On Today’s KQED’s Forum Art Practical’s Patricia Maloney weighs in on artist evictions.
Soaring rents have hit art galleries in downtown San Francisco hard. Last month, several long-established Geary Street galleries were evicted to make way for a software firm. Meanwhile, individual artists are also struggling. As part of our Priced Out series on the high cost of living in the Bay Area, we look at how the local art world is coping.
Pictured above: Jessica Daniel of the Rena Bransten Gallery retrieves more boxes for the upcoming move from 77 Geary.
The Hammer Museum recently opened a major historical survey titled "Take It or Leave It: Institution, Image, Ideology." It describes the show as “the first large-scale exhibition to focus on the intersection of two vitally important genres of contemporary art: appropriation (taking and recasting existing images, forms, and styles from mass-media and fine art sources) and institutional critique (scrutinizing and confronting the structures and practices of our social, cultural, and political institutions).”
One of the artists in the exhibition is Barbara Kruger, the New York-based conceptualist whose work often examines the intersection of marketing, design, want and gender. Wilson was the guest on Episode No. 36 of The Modern Art Notes Podcast, about when she debuted this continuing installation at Washington’s Hirshhorn Museum and Sculpture Garden. Have a listen, or download it using the button in the upper right above!
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See more images of art discussed on the show.
Image: Barbara Kruger. Untitled (Hello/Goodbye), 2014. Installation at the Hammer Museum, January 27 – May 18, 2014. Photo by Brian Forrest.
Consideration of these fields’ analogous backgrounds of repression and reclamation underscores why craft can be so advantageous in articulating queer experiences and queer identities. Disidentification, a queer theoretical tactic, is about the “recycling and rethinking of encoded meaning.” Craft has been burdened with a host of gendered and disempowering assumptions, but these assumptions become assets in the hands of artists aimed at exposing essentializing and exclusionary cultural messages about identity, sexuality, and desire.
The museum stretches through four additional rooms, each space defined by a narrative messily birthed from the mind of its founder and curator John Olmsted, a distant relative of Frederick Law Olmsted, the renowned nineteenth-century landscape architect who designed Central Park in New York City and, closer to home, Mountain View Cemetery in Oakland. John Olmsted assembled and organized the collection at the Earth Planet Museum to convey his passions for nature, environmental stewardship, and technology. In the process he demonstrated the psychic heights and depths of collecting. What follows are some thoughts on the museum, its contents and organization, John Olmsted (a man we know only secondhand), and what it means to be a collector.
Amanda Roscoe Mayo and Roula Seikaly, “Curatorial Perspective Once Removed in John Olmsted’s Earth Planet Museum” —> http://bit.ly/1n3mQl0
Help Desk: Selling Unconventional Work
I work for a gallery that has become known as a place for artists to take risks. (While this is exciting and great, it is also frustrating—especially for the owner of the gallery, who has been in business for around 20 years and whose patience and enthusiasm, and subsequent income, is waning as a result of these artists’ unconventional and less-popular work.) How do we use that to our advantage? Also, I want to see the gallery do well, but don’t really know how to pitch new work to potential collectors. Any tips?
Today’s Question on Daily Serving’s Help Desk Series. Bean Gilsdorf’s answer :
Image: Nina Beier. The Demonstrators (Broken Rope), with Haim Steinbach, 2012; installation view at The Artist’s Institute, New York.
The medium in Reas’ work, however, is not completely separate from the content. Just as action painting might be considered to be “about” the act of painting, the materiality of paint, and the freedoms and constraints of the medium, Reas’ works are about the medium of software; they are visualizations of what code can and cannot do.
Matthew Harrison Tedford on the work of Casey Reas —> http://bit.ly/MzkXid
Image: Casey Reas, Process 18 (Software 3), 2010; screen capture from generative software; variable dimensions. Courtesy of the Artist.