
Thursday, April 8, 2010
R.I.P.

Tuesday, April 6, 2010
HAVERFORD COLLEGE CURATORIAL CONFERENCE

Each participant will present a manifesto of curatorial practice. These presentations will be followed by an open conversation among the four presenters and audience members, considering the role of the curator in cultivating visual culture across disciplinary boundaries; the institutional elements necessary to integrate the display of art objects within a wider programmatic framework of interdisciplinary inquiry, experimentation, critique, or activism; and the purpose(s) of exhibitions in this contemporary moment of media dissemination, social networking, and other “ethereal” forms.
10 AM - 12:30 PM, Stokes 102, Haverford College
Speakers:
Ian Berry Curator, The Tang Teaching Museum and Art Gallery at Skidmore College
Julie Joyce Curator of Contemporary Art, Santa Barbara Museum of Art
Aaron Levy Executive Director and Chief Curator, Slought Foundation
Ingrid Schaffner Senior Curator, Institute of Contemporary Art, University of Pennsylvania
Free and open to the public; lunch to follow in the Center For Peace & Global Citizenship (CPGC) Café, Stokes 104.
ART WEEK
EXHIBITION TALK: PAINTERS/PAINTING

In conjunction with the exhibition Don't Piss on Me and Tell Me it's Raining, apexart presents:
Tom Sanford will moderate a panel of five other painters who will talk about painting, including: Kamrooz Aram, Holly Coulis, David Humphrey, Dike Blair and Deborah Kass.
Wednesday, April 28: 6 pm
Painter and Bad at Sports NYC correspondent Tom Sanford will moderate a panel of five other painters in a discussion about painting. Kamrooz Aram, Holly Coulis, David Humphrey, Dike Blair, and Deborah Kass, representing various generations of New York painters, are all prominent voices among their cohort who enlist a wide variety of approaches to the medium. These "Painters of Painting" will discuss the current concerns in painting as well as painting's enduring relevance as a humanistic and idiosyncratic antidote to the prevailing corporate culture of consensus and commoditization.
And, if you are not familiar with the podcast Bad at Sports – definitely check it out.
Wednesday, March 31, 2010
QUOTE OF THE DAY (not necessarily a recurring feature)
Salvador Dali.
NEW IN THE PEI READING ROOM

On Curating: Interviews with Ten International Curators
Carolee Thea's second volume of interviews with ten of today's leading curators, explores the intellectual convictions and personal visions that lay the groundwork for the most prestigious and influential exhibitions in the world today. Among the aesthetic and theoretical issues raised are the relationship between artist and curator, globalism, post-colonialism, capitalism, the future of cultural tourism and the biennial as spectacle or utopian ideal. As Thea notes in her introduction, "the biennial or mega-exhibition--a laboratory for experimentation, investigation and aesthetic liberation--is where the curators' experience and knowledge are tested.

Seeing Out Louder
Jerry Saltz doesn't only address art objects in these essays, he considers the art world as an ever-mutating organism. He signals out mismanaged museums, out-of-control auction houses, misguided artists, the gossip pages of Artforum, and the tent-city casinos known as Art Fairs. Saltz has an unsparing eye, a deep love of the art world, respect for artists, self-deprecating humor, sweet skepticism, and one of the easiest writing styles of any critic working today. Tracking the most recent all-out orgy of art and money, Saltz considers what this did to art and asks, now that the money is gone, how might art and the art world put their house in order?
Institutional Critique: An Anthology of Artists' Writings
"Institutional critique" is an artistic practice that reflects critically on its own place within galleries and museums and on the concept and social function of art itself. Such concerns have always been a part of modern art but took on new urgency at the end of the 1960s, when—driven by the social upheaval of the time and enabled by the tools and techniques of conceptual art—institutional critique emerged as a genre. This anthology traces the development of institutional critique as an artistic concern from the 1960s to the present, gathering writings and representative art projects of artists who developed and extended the genre.
The Sublime (Documents of Contemporary Art)
In the contemporary world, where technology, spectacle, and excess seem to eclipse nature, the individual, and society, what might be the characteristics of a contemporary sublime? This anthology examines how contemporary artists and theorists explore ideas of the sublime, in relation to the unpresentable, transcendence, terror, nature, technology, the uncanny, and altered states. Providing a philosophical and cultural context for discourse around the sublime in recent art, the book surveys the diverse and sometimes conflicting interpretations of the term as it has evolved from the writings of Longinus, Burke, and Kant to present-day writers and artists. The sublime underlies the nobility of Classicism, the awe of Romantic nature, and the terror of the Gothic. In the last half-century, the sublime has haunted postwar abstraction, returned from the repression of theoretical formalism, and has become a key term in critical discussions of human otherness and posthuman realms of nature and technology.
IT'S NOT DRY YET
WANT TO CURATE FOR WALES AT THE NEXT VENICE BIENNALE?
Wales At Venice 2011
Closing Date 16 April 2010
Arts Council of Wales is delighted to confirm that Wales will be participating at the 54th International Art Exhibition Venice Biennale in 2011. Wales at Venice is supported by the Arts Council of Wales and the Welsh Assembly Government and is a key part of the strategy for the visual arts in Wales.
Wales at Venice will be in its 5th Biennale year in 2011. Previous artists representing Wales include, John Cale, Richard Deacon, Merlin James, Heather & Ivan Morison, Peter Finnemore, Bethan Huws, Cerith Wyn Evans (see www.walesvenicebiennale.org ) The Biennale enhanced these artists' international profile and has showcased outstanding work from Wales.
This opportunity remains the prime international context for contemporary art and raises Wales' cultural profile as a place for many emerging and highly respected artists. With a variety of approaches taken to date, Arts Council of Wales is now seeking to open out the possibilities for our next presence, as it responds to the on-going shifts for presenting contemporary art.
In the past, artists have been chosen to represent Wales by a commissioner and curator working with a committee. However for 2011, we feel it would be more exciting and rewarding to call for submissions and ideas from our visual arts community.
It is vital that this international platform is maximised, that the presentation speaks of contemporary Wales and that it connects in artistic terms with other curated exhibitions and presentations at the Biennale. In essence it needs to continue to build the focus on contemporary art from and within Wales.
This is a call to galleries, arts organisations, curators, artist/curators and collectives with a proven track record of working internationally or delivering respected international presentations of contemporary art. Interested parties should be based in Wales or have a connection/awareness of Welsh contemporary visual arts practice.
To prepare for Venice in 2011, Arts Council of Wales is initiating the following process:
1. Invite exploratory propositions through this call. (March-April 2010)
2. The Venice Advisory Committee will evaluate these propositions. (April 2010)
3. Offer a short development phase supported by a fee to a maximum of three propositions, (April- May)
4. Make a final selection, before constituting and financing the partnership team and artist(s) to create the exhibition. (May-June 2010)
Reports at the various stages will be posted on the Arts Council of Wales website and the Wales at Venice website.
In addition to realising the exhibition at the Biennale, the partnership will need to actively contribute towards a strong education programme, audience development initiatives and raising the profile on an international stage of high quality visual arts practice in Wales.
For further enquiries and to request a Wales at Venice Biennale Proposition Form please contact Lindsay Hughes, Senior Visual Arts Officer at Arts Council of Wales, lindsay.hughes -at- artswales.org.uk
PEI APRIL EXHIBITIONS PICKS

CCA Wattis Institute for Contemporary Arts
The Magnificent Seven: Harrell Fletcher
Selections from the Life and Work of Michael Bravo
January 19–April 24, 2010
Curated by Harrell Fletcher as part of The Magnificent Seven, this unique, biographical exhibition features artworks by the artist's mentor, family member and friend Michael Bravo. Selections From the Life and Work of Michael Bravo presents paintings, drawings, photographs, prints, and sculptures from the artist's large body of work produced over the past fifty years. The exhibition also highlights a wide range of personal objects that Bravo created for his family including wooden ships, airplanes, and mobiles, as well as family snapshots and other ephemera from the artist's life and career.

Ballroom Marfa
In Lieu of Unity / En lugar de la unidad
March 26 – August 15, 2010
Curated by Alicia RitsonIn Lieu of Unity brings together artists from Mexico – citizens, residents and emigrants – who have sustained a curiosity about social relations in their art practices. Their focus demonstrates that the nature of existence is contingent not merely on the cognizance of being, but more so on the relationships between individuals and the collectives they form. Through varied perspectives on what it means to be together, these artists relinquish utopian ideas of unity. Instead they favor their own explorations of the underlying systems that influence everyday encounters, such as language, commerce, architecture, citizenship and social mores.

The Institute of Contemporary Art, Boston
Dr. Lakra
April 14 - September 6, 2010
Jerónimo López Ramírez, also known as Dr. Lakra, is an renowned tattoo artist who lives and works in Oaxaca, Mexico. Under his pseudonym, loosely translating as “Dr. Delinquent,” he draws over vintage printed materials and found objects rather than skin, manipulating images of pin-up girls, 1940s Mexican businessmen, luchadores, and Japanese sumo wrestlers. Referencing diverse body art traditions from Chicano, Maori, Thai, and Philippine cultures, Dr. Lakra layers spiders, skulls, crosses, serpents, and devils over these existing images. Playful, naughty, and often intentionally vulgar, his work challenges social norms by blurring cultural identities.

MASS MoCA
Gravity is a Force to be Reckoned With
December 12, 2009 – October 31, 2010
Iñigo Manglano-Ovalle's project is based upon Mies van der Rohe's uncompleted project, the 50x50 House (1951), a square structure open to view on all four sides through glass walls. In Manglano-Ovalle's work, the house will be constructed at approximately half scale and inverted, the ceiling of the original becoming the sculpture's floor, the floor becoming the ceiling, and all interior elements such as Mies-designed furniture and partition walls installed upside down. Within the sterile, modernist space, a small narrative is evident. A screen displays a relentless series of video messages that go unanswered by the anonymous and absent occupant of the glass house. As the unrequited callers grow increasing frustrated we are left to piece a story line with only the (anti)gravitational consequence of a sudden occurrence.
Tuesday, March 30, 2010
A WONDERFUL POST ON A WONDERFUL BLOG: 16 Miles
Last year 16 Miles blogged about the White Columns Annual, which was curated by Primary Information (Miriam Katzeff and James Hoff). The brilliant little diagram was the focus…
DEAR CURATORS, PLEASE PASS TO ARTISTIC FRIENDS…
Monday, March 22, 2010
Call For Applications: Art Fag City Curatorial Fellow
The always interesting Art Fag City (AFC) is looking for a Curatorial Fellow:
Art Fag City is seeking a Curatorial Fellow as part of a new program titled “Young Curators”. AFC is an award-winning New York-based art blog that focuses on art world news, reviews, and culture commentary.
Ideal candidates have a deep knowledge of contemporary art and digital media, possess excellent writing and editing skills and either a degree in curatorial studies or experience curating. Applicants should also be extremely organized, self-motivated, and detail-oriented. Knowledge of Facebook, Delicious, Flickr, and Twitter is preferred. Interest in New Media is also a plus.
The Curatorial Fellow will work directly with AFC Editor-in-Chief Paddy Johnson on a project-to-project basis. The position offers valuable hands-on experience in the fast-growing world of digital media, and in-depth insight into a prestigious online publication. This position will give curators the opportunity to attend private tours and panel discussions as well as write original content for the blog.
Find more on their blog here.
Thursday, March 18, 2010
This Weekend: Art Handling Olympics!!!

From the event's website:
Art Handlers are the unrecognized backbone of the art industry. We are the life blood of galleries, art shipping companies, museums, art storage warehouses, artist’s studios, and cultural institutions. For most of us, the hours are long, risking life and limb without health insurance or job security. There are more of us than anyone realizes and we’ve never had the chance to throw down together.
The Art Handling Olympics (AHO) is the first event of its kind. It is equal parts olympic competition, three ring circus, and foreign TV game show. The day’s events will be rowdy, fast paced and ending with a monster party.
Art Handler teams will compete in a series of physically and mentally excruciating events that spotlight the absurdity and seriousness of our jobs. Picture the worst install you’ve ever worked on. Now add a psychotic art director frothing at the mouth, the world’s most indecisive client, a frantic truck dispatcher, an audience, a timer, and beer. Art will be destroyed and egos shattered. There will be glory to the winners, but nothing is sacred and no one is safe from humiliation in the olympic arena.
Sunday, March 21, 2010, 3 pm, at Ramiken Crucible, 221 East Broadway, New York, NY 10002.
Wednesday, March 17, 2010
Quote Of The Day (not necessarily a recurring feature)
Damien Hirst
World Of Art School For Critics And Curators
The World of Art enables participants to learn the knowledge, skills and methods needed to tackle the complex issues in the world of art.
The school is intended for all who are interested in working in the field of contemporary art, regardless of experience, age and education.
The annual school program is internal and for a selected group of participants who will be chosen by open call. The course has two semesters:
- the first semester (April–June 2010) will be dedicated to the acquisition of art – historical, theoretical and methodological skills
- the second semester (September 2010–May 2011) will be dedicated to critical and curatorial studies and practice.
The program includes lectures, seminars, workshops, research work, modules on the practical work of the curator, study excursions and practice in galleries. The process comprises the organisation of events, studio visits, meetings with curators, artists, theorists, and writers, and teamwork in conceptualisation and preparing an exhibition of contemporary art under the tutor’s leadership.
Fee: 400 euros (VAT included)Send or bring your application form (download here), CV, motivation letter and review of selected exhibitions of contemporary art (up to 40 lines) to SCCA-Ljubljana, Metelkova 6, SI 1000 Ljubljana, svetumetnosti -at- scca-ljubljana.si
The selection of participants will be in two stages. After the first selection, participants will be invited for an interview, to be held at the SCCA-Ljubljana on Thursday, April 1 and Friday April 2.
Museums Become Venue Of Choice For Some Bands
Museums become venue of choice for some bands
Collectives find the venues suit their mix of music and performance art. Museums see the concerts as big draws for the young visitors they need.
Lucky Dragons, Los Elegantes and My Barbarian, and YACHT are more likely to found at artist-run-spaces than, say, Johnny Brenda’s.
PEI Funded Exhibition Gets A Shout-Out From A Conference At VCU
20-23 October 2010
SECAC/MACAA Panel, Virginia Commonwealth University, Richmond, VA
Ceramics is arguably experiencing a renaissance, both in terms of production and reception. Recent work in clay has received high-profileattention: consider that Grayson Perry won the Turner Prize in 2003; note that Philadelphia’s Institute of Contemporary Art, a venue for cutting-edge art, garnered positive reviews for its 2009 "Dirt on Delight." Scholars have begun to reconsider the place of ceramics in art history more broadly: Andrew Perchuk and Glenn Adamson, for example, have examined studio pottery in dialogue with conceptual avant-gardes of the mid-twentieth century. It might seem that studio ceramics is finally poised to rise above its lowly status as craft and gain definitive entrée into the fine-arts world. Yet the question of whether ceramics should be considered craft or art is not one that actually shows any signs of disappearing. Is it time to let this distinction fall away, to leave that question behind in favor of others? Or is it necessary to retain these categories? This session aims to consider what forms the future of ceramics history and criticism should take. Panelists may turn to the distant or recent past, modeling a practice or history without addressing this divide or insisting on its continued relevance.
To submit a paper proposal, please download the form
from:http://www.secollegeart.org/annual-conference.html
The deadline for submissions is April 20, 2010.
Email proposals and/or questions to Bibi Obler, George Washington University, at bobler@gwu.edu.
MoCA NOMI Website Aa Artwork
The Museum of Contemporary Art, North Miami has just debuted the first U.S. museum survey of work by Cory Arcangel (b. 1978), the popular techno-artist who has composed "missing" Glockenspiel parts for Bruce Springstein songs and dubbed the 1993 cult film Dazed and Confused with dialogue read by Indian-accented actors. "Cory Arcangel: The Sharper Image," Mar. 11-May 9, 2010, is organized by MOCA associate curator Ruba Katrib and includes an appropriately up-to-date range of works: videos, video game consoles, film, photographic prints, sculpture, drawings, sound, performance and web-based work.
One example of this last category is the museum website, which Arcangel has completely redesigned, putting all the text in the font known as Comic Sans, a particularly goofy-looking script intended to imitate comic book lettering. The font is widely despised by designers, and has even inspired a "Ban Comic Sans" campaign, which has its own website. According to Miami’s New Times, MoCA NOMI’s all-Comic Sans look caused a bit of a stir on the internet, including speculation that it was an early April Fool’s prank.
In any case, be sure to catch Arcangel’s 2009 video performance of Arnold Schoenberg’s Opus 11, an atonal modernist work supposedly played by a montage of YouTube snippets of cats walking on piano keyboards -- it’s here. And note the comments, from "LMAO" to "the paradigm of lameness."
Thursday, March 11, 2010
Quote Of The Day (not necessarily a recurring feature)
Andy Wahol








