Archive for the ‘Visiting Artists’ Category

Steel City Angels Present

Wednesday, April 3rd, 2013

2013 Carnegie International October 5, 2013–March 16, 2014

Ei Arakawa/Henning Bohl, Phyllida Barlow, Yael Bartana, Sadie Benning, Bidoun Library, The Collection, Nicole Eisenman, Lara Favaretto, Vincent Fecteau, Rodney Graham, Guo Fengyi, Wade Guyton, Rokni Haerizadeh, He An, Amar Kanwar, Dinh Q. Lê, Mark Leckey, Pierre Leguillon, Sarah Lucas, Tobias Madison, Zanele Muholi, Paulina Olowska, The Playground Project, Pedro Reyes, Kamran Shirdel, Gabriel Sierra, Taryn Simon, Frances Stark, Joel Sternfeld, Mladen Stilinović, Zoe Strauss, Henry Taylor, Tezuka Architects, Transformazium, Erika Verzutti, Joseph Yoakum. More information

TumblrPinterestCarnegie Museum of Art

Suzie Silver/Jasdeep Khaira and William E. Jones at Apartment Talks

Thursday, June 28th, 2012

Apartment Talk #9: Suzie Silver/Jasdeep Khaira and William E. Jones

I am pleased to report that, with two recent literary events, things are really heating up at the 2013 Carnegie International Apartment Talks.


Corin Hewitt at Apartment Talks

Tuesday, February 21st, 2012

Apartment Talk #7: Corin Hewitt

One of my favorite past curatorial projects was Corin Hewitt’s Seed Stage. As a curator, you move on quickly at the end of projects, on to the next set of problems to be solved. Corin moved to Richmond to teach sculpture to grads at the Virginia Commonwealth University at about the same time I moved to Pittsburgh, but we kept in touch. It was fortuitous that Corin was on his way to town to meet some cool robotics folks at the CREATE Lab at Carnegie Mellon. He flew in a bit early to talk to us about his sculptural practice, his ongoing performative projects, and the burden and blessing of family influence.

Richard’s Bar, Pittsburgh. The Housewarming Performance feat. Yamasuki

Wednesday, February 8th, 2012

On Friday February 3, 2012, we met at 9 p.m. to celebrate the opening of Richard’s Bar at 4400 Forbes Avenue, Pittsburgh, PA. We entered the freezing and badly lighted bar where Swiss artist Tobias Madison taught us the five movements as listed on the backside of the LP Le Monde Fabuleux Des Yamasuki (coll. John Paul MacDuffie Woodburn), an album described by Discdogs as follows: “The 1971 concept album was the brainchild of French pop composers Jean Kluger and Daniel Vangarde, who learnt Japanese before recording began and even enlisted the aid of a renowned black-belt Judo master to introduce the tracks, which were all sung in Japanese by a school choir. The result is theatrical, epic, freaky and exotic pseudo-Japanese pop that absolutely defies categorization.”

The performance that followed defied categorization as well. Due to lack of space, we had to go outside onto the bar’s vast terrace. There, we followed the movements / indications for a five-part performance as printed on the back of the LP Le Monde Fabuleux Des Yamasuki. Written in French, we translated it into English thanks to an Internet translator (which added some unexpected words and sense to the instructions, producing even more “de-categorization”):

the YAMASUKI is a sequence of attitudes and gestures that express the $ ·
of. Ia life. Is changed. position to each sound.

major themes

clasped hands, ((n in prayer, we look forward slowly year
(photo 1), one recovers, we turn to his right
then left 0 (Jand I are Chmura, begin to sing, it starts
not place a sill). ilar to that Ia ~ e samba. (phot ~ 2)

JOY ·:
· and legs spread arms are swinging it right and turn
gauehe emphasizing one of mouvenlent. appears on the legs.
(photo 3)

Rapla arms around the face. (photo 4)

arms perform graceful movements of oriental style.
Preparati9n: legs apart, hands on thighs, jump

Attack: Taking the positions of karate (photo 5) shouting
“C • aa ooh n.

Hara Kiri: you push the cry of the Kwai •
We start with THE SALVATION. JOY. and so on.

Richard’s Bar will open again, we will let you know!

Cathy Wilkes

Monday, January 23rd, 2012

I was introduced to Cathy Wilkes’s work by Yasmil Raymond when I was working at the Walker Art Center. Wilkes was a linchpin of Raymond’s exhibition Abstract Resistance. She and I talked about the show at length, and while I was always compelled by the images of Cathy’s work, something seemed to be missing for me. …Turned out that the missing element was actually seeing the work in person. (Imagine!) Her installation in Abstract Resistance was raw, visceral, delicate, psychologically complex, and beautiful in a way that was quiet, peaceful, and dark. The Sunday following the opening, Cathy gave a talk at Midway Contemporary Art. It remains the most moving, most interesting artist talk I’ve ever heard. Hearing Cathy talk about her work is as affecting as seeing it.

When Lynn Zelevansky and I took a trip to London in the spring of 2010, I went up to Glasgow by train (a BEAUTIFUL train ride) to meet with Cathy. It was a great studio visit, which gave me a lot of insight… most memorable was the altered bathtub that Cathy had up on cinderblocks that she uses to scrub the surfaces of her paintings… the paint and cleaning liquids empty through the drain into a bucket, full of dark and mysterious residue. When Cathy came to Pittsburgh after a trip to Aspen a few months later, in the middle of the winter, we looked at the Forum gallery together, deciding on a mix of recent paintings and a new installation. Most of the work she made for the show which opened here in November was actually made right in the gallery. I watched as steel frames turned into ghostly men, and saw Cathy and her assistant Darren apply what looked like hundreds of layers of papier-mâché to get the figures’ skin densities and colors just right. We had to have an attendant in the gallery after hours and on weekends as they worked. I volunteered, and am so happy I did, because I saw the work come into being, and take on meaning and force in real time, in front of my eyes.

Check out the booklet we published for the show, and read my essay, along with Cathy Wilkes’s artist statement.