Top highlights of 2012: receiving my MA in Visual and Critical Studies at the School of the Art Institute of Chicago (SAIC) which involved both a symposium and an art exhibition, starting my teaching job at SAIC, presenting at the (In)Appropriated Bodies conference at Cornell University, starting to write for Sixty Inches From Center, and being invited to present at the International Conference of Asia Scholars in Macau (June 2013).
Below are the top read blog posts from 2012:
1. Master of Arts Visual and Critical Studies Symposium
2. NYC, April 10, Part I [Sandra Dukic and Boris Glamocanin]
3. Red Gate Reunion Series 2012: Crystal Ruth Bell
4. Landscapes from Pyongyang at Galerie Son in Berlin
5. Just Humans: An interview with Angelica Dass, creator of Humanae
6. Red Gate Reunion Series 2012: Britt Salt
7. Felix Gonzales-Torres at Samsung Museum in Seoul via ArtDaily
8. Batman, Jaws, and Other Such Characters
9. Red Gate Reunion Series: Jon Hewitt
10. Sunday Morning Coffee (Quicky)
Thanks for reading! I hope that your 2013 is getting off to a grand start!
Posted: January 3rd, 2013 | Author: Kate | Filed under: Art Review, Sunday Morning Coffee, Visual and Critical Studies | Tags: (In)Appro, Angelica Dass, Artdaily, Berlin, body, Boris Glamocanin, Britt Salt, Chicago, China, Cornell University, Crystal, Felix Gonzales, Galerie Son, Humanae, ICAS, International Conference of Asia Scholars, Jon Hewitt, Justin Mages, Master of Arts, New York, North Korea, NYC, Pyongyang, Red Gate Gallery, Red Gate Reunion Series 2012, SAIC, Samsung, Sandra Dukic, School of the Art Institute of Chicago, SIFC, Sixty Inches From Center, South Korea, Sunday Morning Coffee, VCS | 1 Comment »
Jon Hewitt, wanker at BUS Projects, 2012
With charm and wit Jon Hewitt creates artwork that constantly challenges the very thing it is. No matter the medium, making art is a performance (see images from Jon’s performance i am a serious artist here). He approaches the subject matter with dry comedy that is concise and is a clear catalyst that allows people to think about larger questions.
Jon Hewitt, all the artists in a book about art, 2009
To examine the social constructions and expectations surrounding artists and their work, Jon draws from other artists of previous generations. In his performance, i am a serious artist, Jon visually references artist Keith Arnatt’s work. For the image pictured above Jon leafed through a conceptual art book and wrote down artists’ names and Jon’s gut reaction to the name be it complimentary or blasphemous. In feel the confidence, edition of 1,731,752,234, the piece some of you may recognize from my living room, the top of a blad head (presumably Jon’s) is repeated in a grid 42 times and below each repetition is the first initial and last name of bald artists such as p. picasso, m. duchamp, j. hewitt, and a. warhol. Jon places himself among the masters. In Art History there is a pattern of borrowing and/or rejecting. Each movement intentionally of inadvertently looks at what those before did and either learns from it and pushes the ideas further or completely rejects it. Jon enters the conversation from a different angle using the artists and the social culture surrounding them as material to create his work.
Jon Hewitt at BUS Projects in 2012
As with Adrienne Romine and Britt Salt, I asked Jon the magic question. In response, Jon composed a short, eloquent essay. I now leave you with his words:
“what would i do in my creative practice if money or time was not an issue…
my first reaction is i would make big stuff. massive stuff. for no other reason than bigger is better, isn’t it?! and isn’t that what people do, get recognised, get some money, make bigger stuff, anish kapoor, antony gormley, damien hirst…
kapoor n gormley work much more in the public realm, the commissions get larger, the space’s bigger, hence the work bigger. hirst is more grotesque, which i sometimes like.
i’ve always wanted to make a giant cigarette lighter. again no reason. just cos big is better. its funnier. more ridculous, absurd. i like that.
secondly, i would drink more. i would go to more parties, i’d buy nice clothes, i’d get hair replacement treatment, i’d drink fancy cocktails in bars where i can’t pronounce the name of the drink, the bar, bartender or the music they’re playing. and i’d think i was awesome.
in all honesty, i think i would panic. i have no concept of not worrying about time and especially money. maybe its that concern, opposition, frustration that drives me on, keeps me trying new things, being willing to make a fool of myself, make the art i want to.
given all the time and money in the world i would not be surprised if i made dull, mediocre, pointless art that was owned and showed by dull, mediocre, pointless people.
life is easy. if lacking time and money is going to make me work harder, then good. if its going make me angry, frustrated and stunted. brilliant. i need to create myself an opposition. having no time n money is all we have left. bring on no money and no time!
having said that. bollocks. thats all bollocks. wank. i’d love some money. and some time. i could buy good paints, proper equipment, a bigger studio. i wouldn’t have to work full-time in a job i hate. it would be bliss. and i’d grab the chance so hard with two hands, i’d probably have less time and money than i do now cos i spent it all on art making!”
Jon, thank you for your fresh honesty and humor. Other than asking you to add a trip to Chicago somewhere between the fancy cocktails and nice paint, I couldn’t agree more.
I appreciate Jon’s dissection of his reaction the the question. In a sense, his essay is reminiscent of a 12-step program or the stages of mourning. They aren’t mirrors of one another but the end result of acceptance is the same. That being said, I think Jon will do anything but simply accept.
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Visit Jon Hewitt’s Website!
Also find his work with Britt Salt on the Trans-Siberian Art Centre.
If you’d like to read other Red Gate Reunion Series posts click here!
Posted: June 28th, 2012 | Author: Kate | Filed under: Art Review, Visual and Critical Studies | Tags: Beijing, China, Jon Hewitt, Red Gate Gallery, Red Gate Reunion Series 2012, residency | 2 Comments »
During residency, each day as I passed through the foyer I shared with Britt Salt and Jon Hewitt, I watched Britt’s installation, Neither-Nor, Nearly Not-quite, grow from a few strips of black tape seemingly tossed onto the grubby studio wall into an enormous all consuming work of art. The work filled less than one-quarter of the large warehouse-style studio space’s walls and floor but the hypnotic quality of the rigid and inharmonious patches of black and white stripes did not allow anyone to pass without being drawn in.
Britt Salt, Neither-Nor, Nearly Not-quite, 2011, BG3 Beijing
Work that is methodic in construction becomes meditative in experience (Gyun Hur and Wolfgang Laib come to mind). Encountering the work one feels their eyes loosing focus, becoming swallowed in an optical illusion. White wall and the gray floor, covered with the same black stripes, become an incongruous reflection. The stripes transformed the gray floor into a seeming pool of smooth, shiny, water, reflecting the elegant dissonance above.
I tell you tales of the past only to guide you into the present. When I contacted Britt for the Reunion Series she immediately sent me photos of some projects from the last year. Partially due to nostalgia, I was most enticed by Britt’s installation Puzzlethèque in the group exhibition Symphonic Encounters at Linden Center for Contemporary Arts near Melbourne, Australia. Puzzlethèque shows Britt’s ability to morph between spaces and embrace the surroundings with her distinct aesthetic.
Britt Salt, Puzzlethèque, 2012, Linden Center for Contemporary Arts
Consider the two spaces I’m highlighting: BG3 is a warehouse-like live-in artist studio, a bit suburban with a rustic twist, on the other hand, Linden Center for Contemporary Arts is a pristine art center with modern architecture and clean lines. At Linden, Britt’s stripes crawl up the walls and onto the vaulted ceiling.
Britt’s three-dimensional shapes inserted into a cacophony of stripes reflect the environments in which they exist. At BG3 a tumbleweed-like mesh bundle rolled around grounded to the floor, light and easily moveable. At Linden, Britt installed large, perfectly symmetrical, stripped balls, suspended from the ceiling, refusing to touch down, creating an obstacle for passersby.
Detail of Puzzlethèque
Inline with my interview with Adrienne Romine, I asked Britt what she would do if she had unlimited funds for her art practice, “The prospect of no financial or time constraints seems like a blissful proposal. Though I can’t imagine if it would impact on my practice. I think I’d still be making the same work I am now to be honest. Perhaps I’d be travelling a lot more than I am now. Lots of ‘Self-directed Residencies’. Heading to Morocco, South of Spain, South America, Greenland in search of interesting spaces and architecture. It would be an amazing experience that could definitely influence my practice.”
“I don’t think more time and money would result in me having a better, more fulfilled practice. Only in the sense that I think I develop ideas at quite a slow and bubbling rate, and when you need to make a work, you just have to make it, you find a way, become resourceful.”
She continues, “Needless to say, I like a challenge, and I love the feeling of relaxed contentment when the stresses and deadlines of creating something dissipate once its finished!”
Britt hits a point that is important to many art practices; creativity does not come from unlimited resources. Creativity comes from a ravenous need to make and resourcefulness (for example, Jackson Pollock’s use of house paint). Britt summarizes this sentiment beautifully,
“When I have money, I need to spend it, double it, use it.
When I have no money, all that’s left to do is work.
My practice fits in the later!”
Thank you, Britt!
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To view Britt Salt’s other projects and artwork visit: Britt’s Website
On their way to Red Gate Gallery Residency, Britt and Jon Hewitt, (who is up next in the Reunion Series) curated the Tran-Siberian Art Centre. A fantastic project you should visit.
Posted: June 22nd, 2012 | Author: Kate | Filed under: Art Review, Visual and Critical Studies | Tags: Beijing, Britt Salt, China, Installation, Jackson Pollock, Red Gate Gallery, Red Gate Reunion Series 2012, residency | 5 Comments »
I met Adrienne Romine at the Beijing Capital International Airport. We arrived on the same flight from the States. From the airport onward we were next to inseparable for our month in Beijing. Based on my experience last June, in a few words I would describe Adrienne’s paintings as realistic renditions of the everyday twisted into a subtly surreal landscape (click here to view these paintings). Adrienne arrived in Beijing with a pile of 20+ sheets of pre-gessoed paper, ready to rock our one month in residency (which she did).
Adrienne Romine, Untitled, Acrylic, 24 x 36 in.
One year later, when I emailed Adrienne about the Reunion Series, she responded quickly and shared that her work had changed course. Adrienne, my talented painter friend, is shifting gears and moving into furniture making. After residency Adrienne became part of the Anthropologie display team. There she started to work with wood on a regular basis and realized how much she enjoys it.
Adrienne’s made her first furniture piece while pursuing her BFA at University of Central Florida. The Staircase/Bookshelf was in the 2011 Readymade 100 contest and made it to the top 25. Adrienne calls it “a wonderful thing born out of necessity.” Recently, at Anthropologie, Adrienne built an entire bed and headboard with a side table.
Adrienne Romine, Entry in 2011 Readymade 100
Adrienne describes the process of making a work from wood as, “something that is frustrating and also really exciting [because the] wood is in constant motion, it’s constantly expanding and contracting.” When considering a design, the design can be as meticulous as possible but, “…[wood] is completely organic and is going to change on you. It’s that little margin of nature that can throw off your whole project. It’s an added challenge…that understanding comes with time.”
Adrienne has a woodshop at home waiting for her in her brother’s backyard. The tools she purchased the fill the shop she found serendipitously on Craigslist. Their previous owner recently passed away on his 65th wedding anniversary. Over the last 30 years he made toys for toys for Toys For Tots. His widow advertised the tools and had many interested people but she wanted the tools to stay together and go to a special home. She liked Adrienne’s story and decided to sell the equipment to her. When Adrienne went to pick-up the equiptment the woman gave Adrienne the last toy her husband made before he passed away. Adrienne’s first project in her new wood shop is to make something for the woman.
“I find myself drawn to great dinner tables. I just love tables. I love envisioning eight people around just sharing a meal.” –Adrienne Romine
At the end of our conversation I asked Adrienne what her “money doesn’t matter” dream is right now. She immediately said, “I would have a shop with central AC.” After she had a few more moments to think Adrienne spoke of having the equipment (such as a truck), time and money to work with more exotic material such as zebra wood and reclaimed materials like bowling ally floors (similar to the collective District Millworks). She would also get an MFA at RISD for Furniture Design. I have no doubt all of those things will happen and most likely sooner than she thinks!
Some furniture that inspires Adrienne: District Millworks and Design Milk, and Wharton Esherick, a fellow painter gone furniture/sculptor.
Posted: June 16th, 2012 | Author: Kate | Filed under: Art Review, Lifestyle, Visual and Critical Studies | Tags: Adrienne Romine, Beijing, China, furniture, painting, Red Gate Gallery, Red Gate Reunion Series 2012, residency, wood | 1 Comment »
Last June I spent in Beijing, China as artist and scholar in residence at Red Gate Gallery Artist Residency. Over the next few weeks I will host a reunion series to give you a taste of what some of my colleagues have been doing over the last year. I thought it would be fitting so begin the series with the lovely former Red Gate Gallery Artist Residency Director, Crystal Ruth Bell.
Crystal Ruth Bell, Cupcake Exchange, Image from Crystal’s Blog.
Crystal Ruth Bell oozes with creativity and positive energy. I could do an entire blog series on her various endeavors in the creative world–I highly recommend you visit her website. Since finishing her time at Red Gate, Crystal is back in the States but her hands are still deep in the artworld in China. One of her most recent project is organizing the soon to be launched China Artist Residency Network. For this segment of the Reunion Series I ask Crystal a few questions about the network.
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Kate Korroch: What inspired China Artist Residency Network? How long have you been working on it? Who else is working on this project? Is it getting any outside funding?
Crystal Ruth Bell: China Artist Residency Network is a response to unmet needs that came up during my conversations with artists and other program managers in China. The project has been in conversation for some time now and really gathered some momentum last year when the Australian embassy in Beijing granted us funding for the website to be coded and built out. Since then a board of experienced industry professionals has gathered around the project and we are applying for 501c3 status in the USA as a platform for further fundraising and grant applications.
KK: Are there any models you are basing this one on in other countries or regions of the world?
CRB: There are a handful of excellent residency networks like ResArtis and the Alliance of Artists Communities, but this will be the first that will focus soley on the specific challenges that China faces. Unlike some of the other networks ChinaRes will not be member exclusive so that any artist or residency program can participate and be listed without the pressure of financial contribution. Because of social media limitations on the mainland the website will offer networking opportunities for artists interested in connecting with other visiting or expat artists to foster community and collaboration.
KK: What stemmed your interest in China in the first place? Why China?
CRB: I was really interested by some of the contemporary art coming out China and the idea that the country was bridging their creative practice from a rich long history but over the barren period of the Cultural Revolution. I actually moved to Beijing with only a little Chinese, and short stint at a Chinese contemporary art gallery in NYC and no experience in the country and fell in love with the chaos and opportunity that the city fosters. The rest I figured out as a went along.
KK: The website design is fantastic, did you do it? When will it officially launch?
CRB: Thanks for the compliment! Yes, I volunteered the design of the site and it was coded by Drupal master and Beijing native Andy Hu. Its currently in Beta testing as we tweak changes. In the mean time we are looking towards a research trip in autumn to cement partnerships and gather content towards an end-of-year launch.
KK: Is it predominately for foreigners or Chinese?
CRB: The resources are open to anyone but will be most advantageous for visiting artists since they tend to need the most support finding the right program, networking, and sourcing materials. The hope is that these resources will alleviate some of the pressure on the individual local programs, especially the smaller ones, to provide all of this information themselves on a small staff and small budget.
KK: Roughly how many residencies will be in the network? What are the requirements?
CRB: The program is open to whatever programs would like to list on the site. The hope is that even closed network programs would participate so the site can also act as a “mapping” project about the state of the residency practice in China, and will be the only site with a complete listing of all the programs. I am aware of over 50 programs functioning right now in the country.
KK: Switching gears a bit, can you tell me a bit about your art practice and your experience at the residency in Nebraska?
CRB: I had the opportunity to spend October on a farm in Nebraska with a program called Art Farm. The program is run by a soft spoken older gentleman with an alarmingly robust vocabulary named Ed Dadey. Ed has a nack for picking interesting artists to stay as work/create residents on the giant prairie expanse populated by old car parts, wood, sculptures and buildings he’s collected over the years. We spent our work contributions doing anything from roofing to stapling plastic to our $300 Victorian house that was moved there on the back of a semi trailer. [Images of Art Farm.]
I came to the program both as an artist and an arts administrator and used a large chuck of my time developing strategies for ChinaRes but also had the opportunity to collaborate with a video-performance group from Brooklyn. I helped shoot an episode for their web series Other People and collaborated with playwright and actress Delaney Britt Brewer in a Pop-up Dumpling Diner which we ran from a gazebo in the middle of the prairie.
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Until the official launch, the best way to stay up to date on China Artist Residency Network is their Facebook Page. Click here to join!
Crystal, thank you so much for being the inaugural participant of the Reunion Series! Your work is truly inspiring, I look forward to hearing more about ChinaRes and your other fantastic projects!
Posted: June 12th, 2012 | Author: Kate | Filed under: Art Review, Lifestyle, Visual and Critical Studies | Tags: Beijing, China, China Artist residency Network, Crystal Ruth Bell, Red Gate Gallery, Red Gate Reunion Series 2012, residency | 6 Comments »