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presentation tips

study nato thompson
use presentation software
practice
have moving images at beginning or ending
learn how to use notes
also print out notes
make images powerful/appropriate resolution
don't be overly regimented (slides can flow)
presenting is not reading your writing
don't go over time
start with something dynamic/meta (what makes this person so compelling?)


oct 11
rena

oct 18
kc
henry

oct 25
clay
nancy

nov 1
david
josh

nov 8
olivia
nov8

EXPO Tour Stops

Before we embarked on our gallery romp I thought I had a pretty good idea of what we were in for. Most, though not all, of the galleries were already pretty familiar to me. So what ended up striking me was not a gallery spaces themselves, but how different the vibes were of the gallery owners and how much that mattered.

LVL3 was a great start, and I could have listened to Vincent talk for much longer than twenty minutes. He imparted his experience with surprising candid honesty while still maintaining a certain level of professionalism in both his demeanor and the gallery space itself.

I was a little surprised by Alma, Heaven Galley's proprietor, unwillingness to talk. The show Being a Woman in an all Woman Show had a sense of airy beauty, but particularly appealed to me as the pieces didn't seem to speak so directly to the title. In the context of the tour however, it lacked a certain specialness I was expecting, solely because of the absence of personal engagement by the owner.

The vibe at The Hills was great. We finally got some booze, a short but sweet introduction to the space and show, and some more intimate conversations with the gallery affiliates. There is a kind of satisfying imbalance to the space.

The Franklin, run by Edra Soto was by far he most interesting space to me. The back yard felt super cozy and magical with all its twinkling lights and open structures. Then the invitation to the inside of Edra’s house was even more magical! Talk about conflating Art and life. Edra’s was so warm and intelligent and giving, and her house itself was presented as a piece of Art. When I think about it though, the Art in the backyard gallery space was definitely not my cup of tea… at all. But... it didn’t matter.

Off-White Delight

The Chicago expo apartment tour was very informative and interesting. The crowd that first got on the bus was mostly students but there were a few randoms that seemed to be there by mistake. Definitely did not see any of the fancy art people I was anticipating being on the tour, but I did end up meeting some cool people and making some new friends. The first gallery was interesting. The space was clean and white, very convincing.

The second gallery was more enjoyable, they had a sweet-ass dog and a denim jacket that I should have bought. The third gallery was the one in Griffith park I believe. It was the one with the tiki bar and the wall with the smurf prints. I went up the stairs to where they had the flat-screen playing the youtube clips on a mental disorder where you cry and laugh uncontrollably. I laid down on the of the yoga mats they had there and watched it for about five minuets. There was a lit candle up there which made it very relaxing. I went back down the stairs and sat at the bar where a bearded artist man did an index card for my pocket gallery.

From there, we went to the place that had the awning covered in vynal and cake. There was a sweeet knife on the wall downstairs that had a highlighter yellow spandex(?) sheath sewn around the blade. I wanted to buy it from the lady who's house we were at.

ACRE gallery was fun, I had my old Core teacher, John, draw something (Cat kissing a penis) for my collection.

From there we continued to the after parties:

On the way to the James Hotel, the newspaper lady/our tour guide, Dana, was tipsy enough to inadvertently inform (I assume) Nick and (definitely) me what color undergarments she was wearing that evening (off-white).

EXPO notes

EXPO Booths

Friday seemed to be a pretty calm time at EXPO as I assume most people that attended came on Saturday and Sunday. That being said, it was a great opportunity to move around the space and see the work. It was an overwhelming array of work so quite a bit to navigate through. Along with my own performance, I got to loop around the exhibition hall quite a few times and see work that would be difficult to see/experience outside of the galleries. These include:

-A cibachrome print by Gordon Matta-Clark (Rhona Hoffman Gallery)

-A large dish by Anish Kapoor (John Berggruen Gallery)

-Silver-gelatin prints made by Lynne Cohen [complete with Formica frames] (Stephen Daiter)
[not the most student-friendly gallery D:)

-Sebastian Errazuriz's Kaleidoscope Cabinet (Cristina Grajales Gallery)

-Books, catalogs, monographs, other printed matter at the Powell's and Hirsch's booths ($$$)
+often wrapped in plastic but pretty to look at.

Other notable things:

-Photograph of trees during a storm- pretty amazing piece. Very imposing print- large . (gallery not known).

-Drawings on large sheets of paper by someone who mounted the work by making holes in the margins with a hole punch and pining the work to a board- framing it over-top. Very scientific. (Gallery not known)

-Interesting seating arrangement in the center of the hall- seemed to be hub for younger set. Many congregated here in clicks and was perfect for my purposes. It was a good instance of the "white-cube"  (White cube as neutral territory) effect that I noticed myself trying to find as I was pilfering out my goods.

-Terrarium balls (?)

FLAP: An ongoing study of portable curation

Pocket book
http://instagram.com/p/ewDXPoiz3N/

http://kayceeconawayart.tumblr.com/post/62399191947/flap-a-study-on-portable-curation

-KAYCEE CONAWAY

multitude

according to Ch2 of CCCC, the multitude has been a concept looked at by curators as a productive force against what Hardt/Negri called the "empire: the new global order enveloping civilization"

via wiki:
Multitude is a political term first used by Machiavelli and reiterated by Spinoza. Recently the term has returned to prominence because of its conceptualization as a new model of resistance against the global capitalist system as described by political theorists Michael Hardt and Antonio Negri in their international best-seller Empire (2000) and expanded upon in their Multitude: War and Democracy in the Age of Empire (2004). Other theorists recently to use the term include political thinkers associated with Autonomist Marxism and its sequelae, including Sylvère Lotringer, Paolo Virno, and thinkers connected with the eponymous review Multitudes.

Thoughts?

Not sure if anyone as seen this yet-

NY Secret Museum

http://www.youtube.com/watch?feature=player_embedded&v=9v_VnKzD0iY

/Cousins @ EXPO Chicago 2013

Presented in collaboration with Shannon Dawson, host on Lansing's #1 radio station for hip-hop and R'n'B, Power 96.5FM, 
/Cousins invites visitors of the EXPO CHICAGO to walk through the fair while taking in the sounds of the contemporary hip-hop scene.

We highly recommend that you listen to the mix on your headphones!


/Cousins
 
http://www.cousinsexpochicago.com/

saic students have free admission to EXPO with student ID

Dear Students, Faculty, and Staff,

This is a reminder that EXPO Chicago is coming up next weekend. For those of you who do not know, EXPO will feature more than 125 galleries representing 17 different countries and 36 different cities. It will be held the weekend ofSeptember 19–22 at Festival Hall at Navy Pier.

You may be interested to know that SAIC is co-sponsoring a series of symposia and panel discussions called EXPO/Dialogues, which will feature several faculty and alumni speaking about art and culture with a host of other professionals. For a complete listing of the Dialogues, please click here. Elsewhere, many of our faculty and alumni will have work on display throughout the event, as will a number of our graduate students in an exhibition curated by SAIC alumna Amanda Ross-Ho (BFA 1998).

As members of the SAIC community, you will have free access to the show throughout the weekend. Tickets can be acquired at the event’s main ticketing booth with a valid ID.

See you there!

Cheers,
Lisa Wainwright
Dean of Faculty and Vice President of Academic Affairs

brandon alvendia related stuff

ideological muse:
http://en.wikipedia.org/wiki/Franco_Berardi

eric doeringer
http://www.ericdoeringer.com/bootlegs.html

mark wallinger
http://en.wikipedia.org/wiki/Mark_Wallinger

i love this from CCCC Ch. 1 !

major takeaway:

1960's
"art" shifts from noun to verb

1980's
"curator" shifts from noun to verb

'now ubiquitous today, the credit 'curated by' made evident the idea that there is an agency other than the artist at work within all exhibitions...'

sunday at 4pm in east Ukranian Village

last week's chalkboard / some highlights from the readings....

Reading and thinking about the power of images...

I came across this section about iconoclasm and thought I would share.

A section from Jean Baudrillard's Simulacra and Simulation for anyone who is interested:

Beyond medicine and the army favored terrains of simulation, the question returns to 

religion and the simulacrum of divinity: "I forbade that there be any simulacra in the 

temples because the divinity that animates nature can never be represented." Indeed it can 

be. But what becomes of the divinity when it reveals itself in icons, when it is multiplied 

in simulacra? Does it remain the supreme power that is simply incarnated in images as a 

visible theology? Or does it volatilize itself in the simulacra that, alone, deploy their 

power and pomp of fascination - the visible machinery of icons substituted for the pure 

and intelligible Idea of God? This is precisely what was feared by Iconoclasts, whose 

millennial quarrel is still with us today.*3 This is precisely because they predicted this 

omnipotence of simulacra, the faculty simulacra have of effacing God from the 

conscience of man, and the destructive, annihilating truth that they allow to appear - that 

deep down God never existed, that only the simulacrum ever existed, even that God 

himself was never anything but his own simulacrum - from this came their urge to 

destroy the images. If they could have believed that these images only obfuscated or 

masked the Platonic Idea of God, there would have been no reason to destroy them. One 

can live with the idea of distorted truth. But their metaphysical despair came from the 

idea that the image didn't conceal anything at all, and that these images were in essence 

not images, such as an original model would have made them, but perfect simulacra, 

forever radiant with their own fascination. Thus this death of the divine referential must 

be exorcised at all costs.

One can see that the iconoclasts, whom one accuses of disdaining and negating images, 

were those who accorded them their true value, in contrast to the iconolaters who only 

saw reflections in them and were content to venerate a filigree God. On the other hand, 

one can say that the icon worshipers were the most modern minds, the most adventurous, 

because, in the guise of having God become apparent in the mirror of images, they were 

already enacting his death and his disappearance in the epiphany of his representations 

(which, perhaps, they already knew no longer represented anything, that they were purely 

a game, but that it was therein the great game lay - knowing also that it is dangerous to 

unmask images, since they dissimulate the fact that there is nothing behind them).

This was the approach of the Jesuits, who founded their politics on the virtual 

disappearance of God and on the worldly and spectacular manipulation of consciences - 

the evanescence of God in the epiphany of power - the end of transcendence, which now 

only serves as an alibi for a strategy altogether free of influences and signs. Behind the 

baroqueness of images hides the éminence grise of politics.

This way the stake will always have been the murderous power of images, murderers of he real, murderers of their own model, as the Byzantine icons could be those of divine 

identity. To this murderous power is opposed that of representations as a dialectical 

power, the visible and intelligible mediation of the Real. All Western faith and good faith 

became engaged in this wager on representation: that a sign could refer to the depth of 

meaning, that a sign could be exchanged for meaning and that something could guarantee 

this exchange - God of course. But what if God himself can be simulated, that is to say 

can be reduced to the signs that constitute faith? Then the whole system becomes 

weightless, it is no longer itself anything but a gigantic simulacrum - not unreal, but a 

simulacrum, that is to say never exchanged for the real, but exchanged for itself, in an 

uninterrupted circuit without reference or circumference.

Full text here if you want to know more about our simulated world:

https://www9.georgetown.edu/faculty/irvinem/theory/baudrillard-simulacra_and_simulation.pdf

The Poor Image

'The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution.' 

Hito Steyerl's enquiry into the substandard dematerialized digital image questions notions of aura, authorship and authenticity in the age of file-sharing and digital distribution. The "films" in the Lost In Translation? playlist seek to put Steyerl's idea into perspective. Compressed, reproduced, ripped and remixed, one might argue that these works, medium-specific as they are (or, were), aren't the real thing. But perhaps the poor image is no longer about the real thing. Rather, it's about reality.

.............................

Playlist: http://www.youtube.com/playlist?list=PL_73mu7_XsX4CR2339I2lJVK9PiDK5aeR
Steyerl's essay: http://www.e-flux.com/journal/in-defense-of-the-poor-image/





                      

While We Were Working essay

WHILE WE WERE WORKING: a YouTube curatorial endeavor

Nightingale Theatre
Sunday December 14th 2008 7:00 pm
1084 N. Milwaukee Ave. Chicago IL 
(Blue Line to Division stop, walk South, btw Division and Augusta)

Pixar's latest box office starling, is Wall-E. A robot, environmental sage, post apocalyptic janitor, and the earth's last art curator. Wall-E embodies our universal need to rummage, collect, and string meaning between the seemingly random artifacts of our culture and our fetishes. Wall-E's junk pile schlep has inspired While We Were Working, a new curatorial endeavor that attempts to order YouTube, our culture's own looming tower of Trash.

The internet's unwanted or digital detritus is constantly being scraped off the web's cluttered floor and being broken apart and frankensteined into the new. Definitions over ownership and authorship are being elasticized and altered by this constant meddling and re-arranging, and In the process, the line between viral video, Art Art, and just plain unwanted is being happily smudged.

So how do we culture-makers address our new medium, venue, and potential audiences? How do we incorporate and process this superstructure of meaning, whether we are dilettantes, starry-eyed devotees or television-loyalists? And how can you find that good, weird shit out there when there is so much to look at?

Internalizing media's place in our everyday lives is already assured, but thankfully these videos go above and beyond to perform the inevitable. By extricating the banal and taking it to its logical end, these artists create bizarro worlds of displacement and repetition.

As those who stare at computers all day, we feel guilty about this misspent time wandering the internet. By creating a perpetual side project of cataloging, archiving and presenting the best the internet has to offer, we are slowly turning procrastination into productivity. 

While We Were Working is exemplary for using our time wisely so you don't have to.

While We Were Working is curated by Robert Snowden and Eric Fleischauer

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