Graffiti and Internet art are often cited together as outcasts from the commercial art world, although one seems to have made the jump more swiftly than the other (you guess which one). London's Lazarides Gallery is the latest venue to take on artists that, according to their website, 'established galleries used to ignore.' Only slightly undercutting their underdog status (besides the long tradition of selling graffiti art in a gallery context) is the fact that works by Banksy (who is in the gallery's stable) are now going for well over US$200,000. Commercial successes aside, the latest 'cult' (Lazarides uses the term 'cult' as opposed to 'graffiti' or 'graphic') figure to enter the gallery world is French artist Space Invader. His tags (which can be seen in over 35 cities around the world) are small tiled mosaics perfectly emulating the iconic invaders of his name. For his Lazarides show Space Invader expands his mosaics beyond the simple game characters of his street work (which are documented in the show by a series of photographs) to create a series called 'BAD MEN PART II" which depicts stills from iconic films such as Scarface and Clockwork Orange through the use of another 80s icon-
Jillian McDonald has garnered much attention over the past few years from her web project Me and Billy Bob, in which she imposes herself both physically and emotionally into the film and life of Angelina's pre-Brad paramour, Billy Bob Thorton. If you don't relate to her attraction to Mr. Thorton then perhaps her hilarious and thought-provoking video, Screen Kiss, which has her making out with numerous other celebrities who may be more to your taste. (Another video, To Vincent with Love, has her in the bathtub with Vincent Gallo--she seems to have a type!) Using the web, installation, video, and photography, McDonald illustrates a clear fascination with the Hollywood cinema. However, her work is distinct from many other artists also concerned with the cinematic. Not simply interested in issues of narrative, time, space, or the like, McDonald looks specifically at the genres romance and horror and how these constructions become a part of our own experiences. And by placing herself directly in the frame she successfully taps into our collective pop cultural daydreams and anxieties. Jillian McDonald's solo show at New York's Moti Hasson Gallery opens on October 11th.
Eyebeam Atelier in New York City is many things: an educational institution, production house, funding organization, and research and development center. It also boasts a massive exhibition space in a prime Chelsea location that has in recent years often been under-utilized for new-media art exhibitions. Under the new leadership of Executive Director Amanda McDonald Crowley, however, this seems to be changing. Interference is the second in a series of three exhibitions that celebrate the tenth year of the organization. Looking at the intersecting and contested boundaries between public and private space, 'Interference' highlights the work of past Eyebeam artists, residents, and fellows. Original artwork that assesses the conflicted roles of the New York policemen, CIA surveillance networks, and local community gardens, are shown beside documentation from neuroTransmitter's latest FM Ferry Experiment, and recent output of the prolific R&D lab. But as Eyebeam has always illustrated, exhibition alone may not be enough. Playing on their strength as a multi-use space, the show is enhanced by multiple workshops and public programs for a multitude of audiences. 'Interference' will be open through November 10th, 2007.
In the 1940s, Walt Disney teamed up with Salvador Dali to create the animated film Destino, but according to legend the film was never finished because executives at Disney thought it couldn't possibly make money (although the short 6 minute version was compiled a few years ago). Loukia Alavanou, this year's winner of the DESTE Prize (an award given to up and coming Greek artists) appears to be the progeny of this unlikely collaboration. Using Disney cartoons, other found footage, and photographs, Alavanou's discomforting animations may draw from Disney sources like 'Snow White,' but seem aesthetically far closer to Dali's surrealist ouevre. Through the use of such iconic footage, as well as old Hollywood cinema, Alavanou subverts the fantasies of true love, romance and gendered power structures that these genres served to instill. The DESTE Prize, founded by Greek collector Dakis Joannou, is juried by an international panel of artists and curators
Dog watching is often one of the most amusing activities during a trip to the park, and this fall at New York City's Madison Square Park the four legged beasts aren't only frolicking in the dog run, but also on video screens set up around Danny Meyer's famed Shake Shack (another very good reason to visit said park). These dogs are the cast of William Wegman's latest video installation Around the Park. Taking on the persona of various people seen in the park--business man, tourist, and park maintenece worker--Wegman and his consummate collaborators force the viewer to observe the park and its inhabitants in a different light. Always crowd pleasers, the artist's canine-centric videos transcend their initial appearance (and constant criticism) of kitch, and consistently manage to impart a deeper sense of human frailty and humor. For thirty years Wegman and his Weimaraners (who always play the straight man) have created unique videos that sit along side the work of Bruce Nauman and John Baldessari, conceptually and visually (early works by Wegman as well as Nauman and Baldessari are available through EAI). Running concurrently at Senior & Shopmaker Gallery on Madison Square Park is 'Wegman Outdoors', an exhibition of the artist's landscape photographs (which coincidently also include the dogs) dating from 1981 through 2007.
I wholeheartedly agree that Ben made some excellent points (and it's nice to have the link to his notes—thanks for that). In particular:
"//It tried to reinvent the wheel because it lacked the tacit knowledge of previous generations who had shared similar concerns and worked through many of the pitfalls."
I feel this statement clearly encapsulates a problem with much of the recent discourse around the idea of post-internet. There's an assumption that a critical articulation of the relationship between online and physical objects is a new phenomenon. The materiality (or demateriality) was an ongoing concern from the outset of artists working on the Internet. So I'm disappointed when I hear Karen Archley cite a 2009 exhibition curated by AIDS-3D as the first instance of this kind of material engagement—if we are suggesting that this is what the term post-internet has come to represent.
Finger wagging over.
I'm just surprised to see Rhizome facilitating a discussion that suggests that artists and curators were not thinking about the relationships between online themes and aesthetics and offline presentation before 2008!
It doesn't seem like a provocation or exaggeration, it seems like a serious misrepresentation of the history.
I'm sorry. Can someone explain this statement to me? Michael?
Job Title: Exhibitions Curator
Position Type: Full-time contract, 35 hours/week
Location: Vancouver, British Columbia
Years Experience: 3+
The Western Front Society seeks an outstanding, highly motivated arts professional to step into the role of Exhibitions Curator.
The Western Front is one of Canada’s pioneering artist-run centres and produces and presents works in five programs: Exhibitions, Performance Art, New Music, Media Arts, and FRONT Magazine. The Western Front was founded in 1973 by a small group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus interns and volunteers, the Society collectively produces over fifty events a year.
The Exhibitions Program has a mandate to present contemporary visual art by local, national and international artists. Intentionally open, this mandate has historically focused on artwork that is conceptual, media-based or otherwise ephemeral in nature. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include artist books and posters, cross-disciplinary works, site-specific and Internet projects, and commissions.
The Exhibitions Curator reports to the Executive Director, and is responsible for:
• Developing and communicating a dynamic vision for the Exhibitions Program
• Curating exhibitions and all associated programming
• Editing publications
• Writing grants and seeking opportunities for additional funding or support
• Supervising one part-time staff member, contract workers, as well as volunteers
• Exemplary knowledge and understanding of contemporary art practices
• Excellent written and verbal communication skills
• Proven financial management experience
• Strong organizational skills
• Ability to provide direction and work with a diverse staff
• High capacity to meet deadlines and work under pressure
• Knowledge of a broad range of issues related to the arts
• A clear understanding of the philosophy and history of the Canadian artist-run centre movement
• Knowledge of the principle funding agencies and prior grant writing experience
• Knowledge of managing publications and print projects
• Experience installing a variety of art exhibitions
• Mac OS, Microsoft Office, electronic mail and Filemaker Pro, an asset
A competitive benefits package is available after the three months probation period is complete. After eight months of employment, four weeks paid vacation may be taken during the period when programs are recessed. An additional ten days paid holiday time may be taken during the December/January holiday period.
A part-time Exhibitions Assistant supports this position. Provisions are also made within the program budget for research-based travel.
HOW TO APPLY
The Western Front Society is committed to the principles of Employment Equity and encourages applications from Aboriginal persons, members of a visible minority group or persons with a disability.
Applications containing a cover letter, curriculum vitae, three references, and writing samples, must be received by 4:00 p.m. on December 14, 2009.
Please send applications by email only to:
Exhibitions Curator Hiring Committee
Western Front Society
303 East 8th Avenue
Vancouver, BC V5T 1S1
NO PHONE CALLS PLEASE. Only candidates selected for an interview will be contacted.