MARCHING BAND
SEPTEMBER 30, 2006 2:36 AM

Impromtu marching band. East Pilsen, Chicago, Il.
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SHIT FOUNTAIN
SEPTEMBER 26, 2006 2:21 PM

In the East Village, Chicago. Corner of Wolcott and Augusta.
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BOOKS: TOP 6 BETWEEN 12 SEPT 2006 AND 23 SEPT 2006
SEPTEMBER 23, 2006 5:00 PM
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Beginning this summer when I started preparing for Graduate School, I found myself lacking the knowledge to engage a lot of the conversations taking place within my main reading assignments; Donald Preziosi's THe Art of Art History: A Critical Anthology and Critical Cultural Policy Study Reader [yes, it is as dense as the title sounds]. Not only was I bored with some of the writing, but I also felt the need to search out the smallest details that didn't make any sense to me. I began referencing Wikipedia at least twice for every page of reading. This started to get old, so I began distracting myself with looking at books on Amazon.com. and then ordering them, too many of them - and I see no signs of it ending. This is the beginning of a series of short book reviews, schaafsma-style. Some of the books I will have read completely, some only read the parts appicable to what I am currently studying. I am also willing to let anyone borrow a book via snail mail [Geo. is borrowing Post-Production by Nicolas Bourriaud right now].


Child's Play: The Art of Alan Kaprow by Jeff Kelley

Alan Kaprow, known for his "happenings" and his ideas concerning "un-art" or "art-like art" and "life-like art," was innovative in pushing the boundaries of art, sculpture and specifically peformance after WWII. I always have been slightly fascinated with the zen-loving dude, but not until reading a discussion on the Chicago based blog http://www.leisurearts.blogspot.com, did I want to know more about his distinctions between these different ideas about art.

Post-Production by Nicolas Bourriaud

The author of the book that has produced the most heavily dropped "art" term, Relational Aesthetics, Bourriaud uses Post-Production to talk about the art of recontexualizing existing work. In the book he talks about artists such as deejays, who do more than just appropriate or sample others works, but take others work and then turn them into something completely knew and original. I look forward to reading George's article about pastiche in the world of music with mashups and heavy samples, in the next issue of LAMB.

Conversation Pieces: Community and Communication in Modern Art by Grant Kester

While working on the PLANT! project I became interested in the book and term Relational Aesthetics defined by Bourriaud and how it applies to community art work [and was is community art, or social practice]. I am still reading this book, but Kester has compiled the first major writings about groups working outside of the gallery, major institutions and other traditional art venues connecting these practices to writings from the 60s and 70s.

Between Artists Series: Liam Gillick / Lawrence Weiner

Printed Matter and A.R.T. Press started this series of books where they pair an established artist up with young artist who shares similar interests or works with similar thematic issues. Liam Gillick and Lawrence Weiner's conversation is recorded in this book talking about several different issues. The topics that most interested me were ideas about the social impact of art and students vs artists and their egos. The dynamic between these two artists is obviously strong and makes for some pretty hillarious conversations.

Between Artists Series: Paul Chan / Martha Rosler

Reading this tonight! WIll update after that!

Essays on the Blurring of Art and Life by Alan Kaprow and Jeff Kelley

I'm still working on this book too. A collection of essays from 1958 to 1990 by Kaprow.

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DIRTY PROJECTORS: A STUDY OF GROUP WORK
SEPTEMBER 19, 2006 2:48 PM

Observation:
Dirty Projectors
Cake Shop - East Village, NYC
15 September 2006

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The Dirty Projectors are an ever changing/growing musical group that center around a smaller core group. The apparent leader of the group and front man, Dave Longstreth, the entire time during the performance attempting to communicate with other members of his group with bobbing his head [sometimes counting out a rhythm], persistent eye contact with group members and other gestural body moves in hopes to communicate. This group’s dynamic lends itself to the improvisational type music they perform. While on stage they formed a semi-circle around the drummer so that everyone had a clear view of each other member of the group.

Though, there is a frontman, their performance is transparent enough to realize that all the members are equally involved in the song making process. Within Western culture, there has been a continuing narrative associated with ‘artists’ and ‘authorship,’ more common in the visual arts and literature - the myth that one author is responsible for producing a work. When seeing a musical group perform, it is obvious that a ‘song’ or their ‘work’ could not be produced in the same way if it were just one person. Though this transparency of collaborative work is more obvious among bands and musical groups, there still seems to be the myth that the ‘frontman’ is responsible for the majority of the song writing and content. In an essay by Mieke Bal and Norman Bryson called Semiotics and Art History: A Discussion of Context and Senders, they critique the ‘author’ in art history. Bal points out Foucault’s “assessment of the relation between an individual and his or her proper name [being] quite different from the relation that obtains between a proper name and the function of authorship.” In this case, the work that is produced by the Dirty Projectors is not work produced by Dave Longstreth or Nat Baldwin, or by Dave Longstreth and Nat Baldwin, but by the Dirty Projectors. As Foucault would say, Dave Longstreth is in the world, but Dirty Projectors are in the ‘work’. Again, it seems that Dirty Projectors are aware of this and are working to deconstruct this narrative of ‘author’.

Beyond the stage presence of the four deep Dirty Projectors that evening, there was obviously a group presence in the crowd and away from the stage. The group tours often and, I assume, cannot afford to accommodate a large touring group, but this concert was performed in their “hometown.” There were sometimes members of the group within the audience that would join them on stage for a song, or would perform from the crowd, singing or clapping, etc. Other audience members would also temporarily join the group by singing out a lyric or making noise with what they had that added to the performance. This made everything much more exciting, no matter how good or bad the music was, there was a sense of being involved in the moment – a liminal space somewhere between process and performance. The conflation between performers and audience also made the experience and space seem constantly fluxing.

The members of the group, as well as the audience, were all very similar. The majority of the room was white males between the ages of 21 and 30, with a few outliers of older men. There were some women, but very few and only one group [out of the four total that played that evening] had a female member in their band. This type of crowd is very prominent at any type of independent music show. Is this the type of music that appeals to this demographic? Is it the means of promotion and typifying of this genre that mostly attracts young white males? I heard about the concert via word of mouth. After hearing about the show, I then verified the information on the band’s website. This type of “word-of-mouth” promotion is what keeps this type of music very insular. I don’t necessarily feel that this style of promotion causes such a niche audience, but it is merely a symptom of working outside the established paths of distributing information that is common among punk and other musical genres that uphold a D.I.Y. aesthetic and style of living. Unlike most independent musical groups, Dirty Projectors did not have any merchandise for sale. Though, the idea of band merchandise as regalia is very interesting to me. When a person decides to sport a one-inch button with a band’s name on it they are then becoming part of a group of fans, that is an extension of the musical

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PROJECTION
SEPTEMBER 17, 2006 12:57 PM

Collage of projections on side of an old factory in Williamsburg, Brooklyn.
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FLAMINGO
SEPTEMBER 9, 2006 4:08 PM

Flamingo. Calder. Chicago, IL.
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CHICAGO. FALL SEASON.
SEPTEMBER 9, 2006 2:26 PM

9 Sept 2006 - Chicago, IL
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I spent a good three hours last night visiting the gallery openings in the West Loop - it was the first event of the fall season for many of the galleries. This was also my first time in many of these galleries. To say the least, I was underwhelmed by the lack of variety. Rather than be negative and talk about what I didn't like - I will share my favorite work and work things out.

Wendy Cooper, located at 119 N Peoria, had a very purposeful exhibition in their Project Room, curated by John McKinnon. Four objects, very aesthetically different from each other - ranging from a print out of an email, documentation of a project, a painting and a video.

McKinnon's curatorial statement is available here in which he explains ways in which objects can operate within the realms of what Nicolas Bourriaud describes as Relational Aesthetics.

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