Archive for March, 2012

Braddock’s Neighborhood Print Shop

Thursday, March 22nd, 2012

Last Friday I drove out to Braddock for the Neighborhood Print Shop‘s party for departing artist-in-residence, Jim Kidd. The product of Kidd’s residency, a lovely handmade book filled with “Kiddisms” drawn from a series of journals the artist has kept since 1967, was on sale for $25 to $60, depending on what each buyer could spare.  The event was also a welcome reception for the next resident artist, LaToya Ruby Frazier, a Braddock native whose annotated photographs chronicling UPMC’s withdrawal from Braddock and Levi’s aestheticization of the city’s blight are currently featured in the Whitney Biennial.  After spending the latter half of the previous week in New York at art fairs, this get-together in the Braddock Carnegie Library felt refreshingly intimate and inclusive, despite Frazier’s art world notoriety.


Film Posters 1976–1981

Friday, March 16th, 2012

Between recent exhibitions like Paul Sharits at Greene Naftali and upcoming shows like Wish You Were Here: The Buffalo Avant-Garde in the 1970s at Albright-Knox, experimental filmmakers who came to prominence in the 70s are getting their due these days. We’ve been taking stock of our film collection, too, with help from an A.W. Mellon Foundation grant, so it seemed like an opportune moment to share a selection of posters from an amazing series of artist talks and screenings hosted by the Carnegie Film Section (1970–1980), later the Department of Film and Video (1980–2003). Some of the rarest and most valuable material in our collection are recordings from these presentations.


Bruce Hainley on the early performance work of Sturtevant

Tuesday, March 13th, 2012


Get $10 (U.S.) and run to the next bookstore, Kiosk or Koenig to get Artforum‘s March 2012 issue. Open it to page 226, and read Bruce Hainley on Sturtevant. Since being exposed to Seth Price’s texts on production technologies (in my opinion, the objects he produces are “just” (great and disturbing) footnotes to these texts), I haven’t had such an addicting, inspiring, and disturbing reading experience. Following Hainley’s words, you are able to experience what this means: “The dynamics of the work is that it throws out representation” (Sturtevant, 2004). It becomes almost tangible that her practice of “mise en abyme” indeed makes thought visible.

And then you stumble into paragraphs like this: “Even without knowing, definitively, what Sturtevant danced, consider why she might have rendez-voused with Rainer at all, since Sturtevant was always already dancing, as Nietzsche said everyone must—always already thinking not across the art of the 1960s but into the structures that make such art, such thinking possible. She was manifesting instead of writing manifestos.”

Oh yes, and where else, in what kind of other text on art you can read something like this:
“And then there was Jill Johnston.
Jill fucking Johnston.
On the beat, doing her job, brilliantly, tweakily.”

To which I can only add: “And then there was Bruce Hainley. Bruce fucking Hainley. On the beat, doing his job, brilliantly, tweakily.”

Filmoteka Launched out of Warsaw

Friday, March 9th, 2012

Yael Bartana Walls and Towers

Wow, this is really something special. Just a few days ago, the Museum of Modern Art Warsaw launched an online collection of Polish film and video: Filmoteka. It’s all there— digitized, catalogued by artist, and accessible by the click of a button. (Thanks to Tate film curator Stuart Comer for pointing this out in his talk at Carnegie Mellon’s School of Art last night.) You will remember names like Paweł Althamer, Katarzyna Kozyra, Wilhelm Sasnal, and Mirosław Bałka from past Carnegie Internationals. But check out the long list of films by Artur Żmijewski and Zbigniew Libera as well as Yael Bartana, Joanna Malinowska, Wojciech Bąkowski, and Anna Molska. The Lawrenceville Apartment needs to host a night of screenings, stat!

Fun in an exhibition (and letting interactive art get the best of us)

Monday, March 5th, 2012

I’m going through old travel photos, and these two bring back memories. On our first trip together with all three curators, to Frieze Art Fair in 2010, Tina and I went to the Hayward Gallery to see Move: Choreographing You. We got a bit tangled in the art. The exhibition was actually a lot of fun, and distinguished itself from the rash of recent interactive/audience-centered exhibitions by focusing on the idea of choreography, both explicitly and through sculptural installations.