Monday, September 27, 2010
Doorway to DeKooning
I was told that Willem DeKooning often put a door in his paintings. So, I went to check it out on "Excavation" in the Modern Wing. Sure enough, there is a doorway with the door cracked and opening to the inside. Check it out. It is buried in the abstract elements in the central lower part of the painting. Apparently he did this on many paintings. Was this a mental tool or escape route if he got "stuck"? Was it simply a visual motif that he was carrying through during that period of his career? No one seems to know. . . Truth stranger than fiction.
Forget Me Not
Recently, I made my first trip to Intuit: The Center for Intuitive and Outsider Art. The exhibition, Forget Me Not: Self-Taught Portraits, featured forty-nine artists, some of which are unknown and many of which are long dead. Mixed media appears frequently throughout the show - artists are painting on plywood, tin and even window shades. I especially liked this contemporary piece, C.C. with Hot. The artist, C.J. Pyle, created this simple and strange portrait on a cardboard LP record sleeve from ink, colored pencil and graphite.
The work may not all feel fresh, but to me, this show is refreshing.
Last weekend my friend and I visited the exhibit at the Sullivan Center. There was an interactive art piece that I really enjoyed. The piece consisted of a sort of video projection of a train track. From one side you see the train track in front of you. Behind you is an image of the train tracks heading the opposite direction. In the piece a video of the train literally runs through you. The piece was almost invigorating. I felt the "danger" of an approaching train and experienced it going through me in a virtual sense. I would recommend if anyone has time to go see it.
Sunday, September 26, 2010
Castillo/ Tanaka exhibition this Fri Oct. Ist
Hi all
I will be exhibiting in a two person show this Fri - the opening of Chicago Artist Month-
at 1564 N. Damen in Wicker Park. This is the corner of Milwaukee Damen and North av's
6 - 11 pm
Across the street is an art's building known as The Flat Iron Bldg. which is hosting their own
First Fridays.
a few storefronts down from the Flat Iron, on Milwaukee av. is Johalla Projects ...across the street is Heaven gallery
so if you are out for a gallery hopping evening you might want to check out this part of town
Baltazar
Enter the Void
This coming weekend (10/1) Gaspar Noe's new film Enter the Void will be coming out. It hit LA and New York last weekend and will be extending its limited release this week. Gaspar Noe, director of Irreversible and I Stand Alone (which I'd highly recommend), is one of the most forward thinking contemporary filmmakers. He's one of the few directors trying to truly push the medium into a different realm. I haven't heard much about his new film but it will be interesting to see what he makes of it. Check out the trailer.
http://trailers.apple.com/trailers/independent/enterthevoid/
http://trailers.apple.com/trailers/independent/enterthevoid/
Old Town Events
Coming up in the next couple of weeks in OLD TOWN:
http://www.oldtowntriangle.com/
October 10th, an opening for Brad Pogatetz -- focuses mainly on photography and prints. It's going to be 2-5pm @ 1763 N North Park -- I will probably be headed up that way to check it out. He has a lot of interesting work -- most of which is probably under the category of contemporary art ( or at least my current understanding of what contemporary art is )
http://www.bradpogatetz.com/ here is his website. Check it out
http://www.oldtowntriangle.com/
October 10th, an opening for Brad Pogatetz -- focuses mainly on photography and prints. It's going to be 2-5pm @ 1763 N North Park -- I will probably be headed up that way to check it out. He has a lot of interesting work -- most of which is probably under the category of contemporary art ( or at least my current understanding of what contemporary art is )
http://www.bradpogatetz.com/ here is his website. Check it out
Wednesday, September 22, 2010
Monday, September 20, 2010
la maison rouge
hey guys,
Thought you might enjoy the exhibitions part of this website. A friend of mine is in culinary school in Paris and claims this is their most "avant garde" museum. I found Peter Buggenhout's work fascinating (the stuff made from organic materials).
http://www.lamaisonrouge.org/spip.php?lang=en
Also, here is a link to the Saatchi gallery's collection of David Salle. He's one of the few artists that always has the term "postmodern" attached to his work. I actually like the gallery's descriptions
http://www.saatchi-gallery.co.uk/artists/david_salle_resources.htm
Thought you might enjoy the exhibitions part of this website. A friend of mine is in culinary school in Paris and claims this is their most "avant garde" museum. I found Peter Buggenhout's work fascinating (the stuff made from organic materials).
http://www.lamaisonrouge.org/spip.php?lang=en
Also, here is a link to the Saatchi gallery's collection of David Salle. He's one of the few artists that always has the term "postmodern" attached to his work. I actually like the gallery's descriptions
http://www.saatchi-gallery.co.uk/artists/david_salle_resources.htm
Look at these:Museums and Cultural Identity
Public Notice 3 is currently exhibiting at The Art Institute of Chicago. This provocative installation is on display until January 2, 2011. Featuring the work of contemporary artist Jitish Kallat this installation addresses religion and cultural identity, but also significant historical situations between America and India.
This installation brings to mind one of my favorite contemporary artists Daniel Joseph Martinez whose museum tags, “I Can’t Imagine Ever Wanting to be White” was part of the 1993 Whitney Biennial. As equally provocative as Kallat, this work speaks about race and cultural identity in relation to the museum world.
What are some themes in Contemporary Art that these two artists are addressing? Can comparisons be made between the two works, and subsequently the artists? Has or does, the museum play a role in establishing cultural identity?
the beauty in the other room
This weekend I set out to see the work of Susanne Doremus at Zolla / Lieberman Gallery. I did see it and was interested in it, but I don’t want to talk about it. I want to speak of the work of another artist, Stephen De Staebler, whose sculpture was on display at the same gallery in a small room set off to the side.
Stephen De Staebler has been making work for decades (half a century actually) so I’ve struggled with how to pin down his work. It’s not devoid of historicism and seems to have some postmodern underpinnings. Based on what I now know of modernism, I’d classify it as such. Perhaps he’s even a remodernist. I dug around on his website and read some interviews to better understand how he talked about his fired clay sculptures specifically and his work in general. It was then that I stumbled upon this quote:
“You don't have to transform it into something else to find beauty. You have to burn through a lot of pretty work in order to love the gift of the clay - its randomness, its tendency to crack and warp. All the things that the perfectionists think are negative qualities are actually positive if you approach it from a different aesthetic.”
I don’t believe he’s saying anything particularly groundbreaking. Rather, he’s articulating the conversation I have in my head every time I pull out a canvas. What I love about making art is being able to just let go. Letting go is also what I find most difficult about making art.
Sunday, September 19, 2010
Last Friday's Lecture
For the two years that I was enrolled in my last school, the Art History classes I had taken, and had been offered, all dealt with art before and up until the Renaissance. It has been interesting and enlightening for me to take an "Art History" class that addresses art that is being created much more recently, up until present day.
I have heard of the terms Modernism and Postmodernism but sadly, have never really understood them fully before. In art related classes I took at my other school, these ways of thinking in relation to art had been skimmed over. It was assumed that we all fully understood these terms. I learned a lot in last Fridays lecture and was able to get a much better understanding of these attitudes and ways of thinking in relation to the art that was being created in these periods. I feel like I will now be able to grasp the idea of Contemporary Art better because I have a stronger understanding of what came just before.
Things I've mentioned in class...
Hey y'all,
So from time-to-time (basically every week) I mention artists that I met with in London. So here are a few of them, the works I saw and their newer pieces.
Remember when I talked about Alistair MacKinven and how he was making paintings that he saw as "absolute crap?" The below link shows the pieces, done in 2007-2008.
Et Sick In Infinitum (sic)
If you got distracted at some point in class this week by the pictures of rooms encrusted with shiny blue crystals, here is some more information on Roger Hiorn's Seizure. He was nominated for the 2009 Turner Prize, and was considered the favorite though he lost to Richard Wright.
I think it's interesting that the piece that really put him into contention was one that could not be a commodity. There was no way it could be sold. These things really are only possible though programs like Artangel and Jerwood.
Considering this unique situation - where a non-commodity piece launched the career of an artist straight into the forefront of the contemporary London scene - I'm wondering what you all consider the place of these types of work in the contemporary art world?
So from time-to-time (basically every week) I mention artists that I met with in London. So here are a few of them, the works I saw and their newer pieces.
Remember when I talked about Alistair MacKinven and how he was making paintings that he saw as "absolute crap?" The below link shows the pieces, done in 2007-2008.
Et Sick In Infinitum (sic)
If you got distracted at some point in class this week by the pictures of rooms encrusted with shiny blue crystals, here is some more information on Roger Hiorn's Seizure. He was nominated for the 2009 Turner Prize, and was considered the favorite though he lost to Richard Wright.
I think it's interesting that the piece that really put him into contention was one that could not be a commodity. There was no way it could be sold. These things really are only possible though programs like Artangel and Jerwood.
Considering this unique situation - where a non-commodity piece launched the career of an artist straight into the forefront of the contemporary London scene - I'm wondering what you all consider the place of these types of work in the contemporary art world?
Theo Jansen
Hey guys,
Remember that artist we were talking about that makes kinetic sculptures and is sponsored by BMW? His name is Theo Jansen. There are some pretty amazing videos of his work. The sculptures are usually only skeletal but he has made some with synthetic skin as well. They are let loose onto the beaches and are powered by the wind, but they really do look alive. He designed them so that they have a sensor for coming in contact with water. When that happens they turn around and head the other way. Also another really mind-blowing thing: they can sense a storm coming because of the change in wind. They actually nail one of their weird little feet to the ground so they don't blow away. Theo Jansen...
Check out this ad featuring his stuff.
Remember that artist we were talking about that makes kinetic sculptures and is sponsored by BMW? His name is Theo Jansen. There are some pretty amazing videos of his work. The sculptures are usually only skeletal but he has made some with synthetic skin as well. They are let loose onto the beaches and are powered by the wind, but they really do look alive. He designed them so that they have a sensor for coming in contact with water. When that happens they turn around and head the other way. Also another really mind-blowing thing: they can sense a storm coming because of the change in wind. They actually nail one of their weird little feet to the ground so they don't blow away. Theo Jansen...
Check out this ad featuring his stuff.
Thursday, September 16, 2010
From the Streets to the Museum!
Hej you guys,
Look at this article from the LA Times Culture Monster...Culture Monster: Graffiti & Street Art Show
What are your thought about graffiti and street art moving into the museum?
What are your thought about graffiti and street art moving into the museum?
Wednesday, September 15, 2010
The World Stage: India-Sri Lanka
Seven Days in the Contemporary Art World will highlight events that are taking place in and around the Chicago area and the contemporary art world at large!
The World Stage: India Sri-Lanka is currently showing at Rhona Hoffman Gallery in the West Loop.
Kehinde Wiley is know for creating large scale paintings that are often compared to traditonal art historical portraits and subject matters. However as a contemporary artist Wiley's paintings blur the boundaries between traditional and contemporary modes of representation.
I was introduced to Wiley's work through the exhibit Recognize!: Hip Hop and Contemporary Portraiture -Recognize! I was amazed at how he took popular icons from the hip hop world and placed them into such royal settings while maintaining art historical modes of expression!
The World Stage provides that same fusion! This is an amazing exhibition with contemporary portriats of Indian men. And though Wiley has captured their presence through his portraits the backgrounds are just as amazing because they highlight Indian traditions while also addressing today's postcolonial issues.
The World Stage: India Sri-Lanka is currently showing at Rhona Hoffman Gallery in the West Loop.
Kehinde Wiley is know for creating large scale paintings that are often compared to traditonal art historical portraits and subject matters. However as a contemporary artist Wiley's paintings blur the boundaries between traditional and contemporary modes of representation.
I was introduced to Wiley's work through the exhibit Recognize!: Hip Hop and Contemporary Portraiture -Recognize! I was amazed at how he took popular icons from the hip hop world and placed them into such royal settings while maintaining art historical modes of expression!
The World Stage provides that same fusion! This is an amazing exhibition with contemporary portriats of Indian men. And though Wiley has captured their presence through his portraits the backgrounds are just as amazing because they highlight Indian traditions while also addressing today's postcolonial issues.
The World Stage: India-Sri Lanka
Rhona Hoffman Gallery from 9/10/2010-10/23/2010
Rhona Hoffman Gallery
118 North Peoria Street|Chicago, Illinois 60607|
Gallery Hours| Tuesday - Friday 10am - 5:30pm
118 North Peoria Street|Chicago, Illinois 60607|
Gallery Hours| Tuesday - Friday 10am - 5:30pm
Tuesday, September 14, 2010
Banksy at the Gene Siskel Theater: Exit Through the Gift Shop
Per Greg Larson...
A shout-out and thanks to Emily for the link to the Banksy film
schedule at the Gene Siskel Theater. I went and saw it this evening.It is on a limited run so if you haven't yet seen it, it is highly recommended that you do.
As it was playing, Professor Yood's famous mantra "Systems of Reception Wherein Distinction is Conferred" kept running through my head. Here is this guy, Thierry Guetta, attempting to document through film, the lives and work of all the Street Art artists from LA to France and England and suddenly he gets the tacit nod from Banksy himself to go and produce his own body of work both on the walls of LA and as a gallery production. "It was like I had been given an order", Thierry reverently says. And what a production it is! He manages to get blurbs from Shepard Fairy and Banksy himself, and runs away with the promotion to the media like I have never seen done before. The caveat,though, is that this is a case where peer group approval has some how gone horribly awry.
schedule at the Gene Siskel Theater. I went and saw it this evening.It is on a limited run so if you haven't yet seen it, it is highly recommended that you do.
As it was playing, Professor Yood's famous mantra "Systems of Reception Wherein Distinction is Conferred" kept running through my head. Here is this guy, Thierry Guetta, attempting to document through film, the lives and work of all the Street Art artists from LA to France and England and suddenly he gets the tacit nod from Banksy himself to go and produce his own body of work both on the walls of LA and as a gallery production. "It was like I had been given an order", Thierry reverently says. And what a production it is! He manages to get blurbs from Shepard Fairy and Banksy himself, and runs away with the promotion to the media like I have never seen done before. The caveat,though, is that this is a case where peer group approval has some how gone horribly awry.
The often comedic and bumbling antics of this John Belushi doppelganger display a telling insight to the twisted world of pricing in the Art World when he simply pulls numbers, Big Numbers, out of his head when putting price tags on original prints destined for his gargantuan debut show. Is this a sign that the long established facade of the Gallery System is developing cracks that media savvy artists are able to exploit?
There are, however, some glaring questions. How does a vintage clothing shop owner, who has been called a "retard" by his own production manager, get the use of the deserted former headquarters building of Sony Records for his gallery debut? Was Banksy really out of the loop during the production of this event? And how did this endeavor even get off the ground without disintegrating on the runway?
In the end Banksy still remains anonymous and although he apparently has some of his thunder in the world of Street Art stolen by his trusted videographer, he regains his composure by doing the only thing he can.
He makes an excellent film.
There are, however, some glaring questions. How does a vintage clothing shop owner, who has been called a "retard" by his own production manager, get the use of the deserted former headquarters building of Sony Records for his gallery debut? Was Banksy really out of the loop during the production of this event? And how did this endeavor even get off the ground without disintegrating on the runway?
In the end Banksy still remains anonymous and although he apparently has some of his thunder in the world of Street Art stolen by his trusted videographer, he regains his composure by doing the only thing he can.
He makes an excellent film.
Monday, September 13, 2010
Gallery Openings Galore
This weekend was the weekend for many a gallery opening. On Friday, I went over to the West Loop and took a look at some galleries and the work that was shown. One artist's work was particularly interesting to me and that was the work Caleb Weintraub that was shown in the Peter Miller Gallery. I liked the playful quality of his work and yet I also liked the cynical distortion of his pieces. I went to the Peter Miller Gallery website and found a statement of the artist's intentions:
Caleb explored "issues of neglect, elitism, conceit and cruelty are woven into a potential future for humanity. Powerful children embody the forces that both degrade the surroundings as well as provide hope."
He approaches serious, negative, and evil aspects of human nature and portrays them through children and a child like/youthful quality by using bright colors, glitter, sequins and other materials often associated with/used by children when making arts and crafts. It seems to me that Caleb Weintraub is suggesting that the young/future generations have the power to succumb to this evil side of man's nature or they have the potential to be the bright future.
Caleb explored "issues of neglect, elitism, conceit and cruelty are woven into a potential future for humanity. Powerful children embody the forces that both degrade the surroundings as well as provide hope."
He approaches serious, negative, and evil aspects of human nature and portrays them through children and a child like/youthful quality by using bright colors, glitter, sequins and other materials often associated with/used by children when making arts and crafts. It seems to me that Caleb Weintraub is suggesting that the young/future generations have the power to succumb to this evil side of man's nature or they have the potential to be the bright future.
Sunday, September 12, 2010
Film, Talk, etc.
So I saw Exit today.
I am still unsure as to what exactly my response is to it. On one hand, it is very entertaining, quite funny, and you do learn a bit about the history of street art. But on the other hand, you really have no clue if it is remotely the truth.
There is a lot of speculation about the authenticity of the film in regards to the roles of Banksy and Shepherd Fairey in the sudden arrival of both the film and MBW (Mr. Brainwash). Mainly, is it true or all, including MBW, just a big joke? When you look at the art itself, there are some very serious resemblances between the men's work, with MBW onwhat I could only label as a "sloppy level." When you do some inter-web hunting to find out more about all three artists, you become instantly aware that many others are doing the same - and few are keeping their thoughts to themselves. There are arguments over everything from who is making the art to if Banksy really did the Gitmo blow-up doll at Disneyland (I'm going to stay believing he really did).
Honestly, I would love it if this entire scheme was something Banksy decided to experiment with; if he somehow began orchestrating this ten years ago to either prove a point or test the waters. In this case, he is acting similar to Hirst; pushing the "boundaries" of the art world wherein he proves that it all really is just a bit silly. In the film you see how whirlwind PR turned one show into a event that instantly launched a multi-milliondollar career. MBW had no real prior work - through the PR's push, that suddenly didn't matter. It was one hell of a launch. Whether or not his art is REALLY worth something is slightly besides the point.
In the end, if it all turns out to be Banksy proving the fact that public opinion can be easily swayed into believing in the newest trend (which, we all know is true), I am perfectly ok with it.
Making people see it has generated one more way to fuel art - giving one more motivation to create.
Either way, it was a pretty good movie.
I am still unsure as to what exactly my response is to it. On one hand, it is very entertaining, quite funny, and you do learn a bit about the history of street art. But on the other hand, you really have no clue if it is remotely the truth.
There is a lot of speculation about the authenticity of the film in regards to the roles of Banksy and Shepherd Fairey in the sudden arrival of both the film and MBW (Mr. Brainwash). Mainly, is it true or all, including MBW, just a big joke? When you look at the art itself, there are some very serious resemblances between the men's work, with MBW onwhat I could only label as a "sloppy level." When you do some inter-web hunting to find out more about all three artists, you become instantly aware that many others are doing the same - and few are keeping their thoughts to themselves. There are arguments over everything from who is making the art to if Banksy really did the Gitmo blow-up doll at Disneyland (I'm going to stay believing he really did).
Honestly, I would love it if this entire scheme was something Banksy decided to experiment with; if he somehow began orchestrating this ten years ago to either prove a point or test the waters. In this case, he is acting similar to Hirst; pushing the "boundaries" of the art world wherein he proves that it all really is just a bit silly. In the film you see how whirlwind PR turned one show into a event that instantly launched a multi-milliondollar career. MBW had no real prior work - through the PR's push, that suddenly didn't matter. It was one hell of a launch. Whether or not his art is REALLY worth something is slightly besides the point.
In the end, if it all turns out to be Banksy proving the fact that public opinion can be easily swayed into believing in the newest trend (which, we all know is true), I am perfectly ok with it.
Making people see it has generated one more way to fuel art - giving one more motivation to create.
Either way, it was a pretty good movie.
The MCA and Never Let Me Go
Hey everyone,
I just got back from the MCA. I mainly went to take a look at the works on paper (the Darger, Kilimnik, Pettibon). I know Raymond Pettibon began his career designing album covers for punk groups like Black Flag. Its amazing to see how far its taken him and how the work has evolved so to speak. Also this Wednesday (September 15th) a film is opening called "Never Let Me Go" based on the novel of the same name. The director is the big budget music video director Mark Romanek. He made one film previously (One Hour Photo) and a number of music videos (NIN closer) and was taken off of directing The Wolfman after about a month (they ended up hiring the same guy that directed Honey I Shrunk the Kids). He's an important contemporary director and it will be interesting to see how he's handled this film.
Amazement
Friday's lecture gave me an interesting piece of information that I was completely unaware of previously. Being relatively new to the art world, I had no idea that once a painting is sold, the artist loses his or her right to collect profits from its sale. Though this does make sense, seeing as the person who bought the painting does now own it, I just hadn't thought about it before.
This got me to begin thinking...what is the incentive for artists to choose a path in which they may: a.) see their works grow massively in worth yet not receive the benefits... b.) never even see their works become famous... c.) ultimately watch as their life's goals and dreams jump out the window as piece after piece fails to sell... d.) live a life of mediocrity and be subjected to the convoluted cynicism of the public... etc...etc...negative path after negative path...etc...
I understand there is passion and love for art, but I guess what I'm trying to figure out is when and how a person makes a decision to be solely an artist as a means to make a living. This idea also hit me after walking past the "local homeless artist" that sits on Michigan Ave, day after day, painting away and probably not making much. It just seems like a very difficult path filled with frustration and disappointment even with the satisfaction of looking at something you perceive to be beautiful and knowing that you created it.
Also, the art dealers and the gallery system also kind of threw me for a loop. I have no experience whatsoever when it comes to galleries with the exception that my friend just got signed to a gallery in Grand Rapids, Michigan. That's quite the concept, but it also makes me wonder how an artist can essentially "sell out" when so much of art, specifically painting and sculpture, is about staying out of the mainstream and remaining this independent, expressive art form.
I may be completely wrong and my opinions may be completely outrageous to the rest of you who are yourselves painters or sculptors, but these were just things that came across as interesting and I wouldn't mind some opinions from the rest of you.
This got me to begin thinking...what is the incentive for artists to choose a path in which they may: a.) see their works grow massively in worth yet not receive the benefits... b.) never even see their works become famous... c.) ultimately watch as their life's goals and dreams jump out the window as piece after piece fails to sell... d.) live a life of mediocrity and be subjected to the convoluted cynicism of the public... etc...etc...negative path after negative path...etc...
I understand there is passion and love for art, but I guess what I'm trying to figure out is when and how a person makes a decision to be solely an artist as a means to make a living. This idea also hit me after walking past the "local homeless artist" that sits on Michigan Ave, day after day, painting away and probably not making much. It just seems like a very difficult path filled with frustration and disappointment even with the satisfaction of looking at something you perceive to be beautiful and knowing that you created it.
Also, the art dealers and the gallery system also kind of threw me for a loop. I have no experience whatsoever when it comes to galleries with the exception that my friend just got signed to a gallery in Grand Rapids, Michigan. That's quite the concept, but it also makes me wonder how an artist can essentially "sell out" when so much of art, specifically painting and sculpture, is about staying out of the mainstream and remaining this independent, expressive art form.
I may be completely wrong and my opinions may be completely outrageous to the rest of you who are yourselves painters or sculptors, but these were just things that came across as interesting and I wouldn't mind some opinions from the rest of you.
Saturday, September 11, 2010
Exit Through the Gift Shop
Hey y'all.
Here is a link to the Banksy film's website so you can find out a little more on it.
http://www.banksyfilm.com/
Additionally, here is the schedule for the showings.
Showings
Hope to see you there!
Here is a link to the Banksy film's website so you can find out a little more on it.
http://www.banksyfilm.com/
Additionally, here is the schedule for the showings.
Showings
Hope to see you there!
Thursday, September 2, 2010
Welcome
Hej You Guys,
Though this blog is a requirement to further encourage writing and sharing concepts-it is meant to be fun! I am looking forward to exchanging fabulous ideas about gallery openings,museum exhibitions, and cultural happenings at SAIC, in and around the Chicago area, but also within the Contemporary Art World at large.
See you guys in class tomorrow!
Best,
:)
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