Nato Thompson
Artists and Activists: Curating Socially Engaged Projects
the video at artlog. here
there is also a show, Living as Form, organized by creative time that is up in NYC until October 16th. looks good. here
Showing posts with label Curatorial. Show all posts
Showing posts with label Curatorial. Show all posts
"What is Sunday Soup?
The Soup Grant is a grassroots model for funding small to medium sized creative projects through community meals. The basic formula is that a group of people come together to share a meal and that meal is sold for an affordable price. All the income from that meal is given as a grant to support a creative project. Grant applications are accepted up until the meal, everyone who purchases the meal gets one vote to determine who receives the grant. The grants are completely unrestricted and will be awarded at the discretion of the customers. Granting projects affiliated with Sunday Soup in different cities operate based on their own needs and context. The meals are more or less elaborate in different places and some people have presentations by potential grantees or past grantees as part of the event. Please check the individual profiles for more information.
Why do we do it?
The Soup grant generates independent funding and sparks dialogue about the availability and distribution of resources within the mainstream arts establishment. In an environment where governmental support for experimental art practice is minimal at best, and private support is dictated by the values and priorities of granting foundations, innovative and potentially controversial work is compromised in order to fit within categories deemed “fundable.” With Soup, community participation in the grant funding and selection process is key. Applying for a grant is intentionally simple and un-bureaucratic in order to encourage broad participation. This enables us to stimulate and promote experimental, critical and imaginative practices that may not be eligible for formal funding. The Soup grant, while raising money, also serves as a way to build a network of support and community that reaches beyond purely monetary assistance. We like to think of it as an open platform to discuss ongoing projects with new audiences, meet new collaborators, and share ways of working.We encourage others to organize their own alternative funding program. We see this project as adaptable and user-friendly to all sorts of different contexts. Any of the elements may be modified to fit your particular situation."
The Soup Grant is a grassroots model for funding small to medium sized creative projects through community meals. The basic formula is that a group of people come together to share a meal and that meal is sold for an affordable price. All the income from that meal is given as a grant to support a creative project. Grant applications are accepted up until the meal, everyone who purchases the meal gets one vote to determine who receives the grant. The grants are completely unrestricted and will be awarded at the discretion of the customers. Granting projects affiliated with Sunday Soup in different cities operate based on their own needs and context. The meals are more or less elaborate in different places and some people have presentations by potential grantees or past grantees as part of the event. Please check the individual profiles for more information.
Why do we do it?
The Soup grant generates independent funding and sparks dialogue about the availability and distribution of resources within the mainstream arts establishment. In an environment where governmental support for experimental art practice is minimal at best, and private support is dictated by the values and priorities of granting foundations, innovative and potentially controversial work is compromised in order to fit within categories deemed “fundable.” With Soup, community participation in the grant funding and selection process is key. Applying for a grant is intentionally simple and un-bureaucratic in order to encourage broad participation. This enables us to stimulate and promote experimental, critical and imaginative practices that may not be eligible for formal funding. The Soup grant, while raising money, also serves as a way to build a network of support and community that reaches beyond purely monetary assistance. We like to think of it as an open platform to discuss ongoing projects with new audiences, meet new collaborators, and share ways of working.We encourage others to organize their own alternative funding program. We see this project as adaptable and user-friendly to all sorts of different contexts. Any of the elements may be modified to fit your particular situation."
Nato Thompson on "Socially Engaged Art Outside the Bounds of an Artistic Discipline"
http://vimeo.com/27289754
http://vimeo.com/27289754
No Longer Empty
No Longer Empty
"No Longer Empty embraces a fresh perspective on creating, presenting and experiencing art.
No Longer Empty works with internationally recognized curators to feature established artists alongside lesser known or new artists, using limited resources without sacrificing quality. The synthesis of area and site research drives each curatorial theme and the selection of artists. The curatorial premise and the physical realities of the location provide artists with an alternative to today’ s art world status quo allowing them to expand their practice through site commissioned work.
No Longer Empty presents art in environments that are free and accessible to all. Our multi-locational exhibitions engage directly with each community drawing on the resources and connections of community groups to provide meaningful programming. Utilizing vacated spaces in the urban context, we act as a catalyst for revitalization and economic opportunity for local business through the increased flow of visitors that these exhibitions attract.
At the heart of the experience is community engagement and benefit. Our presence in each neighborhood is focused on encouraging local participation and attracting new visitors to the neighborhood. We nourish and build relationships with the people that come to our exhibitions, the community around our activities and the artist community we form around us.
We offer a public service that involves, includes and inspires."
"No Longer Empty embraces a fresh perspective on creating, presenting and experiencing art.
No Longer Empty works with internationally recognized curators to feature established artists alongside lesser known or new artists, using limited resources without sacrificing quality. The synthesis of area and site research drives each curatorial theme and the selection of artists. The curatorial premise and the physical realities of the location provide artists with an alternative to today’ s art world status quo allowing them to expand their practice through site commissioned work.
No Longer Empty presents art in environments that are free and accessible to all. Our multi-locational exhibitions engage directly with each community drawing on the resources and connections of community groups to provide meaningful programming. Utilizing vacated spaces in the urban context, we act as a catalyst for revitalization and economic opportunity for local business through the increased flow of visitors that these exhibitions attract.
At the heart of the experience is community engagement and benefit. Our presence in each neighborhood is focused on encouraging local participation and attracting new visitors to the neighborhood. We nourish and build relationships with the people that come to our exhibitions, the community around our activities and the artist community we form around us.
No Longer Empty redefines public art through temporary site -specific exhibitions that draw together the vitality of the contemporary art world and the values of building community.
Each exhibition site becomes a cultural/educational hub where a community of artists, educators, scholars and the public come together to create and experience art, free of market imperative and institutional constraints.
Each exhibition site becomes a cultural/educational hub where a community of artists, educators, scholars and the public come together to create and experience art, free of market imperative and institutional constraints.
We offer a public service that involves, includes and inspires."
bldgblog combines forces with columbia's studio x which is a global network of active spaces around the world that house lectures, shows, discussions, and more. I need to go to these. more
Hyperallergic's curated kickstarter page. good way to find good things to fund. curated advertising. here
Canada's national multi-cultural program, Culture Days:
"Culture Days is a collaborative pan-Canadian volunteer movement to raise the awareness, accessibility,participation and engagement of all Canadians in the arts and cultural life of their communities." here
Canada's national multi-cultural program, Culture Days:
"Culture Days is a collaborative pan-Canadian volunteer movement to raise the awareness, accessibility,participation and engagement of all Canadians in the arts and cultural life of their communities." here
Robert Montgomery
two works by Robert Montgomery. I saw these on booooooom blog. Someone commented saying that he should write poetry... I thought that was interesting, because I think that the top work could easily be considered installation poetry, or poetry+ as I commented... I am glad he uses his voice by replacing advertising space, instead them for a book. I would definitely enjoy running across one of these works.
Another comment caught my attention, saying that people should donate money to replace advertising around them with art like this. I wonder if there is a way to do this? The audience for billboards could easily pool together money and 'curate' their block, with images and text they want to see. Maybe images that will make you feel content and beautiful instead of ugly and needing...
image taken from here
This of course reminds me of Felix Gonzalez-Torres. One of my favorite ideas of his was his images that the gallery or museum curator would place on billboards around a city. These simple, wordless, photographs would give unexpected aesthetic consideration to a common location. Nice. Yet, the museum is still funding and curating, isn't there a way to crowd-source this? I think so.
Shopping for artists
I realize that Ben usually doesn't use this blog as a forum to discuss personal projects, but I think that my advertisement here will not only benefit myself, but it will greatly benefit you, the readers.
I've recently been honored with the position of Director at the Low Road Gallery in Greencastle, IN. We show a wide variety of high-quality contemporary art from around the country (yes, that means you too, New York) and we've created a sort of community between the rural town of Greencastle and the liberal arts college of DePauw University.
So, I'm shopping for artists. This is my way of reaching out to the people whose art I may have never seen otherwise. And if you're a reader of this blog, you must be pretty cool, right?
If you're interested in the possibility of showing at the Low Road, read more information here and then send me 5 images and an artist's statement here.
Thanks, and good luck!
- Jessica
I've recently been honored with the position of Director at the Low Road Gallery in Greencastle, IN. We show a wide variety of high-quality contemporary art from around the country (yes, that means you too, New York) and we've created a sort of community between the rural town of Greencastle and the liberal arts college of DePauw University.
So, I'm shopping for artists. This is my way of reaching out to the people whose art I may have never seen otherwise. And if you're a reader of this blog, you must be pretty cool, right?
If you're interested in the possibility of showing at the Low Road, read more information here and then send me 5 images and an artist's statement here.
Thanks, and good luck!
- Jessica
Two Shows I Curated
I try to not use this blog for too much self promotion, but I have organized two shows in Indiana that are opening this week. I would love to see all my Hoosier readers come out, they will undoubtedly be spectacular shows. There are artists from France, Ecuador, New Zealand, and one now living in Mexico. Video, sound, photography, and drawing are represented. I hope to see you all come out.
Ben
Green Tunnel from Kevin Gallagher on Vimeo.
Green Tunnel, Kevin Gallagher, 2009
Contingent Process
The materials and methods of creation have been expanding rapidly since the 1960's, constructing works of art that are radically different from those of the past. This show examines a small facet of this expansion with works that incorporate ideas of a contingent process – where artworks are results of circumstances as opposed to traditional aesthetic finesse. Artists Jessica Adams, Kevin Gallagher, Julien Nedelec, and Lauren Zoll have relinquished some aesthetic control during production to instead allow their work to naturally grow from circumstances. Through this blurring of the historical notions of authorship and creation, we will see artworks incorporating the exciting new aesthetics of processes.
Opens at Christopher West Presents in Indianapolis, IN. May 6th. 6-8pm
The Past Has Made Us Apprehensive Of The Present, Jason Irla, 2010.
Time Great thinkers from physicists to theologians have continually struggled to explain time. This eternally ephemeral dimension has an undeniable presence, albeit an entirely subjective one. Nicolas Bourriaud, famous art writer and curator, said, "History is the new continent, as that we are living in an era which is Google earthed... the last continent to be discovered is time." Using time-based works as their platform, artists Caleb Larsen, Dick Whyte, Evan Livingston, Heather Donahue, Jason Irla, Julie Rooney, and Oscar Santillan explore this medium and examine history. Seen together, these works express a contemporary understanding of time, rejecting an objective and linear narrative in favor of considering the present as being entwined with the past and in constant negotiation with the future.
Opens at Low Road Gallery in Greencastle, IN. May 6th. 7-9pm
Jo-ey Tang
from the series Anti Horror Vacui. Tang also curates his apartment (Notary Public) and was listed in 2010 as a young curator to watch in Time Out New York,
also, great interview with Hennessey Youngman. here.
Winkleman Curatorial Research Lab
(COPIED FROM Winkleman's website)
Artists often fixate on particular found material (imagery, objects, quotes, fragments of text, etc.) that reveals no direct connection to their practice but that possesses for them an enigmatic, resonant meaning. This material may serve as a beacon for their practice, suggesting an unrealized and indeterminate potential for future work. Perhaps this material is the uncanny of artistic practice.
For this exhibition we collect such material from over a hundred and fifty artists, each invited to submit a single-page digital file to be printed on an 8×10-inch sheet. This small archive will be handed over to three curatorial collectives, each of whom will mount a treatment and exhibition in the diminutive (10-foot by 10-foot) Curatorial Research Lab at Winkleman Gallery. Despite the collection's necessarily small scale, we hope for a different order of insight than can be derived from primary artistic production. What if, for a moment, we treat such secondary material as primary? We are curious to see what tentative and comparative understandings can be drawn regarding a collective sensibility of the moment. Could organizations of this archive serve as signs on the road toward something beyond its constituent parts?
Workroom G is Michael Ashkin, Leslie Brack, and Joshua GeldzahlerGogue Projects is Matt Freedman & Jude Tallichet
Camel Collective is www.camelcollective.orgCathouse FUNeral is David Dixon, Karen Miller, Pete Moran
Camel Collective is www.camelcollective.orgCathouse FUNeral is David Dixon, Karen Miller, Pete Moran
March 25-April 30th
What is a gallery?
Art works and the books that helped the artist create them shown together.
On display now at Winkleman's Curatorial Research Lab.
Hiroshi Sugimoto
at Gagosian Gallery.
Half of the photos were shown in a pitch dark room with illuminated photos, half of the photos were shown in a light room, 'normal'.
James Luna's performance where he, a native american, was displayed in a history museum. Questioning differences between types of museums.
Consider also Fred Wilson and his curatorial process of mining a museum. Above are silver vessels and slave shackles from antebellum south both from one museum's collection displayed together. more here and here.
Mark Dion's installation in a public space, where he constructed a greenhouse, and uses a real dead tree, which becomes a home for other organisms, as his art piece and gallery. here
Also, consider artist Krzystztof Wodiczko, who makes large scale interactive projections in public spaces.
Neozoon's art using fur coats in public spaces. Can we equate a wall with an illegal tag on it to a gallery space?
It seems that with art expanding the space to show art expands. Good artists/curators/gallery owners recognize the type of art they want to create/show, and then figure out the best way in which to display it. Methods of display, as examined above, are becoming integral to the experience of the art itself and can no longer left only to the realm of Installation Art.
Unfortunately, complete artistic freedom is commonly only given to graffiti artists, which has obvious drawbacks. Hopefully more and more galleries and museums will continue to allow experimentation and expand what their gallery space can be.
Aurora Robson's piece entitled "Green Piece: Sarcophagus" showing at PPOW in NYC here
Valerie Hallier's installation shot of her work "The Immortals" which consists of 1,440 photographs of every object she has owned in 10 years. more here. And see her in NYC here. And her website here.
-Curators are changing NYTimes article here, thanks Christina
Truck Stop
-Keith Edmier is an absolutely fascinating artist. See his work here at Friedrich Petzel Gallery. See a video of Walla Walla Foundry making Cycas Orogeny here. The process basically entails casting basalt which is lava... if Walla Walla Foundry is not kick ass, I do not know what is.
-The Contingent Object of Contemporary Art by Martha Buskirk. If you read this book and find it enthralling, you should be surrounded by art daily. If you read this and find it obsessive over the smallest of peculiarities embedded in contemporary art, you are normal.
-Sculpture Today by Judith Collins. Should be treated like Denzel Washington treats the last bible.
-Art City (2002) offers an interesting look into the art world today. While emphasizing the common complaints of how damn hard it is to be an artist, just like every art documentary does, the 3 disc series has more than just, "I am a starving artist my life is hard" mentality.
-Manufactured Landscapes (2007) A documentary about Edward Burtynsky is worth watching if you love Burtynsky, and only if. Dull lecture footage spliced with some uninteresting travel footage infringing on the incredible segments that lead to accounts of amazing photography.
-12 (2007) see it. just do it. The only 2hr and 40min movie I have seen that I watched again that week. A complete remake of the classic 12 angry men.
-And this Art History poster that all artists should find hilarious here
-Why I went to the Guggenheim... It wasn't the Kandisky exhbition, although that was good too... Anish Kapoor's Memory The film does Memory no honor, it was built for the Guggy in NYC and Berlin, and must be seen at one of those locations.
-The Contingent Object of Contemporary Art by Martha Buskirk. If you read this book and find it enthralling, you should be surrounded by art daily. If you read this and find it obsessive over the smallest of peculiarities embedded in contemporary art, you are normal.
-Sculpture Today by Judith Collins. Should be treated like Denzel Washington treats the last bible.
-Art City (2002) offers an interesting look into the art world today. While emphasizing the common complaints of how damn hard it is to be an artist, just like every art documentary does, the 3 disc series has more than just, "I am a starving artist my life is hard" mentality.
-Manufactured Landscapes (2007) A documentary about Edward Burtynsky is worth watching if you love Burtynsky, and only if. Dull lecture footage spliced with some uninteresting travel footage infringing on the incredible segments that lead to accounts of amazing photography.
-12 (2007) see it. just do it. The only 2hr and 40min movie I have seen that I watched again that week. A complete remake of the classic 12 angry men.
-And this Art History poster that all artists should find hilarious here
-Getting to see IMA make it to New York Times was great, too bad we lost the super bowl bet against New Orleans Museum of Art. Read about it at Modern Art Notes here
-Watch out curators of NYC New York Times
-Richard McCoy's interview with Jorge Otero-Pailos. Very interesting. Jorge Otero-Pailos
-Most innovative sculptures I have seen in some time Here
-Fecal Face NYC Cai Guo-Qiang. Kieth Edmier + Cai Guo-Qiang=Pompeii like exhibition?
-Heather Rowe's new piece at the IMA, opens Feb 19. See her here.
-What I study at work, Mobius Ship (2006) by Tim Hawkinson, who is represented by Ace Gallery. Mobius Ship is on display at the Indianapolis Art Museum. Check out Hawkinson's fingernail bird here
-Doris Salcedo at White Cube. Proof that more than cocaine comes out of Columbia.
-Tyler Cufley's Dumpster is his best work, but it is really really damn good.
-Kim Foster Gallery. Ant colony casts?! Painting with mushroom spores? Jim Toia and Cai Guo-Qiang need to meet. Leaving art up to chance always intrigues me, but never sustains me...
-What I study at work, Mobius Ship (2006) by Tim Hawkinson, who is represented by Ace Gallery. Mobius Ship is on display at the Indianapolis Art Museum. Check out Hawkinson's fingernail bird here
-Doris Salcedo at White Cube. Proof that more than cocaine comes out of Columbia.
-Tyler Cufley's Dumpster is his best work, but it is really really damn good.
-Kim Foster Gallery. Ant colony casts?! Painting with mushroom spores? Jim Toia and Cai Guo-Qiang need to meet. Leaving art up to chance always intrigues me, but never sustains me...
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