Pick from Tate Modern

Tim Head Erasers II: On the Rocks 1987

Brightly colored skulls pepper a shiny rock embankment at night. A large photograph appears to be of a real, life sized, subject. Full size rubber skulls and other toys amidst a craggy shore that calls to mind the Alaskan shore after the Exxon Valdez disaster. But then we realize the black waters are a garbage bag and the skulls and toys are tiny trinkets. It is a rich and deep image. And oddly (this is what is so captivating about it) is that our perception hovers between the two ways we see the picture; at once it is a still life diorama AND a life size real place.

From the reproduction posted here (off the Tate site) it doesn't nearly present the alarming fixity I was discussing. But regardless, this piece presents the viewer with an odd image that is difficult to work out. It's subject of skulls and toys on evil rocks is really beautiful and aesthetically pleasing. So it has the creepy cool/foreboding but pretty push pull going on. As an object, the size and presentation of it really make it all hold together and work. A perfect case for how even something like a photographic image, which can be printed and displayed in numerous ways still has must have a certain objecthood to be truly successful.

KIEFER BOLLY OXFORD

Don't worry, I have not abandoned Art or Idiocy? But I have abandoned the U.S. for a short time. I am in Oxfordshire, England. (putting me in striking distance of England's art capital) So Art or Idiocy? has officially become international. Look for reviews and notes soon to follow as I turn a harsh and critical eye upon the UK's art scene.

I've been to the two Tate Galleries on my previos stay, and now with pen in hand. Let me tell you, my views are scathing, raving and nothing if not fair. I don't see why everyone is gushing over Tate Modern, it is, BY FAR, the absolute most creepy and unsettling space I have ever been in. I much prefer the Tate Britain, more inviting architecturally, much better lit and NO DUST BUNNIES on the pedistals.

Forgive the missspellings [sic] as time is precious and short when you pay 75p (1.50US) for the internet.

News, Reviews, Abuse

Erik Wenzel
After All, You Can't Put A Price on Art
3/6/2005
Acrylic on canvas

This wonderful piece was created for Bridge Magazine's First Annual Benefit Art Auction & International Art Awards Gala taking place next Friday (March 18th) at the former Spiegel Brothers Warehouse. The site is the future home of the Zhou Brothers Art Academy. You can find out more here.

So turn up and maybe you can get your paws on this sheet piece as well as works by: Dawoud Bey, Oli Watt, Brian Ulrich, Jonathan Gitelson, Adelheid Mers, Chris Uphues, Matt Siber, Brandon Alvendia, Michael X. Ryan, Kay Rosen, Krista Peel, Alison Ruttan, Eduardo Kac, Judith Geichman, Cody Hudson, Saya Woolfalk, Laura Mosquera, Kumiko Murakami and dozens of other hot, emerging and established talent. The complete list, which seems to grow by the day, is found via the informational link I provided above.

This will the second time I've participated in a benefit auction. The first time was for search and rescue dogs. The proceeds helped feed, house and train the intrepid K-9's that can sniff their way to missing people as well as cadavers. I learned that a dog sitting in a speed boat can smell a body at the bottom of the lake. And they can smell through ice too. Dogs can smell around corners and can leap of tall things in a single bound. But they can't out run locamotives.

Below is a rambling, and hopefully humorous account of last Friday's art events, at least in my tiny corner. I also provide serious analysis of work on view at Carrie Secrist. So I hope you pay attention for that part.

There were tons of openings last Friday and I was trying to figure where and when they all were. I got so overwhelmed that I almost had a mental breakdown. People kept asking me “what openings are you going to?” These weren’t people on the street who needed guidance, just friends who ended up not going to any anyway.

I think my mind is breaking because a question like that just causes me to go into a feedback loop. Have you seen the classic film Forbidden Planet? In it, a commander instructs a robot to kill a crew member. According to Issac Asimov’s Laws of Robotics, “A robot (he pronounced them ‘ro-bits’) may not injure a human being, or, through inaction, allow a human being to come to harm.” But the second Law of Robotics is, “A robot must obey the orders given to it by human beings.” Clearly, the robot is given two contradictory orders. Sparks fly and the robot goes round and round in its head, which you can see because it is a glass dome, until the commander instructs the robot to disregard the order. The commander is doing it to prove a point, and it makes a very stark analogy that only science fiction can*.

So this robot conundrum is like what happened to me when people wanted to know what openings I was going to. Except there where no robot-law-breaking instructions, so I am led to believe that my mind is, in fact, malfunctioning.

Part of the problem is that there is no good, complete list of openings. I looked on the internet, but they are either horribly incomplete, or are not updated. The Reader used to have good listings, but now they are a formless blob. They were once separated by neighborhood, or “gallery district.” But now the whole damn city is alphabetized in one giant listing. In addition to this is the added frustration that the online version is never ready on Thursday. I think they may have it up by Friday, when most people’s plans are made. And sometimes not even then. Besides, I WANT TO KNOW NOW.

Sure, you can organize all this yourself, but going to openings is a social event, it’s not planning an itinerary through Europe. What’s even more stupid is that I am on about two dozen mailing lists, and so I get tons of cards for shows. But I have no place to put them, so they end up in a huge pile. I don’t look at them again till long after the show has closed. “Gee, it would have been nice to have gone to that,” I think. And then I don’t throw them out because I get attached to the pictures. What a mess!

Somehow was lucky enough to figure out that Carrie Secrist was having openings, maybe because the cards arrived a few days before the event. I had enough time to plan to go, but not so much as I forgot about them. Carrie Secrist’s cards are also really big, so they are hard to miss.

So that was the plan. Meet up at Carrie Secrist and then head over to the main drag on Peoria, where some other openings were scheduled to open up. This is all in the West Loop gallery district. I haven’t been to River North in a while. There are good galleries in River North, but some real stinkers, too. River North is just kind of old school, conservative, stodgy. West Loop is hip, man. But that can get annoying too. Perhaps one day I’ll earn enough money to take a cab between the two locales. Or draw up an itinerary and plot an efficient course through the city on openings night.

I got to Carrie Secrist and waited for about two hours for my friends to show up. So I saw that show plenty. It is very good, it’s Matthew Brown, the plant guy (plant paintings) and Carolyn Ottmers, the plant lady (plant sculptures). I went to the website for images, but they still have the last show up of Lilliana Porter’s Work.

For all you gallerists out there: Don’t run your website through Artnet. It loads incredibly slowly, and involves navigating through a lot of superfluous pages. It’s better to have your own website and make it simple without a lot of useless flash animation. When I go to a gallery site, I want two things and I want them fast: Contact info and images of the artists’ work. I don’t have time to be impressed by your webmaster’s tricks or the fact that you have enough money to waste it on being a part of artnet.

Carolyn Ottmers • Detail of Cloudland • 2003 • nickel plated cast bronze • 11 x 16 x 12 inches

But back to the exhibition, it is fairly traditional, Brown with paintings and Ottmers with sculpture. I like the plant theme. Everyone is tired of waiting for spring, so it’s already on our minds. Flora is also a simple, time-honored subject. I think focusing on a single, clear idea, gesture, or subject, is a very good thing artists to do right now. And these artists are doing this. They are taking a simple subject and doing something very straightforward and clear with it; but also very interesting and complete.

Ottmers’ giant weeds made of cast metal are cool. A rocky landscape from which they sprout is suggested by smile piles of stones at their bases. They looked wet, like they had been watered. They were installed in the main room, spread out enough to give each one space, but close enough so that an immersive environment was created. There were also curled up, rusted leaves cast in iron. They were raw and powdery, by looking at them I could feel them crumbling in my hands, like leaves in the fall. My only issue with them is that they had road maps incised into them. Where the hell did that come from? I know the veins on leaves are like highways, but it just seemed unnecessary.

Large shadows were cast on the stark white walls, creating intricate abstract images. This was another highlight of the installation. The gleaming metal, the bright lights, the shadows and the dusty rusty leaves, it was all very tactile.

Matthew Brown • Untitled • 2005 • oil canvas • 75 x 36 inches

Matthew Brown’s untitled paintings were of single plants isolated against nondescript backgrounds. Both artists’ plant selections are the kind you’d find out in the prairies of outlying suburbs. So maybe the work is about the wonder of nature and the Midwest’s simplistic beauty. OK, but I really love the work for the formal qualities.

Brown’s paintings are alkyd and oil on canvas, the are incased in glossiness, and barely seem like they have a fabric support. The images are magical and mysterious, like prehistory encased in amber. The colors are a little off beat in the current “in” mode, but also very traditional and representational, so a play between wild and buttoned down occurs. I find this very interesting. Up close, especially, the paintings seem aching to go wild like a Peter Doig or Daniel Richter. But they are held back, constrained to the fine linear areas of the plants’ mass, held in place by the smooth atmospheric backgrounds. These works are pretty, I loved looking at them. I think that is a wonderful thing, to find a group of paintings to get lost in for a little while. To tie it into the prairie/nature thing, it’s like taking a walk in a forest preserve.

Now let’s get back to the art scene criticism and storytelling. I wanted to see what was going on at the other galleries in the building, but they were all closed. It seemed almost a little rude. Like the collective statement was, “we’re not having openings, so why should we be open?” Well, here’s why: Because all these people are here for Ottmers and Brown, probably more people than come by a gallery during a whole day of business. Now, I’m not coming there to buy art. But I am coming by to look at it, and maybe write something. I’m also going to talk about what I see with my colleagues. And the other attendees may well be looking to buy.

Waiting to meet my friends, I could have seen three other shows. As people finished at Carrie Secrist, they’d head up to the other spaces only to come down disappointed.

When my friends arrived (other key players in Chicago’s dangerous art world, aficionados like myself) we had a good discussion about the work on view.

The Lilliana Porters in the viewing/storage area were great. Especially the pieces based on sheets of notebook paper embellished with found objects. The best one was a tiny paper rabbit emerging from the sheet and resting his head on a wee pillow. Another one found the bunny disguising himself with a freakish and hilarious furry tiger mask.

We ended up at Aron Packer to see the Tom Huck wood cuts. Technically they are beautiful, but visually repulsive. The subjects are gross social commentary (mutilated rednecks doing unspeakable things). I recommend it. There are also lots of other interesting and varied things on view. It’s like a smorgasbord, something for everyone.

In the end, all that fussing and agonizing over what to go see resulted in a relatively laid back night. Not much excitement, but a lot of fun.

*The movie has great special effects, or as art people would say: “a distinct aesthetic.” It also has a soundtrack which heavily relies on the Theremin and was a breakthrough for electronic music. I recommend you all go see it.

Print-Bangers' Ball

This may be a bit of a self-indulgent social-page type post. Oh well, I hope you enjoy it anyway. It's still related to art and culture.

• Also be sure to check out our latest TOP TEN by artist and writer Terence Hannum.

• Contact via electronic post? artoridiocy@yahoo.com.

• If you'd be so kind as to scroll to the next post you will find FIVE SHOWS YOU NEED TO GO SEE RIGHT NOW.

The Printmaker’s Ball last night at the Hot House was a success beyond anyone’s anticipation.

My arm candy and I arrived to find a throng of kids waiting in a mass that went down the block and around the corner. I thought I’d be cool and try to get us in. I usually chicken out on things like this, but I thought I’d at least go for it. So I went in and said, “hey, I write for Bridge.” (which I do, or at least have. As a “contributor” you’re status at any publication is never really all that secure.) They wouldn’t let me in though, because the place was at capacity and my presence was a fire hazard. Geez, I’m not that fat! I told my friend she should have asked; they’d’ve let her in. So we went to get some pizza and see if the line died down some. I give “Got Pizza” high marks for their having been open and just around the corner.

We came back and it was a half hour till closing and the line was just as long. But then a friend invited me to cut. I was then brimming with cool kid satisfaction. It didn’t matter though, because everything was gone when we made it in. I found a “Dirty Found” postcard, and that was about it. I think I’m kind of glad I didn’t walk away with a bunch of free stuff because I never through anything away. I have tons and tons of art magazines. Quality publications like ARTFORUM and Modern Painters are just too damn nice and expensive to pitch. And all those essays you are going to read one day!

I’m glad it was such a success for everyone involved. I’m not actually sure who all was involved, though. Especially since it was a mass of “what had been,” when we finally got in.

The Printer’s Ball highlighted Chicago mags, zines and magazines. And newspapers. I saw:

Bridge, Chicago Reader (in that there was a stack of them there), FOUND Magazine, NewCity, Pistil, The Poetry Center of Chicago (matchbooks) Stop Smiling, Terry Plumbing and Venus. Oh and this awesome artblog called Art or Idiocy? (I was passing out stickers. That’s right, stickers. Hand colored stickers, so they are a passionate work of art like my business cards .) I’m only listing the publications I positively ID’ed, not those listed on the card. There were a bunch that I haven’t actually even heard of; so I guess my finger’s not totally on the plus.

I got to look at an issue of Stop Smiling (that means I thumbed through someone else’s copy). That was the extent of my dancing at the Ball.

FIVE SHOWS YOU NEED TO GO SEE RIGHT NOW

Listed by closing date.

1. City Selections: Art From the Galleries

Pictured is Put Cho' Money where Yo' Mouf is by Harold Mendez. The neon graffiti reads: "Street Dreams," and so do the silver and gold metalic teeth in his mouth. This thing should be on the cover of Artforum or Flash Art, that's a free tip. Maybe I'm two years behind, though. Anyway, this piece is hot and so is the whole show.

Through March 6
Chicago Tourism Center
72 E. Randolph Street
More Info & Images

A cross section of the city's alternative spaces. A strong survey which unfortunately has come too late for many galleries that deserved the attention. Galleries include: Heaven (Wicker Park), MN Gallery (Bridgeport), Polvo Gallery (Pilsen), Suitable Gallery (Humboldt Park), and Western Exhibits (West Town).

2. The Four Color Pen Show

Pictured is a drawing by Scott Reeder

Through March 19
Van Harrison Gallery
119 N Peoria #3D
More Info

The Chicago Swan Song of the gallery which started in Pilsen as Apt. 1R. A meteoric rise to prominence, highly debated and much talked about, ever transforming, this entity will surely be missed. I still think Galerie Van Harrison sounds better.

Read my review at panel-house

3. Robert Ryman: Works on Paper 1957 - 1966 (+one from 1999)

Pictured is Untitled

Thru April 1st
The Arts Club of Chicago
201 E Ontario
Images from Peter Blum (originator of the exhibition)

A rare treat from this living master. If you don't like this show, you don't like art. If you don't get it, then you don't know what real art is. Read Ed Schad's review at panel-house (scroll down a bit, you'll find it)

4. Take Off the Head 2005: New Paintings by Friese Undine

Pictured is The Classics Still Deprave Us, 2004

Thru April 24
The Chicago Cultural Center, Michigan Ave Galleries
78 E. Washington
More Info

Beautifully muted color sense and impeccable craftsmanship. Politics, Anarchy, Fascism! Nekkid people, creepy monkeys and she-wolves; my casual description belies the show's complexity.

5. Universal Experience

Thru June 5
MCA
220 E Chicago Ave
More info on Their Frustrating Website
What a handsome volume this catalogue is!

P.S.: I went there last nite and some foofaraw with fire engines and cop cars caused a power outage in parts of the museum. We were walking around in the semi darkness until the power came on. That was when they decided it would be a good time to shut the place down. Our Universal Experience was fear and disorientation as the giant doors sealed off the galleries and everyone was evacuated.
At any rate...
It is a great exhibition with lots to see (photos and objects) and do (watch videos). Make a day of it, go to Borders, eat at Eat the World in water tower and see the Dawoud Bey-curated show at the real Water Tower (through March 28)

I was a fool to think "Universal Experience" meant "everyone's experience," and not "just what jet-setting snots think is cool."