar leader in the US and abroad, teaches at Queens College and the City University Grad Center, is active in Social Practice Queens, is a member of Gulf Labor Coalition, and serves as an academic adviser for the Home Workspace Program in Beirut, Lebanon.
Mon, 22 July 2013
This week: We talk with artist Amanda Ross-Ho!
Amanda Ross-Ho was born in Chicago in 1975. She currently lives and works in Los Angeles, California. Amanda Ross-Ho’s work is inspired by detritus: the clutter and remnants of daily existence, and the ‘negative space’ of things over looked. Ranging from sculpture, installation, painting, and photography, her work seeks to uncover the subtle beauty of coincidence and anomaly. Working from source material as diverse as newspaper articles, narcotics agency records, life aspiration manuals, and home-craft instruction booklets, Ross-Ho highlights points of cultural ‘intersection’ to create extrinsic portraits of contemporary zeitgeist. Throughout Ross-Ho’s work is a sense of de-familiarisation and detachment, a numbing alienation contrived from everyday ephemera. Ross-Ho’s paintings similarly broach the uncanny. Translated from images of doilies or macramé wall hangings, her intricate webs are manufactured in grandiose scale, cut from painted black canvas dropcloths, or carved in sheet rock. Their recognition and domestic symbolism becomes estranged, placed out of context through size and materiality. Construing kitsch with the elegance of minimalism, Ross-Ho presents the sentimentality of tchotchke as emotive voids, displacing homey intimacy to the realm of objective contemplation.
Mon, 15 July 2013
This week: From our St. Louis series! We talk with Roseann Weiss the Director of the Community & Public Arts Department at the St. Louis Regional Arts Commission.
Roseann Weiss is Director of the Community & Public Arts Department at the St. Louis Regional Arts Commission (RAC). In this position, she oversees the Community Arts Training (CAT) Institute - an innovative program centered on the belief that art can amplify the voices of communities, be a key factor in regenerating neighborhoods and be an agent for positive social change. Roseann also leads RAC's artists' support programs and creative community initiatives, which include identifying resources for new projects. She has over 25 years of experience in arts leadership in both nonprofit institutions and gallery settings.
The Community Arts Training (CAT) Institute, now considered a national model, provides professional level, comprehensive cross training for artists of all disciplines, social service providers, community activists, educators and policy makers in order to develop partnerships for successful arts-based programs that impact the community at large, and particularly under resourced communities. The program provides skills as well as explores creative techniques to assure success in collaboration and community work.
Roseann has initiated the expansion of the Institute's scope, including the design of a graduate program and an alternate, place-based model for community arts training. These initiatives were underwritten by the Kresge Foundation.
In March 2010, the Community Arts Training (CAT) Institute presented the first At the Crossroads: A Community Arts & Development Convening. This national conference in St. Louis, underwritten in part by the Nathan Cummings Foundation, attracted a cross section of leaders in arts-based community development. In April 2012, a second arts-based community development Convening, funded in part by the Kresge Foundation, attracted about 300 participants from as far away as Dublin and Singapore.
Before joining the RAC staff, she was Director of Education and Programming for the Contemporary Art Museum St. Louis. In her ten year post at the Museum, she instituted programs such as New Art in the Neighborhood for teens, the critics and curators studio visit and lecture series, and a docent program designed to connect high school students with contemporary art, along with many community collaborations.
Roseann has curated contemporary art exhibitions in both commercial and non-profit galleries, served on arts panels, juries, committees and boards and has lectured about contemporary art and community. She is a founding member of The AIDS Foundation of St. Louis (now part of Doorways) and Critical Mass for the Visual Arts. In honor of her active involvement in the arts community, Roseann received a Visionary Award in 2009. The award is given to those who have demonstrated a unique vision to further the arts in new and innovative ways.
Mon, 8 July 2013
This week: The Amanda Browder Show rolls back into town! Amanda talks to artist Michael Scoggins.
Michael Scoggins was born in Washington D.C. in 1973. Growing up in Virginia and relocating later to Savannah, Georgia where he gained an MFA in painting from the Savannah College of Art and Design in 2006. In the summer 2003 he attended the prestigious Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He has shown extensively, gained international recognition and has gallery representation in Atlanta, Miami, New York, San Francisco, Vienna and Seoul. Michael currently lives and works in Brooklyn, NY.
Mon, 1 July 2013
This week: Our faithful correspondent Patricia Maloney sat down with former US Congressman Pat Williams and his son Griff Willams at Gallery 16 in San Francisco earlier this month to discuss the turbulence of the Culture Wars during the late '80s and early '90s. Patricia finally learned how legislating works in a conversation that ran the gamut from explaining Piss Christ to conservative parents and why Poker Jim Butte is the best place to catch some Shakespeare to how the NEA is vital to cultural production in rural communities and why now might be the moment to demand the return of federal grants for individual artists.
Rep. Pat Williams, who served Montana as its U.S. Congressman for nine terms, from 1979-1997, was Chairman of the House Committee that oversaw fiscal authorization for the NEA. He was one of the most vocal champions for Federal Arts Funding and has been credited for saving the NEA at a time when it was threatened with extermination by the religious Right. When the National Endowment for the Arts came under attack for subsidizing what some legislators considered sexually explicit art, Williams led the fight to save the agency. “As long as the federal government can support the arts without interfering with their content, government can indeed play a meaningful part in trying to encourage the arts,” Williams told The New York Times. “The genius of the NEA has been that the peer- review panels, made up of local folks, chose art and artists by using criteria based upon quality and excellence, never touching subject matter.”
“He was a tireless and fearless supporter of the arts,” reports John Frohnmayer, who served as chairman of the National Endowment for the Arts during that tumultuous era. “He risked his political career in doing so.” Frohnmayer recalls that Williams “called out the congressional critics of the Endowment for their duplicity and moral posturing.”
Mon, 24 June 2013
This week: After an inexcusably self-indulgent, alcohol fueled intro where Duncan, Richard, Dana and Emily and Nick from ACRE join us, we get on to an excellent interview. Part three of our St. Louis series recorded at the Contemporary Art Museum-St. Louis. This time we talk to Juan William Chavez and Kiersten Torrez about the Northside Workshop, bees, social practice, and record an advert for penicillin.
Northside Workshop (NSW)
Northside Workshop (NSW) is a non-profit art space dedicated to addressing cultural and community issues in North Saint Louis. Our programming focuses on incorporating socially engaged art and education with the goal of fostering social progress in North Saint Louis communities.
In 2010, a collaboration with the Old North Saint Louis Restoration Group, the Kranzberg Arts Foundation and artist/cultural activist Juan William Chavez began an intervention to regenerate a historic North Saint Louis brick building in danger of being destroyed. Two years in the making, this building is now transformed into a dynamic community art space.
Juan William Chavez
Mon, 17 June 2013
This week: Part 2 of our residency project at the Contemporary Art Museum of St. Louis! This week we talk to critic, poet, gallerist, the award winning Director of the Fort Gondo Compound for the Arts Director and Art in America contributor Jessica Baran. This was one of those interviews that I will look upon as a personal favorite. Besides Bad at Sports declares war on Art News. What could be better.
Jessica Baran is the author of the poetry collections "Remains to be Used" (Apostrophe Books, 2010) and "Equivalents" (winner of the Besmilr Brigham Women Writers Award, forthcoming from Lost Roads Press, 2013), as well as the poetry chapbook, "Late and Soon, Getting and Spending," produced by All Along Press (2011). She lives in St. Louis, Missouri, where she is a freelance art writer and co-curator of the fort gondo poetry series.
Mon, 10 June 2013
This week: The first in our St. Louis trip interviews. We talk to Contemporary Art Museum St. Louis Director Lisa Melandri live and without a net at our opening, in front of a moderately baffled audience. Topics include the Jeremy Deller show that was up at the time, institutional purpose, why certain LA museums are looney tunes, and so much more!
From Alive Magazine:
When Lisa Melandri took her position as Director of CAM just last August, she brought with her some serious credentials. While she was Deputy Director for Exhibitions and Programs at the Santa Monica Museum of Art, the museum grew significantly, nearly doubled its staff and budget, and drew national and international acclaim. Now she plans to bring the same magic to St. Louis. “I’m really thinking in depth of what a contemporary art institution is and who it can serve,” Melandri says, envisioning a space that functions as a living room where people come just to “hang out.” It’s what she calls a “sea change” in perception. Part of that change is using the museum to its fullest capability, where even a discreet nook is potential exhibit space. “You should always be running into art,” Melandri says, referencing the highly anticipated Jeremy Deller exhibit this month. “I want to see art in the bathrooms and elevators.”
Contemporary Art Museum St. Louis appoints Lisa Melandri
More Information: http://www.artdaily.org/index.asp?int_sec=11&int_new=54845#.UbViLJzaiJQ[/url]
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Mon, 3 June 2013
This week: Live from the Arts Club of Chicago (with great thanks to Janine Mileaf and Allie Foradas!!) Duncan and Richard talk to William Pope.L, about the forthcoming performance "Pull", his show at the Renaissance Society "Forlesen" http://www.renaissancesociety.org/site/Exhibitions/Intro.William-PopeL-Forlesen.634.html, and more!
William Pope.L (born 1955 in Newark, New Jersey) is an American visual artist best known for his work in performance art, and interventionist public art. However, he has also produced art in painting, photography and theater. He was included in the 2002 Whitney Biennial and is a Guggenheim Fellow.
Mon, 27 May 2013
This week: Brian Andrews and Patricia Maloney talk to SFMOMA!
Mon, 20 May 2013
This week: Amanda and Richard talk to outgoing apexart resident Reymar Gacutan as a part of our ongoing partnership.
Reymar Gacutan (b. 1972) is an artist and educator based in Quezon City, The Philippines, and currently teaches at the School for Design and Arts, De La Salle – College of St. Benilde. Gacutan started his path as an artist in 1985 after winning a painting contest, and was then invited by the Department of Education to take the entrance exam for a scholarship at the Philippines High School for the Arts. In 1997 he graduated from the University of the Philippines, College of Fine Arts, with a degree in painting. In addition to his studies, Gacutan served as an apprentice to Mariano Madarang, an artist and ex-dean of PWU, and Zotter da Lavant, an Austrian artist, and through this learned art restoration and conservation. After graduating from the College of Fine Arts, Gacutan worked as a CGI/3D animation artist at Imagineers, Toonworks, and Tooncity, but found little fulfillment and decided to focus on his art. Since then he has exhibited in both solo and group shows and has taught at several schools in The Philippines.
Mon, 13 May 2013
This week: Two features for the price of...well....nothing actually, but you get where I was going with it. First Richard talks to Attorney Scott Hodes, about his work with Christo and Jean-Claude, keeping public art programs honest, the Visual Artist Rights Act and more!
Then BAS India correspondant and Fullbright Scholar Tanya Gill checks in with a report of the 2013 India Art Fair, and tells us why it is totally different than last years fair.
Scott Hodes has been in active practice for more than four decades. As a corporate lawyer, he represents clients in sophisticated corporate transactions from structuring of corporate entities to financing at all levels from private placements to public offerings, and frequently, to counseling clients in merger and acquisition activities. He also handles complex financing transactions as counsel for a variety of large Chicago banks.
Mr. Hodes also practices in the field of art law and represents a number of prominent artists, dealers and collectors in all aspects of their business. He has published three books on art and the law, and has written and spoken extensively on this subject.
Mr. Hodes serves as a director of Richardson Electronics, Ltd. and a director emeritus of the Foundation of the Federal Bar Association in Washington, D.C. In 2007, he was elected a director of the Chicago Bar Foundation. He is a founding member and former chairman of the planning committee for the annual Mutual Funds and Investment Management Conference now sponsored by the Investment Company Institute.
Mr. Hodes is a recognized leader in metropolitan Chicago’s business community. Long active in bar, civic and political affairs, he was elected to serve three terms on the Democratic State Central Committee (1970-1982). He has served as co-chairman of the Illinois Attorney General’s Advisory Commission and as chairman of Chicago’s Navy Pier Development Authority from 1988 to 1990. He has served as principal outside counsel to the Arts in Embassies Program of the U.S. State Department from 1991 to 1993. He was co-chairman of the Private Enterprise Review and Advisory Board of the State of Illinois from 1992 to 1994, and was appointed in 1994 by the governor and served as a member of the State of Illinois Savings Board until 2010.
Mr. Hodes was the national chairman of LAWBOOKS, U.S.A., a program sponsored by the United States Information Agency, and served as a member of the U.S. State Department’s Advisory Committee on Investment, Technology and Development. He was counsel to The Harold Washington Foundation. Mr. Hodes is a founder and past president and a director of The Lawyers for the Creative Arts. He serves as a trustee and member of the Executive Committee of the National Museum of Mexican Art in Chicago, a director of the Chicagoland Chamber of Commerce, and as a consultant to the Frank Lloyd Wright Foundation.
Tanya Hastings Gill has mastered the age-old art of paper cutting in a contemporary context. She utilizes reflective color, shadows and open installation to engage the space with her hand cut paper creations. Gill has been a fellow at McDowell Artists Colony, an Artist in Residence at The Ragdale Foundation, an Affiliate at Headlands Center for the Arts and a recipient of the Individual Artist Grant from the Marin Arts Council. In 1997 she received her MFA from Cranbrook Academy of Art and in 1992 her BFA from the School of the Art Institute of Chicago. Tanya Gill is a devoted teacher of visual art. She has taught at the California State University of Sacramento, California; Randolph-Macon College in Ashland, Virginia; and at the School of the Art Institute of Chicago’s Contemporary Practices Department.
Tanya Gill has been awarded the Nehru-Fulbright 2011-12 Scholarship to conduct research and evolve her own artwork. Her focus is the intersection of Indian Contemporary Art and Handicraft. She is currently living in New Delhi, India, with her family.
**Please note, Atty. Hodes bio and headshot were perilously lifted from the Bryan Cave LLP website. Yes, we know we should have called and asked and yes, we know you could squash us like bugs. It's 1:23 a.m. early Monday morning, we decided you'd rather sleep. Besides, we love you fine folks at Bryan Cave LLP. http://www.bryancave.com/scotthodes/
Don't hurt us. If you need a sacrificial offering we'll send Duncan over post haste.
Sun, 5 May 2013
This week: Brian and Patricia meet with artist Tony Labat who tries to teach PM how to roll her R's.
Tony Labat was born in Cuba and came to the United States at the age of 15 in 1966. He has exhibited internationally over the last 30 years. Labat has received numerous awards and grants and his work is in many private and public collections. Labat has developed a body of work in Performance, Video, Sculpture and Installation. His work has dealt with and continues his investigations with the body, popular culture, identity, urban relations, politics, and the media.
This week has musical nods to the untimely passings of Kriss Kross's Chris Kelly and Slayer's Jeff Hanneman.
Sun, 28 April 2013
This week: Did you ever read Fear and Loathing in Las Vegas? Richard and Duncan drive to St. Louis. It's like that.
Mon, 22 April 2013
This week: Amanda talks with artist Everest Hall.
Mon, 15 April 2013
This week: Acre part 2! Duncan, Abigail and a cast of thousands talk to Ted Hiebert about his book In Praise of Nonsense: Aesthetics, Uncertainty, and Postmodern Identity and more! Feminism is bandied about and there is lots of ranting about Richard Florida? Who is a fascist? You'll only know if you listen!
Mon, 8 April 2013
This week: Duncan and a cast of thousands from ACRE talk with Dr. Jennifer Willet, recoreded at ACRE in 2012. The discuss her work, bio-art as a genre of art making, and why Duncan is so incredibly angry and filled with hate and rage about people with ears on their arms.
Mon, 1 April 2013
This week: San Francisco joins us with Daren Wilson and guest interviewer/interviewee Jordan Stein.
photo from the excellent work at: http://lightleakphoto.blogspot.com/2010/11/daren-wilson.html
Mon, 25 March 2013
This week: Amanda and Richard talk to Loren Munk about his career, his paintings and his secret life as James Kalm of the Kalm Report.
The artist Loren Munk (born 1951) is a maker of contemporary paintings. He is known among New York artists primarily for his cubistic paintings of urban imagery. Munk also has received accolades for his drawings and mosaics. He differs from traditional mosaic artists by the manner
Munk's work debuted in SoHo in 1981 with a double show at J. Fields Gallery and Gabrielle Bryers. Since then, he has overseen a truly international career. In addition to exhibiting in Brazil, France, Germany and the United States, Munk has received national and overseas, public and private commissions. He is well represented in important collections throughout Europe, South and North America and the Middle East.
Most recently, Munk has been producing a series of paintings which tackle the subject of art itself through a historical and diagrammatic lens. Also, he has expanded upon his role in the artistic community, publishing numerous reviews and essays, curating and promoting several shows, and offering his acknowledged expertise on the Williamsburg arts scene.
Munk documents the New York art world in YouTube videos, using the name James Kalm. The Kalm Report is shot from a first person perspective using a hand held camera. Kalm arrives at an art show by bike—he calls himself "the guy on the bike"—and then walks through the show while providing commentary.
Mon, 18 March 2013
This week: While at CAA Duncan was up to some funny business in his hotel room. No, no, not that, he was (with the assistance of the talented Anthea Black) interviewing the multi-talented author, filmmaker, Chris Kraus.
Kraus spent her childhood in Connecticut and New Zealand. After obtaining a BA at a young age from Victoria University of Wellington, New Zealand, Kraus worked as a journalist for five years, and then moved to New York. Part of the city's then-burgeoning art scene, Kraus made films and video art and staged performances and plays at many venues. In the late 1970s she was a member of The Artists Project, a City-funded public service venture of painters, poets, writers, filmmakers and dancers.
Her work as a performance and video artist satirized the Downtown scene's gender politics and favored literary tropes, blending theatrical techniques with Dada, literary criticism, social activism, and performance art.
Semiotext(e) Native Agents Series
Kraus founded the Semiotexte Native Agents imprint to publish fiction, mostly by women, as an analogue to French theories of subjectivity. In addition to groundbreaking works of fiction by writers like Michelle Tea and Ann Rower, Native Agents has published notable volumes of poetry and prose by Eileen Myles, Barbara Barg, and Fanny Howe, as well as memoirs and interviews by Kathy Acker, Bob Flanagan, David Rattray, and William Burroughs.
Mon, 11 March 2013
This week: Video games. Amanda talking about porn and boobs. People behaving badly. Oh, yeah, some art. It's after 3 AM. I'm tired you aren't getting a huge, organized note, go and google stuff, you can do it. I am even more nasally than normal in the audio, damned airplane petri dishes.
This is a show for the ages.
10:30am Monday-Corrected minor glitch and re-uploaded fixed file!
Jesper Juul is an assistant professor at the New York University Game Center. He has been working with the development of video game theory since the late 1990's. His publications include Half-Real on video game theory, and A Casual Revolution on how puzzle games, music games, and the Nintendo Wii brought video games to a new audience. He maintains the blog The Ludologist on "game research and other important things". His most recent book is The Art of Failure: An Essay on the Pain of playing Video Games. http://www.jesperjuul.net
Oliver Warden (b. 1971, Cleveland, Ohio) is a multidisciplinary artist, working both in the realms of contemporary art and technology. When online, he goes as his avatar name, ROBOTBIGFOOT. The majority of his body of work is inspired by and culled from his experiences in the virtual world, as he spends about 40 hours a week inside the realms of Counter-Strike, Left 4 Dead, and various independent titles. It can be said that Warden essentially, and by 21st Century definition, lives in two worlds: online and off. His paintings, ranging in size of 1 ft to 21 ft canvases, are made by a unique process of pouring Galkyd onto canvas laid horizontally in his Bushwick studio. The semi-transparent and glossy layers build over each other in intricate and elaborate geographies, creating an effects-driven and technologically mediated super-world. His cameraless-photography is created on his computer, in virtual spaces. One series that I find especially innovative shows the “edge of world” in the video game Tribes; Warden literally played the game until there were no more challenges or objectives to complete, and after reaching the literal end of the map (where the playable area stops), he took thousands of screen shots. The results are works on paper, presented as pixelated photographs. His performance pieces are the third factor of his work, creating a complete balanced and intentional body. Inspired by his interactive experiences, he built a body of work around notions of privacy, voyeurship and control. Stalking people in Central Park at midnight and “capturing” them on video, living in a school wall for a week and pulling covert ops at night and sitting inside a chair as unknowing sitters sat on his lap, all challenged and occasionally broke the rules of engagement and participation.
Mon, 4 March 2013
This week: San Francisco checks in with dance legend Anna Halprin!!!
Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer's Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others.
Live Benefit Auction Event: March 9, 6-8:30 pm
Robert Rauschenberg Project Space
Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy.
As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter's Archive, which has been collected since the organization's founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future.
This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter.
The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks.
A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public.
All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours.
All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter.
A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or email@example.com. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity.
Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others.
These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter
In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by the Robert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz, Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or firstname.lastname@example.org.
Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction.
In anticipation of the event Printed Matter Executive Director James Jenkin said:
“Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“
Auction includes work by:
Mon, 25 February 2013
This week: Duncan and Claudine talk to Chicago-based artist Irena Knezevic, whose show "Night of the World" at Alderman Exhibitions closed earlier this month. They discuss Knezevic's background as a math genius and her involvement in the student activist movements in Serbia. There is some musing on the nature of evil. Artist Anna Shteynshleyger drops in and joins the conversation. Plus!! We hear live music by Irena and Joerg Becker, who perform selections from Knezevic's limited edition record "Sailors Sing Suicide Songs." Bourgeois notions of love are ridiculed. A good time is had by all.
Irena Knezevic works in various visual art formats, music, and architecture. Upcoming projects will be exhibited at New Projects, Chicago; Institute for Contemporary Art, Philadelphia; Hyde Park Art Center, Chicago; and Kunstraum München, Germany. For information on past exhibitions and selected projects, visit: http://allyouknowistrue.net/.
Mon, 18 February 2013
This week: James Jenkins Executive Director of Bad at Sports beloved place to spend our disposable income Printed Matter!
Printed Matter is the world''s largest non-profit organization dedicated to the promotion of publications made by artists. Founded as a for-profit alternative arts space in 1976 by artists and artworkers, Printed Matter reincorporated in 1978 to become the independent non-profit organization that it is today. Originally situated in Tribeca, Printed Matter moved to SoHo in 1989 where for twelve years the book displays and artists’ projects in the large storefront windows contributed to the artistic and intellectual vibrancy of the neighborhood. In 2001 Printed Matter relocated to Chelsea, where it continued to foreground the book as an alternative venue - or artistic medium - for artists’ projects and ideas. Finally, in December of 2005 Printed Matter moved into our current storefront location in Chelsea with big windows and greatly increased display and exhibition space. Recognized for years as an essential voice in the increasingly diversified art world conversations and debates, Printed Matter is dedicated to the examination and interrogation of the changing role of artists’ publications in the landscape of contemporary art.
Printed Matter''s mission is to foster the appreciation, dissemination, and understanding of artists' publications, which we define as books or other editioned publications conceived by artists as art works, or, more succinctly, as "artwork for the page." Printed Matter specializes in publications produced in large, inexpensive editions and therefore does not deal in "book arts" or "book objects" which are often produced in smaller, more expensive editions due to the craft and labor involved in their fabrication.
To promote public awareness of and access to artists’ books, Printed Matter maintains a public reading room where over 15,000 titles by 6,000 international artists are available for viewing and purchase. In addition to being a wholesale and retail distribution hub for artists’ books, Printed Matter offers a free consulting service to libraries, art institutions, and art professionals involved with artists’ books throughout the world. Printed Matter presents a range of educational programs for the public from talks to student groups by staff members to in-store lectures and readings by artists, critics, and curators. These educational initiatives are complemented by our internationally recognized exhibitions program and publishing program.
Mon, 11 February 2013
This week: Amanda interviews residents at apexart!
apexart and Bad at Sports continue the Resident Talk collaborations* with Inbound Resident Sojung Jun and Outbound Resident Shani Peters in conversation with BAS' Amanda Browder.
Direct download: Bad_at_Sports_Episode_389-Sojung_Jun__Shani_Peters.mp3
Category:podcast -- posted at: 1:39am EDT
Sun, 3 February 2013
This week: San Francisco check in with an interview with art collective/gallery Will Brown.
Will Brown is a collaborative project that currently takes form as an experimental exhibition space in San Francisco's Mission District. Will Brown is Lindsey White, Jordan Stein, and David Kasprzak.
Mon, 28 January 2013
This week: The final installment of SoPra fest 2013, Paul Ramirez Jonas!
Ramirez Jonas has said of his work:
"I create as I speak: I consider myself merely a reader of texts. The pre-existing text I treat as a score: a diary, an old photo, a footpath, music, etc. The reading can take the form of performance, sculpture, photo, or video. Thus, a musical score results in a sculpture, a diary, in a video, or the plans for a flying machine in a photo. In my works, what looks like invention is but re-enactment. Being a reader, don't I have more in common with the public than with the author? I find that commonality in working with pre-existing materials."
Currently, Ramirez Jonas sees his role as "extending beyond the private reader, and into someone who invites viewers to join in. The result of this shift is the reassertion of a contract between the artwork and its public."
In 2008 at the 28th Sao Paulo Biennial, Ramirez Jonas arranged for members of the public to a receive a key to the front door of the biennial venue, the Ciccillo Matarazzo Pavilion. Each person who received a key was required to leave behind a copy of one of their own keys as well as sign a contract that established an agreement between themselves, the curators, the artist and the biennial foundation.
For the 7th Mercosul Biennial in Porto Alegre, Brazil in 2009, Ramirez Jonas altered three large boulders by carving into them a space for monument plaques to be placed. Instead of creating permanent monuments to a State honored figure or event, he turned the monuments into platforms for cork boards for the fleeting message or personal note-the ephemeral voice of his public.
In the summer of 2010, Ramirez Jonas created the Key to the City project in New York City with Creative Time. Though keys were only distributed up until June 27, the locks will remain accessible throughout the summer, until September 4, 2010.
He is represented by Alexander Gray Associates in New York and Roger Bjorkholm in Stockholm
Mon, 21 January 2013
This week: Duncan, Brian, Abigail Satinsky and special guest host Jacob Wick talk to author and publishing guru Matthew Stadler.
Matthew Stadler is a writer and editor who lives in Portland, Oregon. He has written four novels and received several awards and fellowships in recognition of his work. More recently, he has compiled four anthologies about literature, city life and public life. His essays have been published in magazines and museum catalogs around the world, and focus on architecture, urban planning and the problem of sprawl.
"Sprawl is the disappearance of an idea," Stadler writes in the annotated reader, Where We Live Now, "So how can we go on speaking of the city and the country, yet not remain fixed in the downward spiral of loss?" Stadler's numerous essays and larger projects, such as suddenly.org explore this question by looking for better language and new descriptions. While there is significant overlap, Stadler's work can usefully be broken down into three areas: novels; sprawl and urbanism; publishing and public space.
Sun, 13 January 2013
This week: Amanda is back! The Amanda Browder Show talks to artist Gina Beavers.
Mon, 7 January 2013
Bio from Devening Projects...
(born 1942) Gary Stephan has been showing his painting and sculpture since the late sixties in the United States and Europe. He has had solo shows in New York at Bykert Gallery, Mary Boone Gallery, Hirschl and Adler and Marlborough Gallery; in Los Angeles at Margo Leavin Gallery and Daniel Weinberg Gallery; and in Berlin at Galerie Keinzle and Gmeiner among many others. His work can be found in the collections of The Guggenheim Museum of Art, The Metropolitan and the Museum of Modern Art, as well as museums nationwide. He is the recipient of awards from the National Endowment of the Arts, the Guggenheim Foundation and the American Academy of Arts and Letters. He teaches in the MFA program at School of Visual Arts in NYC and is currently represented by Kienzle Art Foundation in Berlin. Gary Stephan lives and works in New York City and Stone Ridge, NY.
All your bases belong to us.