if you're in Mississippi...

...check out Vitus Shell's MFA thesis show at the Southside Gallery in Oxford, MS.

image of the week

Felix Gonzalez-Torres, "Untitled" (Perfect Lovers)

all the cool kids are going

I have always admired artists for the courage it takes to commit an idea to paper, or canvas, or what have you and then present that to the world. And after taking studio art classes, a very recent development despite my now longterm love affair with art, I admire them even more. I quickly discovered that I should stick to the curatorial path that I have taken because I found myself at a complete loss as to how to begin to make art. I could not seem to translate my ideas into an object or drawing, and quickly became frustrated and hopeless. And so I began to pester my art friends with questions about how to get art out of you, how to begin, how to express oneself and it be understandable to others. I still don't really have answers to these questions and I probably won't, but in talking to them about all of this, I found that simply having the conversation helped me to figure things out in my own 'work.' In trying to understand their processes, I started to figure out my own.

And it is in this spirit of understanding through an open dialogue that I have decided to host a Drawing Symposium, this Saturday at Rhodes College as part of an art project for Hamlett Dobbins' Alternative Methods course. I have invited several artists from the community to speak about their work and will then open the conversation up to all those attending, to spark a round table discussion about different interpretations of drawing and how drawing can live outside of pen on paper. Please see invitation below and feel free to contact about more info:

You have been cordially invited to a

Drawing Symposium

to take place April 19^th, 2008 at one o’clock in the Orgill Room in Clough at Rhodes College (the reception room by the gallery)

the afternoon will include discussions with artists Terri Jones, David Evans and Joel Hilgenberg

hosted by Lauren Kennedy, with the assistance of the Center for Outreach in the Development of the Arts and the great Hamlett Dobbins

Note: This event has been organized in order to create a dialogue between various members of the artistic community about the different interpretations and methods of drawing, with the hope of forging potential collaborations and continuous conversation. The afternoon will be an informal get-together with refreshments, good people, and enjoyable arts talk. Be there or be square. but don't be square.

take one

Two weeks ago was my very first foray into the madness that is the Armory Show, the major contemporary art fair held annually in the Big Apple. Walking towards the Chelsea Pier, I really had no idea what was in store for me, though I had been assured repeatedly that I was going to be completely overwhelmed. And I was. Booths, after booths, after booths, after booths of satellite galleries from around the world filled to the brim with paintings, photographs, light installations, huge sculptural works, and trendy tables and chairs for the gallerists to cool their very expensively clad heels. And just when you thought you had seen a good bit of the show, you realize you've only just begun and have to stop at one of the many lounges and have either a cocktail or coffee, depending on personal vices. (no judgements here) This is not to say that I did not enjoy myself, because I could not help but to be slightly enchanted by it all... but when you really think about it, the whole event is really just a trade show on mescaline. And the sheer expansiveness of it all made it difficult to absorb anything meaningfully or take the time to investigate an interesting piece, because you had to keep pushing on. But as the quick-witted George Shaw pointed out, it's not so much about the art as it is about the people and making all the right connections. And for those of you reading this who are well versed in the contemporary art world, I do apologize for my naivety, but I still care more about the art (I'm also very poor and currently an unemployed, graduate student, but there you have it...).

... Which is probably why I enjoyed the much smaller, more intimate Volta fair. The Volta art fair was set up in an office building on the eleventh floor I believe, right in front of the Empire State Building. There were considerably less galleries present, and more importantly one artist per space with the exception of maybe two booths. And while this may seem to be a rather trivial point to make, the signs above each booth displayed the artist's name much more prominently than the gallery's... allowing the art to really be the focus of the event. I liked that very much. I didn't feel insanely rushed and was able to spend some time with a few artists' work that really moved me (see images below). Volta also had really great sandwiches... just a side note.


So I'm obviously still getting my feet wet in the contemporary gallery scene and have much learning to do, but I very much appreciate this initial experience and am trying not to feel completely overwhelmed...




can you see how far it stretches?


amazing sculptural installation at Armory, unsure of artist now... proves my point?


trendy lounge


video installation by Peter Sarkisian at Volta


probably my new favorite contemporary artist, Corinne Marchetti at Volta

art and fashion blur

I suppose it says a good deal about me when I confess that the inspiration for this entry came from the March edition of Elle magazine... But in scanning through the coverage from major fashion shows and new trends, I found that recurring artistic references and inspirations were in abundance. Prada, Gaultier, and Escada's new lines draw on the colors and patterns of art nouveau in fin-de-siècle Paris, while Marc Jacobs and Miu Miu reference the surrealist movement with their fantastical and slightly bizarre new concoctions. For those of you who are decidedly less invested in the new spring lines, I understand that this may seem completely ridiculous and inconsequential, but bear with me... Because in thinking about how these designers are obviously incorporating art historical movements, I began to think about how much fashion and art actually overlap.
We invest in name brands or designers in much the same way as artists and galleries, generally giving preference to the more established and respected of those (such as Chanel, Damien Hirst, the Gagosian galleries...). These names carry significant social and cultural meaning and one's association with them indicates social and even intellectual status. People are prepared to pay exorbitant sums for an original or limited edition work of art, just as some are for a couture dress. In fact, couture fashion is the highest artistic expression of the fashion industry. The potential influence and social impact of both industries is also substantial. In fashion, key fashion houses dictate a season's latest trends which are most fully expressed in their couture creations and then translated into a ready-to-wear lines, and eventually the structure and patterns are recreated by stores such as Forever 21 and Target and become the latest trend available to just about everyone. Similarly, major artistic trends are integrated into broader social currents and affect contemporary aesthetics. Important artists and designers even collaborate at times, further manifesting the connection between fashion and art. Examples include photographer Jurgen Teller shooting Marc Jacobs advertisements, Richard Prince working with Louis Vuitton, and renowned architect Frank Gehry designing a line of jewelry for Tiffany.
And to quote the reality show, The Real Housewives of New York City, "fashion is wearable art." As much as I hate to reference the show, I do like the quote...

Prada, spring 2008 (I covet...)




Jurgen Teller shooting Dakota Fanning for Marc Jacobs







Richard Prince and Louis Vuitton

image of the week

Marcel Duchamp, The Fountain, 1917

aesthetic differences

I find the development of different cultural aesthetics endlessly interesting. This fascination was recently renewed by my glorious trip Central America last week (my life is oh so difficult, I know). While visiting these beautiful places, I could not help but to notice the different styles and crafts that are so particular to the region. The bright, unabashed colors and intricate patterns were often intoxicating to me. I was constantly distracted by new things at each market place, which wore on my companions' nerves...

But after reveling in the Caribbean aesthetic for days on end, I begin to wonder what is the American aesthetic? Do we have one? Does Polo count? I'm sure that I'm not being fair, but I don't suppose that one has to be while writing on a blog. I do believe it is very important to think about these things because whether we like it or not we are very much informed by our own cultural aesthetic and standards of beauty or desirability- though whether we wholly subscribe to them or not is a very different matter.


Some touristy shots that actually have nothing to do with what I just talked about...






Jealous? Should be...

image of the week

Kim Jones, a.k.a. Mudman
sculpture as extension of the self, or vice versa

"there's blood in my mouth because I've been biting my tongue all week"

As of late, I cannot seem to shake this anxiousness and restlessness that has gripped me so intensely. As I eagerly await graduation in May, I cannot help but to tune out during classes and meetings (that will have no bearing on anything after this semester, mind you) and dream of all the possibilities that are before me. I am scared shit less and excited all at the same time. The rest of the world is right there, just beyond my reach and it's driving me crazy. When I get like this, I'm pretty much useless for everything else except for whatever I am so frenzied about.

Currently this frenzy is manifesting itself in my choice of music. I generally go through obsessive fits with music (part of an addictive personality no doubt) and this is what I am obsessing about right now:
-Rilo Kiley
-Kings of Leon
-really anything with a violin
-the soundtrack to the Diving Bell and the Butterfly

I have discovered in each of these how music can truly embody/personify an emotion or moment. How passages like the climax of Does he love you? by Rilo Kiley can stir something so deep inside of a person that you become convinced there is some magnetic, powerful force or being at the heart of it. That may sound far too abstract to really digest, but after seeing Joshua Bell perform this weekend at the Germantown Performing Arts Center (I hate Germantown, by the way) I felt like I saw the physical representation of that force. And this is pretty much true for any live performance, but in watching Bell play, I was mesmerized by the way his body responded to the music and the instrument. He trembled and swayed with the violin as he made it sing. The violin evokes a number of emotions for me already, namely an intense longing, apprehension, and tragedy all mixed with a note a hope... and Bell seemed to exude that in his body language, as though he were merely an extension of the instrument. It was beautiful.

And so, as last week's entry was dedicated to the ballet, I would like to dedicate this week's to music and to the powers it holds over me. I promise next week to give you all (if there are in fact more than one or two of you reading this) a more concrete or focused entry. But please please, listen to some of the above and get worked up about something. It's good for the soul.

"pretty is what it's about"

"Pretty is what it's about... and everything was beautiful at the ballet." This little snippet from A Chorus Line became our mantra this weekend as some of my friends and I ventured downtown to witness the wonder that is the ballet. The Ballet Memphis performance, AbunDANCE, is actually the first professional ballet performance that I have attended (with the exception of the Nutcracker many years ago, which I was informed doesn't count) and I'm officially hooked. I was completely mesmorized by the movement and passion conveyed by the dancers, marveling at the grace and agility they possess. I now understand why Edgar Degas among so many others focused on the dancer as a major source of inspiration. They represent the perfection of form and the potential of the human body. Consider me jealous.

The evening consisted of four performances, each based on the traditions of a world religion and were directed by a choreographer familiar with those traditions. For Ballet Memphis, "AbunDANCE is a celebration of something larger than ourselves and how we manifest that hope and belief." And each choreographer helped to bring that manifestation to the stage, all contributing a truly unique style and richness to the performance. Dana Tai Soon Burgess' reflection on Buddhism, Julia Adam's piece following ancient Jewish choral music, resident choreographer Trey McIntyre's lively performance accompanied by a gospel choir and Abou Lagraa's rather controversial portrayl of Islam (my personal favorite) combined to present the viewers with a marvelous sampling of major world religions interpreted through dance. And while the differences between the religious traditions were evident, the beauty inherent in each superceded those differences. The evening seemed to promote the understanding that no matter how different our beliefs may be, the important thing is that we all continue to believe. For me, the evening was a welcomed reminder of how religion still informs us and our culture in so many ways.

I must admit that coming from a background in visual art, where the term 'pretty' or 'beautiful' is often a criticism indicating a lack of substance, I would like to employ some other word here but simply cannot find a more fitting expression. So I conclude by saying that Saturday's performance was sincerely beautiful, an evening that I will continue to replay in my head for some time... that is until April when Ballet Memphis performs again.

picking through

I am sitting here in my room, trying to think of something witty or interesting to say... and am not coming up with much. But as my eyes wander about my room, I notice postcards and posters from exhibits and museums, trinkets found at antique stores and on my various travels, a multitude of pashminas and an almost unmanageable stack of books and magazines (mostly art related)... and I begin to think how odd/marvelous it is the way we tend to carry these things about. For instance, I have a fairly extensive collection of postcards from museums that I have been to, and I never really know what to do with them but feel strangely compelled to have them with me. Surely I am in some ways buying into the idea of ownership, that of being able to take home a bit of a masterpiece if you will. But more importantly, they are the evidence of my trip, fascination, appreciation, longing... whatever it was that I felt when standing in front of that particular work of art. In that way, most of the things adorning these otherwise particularly bland walls represent some important memory or event for me, be it a semester in Paris, my grandmother, or an unnatural obsession with Jonny Lang.

I suppose what I find so interesting about of all of this is how we capture these memories or desires, visually... pictures, magazine clippings, postcards, posters, maps... hung on the wall. That is how we begin to own a space, by hanging things on the wall and decorating that space to suit our tastes etc... Bedrooms, living rooms, hallways then become a visual representation of ourselves in a way in that this is what we choose to surround ourselves with and how we present ourselves to others who may visit that space. That makes us all curators of sorts, exhibiting our lives within the walls of our homes.

I apologize if this makes no sense at all (I personally blame the copious amounts of cold medication)... but as I now prepare to move onto the "next phase of my life" (after having been recently accepted to graduate school in New York!), I cannot help but to think about not only how I will fit all of this stuff into an apartment the size of a shoe box, but how these things/my trophies are going to be the daily reminders of where I've come from. Starting over can be a very daunting thing, but certainly even more so if you do not have something to hold onto from before... And so I will pack up my postcards of Picassos and Rodins, boxes of aging pictures, and piles of books that will take me years to get to because that's pretty much who I am. An uncertain girl with pack rat-like tendencies who clings to all of this stuff to have a sense of what has been done and what comes next.

des bonnes idées

Let me begin with a number of recommendations:

1. If you have not seen The Diving Bell and the Butterfly, do so post haste. This latest film directed by Julian Schnabel and based on a novel by the same title is honestly one of the best movies that I have seen to date. Beautifully done and heart wrenching, the film follows the story of a man who wakes up from a coma only to find himself completely paralyzed and mute. He learns to communicate through the use of his eyes and is thus able to dictate his amazing story.

2. Umai - Japanese/French fusion restaurant on Madison Ave. Absolutely delicious and rather intriguing. Sushi and duck all on the same menu, what more do you want?

3. Drive down South Main and check out the mural (located just past the Arcade restaurant along the wall of the train station) by local artist Anthony Lee. Working with the Urban Art Commission, Lee undertook this project that stretches some 700 feet depicting various contemporary signs. Images that we see constantly and yet do not always pay attention to. Lee refers to them as "modern-day hieroglyphics," asking his viewers to consider how these symbols and others will be read long after we're gone.

4. Rozelle Artist's Guild - A cool group of kids renovating an abandoned warehouse (at Rozelle and Evelyn) and doing interesting things in the community. This weekend they threw a rave/dance party/fête with djs spinning all night which attracted a pretty diverse group of people from the respective MCA, Rhodes, and Memphis crowds. People just let go and threw their hands in the air, giving into the music. Keep on the lookout for what this group gets up to next... definitely worth checking out.

With these marvelous tidbits, go forth and prosper... eat, drink, and be merry. and make art.

ambitious endeavors

As much as I would love to believe that one person can make all the difference in the world (and part of me is sure of that somehow), I have come to the more realistic conclusion that sometimes you really need an army. This is in no way a political rant mind you, but a call to arms of a dinstinctly peaceful and creative sort. In working with CODA and local artists on various arts endeavors, I have found that while one person can attract a certain amount of attention and support, it takes a lot more than that to affect any kind of social or environmental change. And in the end, I think that is what we are striving for... to help create an environment where the arts can flourish and become a vital element in daily life. For this to happen the arts must be accessible to the public (see prior post regarding the Chicago arts scene), an open forum that encourages communication and innovation.

That certainly seems like a lofty goal but one that we and a number of other Memphians have already been working towards. And it is in this vein that Katharine Gentsch, myself and Lauren Holtermann have undertaken the task of starting a group call Student Advocates for the Arts (SAA). SAA is a national organization that rallies students to take on important arts issues, be it writing Congress about NEA funding or spearheading community projects. We are working right now to start chapters at both Rhodes College and the Memphis College of Art, and intend to reach out to the University of Memphis campus as well. We hope that this group will act as a bridge between the colleges and allow the students to come together to affect real change in Memphis. It is a particularly exciting opportunity and one quite open to the community, so feel free to contact us about the chapters or what we can do to help already ongoing arts endeavors.

photographic evidence

chair o'brilliance

some NY graffiti

good view of Chicago


some more graffiti


Chris Garofalo - Chicago artist, really great
seen at Rhona Hoffman gallery

detail

Chi-town

Anish Kapoor's Cloud Gate
"the Bean"

the little engine that could, we hope

CODA’s recent trip to Chicago was inspiring, astounding, and even maddening all at once. Between meeting with various directors of the Department of Cultural Affairs (DCA), touring around Millennium Park and speaking with John Bryan (former CEO of the Sara Lee Corporation), it quickly became apparent that there are amazing things happening in the Chicago arts scene. To hear about the DCA’s, mostly free, arts programming and their reflections on the nature of the arts and leadership in their city was simply incredible; incredible enough, in fact, to make even an unpaid internship seem like a dream job. One of the most important discussions from that meeting was certainly that regarding the importance, or prerequisite rather, of leaders who are committed to the arts. Mayor John Daley, DCA Commissioner Lois Weisberg, and even John Bryan are wonderful examples of such leaders who have been essential in the development of the arts in Chi-town. Mayor Daley has made it a priority, Commissioner Weisberg has made a career of it, and Mr. Bryan helped make it all happen (namely through raising the necessary funds).

And while having these conversations, frolicking underneath Anish Kapoor’s Cloud Gate, and actually breathing on the Vermeer painting (under glass, of course) in Bryan’s study were all amazing and unforgettable experiences in their own right, I couldn’t help but to feel at a loss. How can we do this in Memphis? And is it even possible? Please understand that I love Memphis dearly for its distinctive personality and unrealized potential, but I simply do not know where to begin. Mayor Herenton is most certainly not about to follow in Richard Daley’s footsteps nor is there the kind of funding for the arts that make initiatives like Millennium Park and free arts programming happen. While the patient folks at the DCA tried to explain that the state of things in Chicago has been a decades long process, they could not seem to understand how far behind we are. But I do believe that if we keep doing the things we are doing and believing that it can work, that maybe one day in the future we will have affected even the slightest change in the art world in Memphis. Frank Gehry may never grace us with his presence, but surely great things can happen here.

And so, it looks like it’s back to the drawing board for us…