They were dressed as stewards and stewardesses—the “gallery” “assistants.”  I say “gallery” because it was actually the artist’s flat, and “assistants” because they were probably his friends who only happened to be pouring drinks for everyone.  And they were humorously dressed as stewards and stewardesses because the artist had tracked down the exact type of plane that flew first into the twin World Trade Center towers, had sawed just enough of one of the wings to fit very cozily across his flat.  When I say “across his flat,” I mean that in this itty bitty flat there was an airplane wing connecting the walls at eye level, so that it became a gargantuan obstacle to milling around to mingle.  The opening was on September 11th, and he was to live in the flat with the plane wing for one full year.

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There is a renewed focus among this generation of artists and designers on “change.” Political allusions aside, I have noticed that this change has often focused on the social sphere—on this new brand of “socially conscious artist/designer.” While such efforts may begin with good intentions, I have also observed some of these attempts to be socially conscious as misguided or merely the result of a passing fad.

This observation may seem cynical—as anyone who criticizes do-gooding might sound. However, my sentiments are quite the opposite. I care deeply about using my skills as an artist and designer to help people (and seeing others do so, as well). But I want the work to actually help people—to make a tangible difference. It is difficult to look at your own work or the work of others, and wonder if it is, actually, helping. At times, I wonder if we (artists and designers) are better off working in soup kitchens or tutoring children after school, rather than trying to make work that somehow addresses the issue of social change?

Doesn’t it seem backwards to make work about the problem rather than address it head on through engaged social action?
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I recently read the article ‘You Had to Be There’ about recent gallery ‘experiences’ that served as the art in that space. For example, one exhibit by Jeremy Deller consisted of veterans of the Iraq war milling about conversing with visitors about the war.
In reflection, I may reveal a bit of my youth, by admitting I was a little confused about the branch point in our modern art history that lead to an exhibit like this. I feel even irresponsible.  Certainly I cannot walk through every gallery and think and say only ‘nice’.

How can anyone fulfill the task of being even just a dedicated viewer when the range of traditions and references that artists are likely to call on extends so far beyond what a single individual can know?

“To experience a thing as beautiful means to experience it necessarily wrongly.”
Was Nietzsche right?
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I recently came across this

http://dlkcollection.blogspot.com/2009/06/local-photography.html

and it reminded me of http://theartklatch.com/?p=242

I have these three reactions to this theme :

1. Local Support:
Not just attending events but also municipalities supporting more methods of public art installation, and business owners supporting more temporary spaces to display work

2. Local Focus:
While we all love attending exhibitions in larger cities, and plan to while visiting why does this not happen more often at home? With the advent for many of fewer vacations to far flung places, many can make the most of what is in your own vicinity. Kluge-Rhue Aboriginal Art Museum is a great example of this.

3. Local participation:
Ultimately as a viewer and a patron of artworks, you are also a participant. With increased technology and more ways for artists to get their work to you in different forms, it makes it that much easier to fully participate in a work through patronage. Whether it be an affordable art fair, or picking up a catalog of one’s work that you admire.

Much as I have mentioned before, cultivating a location that has great creativity and passion takes both the artist and the viewer, it is a symbiotic relationship that not only enriches each party, but also to the city in which we interact.

Photo by Matt Rosenberg

The Garage (the space art space I curate with my boyfriend Sam Bush) was recently featured in a Chicago-based art journal called Proximity. They sent me a list of questions to respond to about the space. It was such a valuable experience to summarize some of the history and critical context of the Garage. Writing thoughtfully about an art project always seems to give a greater gravity and cohesion to the purpose of the endeavor. Art Klatch seems like a fitting place to share some of the Garage’s story and offer a glimpse into one of Charlottesville’s tiniest, contemporary art spaces.

1. Does the space have a particular feeling, philosophy, or attitude? What kinds of things happen there?
The Garage is an art space/concert venue/amateur film theater/impromptu studio/potluck dining hall that opens up to a public park in downtown Charlottesville. We host monthly art exhibitions by emerging artists, weekly concerts by local and regional bands, occasional film screenings, local potlucks, sing-a-longs, dance parties, artist talks, drawing nights, etc. Creative activities occur alongside the exhibitions, allowing people to connect, make, and question together after the initial presentation of the work. The Garage’s strange publicness makes the tiny space wildly accessible and yet incredibly intimate.
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It seems as if almost every trip I make to my local (name shall remain anonymous) wine shop I am met with no small amount of laconic response and less-than-excited customer service. I undoubtedly emit, upon entering the shop, a look of confusion and wonder. I know very little about wine. I know what I like to drink. I know what I do not like to drink. However—were an employee particularly bound to pay me some attention, they would find me a most excellent student. I yearn to learn more about the incredible depth and breadth of the wine-lover’s world. Sure, sure, I could read wine books. I could subscribe to Wine Spectator or Food and Wine. But nothing beats the education I could receive from someone who were to just, simply, and without pretension, begin to explain things to me.
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It somehow seems destined that there always be a war between “culture” and “sport.” The snobby nose-held-high critic of contemporary art and the hot-dog eating beer-guzzling baseball fan loathe each other. But is there really no overlap between the two, and is it really necessary for us to avoid one another altogether?

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Images of animals have become increasingly prevalent in art recently*.
I can’t throw a glance at an art fair without spotting deer, a sparrow, or a bunny or two.

I’m not necessarily complaining, just perhaps questioning why. The first artist to incorporate the deer perhaps has put careful thought into its use. Maybe the second and third instances we saw were used appropriately. But we can suspect that the use of the 90th deer may have been arrogant or absent-minded.

Should I dismiss the forest creatures’ as trifling?  No, instead I question: What is this relationship between animals and culture? A professional semiotician I am not, but I do like to draw conclusions. Read along with me and perhaps we will agree. (more…)

“I have come on a search to understand the primal drive of the modern hunter by taking an inclusive look at an original hunter-gatherer society. I have come to see if when the land speaks there are those that can interpret its language. I have come in search of silence so that I could begin to hear again.” - Erika Larsen

I recently attended LOOK3 The Festival of the Photograph this past weekend in Charlottesville, Virginia. It is a photography festival, founded by Michael “Nick” Nichols of National Geographic, promising three days of ‘peace love and photography.’ I attended last year as well as this past weekend, and had a few thoughts to share.

LOOK3 was a wonderful opportunity for a shared visual experience and a perfect example of  how art can be an effective impact on public space.  I especially enjoyed the additional installations near the downtown Regal cinema and at the other end of the Mall next to the transit station. I am glad that the organizers did not feel the need to stick with the wildlife theme for these pieces. Why can’t public installation happen more often in Charlottesville with two dimensional works? I could see this possibly as more regular extension of Art in Place’s C2D

I found something to be taken away from each of the artists, even if they are not ‘fine art’ photographers. The Masters talks were great (my favorite was Martin Parr’s) and a wonderful showcase of personal reactions to developed works. I especially enjoyed the choice to pair each artist with another artist as the interviewer - the comfort and congeniality really came through in most all of the discussions.

The slide shows each evening were enjoyable, it was kept fairly democratic with a mix of artist from all career levels. Many of the slide shows had multimedia with voice over, that helped give perspective on the work. It was quite a bit of work to see in a short period of time, and my only wish was that a Q&A following could allow attendees to ask questions of the emerging artists.

Overall a wonderful weekend long visual experience, with a mostly positive vibe that was uplifting. Tension could still be felt in some of the conversations I had with other artists, but it was great that everyone was there to really come together. LOOK3 has been rumored to be taking a year off next year and continuing with a three year on / one year off format which I think will keep things fresh.

Did anyone else attend ? What were your thoughts?