Nathaniel Stern in London, Milwaukee, Stellenbosch and Montreal
|
south african art
Archives
Nathaniel Stern in Minnesota, Berlin and New York
|
Archives
Tops of 2010: A Different Kind of Year in Review
Merry Christmakkah! Happy new year!
I skipped a year, so it’s been 2 since I posted my surprisingly popular Tops of 2008: A Different Kind of Year in Review. Here, I go with four different Top 5 lists: The Top 5 people I newly met in 2010, The Top 5 people I’d like to meet because of what they did (or the work I saw from them) in 2010, The Top 5 exhibitions for me (what I found most enjoyable), and The Top 5 shows I wish I had seen, but didn’t. Hope you like it! Feel free to comment, leaving any things/people I missed but might (or should have) enjoy(ed)!
The Top 5 people I newly met in 2010:
- Erin Manning + Brian Massumi. I know, although partnered, these are two very different people, and it’s probably wrong of me to put them together under one heading. But I met them together, have only seen them together, and it’s kind of fun, given that Brian has been an academic crush of mine for many years (one of the “like to meets” of 2008) and Erin is a new discovery who I am utterly enamored with. Both brilliant thinkers, both extremely generous spirits, both creative and funny and easy to hang with. I know I’ll be reading and citing and dialog-ing with them professionally for some time to come, and I hope our meeting is a long-time friendship in the making.
Mary Louise Schumacher at the Journal Sentinel. Mary Louise is part of a dying breed – a full-time arts critic at a daily newspaper. Not content to merely cover art in Milwaukee and its surrounds, Schumacher has gone to great efforts to put together a team of writers, both paid and volunteer, who engage with the community through her blog and regular print column. Like all good arts community-builders, she sees critics, artists, academics, gallerists and appreciators (extant or potential) as playing for the same team; but her courage and integrity in trying make shit happen with that? Very rare. ML: I owe you one martini.- Norah Zuniga Shaw (@ OSU, and Synchronous Objects, the project I met her through). A recipient of one of ISEA‘s commissions for 2010, Norah Zuniga Shaw is a brilliant artist and choreographer who studies, and asks us to re-examine, movement and stasis: in objects, ourselves, our surroundings, and more. If you’ll forgive the pun, her Synchronous Objects collaboration was very, um, moving. Also? Both she and her work are super fun.
- Richard Grusin. The new Director of the Center for 21st Century Studies at UW-Milwaukee, author of this classic book and this new one, and fun to have a beer with. Honest and opinionated, and I wouldn’t have it any other way.
Steven Sacks of Bitforms Gallery. A visionary in his approach to contemporary media art, the commercial gallery scene, and his blending of the two, several of my favorite artists working in digital domains show with Steven. Off the top of my head, I know he’s shown Yael Kanarek, Danny Rozin and Rafael Lozano-Hemmer this year, and currently has Daniel Canogar’s first NYC solo on exhibit.
Top 5 people I’d like to meet because of what they did (or the work I saw from them) in 2010:
- Kate Mondloch, author of the book, Screens: Viewing Media Installation Art published by University of Minnesota Press. I wrote a very positive review of this book for Rhizome.
- Joseph Delappe. Brilliant media artist with a long history of engaging with technology and the social practices it influences. One of very few contemporary practitioners I know of that can pull off conceptual mixed reality work that is both implicitly and explicitly political,, beautiful and smart. He will be moving to the “people I’ve met” list in 2012!
- Richard Noyce, curator and writer, author of Critical Mass: Printmaking Beyond the Edge. We’re hosting him here at UWM in the Spring, another one from my list(!)….
- Anna Münster, curator, artist, writer – finally got around to reading Materializing New Media, and was super impressed.
- Patricia Briggs. My newest guilty pleasure is urban fantasy, and my favorite character from the genre is definitely the were-coyote (sort of, Briggs calls her a “walker”) and mechanic, Mery Thompson (ha, Volkswagen mechanic named Mercedes!). Although it’s unlikely I’d meet the former, it’s impossible I’ll meet the latter (being fictional and all), so Patricia makes the list.
- BONUS PERSON: as of last night, December 10th, Bernie Sanders!
The Top 5 exhibitions for me (what I found most enjoyable):
- ISEA 2010! The 16th International Symposium on Electronic Art in the RUHR Region of Germany was probably the highlight of my year. Great art, conference, music, conversations, new friends, food, beer and more. I’m totally on board for future ISEAs now as well (see, for example, my name here).
- Theatrical Properties at Bitforms Gallery. Co-curated by Emily Bates and Laura Blereau, with brochure essay by Sarah Cook, this exhibition turned everyday objects into kinetic props for really interesting narratives. Totally loved it and the great brochure.
Claude Monet, Gagosian Gallery. His late work just blew me away. I wish the catalog didn’t cost three times as much as one of my students’ works. I wish I had seven of these (and now I don’t mean the catalogs).- Real Postcard Survey Project at the Portrait Society Gallery in Milwaukee. See what I wrote about it in the Journal Sentinel.
- Passing Between. Yes, I know, it’s cheeky to include my own show. But I’m not putting it forward because I want to convince you of its brilliance. Rather, I want to reiterate how much I love working with Gallery AOP in Johannesburg and with Jessica Meuninck-Ganger, my collaborator in Milwaukee, as well as the brilliant folks who helped us produce the catalog and work: Nicole Ridgway with her essay, Sean Kafer and his video documentary, Michael Spzakowski and his music, Jeff Ganger and his design, and of course my former studio assistants for all their help: Jesse Egan, Garrett Gharibeh and Bryan Cera.
The Top 5 shows I wish I had seen, but didn’t
- Colleen Alborough’s Balance at the Standard Bank Gallery in Johannesburg. A former student, good friend and great artist, Colleen’s show feels like it is both the culmination of years’ worth of work, as well as the beginning of a fantastic exploration of ideas and materials. Her work is smart, moving, and very well made.
- #class. I never publicly commented on this. Actually, I’m not sure I’ve spoken to anyone about it, a fave of Jerry Saltz and an ongoing project with #rank. On the one hand, I am very very fond of artists trying to make a community, and make sense of how we engage with museums, the gallery scene, the public, etc. On the other, I tend to shy away from art about the art world – I just don’t find much of it that interesting. Often, however, I do like the work of Jennifer Dalton and Bill Powhida (the people behind this project), so I withheld judgment until now. And I’m glad I did; in fact I sometimes wish I had tried to be involved myself – it’s a great project. I’ll say I’m especially fond of the collaborators’ reflections on their work, and find many of the interviews and blog posts with and by them to be curious and provocative, personal and intelligent, funny and entertaining, and full of gems that critically analyze not just the art scene, but all the roles played in it, including their own.
William Kentridge’s Nose. I had the privelege of seeing much of William’s design work in progress for the Nose in his studio in South Africa; I also consulted on a derivative piece from his last opera for him; and I even saw the launch of the Nose print suite at David Krut in Joburg. But I’m yet to see one of the Kentridge performances myself! I find William to be smart, generous and thoughtful, as both artist and person – and his prolific work is brilliant. He’s kind of my hero. And so it pisses me off that I’m yet to see either of his operas.- Art Basel Miami. The work of Jennifer Dalton and Bill Powhida, and some chats with my friend Heather Warren-Crow (among others), have lead me to believe that Art Basel Miami is kind of insane. Paradoxically wonderful and horrible, commercial and interventionist, low-brow party wrapped in high-brow culture, I’m not interested in intervening or even participating – I just wanna go one year, and get drunk a lot.
- David Wojnarowicz’s A Fire in My Belly. Not a show in itself, and not new, but a bit of recent controversy in the press has made the public again aware of what I hear is a stunning and heartbreaking work.
I’m sure I missed plenty, but that’s what I have off the top of my head. Enjoy the holiday season!
Archives
New Work: Switch & Signal
New Work with Jessica Meuninck-Ganger! It’s a one-of-a-kind charcoal and pastel drawing on paper, permanently mounted to an LCD screen playing machinima video from Second Life. Part of the ongoing Distill Life series, the image tells only part of the story. The earth’s rotation in the video is a time lapse, with a moonset and sunset over 5 minutes, but the clouds and sea and rain (and blinking lights, etc) move in real time. Made especially for a group show with our gallery in South Africa, Gallery AOP, opening late October.
Switch & Signal
charcoal, pastel, LCD with machinima video
9 x 12 inches, 2010
Jessica Meuninck-Ganger and Nathaniel Stern
Archives
Upgrade! Joburg Remote Lecture Series, Marcelino Stuhmer (reblog)
My worlds collide!
No 1: The Choreographed Accident
from Digital Arts Remote Lectures
….
I’m very excited to announce our very first Remote Lecture for 2010 by Marcelino Stuhmer based at the University of Wisconsin in Milwakee .
The Choreographed Accident: How painting survived the accident.
In this Remote Lecture Marcelino Struhmer will be speaking his expanded painting practice in three recent works.
“The metaphoric crossing between perception and hallucination occurs by means of the paraphernalia of painting, which is also that of recollection and re-cognition, as the recovery, to the senses, of what seemed to be forever beyond experience.†Paul de Man
“Mise-en-abymeâ€, a term coined by Andre Gide, which refers to the artistic trope of limitless reflection is akin to the physical experience of the carnival’s Mirror Maze. In my current extended painting practice, I wish the viewer to “enter into the work†and find themselves occupying a different parallel space, narrative, and time. The spatial/architectural constructions in three recent installation projects deconstruct the cinema house into 1) a panoramic painting rotunda, 2) a funhouse mirror maze, and 3) a miniature architectural model of an apartment building in Warsaw.
In the broadest sense, the crisis of representation as seen in the history of painting provides me with a dynamic conceptual meeting point between material, process, and language. My recent installation work reconstructs or invents narratives of distant geographic, and temporal moments, allowing a collision of virtual ‘present-moments’ in an installation space designed specifically to stage these orchestrated time-collisions. I am currently working on a series of paintings, collages, and architectural models, which explores an intersection of image, film, painting, screen, and the history of theater design.
The Remote Lecture Series is a series of once a month lectures by people in different places across the world who are “beamed in†live (via the internet) to speak to a Johannesburg audience. We use available video conferencing technologies like Skype and iChat for the live lecture. The point of these lectures is to inspire and uplift the discourses around art, new media and technology. We also stream the sessions live from Johannesburg.
Thursday 12th August 2010  -  South African Time 19:00 – Digital Arts Seminar Room, Digital Arts Convent Building. See here for directions – opposite the Wits School of Arts. Also see calendar page…
Please note – GMT 17:00 for streaming.
Marcelino Stuhmer earned an MFA from the School of the Art Institute of Chicago in 2000. He has done residencies at the Skowhegan School of Painting and Sculpture, was a guest artist at Cittadellarte-Pistoletto Foundation in Biella, Italy, and was awarded a residency at the Rijksakademie in Amsterdam where he received a two-year research fellowship.
His most recent installation project, The Choreographed Accident: Objects, Images and Artifacts from the Pawel Avorsky Museum, Warsaw which debuted at Jeune Creation 2009 in Paris, is now showing at the Wisconsin Triennial 2010, at the Museum of Contemporary Art in Madison, Wisconsin, USA. This conceptual film project tells the story of a British spy during the Cold War who smuggled illegal Jazz records into Poland.
Apart from numerous exhibitions in Europe and North America, Stuhmer has won a number of grants and prizes, including Best International Artist at the Arte Laguna 2009 International Art Prize Exhibition at the Venice Arsenalle in Venice, Italy, a Graduate Committee Research Fellowship from the University of Wisconsin, Milwaukee, the First Place Royal Prize for Painting in The Netherlands, a Mondrian International Publication and Exhibition Grant, a Community Artist Assistance Program Grant from Chicago, and a Joan Mitchell award in conjunction with an artist residency at the Atlantic Center for the Arts in New Smyrna Beach, Florida. He is currently an Assistant Professor in the Painting and Drawing area of the Department of Visual Art at the University of Wisconsin in Milwaukee.
For more information please contact me directly on tegan (dot) bristow (at) wits (dot) ac (dot) za or 011 717 4604
Archives
Mary Corrigall on Art and Capitalism
Just tweeted this, but the whole last two paragraphs are too good not to post. Granted, Corrigall is speaking mostly of the South African art scene, but it applies everywhere, I believe.
“The growth of the commercial sector of the art market since the advent of democracy has seen a power shift in which national and regional public art institutions no longer are the dictating authority on art. Given that many of these institutions were initially sluggish to transform in terms of widening the scope of their curatorial policies to include art and exhibitions of the work of previously marginalised artists, this actuality wasn’t necessarily a negative one – it has in some senses democratised art production, opening up discourses and allowing marginalised artists to enter the fray. Of course, the majority of these new galleries are white owned thus the power relations within this sector has remained skewed.
Because commercial galleries now hold the authority and under-funded public art institutions have become increasingly dependent on corporate funding, the brand of art that is displayed and celebrated is increasingly being determined by commercial factors or to meet the requirements of corporate sponsors. In other words art that might not be critically prized by academia, art producers or critics, is regularly given a pride of place in commercial galleries and other commercial settings such as at an art fair. This democratisation of the arts might have opened the once closed doors of the art world but it also means anyone with enough financial clout can dictate what kinds of art should be valued – often these individuals believe that their affinity for art automatically grants them insider knowledge of contemporary art practice. Thus the intellectual gulf between patrons and the arts intelligentsia is often quite vast.â€