You laugh! But you shouldn't! or, wouldn't, if, that dorsal fin was attached to, say me for instance, and you were climbing the stairway to the business end of carcharodon carcharias (the ultimate in evolutionary epicurean elegance ) rather than this embodiment of all that is ultimately dysfunctional when it comes to the Chicago art world.
Dear Ms Director, you have two essential problems -or three.....a. the MCA building sucks -how did this thing get built? Why in this city of modern architectural triumph would we get stuck with this piece of blazing mediocrity? Probably, someone should do a study of how this building came be, the makeup and mindset of the board of directors that ushered this thing into being -choosing the mediocre German architect of modest accomplishment Paul Kleihues -over people like Frank Gehry, (who went on after losing out here -to build Bilbao-) Tadao Ando, and several others, Koolhaus perhaps? (the running joke is we chose the wrong haus-).....and, the relationship between this failed building, and among several things, the lack of original vision that defines the circle of wealthy collectors/socialites who are primarily responsible for this atrocity, comparing this, with (b.) the mostly tepid, condescending support (if any) for the art scene here - in the acquisition arena both public and private -and also as an example, in the problematic way the MCA does engage the community it exists in: namely with an emphasis on 'emerging artists -12X12-', an occasional one person exhibition -and no, canon creating/defining shows of real vision and depth that seek to create an international context for what is going on here in Chicago but rather, in lieu of this, an ongoing obeisance to New York, LA, and other supposed points of destination greater than here, - making the MCA an importer of others cities' art communities / canon - rather than having, 'originality'- its no accident that the critic Peter Schjeldahl recently described Chicago as a "receptor city" -Just as its no accident how the major collectors here will on occasion slum it and drop a few dollars on an emerging artist or some local showing at a friends gallery -but hold the Chicago scene in contempt and essentially do all of their serious collecting, elsewhere. Perhaps had they been more serious about Chicago, we would have gotten a better, more considered, building, accompanied by a different, more engaged level of support from the top collectors here.
Its not lost on me, Madeleine - that when I see that Larry Poons facsimile created by one of the local court painters - festooning the walls of the MCA -how it really got there: not, due to any kind of excellence, but rather, due to complacency -Lou Manilow or others of his ilk, buying a painting off of his old friend Rhona Hoffman/with Ms Kirshner hovering nearby exerting 'influence' as always -keeping it in storage for several years (certainly not good enough for his own collection) then dumping it on the MCA -where the ever gullible art crowd here is then of course -impressed... mediocrity is legitimized.
Its about complacency Madeleine, what Soren Kierkegaard described as the cause of all that is evil, of a lack of whole-heartedness. Going through the motions, abstracted and, distracted by things other, than what is concrete, real. That is what confronts us as artists here in Chicago. Or, as Allen Turner reputedly remarked when asked why Kleihues was chosen, 'he served us a better lunch-'......
This then is what it is, the problems that confront you Madeleine: a. the building sucks: b. the perception, whether its the MCA's stated mission or not, that the MCA suffers from a lack of real, and imaginary!, canon creating involvement with the community here, and c. the new kid in town -the Art Institutes new contemporary wing.
And now here, Dear Director is the solution:
Hold an ongoing architectural competition to create a new wing for the MCA -that both, houses an interdisciplinary program for all things cultural in Chicago, and, that addresses the issue of the building's lacuna, its ultimately hideous nature. ONLY DON"T BUILD IT! Let the architectural competition remain just that, a competition, a think-tank of ongoing architectural exploration, exploiting the buildings inherent ugliness as possibility! Have it be that when people look upon it they say but, but, BUT! it is always being re-thought, re-imagined! Transformed, its hideous nature as its greatest asset! And then, in this new, imaginary/theoretical wing, CREATE THE WORLDS FIRST SERIOUS CYBER WING OF A MUSEUM! A new species of construct: one that, rather than gathering things into it, reaches out into the city, with limitless space and scope -the only limit being what is good enough to focus upon....a relationship between the viral nature of cyberspace -and that of analog- concrete reality on the ground. A construct that dispenses with the limitations of the museum's traditional structure, while at the same time, providing INFRASTRUCTURE! at an international level, in a daring, bold! ..... GREEN!.... way. Tear out that silly community center on the north side of the building and put in a cyber center/control room! As Kierkegaard also noted, evil is only good in need of transformation -
Think! As we watch the demise of print, of, Modern Painters, of Art In America -the fragile state of ALL of our local newspapers, as we see our economy change and the silliness of the festival driven, decadent bling for the hedge fund crew's art world collapse, now, is the time for a new construct, for a different, more serious approach -one that addresses the very real issues of the nature of art, of the art world here and everywhere else for that matter...... Madeleine, USE THE MARVELOUS SPACES THAT ALREADY EXIST HERE for your new wing. USE CHICAGO. Think! The MCA is at Metro this week because Bob Dylan - or Eleventh Dream Day is playing - its at Big Cat Press, or Wesley Kimler's or Dawoud Bey's studio to view a new body of work - offering internet samples of actual events on the ground! Its at Symphony Center - a poetry reading - a play at Steppenwolf, up at The Green Mill to hear the great Kurt Elling re-define what modern jazz singing is, all, simultaneously!........it is the new magazine, museum, construct, interdisciplinary, flexible, viral, light on its feet, fierce! limited only by our collective imagination. If you do this, it will be the new, non-existent wing of the MCA -not the Art Institutes recent addition, that will be the focal point/topic for discussion and interest around the globe.
Of course, it goes without saying, your curatorial staff would have to do that which only Lynne Warren has done over the years here - and that is, be conversant in what is really happening here, and when I say really, I'm not meaning the fake, self interested, history foisted upon us by Kirshner - with curator/boy on the go (complete with ubiquitous shoulder satchel) Rondeau in tow, or, Hamza Walker/Suzanne Ghez at 'The Ren' a confluence of painting illiteracy- all of the above, card carrying members of the conceptual crowd with the occasional (and never very good) pet painter thrown in the mix...I'm talking about the artists in all disciplines here, who are actually good- not the little academic mafia -this would require a new mindset -remember, that curatorial farce of a failed painter, cum Flash Art gopher, cum, international jet set exercise in celebrity speciousness -Francesco Bonami -openly and publicly bragged about how he did not 'do' studio visits -of course he could be found over at his pal Judith's Gallery 400 looking at the newest, institutional offering of student work........ what professionalism, what breadth of vision and curiosity, what, a dilettante! A veritable aesthetic Magellan setting sail in our midst! Bearings taken, headings set, destination, the shallow end of the pond. Completely ignorant about the art scene here, and proud of it! - enough so to announce it publicly....what breathtaking, unearned self importance, what a demonstration of contempt prior to investigation, what prejudice; or, as Robert Storr noted when describing Bonami as his "stalker" and, as, "a clown who has lost his timing."
Hard words for tough times Ms Director - but its never personal with me, - its about recognition. About the practice of social psychiatry. We cannot just ignore what is and has happened and think it will just go away. I'm The Shark! Its really not as glamorous as Hollywood has made it out to be...oh sure, I on occasion do get to munch on a swimmer or two, but my main job, is custodial; is to keep the ocean clean, to take out the trash!
Its our time here in Chicago, the world is focused upon us. We can make the things I suggest here happen - real solutions for real problems, for very little money - fraught with possibility, fecund! What is required, what it is that we need, Ms Director, is leadership! This is Chicago's time and its your time Madeleine, so lead Ms Director, and if you do so with courage, imagination and boldness, vision, I for one, will follow.
Cordially,
The Shark
"what professionalism, what breadth of vision and curiosity, what, a dilettante! A veritable aesthetic Magellan setting sail in our midst! Bearings taken, headings set, destination, the shallow end of the pond."
haha oh wesley! nice entry....powerful.
I love you, you crazy man.
Crazy like a big ravenous shark my friend
Wesley, the idea for a cyber-museum is an intriguing one ( I know you have talked about it for the past 5 years), and the MCA is certainly in a position to initiate and sustain this. I would like to see leadership that could strike through resistance to such ideas.
This involves a comprehensive plan that can be pitched to the right folks. The level of thinking required for a project of this scope and universality requires the best minds in the fields of Arts and Technology, marketing, curatorial practices, and the Fine Arts.
A cyber-museum could serve the community with little risk on the part of the Museum's supporters, transmuting ideas from every accessible area of the community, and ultimately the international markets. Anyone could participate in the life of the museum from their laptops....testing the limits of the transformative eminence of Art itself.
Well Gary, someone is going to do it -it would be nice to see the MCA get there first- It is inevitable that we are going to see cyber museums: for two simple reasons, first the demise of print will make it a necessity, and second, like music, film and all printed material- that are all migrating over to cyber space with all of its inherent advantages, the art world will need to do so to remain relevant.
Chicago with its lack of media -printed and otherwise -with what it does have in these areas rapidly declining, is the perfect city to introduce the new model for the 21st century museum- -A central facility, with a serious, no nonsense cyber presence extending out into the analog reality of the city, bringing it to the rest of the planet-
An institution like the MCA could garner the funds to place live feeds in areas within an entire metropolitan area. Imagine Wall-sized HD monitors in the public schools,
Or in centrally located public spaces, where there were virtual museum tours broadcast 24-7. Painting, sculpture and photography brought to everyone in
High-Def. Like Plensa’s fountain multiplied: http://www.millenniumpark.org/artandarchitecture/crown_fountain.html
Yes -but I don't want to cloud my concept with a bunch of expensive technology Gary -the fact is, the museum can do almost everything you are saying by just being online with a really good cyber wing- sure hi definition screens could be placed around, perhaps starting with just a few -but the main idea, is one of providing infrastructure for the art scene here at an international level, making it available and accessible to everyone in the world who has access to a computer-
It seems like every major art institution despises/ignores the local art scene.
The Kirshner/Hoffman/Manilow, cabal was helpful to the city in the 70's. It has since become almost impossible to penetrate. . Any hotshot artist, or curator that comes to town is immediately scarfed up by this crew. They know everyone and therefore have achieved power. To her credit, Kirshner is a star maker and a real NY style SHARK. This cabal has somewhat created the only show in town. In NY there are more sharks for all of the pilot fish.
The opposition has the danger of becoming a paranoid Jihad, if it hasn't already. Fight on though, MFK's.
I have been classified, as one of the dreaded UIC conceptualists, but no ass kisser to Judith Kirshner, even when I was there. She can attest to that. You guys need something else to do. Whining and griping, gets you nowhere.
Actually Dennis, I beg to differ with you, as you are mistaken on several counts: most of the artists Judith has been directly involved in promoting haven't gone on to much. You can't make a horse out of horseshit Dennis -an artist like Judy Ledgerwood may have had many visits from say the Whitney, but, she has never been in that show -for the simple reason that the work isn't very good -this holds true for many of the Kirchner Clones; I feel pretty confident that more paintings head out my studio door at higher prices than any painter Judith has been directly involved with. Furthermore, what in this article suggests whining? I think you are con-fusing our very real social psychiatry with complaint -when in fact we are more interested in recognition, -with which, comes the possibility for change-and I hear what we are saying as suggesting change, new infrastructure -and if you don't think I in particular have had a huge impact with the discussion I initiated concerning the cabal of consensus clones, then why did you come up to me at the MCA several years ago in front of Lynne Warren and not only profusely thank me, but affirm that you agreed with everything I was saying?
You may not get it, Dennis, but things are changing -the Kirchner group very rapidly, is losing its grip -and part of the reason for this is, that they have been exposed for what they are on sharkforum- and, that we have gone on and created other power constructs- the artist who has been getting the most play in New York -and the other evening at MoMA -is Tony Fitzpatrick, the person with their work on the Today Show, is me- its no accident when I go on another blog like Bad At Sports the message board lights, up where with the conceptual clones.......almost zero in terms of response/interest/energy. Stick a fork in them.
You also need to get that with me, this is not that much of a personal gripe at this point as I have done quite well. Its about our art world here being better and more sophisticated and interesting for all artists-
btw -I have never considered you part of the conformist club.
I always enjoyed your work, conceptual, but not Neo-Conc and highly independent, Dennis.
I too see our SF critiques as a positive force for an impending series of changes. And not only in Chicago, but it is a great place to start.
I could add this as well, major people -MAJOR in both art education here -at the very top- and in the curatorial world here now agree with the positions expressed here on sharkforum -in fact one of these people who could be described as one of the top two or three people in art education in Chicago said to me. the only way the art world here is going to grow is for the backs of these people clinging to power -to be broken-
btw Mark I see you are having an exchange with psycho Tim Porges over on BAS -hilarious how Tim has had his bigoted, prejudicial yap shut after I put up my website I suppose his loose tongue must be shark-bit!
As WK wrote above: "...major people ...agree with the positions expressed here on sharkforum;" I have heard exactly the same thing from several "heavy-hitters" too, and that from people important in the artworld(s) in other major cities in Europe. They bemoaned to me the fact that the "powerful" in Chicag have no vision and no courage. What could I say?
Wesley, I am surprised that you recalled that MCA meeting with Lynne. After the dumb , but probably necessary battles in the sixties and seventies of Imagism v abstract art, I felt in a congratulatory mood upon hearing of your show. You
did it! The eighties became more opened up with more and better artists, yourself included. Chicago was incredibly provincial, when I was coming up, even though I had my niche.
Besides after bouncing off of you at the Rainbow, back when, I felt it was actually time I met you for however brief a time and what better time.
Regarding stars, I was thinking more of people like Inigo, who I really think is a good artist, but I would say appears rather formulaic in the UIC way, probably precipitated by his influence. Whether the other artists clones of Kirshner, as you say, did not become stars, they were certainly helped along. I too have never understood Ledgerwood's relative success. But whatever an artist can get from this culture, more power to them.
I'm glad to hear the cabal is losing its grip, although I've heard this for some time now. However considering evolution and old age, their demise is assured.
Thanks for the good words, Mark.
Dennis -good to hear from you......I think you pretty much nailed it -the 80's did open things up -and then Kirchner staged her coup and we were back to provinces yet again -Inigo is a good if completely academic artist -Ledgerwood has simply been foisted upon us by three people: Kirchner, (which includes her gopher Suzanne Ghez) Lou Manilow and Rhona Hoffman. She is a completely ordinary painter owing everything to a.Larry Poons op-art period -and then more recently b. the decorative impulse movement of the late 70's (another institutionally supported/generated movement).......the work has no skill, is slack and, talentless. Its presence on the local scene/the MCA/Smart Museum is all about politics having nothing to do with aesthetic or painterly excellence- Judy's importance lies only in what an acute example of political corruption -conflated with total ignorance about painting -(all parties concerned) the trajectory of her 'career' speaks to-
I think I will go rent JAWS 1,2,and 3 tonight after that brutal attack. Nicely said my friend. OUCH! I glad I'm on your good side.