Weekly Roundup

William Kentridge, "Sphinx," 2010

This Weekly Roundup features Kentridge’s Egyptian sketchbooks, Louise Bourgeois in The Surreal House, and Mike Kelley’s maiden voyage.

• Scheduled to coincide with the monographic retrospective devoted to the artist at the Jeu de Paume, drawings by William Kentridge will be presented in the Salle d’Actualité of the Department of Graphic Arts, alongside a selection of Egyptian drawings from the Louvre.  The work will be on display until August 30.

• A current exhibition at the DHC/ART Foundation for Contemporary Art features the work of Jenny Holzer that deals with the United States-led invasion of Iraq and “holds up language as a mirror to show them and us the consequences of how words are used and misused. This analysis may be too late in some ways, but also just in time to show how language, too, can become a weapon of mass destruction.”  The show closes on November 14.

• The New Topographics photo exhibition at SFMOMA offers a chance to look back in time to gauge our psychological and social distance from what we see.  This exhibition is a re-creation of a pivotal 1975 exhibition held at the George Eastman House in Rochester, N.Y. and includes the work of Robert Adams who was in the original show.  The exhibition is on view until October 3.

• The Barbican Art Gallery presents The Surreal House which consists of a labyrinth of chambers, designed by acclaimed young architects Carmody Groarke and features work by a host of artists, architects and film makers including Louise Bourgeois.  The show continues until September 12.

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Weekly Roundup

Mel Chin, Fundred Dollar Bill.

7,000 t-shirts, 22 paintings, two awards, a powerful pair, and one big open studio in this week’s roundup:

• Mel Chin (Season 1) has been named a finalist of the first International Award for Participatory Art. Chin and two other artists are invited to spend a research period in Bologna and develop a site specific project idea. The winning project, selected by jury, will be created in 2011. The jury includes Alfredo Jaar (Season 4), Julia Draganovic, Rudolf Frieling, and Bert Theis. In addition to the budget to accomplish the project, the winning artist will receive an award of 15,000 Euros.

• Mark Bradford (Season 4), working with the Getty Museum, has unveiled Open Studio: A Collection of Artmaking Ideas by Artists, a new project to provide free online arts activities for K-12 teachers to use in their classrooms. Open Studio is the inaugural project of the Getty Artists Program, an expanded effort to involve contemporary artists in the Museum’s Education programs. Bradford designed Open Studio to provide brief, accessible activities that don’t require a great deal of preparation or supplies. A teacher can click, print, and immediately share them with his or her class. Artists such as Kerry James Marshall (Season 1), Kara Walker (Season 2), Carrie Mae Weems (Season 5), Xu Bing, Daniel Joseph Martinez, Jon Cattapan, Catherine Opie, Graciela Iturbide, and Michael Joo have all contributed activities to the site. Marshall, for example, encourages the study of picture-making and provides a set of instructions to make and use plan and perspective grids. Bradford said: “We take a lot of things very seriously with young children – math, languages, phonics – but not art. We relegate that to something less than serious, something you do after the real work. Well, art is important. It’s always been important. And I wanted children to develop a work ethic about art, an ability to see things through and focus, just like the work ethic they would need to become a doctor or lawyer.” Open Studio is available at blogs.getty.edu/openstudio/.

• William Kentridge (Season 5) has won the Kyoto Prize. According to Artinfo, “The award, similar in status to Nobel Prize in Japan, is bestowed annually by the Inamori Foundation to recognize three visionaries in the categories of arts and philosophy, advanced technology, and basic sciences.” Kentridge will receive $550,000, an honorary diploma, and a 20-carat gold medal in a November ceremony.

• The New York Times reports that approximately 7,000 t-shirts bearing 10 different Jenny Holzer (Season 4) truisms will be dropped in Soweto, on the streets of downtown Johannesburg and at the Goodman Gallery space in South Africa through July 17. Holzer’s project, her first on the African continent, is part of the citywide exhibition series In Context (which also showcases works by Kentridge). Read a short Q &A with Holzer here.

• Works by Barry McGee (Season 1) and Claire Rojas are on view at the Bolinas Museum in California through August 1. The secluded town of Bolinas is, according to Juxtapoz magazine, “perfect” for McGee and Rojas, both “known to shy away from media and the public eye.” Go to Arrested Motion to see images of their installations Leave it Alone and Together at Last.

• Austria’s first exhibition of works by Walton Ford (Season 2) is on view at the Albertina through October. The show comprises 22 paintings made in the last ten years. Watch clips from Ford’s recent talk at the museum here.

• Crystal Bridges has acquired another new work by an Art21 artist, this time a tapestry by Kara Walker (Season 2). A Warm Summer Evening in 1863, Walker’s first tapestry, is based on an engraving originally published in Harper’s Magazine during the Civil War that documented the destruction of an orphanage for black children in New York City. “The black felt silhouette of a lynched female figure that is superimposed on the scene, her noose tied in a neat bow, is not based on a real person, but effectively telegraphs the horror of the racially motivated violence.” This piece was shown earlier this year in the James Cohan Gallery exhibition Demons, Yarns & Tales: Tapestries by Contemporary Artists.

• The work of Season 1 artist Kerry James Marshall is featured in the current issue of Afterall. Read Kobena Mercer’s article Kerry James Marshall: The Painter of Afro-Modern Life, and Terry R. Myers’s piece Kerry James Marshall’s Tempting Painting, an investigation of what’s at stake in calling an artist “a painter.”

Pardon this Brief Commercial Interruption: Intro

Hans Haacke, "MetroMobiltan," 1985. Fiberglass construction, three banners, and photomural, 11' 8" x 20' x 5'. Collection Centre Georges Pompidou, Paris.

The United States has always fostered a strange and ambiguous relationship to the arts.  In 1825, John Quincy Adams recommended that the country establish a national university, observatory, and other cultural programs and institutions.  Martin Van Buren and John C. Calhoun repudiated Adams’s proposal, calling it an imposition on states’ rights.  In doing so, they set the tone for subsequent rejections of a national cultural mandate. In the 1960s, at a UNESCO roundtable, the United States firmly maintained that it had no official cultural position, reasoning that its pluralist tradition prevented the articulation of a viable cultural policy through funding or doctrine.

With the exception of the nineteenth-century support of public architecture and the promotion of art as part of Cold War propaganda, the national government has taken no official stance on culture.  This does not mean that there have not been deliberate and instrumental uses of culture undertaken to foster particular outcomes. In the 1920s, the Commerce Department began supporting the film industry in the name of creating a new export for the international market. This initiative funded the Walt Disney Company’s production of propaganda films in the WWII era, aimed at building strategic international support for the Allied forces.  The New Deal’s Civil Works Administration and Works Progress Administration were inaugurated as a means for economic relief but ended as when the Federal Theatre Project was called before The House Un-American Activities Committee (HUAC).

Walt Disney Co., Education for Death — The Making of the Nazi, 1943. Directed by Clyde Geronimi.

This ambiguity over the place of culture in society has, for all practical purposes, become the de facto cultural policy of the United States, where ambivalence is deployed as a useful strategy for avoiding controversy and navigating disparate ideologies.  The moments when strategic safeguards do fail, such as in the culture wars of the 1990’s, become flashpoints that reflect the unofficial policy.  In the 90s, in response to vexed public reactions to shows like the Brooklyn Museum’s Sensation exhibition and works by Andres Serrano, Robert Mapplethorpe and the “NEA four,” the federal government restructured the NEA and redirected funding from the support of individual artists to far less controversial programming of cultural heritage programs and events. Even though the NEA has seen some its funding restored in the past decade, wealthy individuals, private foundations and corporate partnerships now provide the lion’s share of funding for experimentation within the visual arts.

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Weekly Roundup

Barbara Kruger, "The Globe Shrinks" (video still), 2010. Dimensions variable, Four-screen digital video installation. Courtesy Mary Boone Gallery.

• A new video installation by Season 1 artist Barbara Kruger is now on view at the Chelsea location of Mary Boone Gallery. The Globe Shrinks (2010) is a multi-channel piece that, according to the press release, “continues Kruger’s engagement with the kindness and brutality of the everyday, the collision of declaration and doubt, the duet of pictures and words, the resonance of direct address, and the unspoken in every conversation.” The Globe Shrinks continues through May 1.

• Through August 15, photographs by Kiki Smith (Season 2) are on view at Henry Art Gallery in Seattle. I Myself Have Seen It: Photography & Kiki Smith shows how photographs play a central role in the development of Smith’s work. The exhibition features hand-made composites, diaristic snapshots, video collaborations, and the artist’s unique takes on computer-based techniques. Read about the show in the California Literary Review.

• Women of the Chrysler: A 400-Year Celebration of the Arts, now on view at the Chrysler Museum of Art in Norfolk, Virginia, celebrates the role of women in the arts. Drawn entirely from the museum’s permanent collection, the show comprises more than 150 works by women painters, sculptors, photographers, silversmiths, glass artists, and printmakers. Through four chronological sections and three centerpiece installations, the exhibition traces the course of women’s ever-expanding contributions to the arts worldwide. Work by Season 5 artist Cindy Sherman is included in the section on modernist women in the age of feminism. Women of the Chrysler closes July 28.

• Galerie Lelong in New York is displaying new sculptures by Season 4 artist Ursula von Rydingsvard in the solo show ERRĀTUS. The exhibition title means “wandering” or “roaming” in Latin. Among the works on view are Blackened Word (2008), an undulating, free-standing wall that stands nearly seven-feet tall; Unraveling (2007), an elaborate wall “drawing” in cedar; and the wall piece Splayed (2009), made of cup-like shapes that protrude and drape. ERRĀTUS closes May 1.

• Mark Dion (Season 4) and Robert Williams have organized An Ordinall of Alchimy, the first in a series of exhibitions presented by the art journal and gallery space Cabinet. Artists are invited to assemble work under one condition: everything installed in the gallery must have been acquired on Ebay for a total of less than $999. When the show comes to an end, its contents are offered for sale as a single item, once again on Ebay. Dion and Williams, along with their students at the Pennsylvania artists’ colony Mildred’s Lane (Matt Bettine, Joey Cruz, Kathryn Cornelius, Gabriella D’Italia, Scott Jarrett, Aislinn Pentecost-Farren, John Wanzel, Laura E. Wertheim, and Bryan Wilson), used the invitation from Cabinet as an opportunity to explore the theme of alchemical transformation. An Ordinall of Alchimy comprises the objects they assembled. The exhibition opens March 30 at Cabinet in Brooklyn, New York.

• James Turrell, Bruce Nauman (both Season 1), and Jenny Holzer (Season 4) are included in the first Biennale for International Light Art, Open Light in Private Spaces. Staged in the eastern Ruhr metropolis, and held in conjunction with the annually designated European Capital of Culture celebration/RUHR.2010, the Biennale presents works in sixty residential and private spaces in the cities of Bergkamen, Bönen, Fröndenberg/Ruhr, Hamm, Lünen and Unna. Open Light in Private Spaces continues through May 27.

• Season 1 artist Mel Chin is in Baltimore with his Fundred Dollar Bill project. The artist will lecture about art and social reform at Maryland Institute College of Art on March 31, and present two workshops on April 1. Chin will return to Baltimore the second week of April to present at the National Art Education Association’s national convention at the Baltimore Convention Center, as well as to pick up the local Fundreds in a celebration and parade titled Fundred Extravaganza. Read more about Chin in the Baltimore City Paper.

• The Gibbes Museum of Art has announced the Short List of Finalists for the third annual Factor Prize, an annual cash prize award of $10,000 to an artist whose work demonstrates the highest level of artistic achievement in any media while contributing to a new understanding of art in the South. Sally Mann (Season 1) is among the six artists short-listed this year.

• Summer Nights, Walking, the Robert Adams (Season 4) exhibition now on view at Matthew Marks Gallery, was reviewed in the Wall Street Journal. Critic Richard B. Woodward says: “Mr. Adams is our leading photographer of landscape because he doesn’t ignore the human hand in its shaping and maintenance…His is a more realistic view of our role as custodians of the planet, even when we fail at the task, than one that yearns for wilderness in its prelapsarian state. He sees that even the suburbs, those most loathed of real-estate developments in postwar America and elsewhere, are nature preserves of a sort.”

• Calvin Tomkins has profiled Season 5 artist Julie Mehretu for The New Yorker.

• Visit PortlandArt.net to read a two-part interview with Season 4 artist Inigo Manglano-Ovalle.

Weekly Roundup

Paul McCarthy, "Paula Jones," 2007. Fiberglass, 82 x 57 1/2 x 107 inches. via Art Daily.org

This President’s Day roundup begins with a hotly debated exhibition and ends with a divine duo:

• The New Museum has announced the details of their exhibition Skin Fruit: Selections from the Dakis Joannou Collection. Curated by Season 5 artist Jeff Koons, this will be the first showing of the Athens-based collection in the United States. This will also be the first exhibition curated by Koons, whose early work is said to have inspired the evolution of the Dakis Joannou collection. Koons has selected over 100 works by 50 international artists spanning several generations, including Matthew Barney (Season 1), Janine Antoni, Kiki Smith, Kara Walker, (all Season 2), Mike Kelley (Season 3), Jenny Holzer (Season 4), Paul McCarthy (Season 5), David Altmejd, Nathalie Djurberg, Robert Gober, Terence Koh, Mark Manders, Tim Noble and Sue Webster, Christiana Soulou, Jannis Varelas, and Andro Wekua, among others. The title of the exhibition alludes to notions of genesis, evolution, original sin, and sexuality. “Skin and fruit,” according to the press release, “evoke the essential tensions between interior and exterior, between what we see and what we consume.” The show will feature one work by Koons — One Ball Total Equilibrium Tank (1985) — the first major artwork that Dakis Joannou acquired. Skin Fruit opens March 3.

• Art21 artists Louise Bourgeois (Season 1), Cai Guo-Qiang, Hiroshi Sugimoto (both Season 3), and Paul McCarthy (Season 5) will participate in the 17th Biennale of Sydney, Australia’s largest contemporary visual art event. Cai’s installation Inopportune: Stage One (2004), nine cars exploding and rotating in space, will dominate Cockatoo Island’s Turbine Hall. McCarthy will premiere his sound and sculpture installation Ship of Fools #2 (2010) at Pier 2/3. And Bourgeois will have a series of painted bronze sculptures on display at the Museum of Contemporary Art. Artistic director David Elliott says: “The aim of this Biennale is to bring together work from diverse cultures, at the same time, on the equal playing field of contemporary art, where no culture can assume superiority over any other.” The 17th Biennale of Sydney runs May 12 – August 1, 2010. Read more about the event in the Brisbane Times.

• Works by Season 5 artists Cindy Sherman and John Baldessari are on view in the exhibition Pop Art at the Havana Fine Arts Museum in Cuba. According to the Havana Times, the traveling exhibition (organized by Spain’s State Society for Foreign Cultural Action and the Valencian Institute of Modern Art) features nearly sixty works made by American and Spanish artists in the style/period of pop art. Works by John Chamberlain, Jasper Johns, Yves Klein, Claes Oldenburg, Sigmar Polke, Richard Prince, Robert Rauschenberg, Gerhard Richter, and James Rosenquist hang alongside works by Eduardo Arroyo, Equipo Cronica, Juan Genoves, Equipo Realidad, Josep Renau, Manuel Saez, Antonio Saura, Juan Antonio Toledo, and others. Pop Art continues through March 30.

• On February 22, Season 4 artist Alfredo Jaar will present his most recent short film Le Ceneri di Pasolini (The Ashes of Pasolini) (2009) at the Museum of Modern Art, New York. A tribute to the Italian filmmaker, intellectual, poet, critic, and journalist Pier Paolo Pasolini, the film incorporates footage from Pasolini’s films and rare interviews conducted prior to his sudden and mysterious death in 1975. The title refers to Pasolini’s own poem, Le Ceneri di Gramsci, itself a eulogy to the Italian left-wing intellectual Antonio Gramsci. In a separate unrelated event, Jaar will lecture in the Remis Auditorium of the Museum of Fine Arts, Boston on February 17. Both programs begin at 7pm.

• February is the last month that the Fundred Dollar Bill project by Season 1 artist Mel Chin will be at Arizona State University Art Museum (ASUAM). In addition to regular museum hours, ASUAM is holding three free events to give the public a final chance to contribute: On February 9, the museum will screen Chin’s award-winning animated film 9-11/9-11: A Tale of Two Cities, A Tragedy of Two Times. February 16, the Phoenix band Peachcake will give a free concert following a screening of Chin’s 2009 interview with Planet Awesome. February 25, an armored truck will pick up ASUAM’s Fundreds — free music and other festivities will lead up to its arrival. Read more about the Fundred Dollar Bill project in Huffington Post; Utah People’s Post; and The Tartan.

• On February 17 at 6:30pm, Roni Horn (Season 3) will be in conversation with John Waters at the Institute of Contemporary Art, Boston. Horn’s traveling retrospective exhibition Roni Horn aka Roni Horn opens at the ICA on February 19 and continues through June 13.

Weekly Roundup

Josiah McElheny, "Bruno Taut on Mies van der Rohe (1922), i," 2009. Drawing on silver gelatin photograph using color retouching pencil, 23 1/2 x 17 1/2 in., Edition variant 1 of 4 with 1 artist's proof. Courtesy of Andrea Rosen Gallery.

• New works by Season 3 artist Josiah McElheny are on view at Andrea Rosen Gallery through Oct. 17. The centerpiece of the exhibition is an eight-foot tall sculpture based on Mies van der Rohe’s earliest model of a glassclad skyscraper. McElheny’s sculpture is an enlarged version of this original maquette that recasts Mies’s design in the spirit of rival architect Bruno Taut. Also included in the exhibition are a series of photo-based drawings inspired by a photograph Mies took of his skyscraper model in 1922. In each, the black-and-white photograph is highlighted, or defaced with photo-retouching pencil, thereby inserting Taut’s colorful ideas into Mies’s picture of purity and transparency.

• Works by Season 3 artist Richard Tuttle are on view in the exhibition Pollution is Ecology also at Andrea Rosen Gallery through October 17. Visit Contemporary Art Daily to browse through images of Tuttle’s concurrent exhibition, L’nger than Life, at Modern Art, London.

• Season 3 artist Fred Wilson is recipient of the 2009 Cheek Medal from the Muscarelle Museum of Art at the College of William and Mary. The Cheek Medal was created to recognize individuals who have impacted the fields of visual, performing and museum arts. A dinner and ceremony will be held at the Lake Matoaka Amphitheater on Sept. 18.

• Opening October 7 at the Museum of Arts & Design, Slash: Paper Under the Knife will explore the creative possibilities of paper through works by Kara Walker (Season 2), Oliver Herring (Season 3), Olafur Eliasson, Pietro Ruffo, Ishmael Randall, Sangeeta Sandrasegar, and others.

• Kara Walker (Season 2) will be the next artist in the Proposition seminar series at the New Museum. Inspired by the scientific method of hypothesis, research, and synthesis, these two-day events explore a topic of current investigation in the invited speaker’s own artistic or intellectual practice. On Sept 25 and 26 Walker will explore the object of painting and the concept of liberty.

• Mel Chin (Season 1) will lecture at Arizona State University (ASU) on Thursday, Sept. 24 at 7:30pm. The event is organized in conjunction with the Defining Sustainability season of exhibitions and projects at the ASU Art Museum.

• Dance with Camera is now on view at the University of Pennsylvania’s Institute of Contemporary Art. Both an exhibition and screening program, Dance with Camera explores the crossover between artists, and dancers who make choreography for the camera. The exhibition features works in film, video, and photography by artists Bruce Nauman (Season 1), Eleanor Antin (Season 2), Mike Kelley, Oliver Herring (both Season 3), Charles Atlas, Ann Carlson and Mary Ellen Strom, Bruce Conner, Tacita Dean,  Luis Jacob, Joachim Koester, Elad Lassry, Kelly Nipper, robbinschilds + A.L. Steiner, Uri Tzaig, Flora Wiegmann, and Christopher Williams. On view through March 21, 2010.

Weekly Roundup

• Vernissage TV takes a close look at Let the Priests Tremble…(1998/2008), a large hand-printed wall installation by Season 4 artist Nancy Spero. The piece was included in Spero’s retrospective at the Centro Andaluz de Arte Contemporáneo in Sevilla, Spain.

• 9/11-9/11, an animated film by Season 1 artist Mel Chin, will screen tonight at MOMA (7pm). The piece will be screened twice, and a discussion with the artist and the audience will take place in between. Tickets are available at the Museum.

• On the occasion of the fourth Berlin Gallery Weekend (a program of 38 gallery openings in a 3-day span), c/o–Gerhardsen Gerner gallery will present works by Season 3 artist Matthew Ritchie. Read more about the exhibition, titled The Need-Fire, here.

• Ann Hamilton (Season 1) has been inducted into the American Academy of Arts and Science. Visit Artforum.com to read the full list of inductees in the visual art category.

• The Guggenheim exhibition catalogue Cai Guo-Qiang: I Want to Believe has won the 2008 George Wittenborn Memorial Book Award, which recognizes outstanding publications in visual arts and architecture. The catalogue accompanied the comprehensive exhibition of work by the Season 3 artist.

• Kara Walker and Raymond Pettibon (both Season 2) appear in the May issue of Black Book magazine.

Weekly Round Up

Robert Adams, "Eden, Colorado" (circa 1968-71). Courtesy the artist.

• Robert Adams has won the 2009 Hasselblad Foundation International Award in Photography. Based in Astoria, Oregon, the Season 4 artist received the $61,000 prize at a ceremony in San Francisco last week.

• Maya Lin will speak tonight at San-Francisco based not-for-profit organization City Arts and Lectures. The Season 2 artist will engage in dialogue with with Ryan Watt.

• As part of Earth Day events, Mel Chin (Season 1) will deliver a talk this Wednesday at Blue Ridge Community College in Blue Ridge, North Carolina.  For more information, click here.

• The China Project: Three Decades of Contemporary Chinese Art just opened at the Gallery of Modern Art in Brisbane, Australia.  Culled from the Queensland Art Gallery Collection, the show  features installations, painting, sculpture and video by over 40 of China’s foremost contemporary artists including Xu Bing and Cai Guo-Qiang (Season 3).

• Opening tomorrow at the Metropolitan Museum of Art is The Pictures Generation, 1974-1985. The show features artists “educated in the self-reflexive and critical principles of Minimal and Conceptual art,” a list of 30 that includes  Barbara Kruger (Season 1),  Sherrie Levine, Robert Longo, Allan McCollum, Richard Prince, Cindy Sherman, and Laurie Simmons (Season 4).

First Spring Round-Up

Mark Dion, "Death of a Giant" (2009). Courtesy the artist and Tanya Bonakdar Gallery.

Things to see:

• Mel Chin will be giving a free lecture on Tuesday, March 24, from 7:00 pm to 8:30 pm, at the Arlington Arts Center as part of the closing reception for PUBLIC/PRIVATE, an exhibition juxtaposing art out in the world that requires the viewer’s direct physical participation with works about the artist’s immediate social or domestic sphere. Chin’s talk will also serve as the kickoff for the FUNDRED/PAYDIRT Project in Arlington public schools.

• Richard Tuttle‘s exhibition Walking on Air opened March 20th at Pace Wildenstein.  The show runs through April 25 and includes twelve new works of overlapping, dyed fabric cloths that suggest in non-ambiguous terms the relationship between the abstract and the real.

• Also opening over the weekend was Ancient Evenings: Libretto, an exhibition of new drawings by Matthew Barney at Gladstone Gallery in Brussels.  Ancient Evenings is a seven act opera chronicling the seven stages the soul passes through after the death of the body, and is loosely based on Norman Mailer’s 1983 Egyptian-set novel. The show runs through May 9.

• Art by Women is up through April 26 at the Sheldon Museum of Art.  The exhibition includes nearly 40 prints and photographs by “revolutionary” women artists of the 20th and 21st centuries, including Louise Bourgeois, Kiki Smith, and Judy Pfaff.

Fundred Points of View

By now, many of you are quite familiar with Mel Chin’s nationwide Fundred project to help highlight the issue of lead contaminated soil in New Orleans. Students and professional artists all across the country are designing “Fundred” hundred dollar bills that will be collected in an artistic collaboration involving thousands of people.

This week, as part of the New York State Art Teachers Association annual conference, I will be presenting the attached lesson plan to give educators another way of sharing the Fundred project with their students. There are options for a one-day lesson or a series of four lessons that lead to making the bills and understanding how the project is truly a collaborative effort dependent on many voices being heard. Please check it out and share your thoughts, ideas, or experience with the Fundred project itself: fundredpointsof-view.doc