The Collapsible Kunsthalle (of which I am curator): documentation of the latest exhibition, paintings by Lamis El Farra.
Link here.
The Collapsible Kunsthalle (of which I am curator): documentation of the latest exhibition, paintings by Lamis El Farra.
Link here.
This interview with Hadara Bar-Nadav about her book A Glass of Milk to Kiss Goodnight was conducted during the month of February, 2010 by seven poets: Aaron Delee, Dane Hamann, Sarah Jenkins, Joshua Lobb, Christine Pacyk, Lana Rakhman and Virginia Smith.
Q: A number of your poems seem to be inspired by works of art. How does a poem like this evolve? Do you sit down thinking, "I like this piece of art, I think I'll write a poem in response to it," or does such a poem come to fruition in a more organic way--is it only later that you realize the poem was inspired by or in response to the art?
Hadara Bar-Nadav: My collaborations with art are generally pretty organic. There is a Rothko I visit at the Nelson Museum of Art in Kansas City. And as I look at it, words will float up. There are artists I turn to, much like I do certain authors, whose work seems to trigger poems. I worked on a long prose poem about Louise Nevelson's work, and when writing it I immersed myself in her art and writings. I was never sure what would come up--a line, two pages of prose ramblings--but something always did. When I was working on A Glass of Milk, I remember buying a book of Eugene Atget's photographs and one of Cartier-Bresson's that smelled like it had been in a fire; the edges of the pages were charred. The art work teaches me about seeing, about ways of seeing. And often I string together several images to form a narrative of sorts. Visual art reminds me to keep my imagery sharp, to look and look again. I painted for many years, but these days my creative energy is mostly in my poems.
Belcher plunges into the world of the semi-professional art guru - or the 'curatoriat', as he has termed the ever growing army of art school graduates working not as artists, but as facilitators to art activity in their cities. With his ever critical eye he asks what the growth of the 'curatoriat' means to the individual artist...
When did it happen? When did the power structure in the arts shift so fundamentally away from the practicing artist and into the hands of a new breed of art school trained curators or as I have re-designated them 'curatoriat'? The growth industry in 'curatorial' courses like the MA at the Royal College of Art reflects a far wider shift and a worrying one for us poor artists at the bottom of the arts funding pecking order.
Read the rest here on axisweb.org
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Dawoud Bey writes: Published here are the remarks I gave during my opening Keynote Address at the College Art Association Conference Convocation here in Chicago on Wednesday evening. My remarks were preceded by an awards ceremony in which a number of individuals were given awards of recognition and distinction for their work. Most notable for me were the awards given to Emory Douglas, Barkley Hendricks and Suzanne Lacy, since each has figured in the formation of my own history as an artist in some way. Gratifying too was the award given to Holland Cotter, often the only art critic at the New York Times to consistently note the presence of artists of color in his ongoing criticism and reviews. You can see the full list of awardees here:
http://www.collegeart.org/awards/2010awards
My remarks, "The Art World and the Real World: Bridging the Great Divide" follow:
Barbara Trinh says, "While I'm sitting waiting for a session to begin, my curiosity was sparked when a man in front of me was enthusiastically speaking about comics and his art on the T-shirt he was currently wearing. Instead of handing someone an ordinary business card, he hands them a button with his contact info on the back. That is because Mark Staff Brandl (http://www.markstaffbrandl.com/) is no ordinary artist. He is interested in comic/ sequential art, painting, and art history. His installations are described as 'walk in comic books', a mixture of installation and comic books that are 12 ft tall. In the video, Mark tells us about himself and his experience at CAA."
Barbara Trinh, BA Candidate from the Film & Video Dept
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Dear Sharks, the new book from Sarabande is now available! Graced with a painting by Yves Tanguy.
You can order here
Read poems from it here and here
"A sweet fever of a voice lures us into pictures of bone bonnets, whip stripes and dead girls. These poems freeze time. Simone pulls absolute beauty and light from these dark moments. I'm in and hooked."--Tim Rutili of Califone