26 years ago. "Art and Artists," Harry Bouras on WFMT in 1982 about a Brandl exhibition.
Review of Mark Staff Brandl in Raw Space, Marilyn Sward at ARC, Joanne Carson and Janet Pines Bender at N.A.M.E. October 24, 1982.
One of the most unique, yet most insightful reviews I have ever had of a show of mine. This installation was described by the New Art Examiner in their Guide to the Galleries as a "fine requiem for "personal" art ... poignant yet powerfully uncompromising " and as the only non-trite use of Raw Space in 1982. It was the basis of change from Late Conceptualist to the expanded painting installation combinations I do today.
This is the second chapter of my PhD dissertion following the Prelude, which I already posted. (I am writing under the direction of Prof. Philip Urspung at the University of Zurich, Switzerland. My second reader is Prof. Andreas Langlotz at the University of Basel, Switzerland.)
The Chapters are permanently archived on my website here as well, but I am putting each chapter up on Sharkforum as I finish them. I would love your comments, criticism, tangential thoughts and more! Please be aware that by commenting here, you are giving me permission to use your words, with proper citation including your name, in some fashion in my final dissertation book and exhibition.
I originally intended to do the chapters in html, but have decided for pdf.
Sheba Chhachhi @ Walsh Gallery
Winged Pilgrims and Other Creatures
March 27 - April 25, 2009
118 N. Peoria Street, 2nd Floor
Chicago, IL 60607
The recent speech given at SXSW by the man famed for his radio/podcast Little Steven's Underground Garage, as guitarist for Springsteen's E-Street Band, and for producing many award-winning records. "Yes we are experiencing big changes in the business but much more importantly over these last thirty years or so we have been witness to a crisis of craft. "
It concerns "popular" music, but may also have important implications for visual art.
A Crisis of Craft
It is an interesting time in our business is it not?
Now you wish you listened to your parents and went to college, huh?
We are experiencing the biggest changes in forty years as the main revenue producing medium shifts from the album to...we don't know what? Keep in mind that up until the Beatles and the rest of the British Invasion landed in 1964 the vinyl single ruled what was called the Business. It wasn't exactly a business to tell you the truth. It was more like the Wild West with a bunch of freaks, misfits, outcasts, outlaws, entrepreneurs, renegades, wiseguys, and hooligans running around making it all up as they went along. ...
The David Weinberg Gallery is proud to present a solo show for Richard Hunt opening April 17, 2009. The artist will be present at the opening reception from 5-8pm on Friday, April 17, 2009. Richard Huntʼs works will be on view and available at our Art Chicago booth (#12-146) May 1 - 4. The gallery show will run through May 30, 2009. Hunt is this years recipient of the Lifetime Achievement Award from the International Sculpture Center. A black-tie gala celebrating the achievement will be held on April 29, 2009 at the Chicago CulturalCenter.
Richard Hunt (b. 1935) has had a long, prosperous career with deep ties to Chicago.
Born in 1959 near Boston, raised in Washington DC, Steve Litsios moved to Switzerland with his family in 1967. He studied art for a couple of years at Geneva's ecole d'arts appliqués before attending the San Francisco Art Institute in the late 70's, then moved back to Switzerland where he has been active internationally as an artist since 1983. He lives in the city of La Chaux-de-Fonds and can be found playing the washboard with The Crawfish Blues Band.
"Scott Stack (b. 1952) lives in Oak Park, IL and received his MFA from the Minneapolis College of Art and Design in 1976..." "Stack expands the conceptual reaches of his investigation of night vision surveillance..."
March 20 - April 25, 2009
118 North Peoria
Chicago, IL 60607
I was told that some students at Chicago's School of the Art Institute believe there is not art on the South Side of Chicago. My immediate response was, "HUH????"
It reminded me of people who say, "He's has NO personality". I wonder if they have looked!
Anyway, this should be an interesting chat. Hope you will come, and if you have advice in advance, please add to comments or come out and voice your thoughts!
Suffering from a long history of negative stereotypes and the harsh realities of urban living, Chicago's Southside community...
I have a problem with Martin Kippenberger. Not personally; after all, I never met him, but I have a problem with his work. It is not anything fancy as might be suggested by the awkward subtitle of the current festival at MoMA: "Martin Kippenberger: The Problem Perspective" (to May 11). If an art history graduate student were to use this phrase and I were the professor (which I have been), I would make the criminal leave the class, the university, the universe.
So, where to begin?
The best thing and simultaneously the worst thing one can say about the huge amount of "art" Kippenberger (1953-1997) left behind is that it is all so '80s. In order to really "get it," you had to be there, which does not bode well for immortality, does it? We like art that is anchored to its time and its culture, but if that is all it is, then we do not really cherish it. It has no -- perish the unfashionable thought --transcendence. In Artopia, the transcendent and the quotidian are not in opposition. In fact, they can be exactly the same.
The Chicago River is an artery of great renown in the history of the city, and it connects the lower waterways that lead to the town of Lockport and beyond. Near the old neighborhood where I used to live, the river divides the district, from Chinatown, down through the Northern European neighborhood of Pilsen, and into the South Loop of the Chicago Center.
In the New York Times.
"Anyone with memories of recessions in the early 1970s and late '80s knows that we've been here before, though not exactly here."
"I'm not talking about creating '60s-style utopias; all those notions are dead and gone and weren't so great to begin with. I'm talking about carving out a place in the larger culture where a condition of abnormality can be sustained, where imagining the unknown and the unknowable -- impossible to buy or sell -- is the primary enterprise. Crazy! says anyone with an ounce of business sense.
Right. Exactly. Crazy. "
LAST year Artforum magazine, one of the country's leading contemporary art monthlies, felt as fat as a phone book, with issues running to 500 pages, most of them gallery advertisements. The current issue has just over 200 pages. Many ads have disappeared.
The contemporary art market, with its abiding reputation for foggy deals and puffy values, ...
Recently, there has been much 'spin', noise and chatter, -emanating from that particular bastion of the specious and the trite (think 'Ren', think 'theory's bitch' Claudine Ise', think gatekeepers losing their grip) about abstraction, representation, the decline of abstract expressionism, the misused term 'Imagism', who is who, what is what, and who has done what in terms of Chicago painting -where these specific conceits come in to play-
My only question then, would be my favorite one: what is the nature of legitimate authority? what makes something true?