Call-Response-Release

How do you review the arts?
For me this question only leads to more questions. First of all, what are the arts? Should it be how do you review culture? And furthermore, why do we need anyone to review it?

This may sound cliché, but art can be anything and everything. From the exhibit at the A+D gallery at Columbia College, to your masterfully designed toothbrush with the tongue scraper on the back, the romantic mid-life crisis comedy flick, or perhaps even the pile of bricks next to the sidewalk on Broadway. It’s all art. This may be somewhat of a post-modern stance, but where we sit today as a society we are gradually reducing our reality and culture to a greater discourse of abstraction.

In 1980, Hans Haacke wrote that “purely visual art is increasingly unable to communicate the complexities of the contemporary world,” recommending, “hybrid forms of communication, mixture of many media, including the context in which they are applied as signifiers.” So I believe the role of the critic is to evaluate the success to which the art piece is conveying the intended message; and his job is to break down the signifiers and try to communicate the context of the piece.

How I review the arts is best explained in this quote from Lucy Lippard’s writing, “ The Lure of the Local.” “‘Call, response, release’- as a metaphor for the communicative art process, from society to artist to community. Connection of people and places, with the artist as medium or catalyst, comes first.” The role of the critic in reviewing the arts is to give their response to the art piece and artist, to dispense the context, and to describe the extent to which it is successful. Of course this opinion is purely subjective, but a critic develops an analytical eye and a format for reviewing that a normal art-goer may not possess.
“The criteria for art and for public interaction diverge so drastically that the education of public artists and their publics (including their critics)-together-is crucial.” Yet, sometimes people don’t see it as crucial because it could be argued that a critic’s opinion is just another stance on the artwork—but I truly think anyone can benefit from differing viewpoints.

So when I personally review the arts I’m trying to let the public know the straight info and facts on the piece, exhibition or show, along with what the exhibit is trying to do or convey, and to what extend it succeeds or fails. With this basic outline the critic is also entitled to slip their opinion in as well. They respond and then release. But if only it were as simple as it sounds. Critics have a lot of power; they can come together and make a nobody someone, or do just the opposite and knock a well-known, famous artist off their pedestal.

Without the critic in our world I think art in our society and culture would not posses as high of quality because there wouldn’t be a critical eye scrutinizing it, and the public would be less informed as a whole of the art world and lack any guidance or introspect into artists and their works. We need critics. So I will leave you with this simple quote from John Bergers, “Ways of Seeing;” “everything we see and read about art requires an expectation.”

Chaos at Columbia College

On the night of Friday, April 28th Columbia College featured Empires, Deerhunter, and headliner Crystal Castles for what they called “Chaos Week,” hosted by the Student Programming Board. Personally, I was really excited for Crystal Castles, I took off work because I had been intending to see them for some months now, but had never made it to one of their Chicago performances (and what better than a free show.) So three friends and I headed downtown via blue line, arriving “fashionable” late for the 6:30 doors only to find a line stretched around the block and down the alley of the 1104 South Wabash building.

We each let out some curse or another and hesitantly joined the back of the line, wondering why the doors weren’t open. A CC security guard and a small girl in a flowery dress approached us. They warned us that they were just about at capacity and couldn’t violate fire code, and that any non-Columbia student most likely would get the boot. Well, we had one non-Columbia person with us so we started to get a little worried. The girl and guard approached us again to inform us that the donation of $10 for non-Columbia students was now mandatory. Although this sucked, it guaranteed that my friend’s boyfriend could enter. We waited in that line for about 50 min, which was ridiculous considering we were late and doors were at 6:30.

After screeching at people budging in line in front of us we finally reached the door. And as we did the security guard counted us off, 498- 499- 500. Capacity. My friends and I were the last ones to enter. We also missed the opening act “Empires,” who I’ve never heard of or listened to but I don’t think that’s a problem because they were later booed by the CC crowd when brought up by Deerhunter.

So upon entry, I come to find that everything is a carefully calculated advertisement for Coca-Cola’s new product, “Sprite Green,” which launched campaigns in New York and Chicago this past month. In a slender green aluminum bottle, this drink boasts to be a naturally sweetened, reduced-calorie beverage. There were girls among the audience wearing green t-shirts with trays of Sprite Green, all the screens behind the bands featured projections running ads on loop, and pretty much every light was shining a shade of green. It was all just a giant Sprite Green pitch. At one point a SPB person even came up on stage and shouted, “Yeah Sprite Green! Hold your bottles up in the air.. and if you don’t have one…get one!”

This wasn’t the only nauseating aspect to the concert though. I came to find that most of the crowd came to see Deerhunter, who was terrible, and late. We had been informed that their plane to O’Hare had been delayed and that’s why doors went from 6:30 to 8:00. Deerhunter easily sounded like precious ambiance. I mean that in a complimentary way, especially because that was not the concert mood I was in (looking forward to the screeching screams of Alice Glass) But instead got front man Bradford Cox and co. who seemingly tucked the audience into their world of hazy feedback vapors, vocals so gentle they'd barely stir a sleeping colicky infant, and arrangements that pool everything together with layers of synths and distortion until the instrumentation nearly crests over Cox’s vocals. I was bored to say the least. But it only got worse from here.

Crystal Castles didn’t come on for over an hour after Deerhunter finished. In that time a DJ took over, who actually wasn’t awful. But it was appalling how long it took for them to even get on stage. And by the time they were up there, they were still doing a sound check? When Crystal Castle’s Ethan Kath came on, it sounded so terrible that people actually cheered for the DJ to come back on.. and at this point so did I. The other member, Alice Glass came out only then did the music start to resemble their digital distortions that seem reminiscent of Ataris and old-school Nintendos, accompanied by Glass’s agonized vocals. But I felt like you could hardly hear her, even after their absurdly long sound check. Glass is also known to jump into the crowd, which CC security guards were NOT ok with. Any audience members who followed her lead were immediately thrown out and taken into the hands of Chicago Authorities who waited outside the entrance. Not cool.

After the concert abruptly ended, I couldn’t wait to get out of there. Lights were turned up, the rubble of Sprite Green was everywhere, and no one seemed happy. In retrospect I wish I had gone to work instead of go to this big crappy advertisement for Sprite’s new product. But after all I guess Columbia is the commercial school for the commercial artist - so I should be used to this by now.

Alternate Reviews on Crystal Castles:
Pitchfork
BBC

Southern Graphics Council Traveling Exhibition

Printmaking is an art medium that is most responsive to changing technologies, while also retaining many otherwise obsolete techniques. Print artists find themselves uniquely situated in the sense that they employ the latest digital imaging tools and centuries-old techniques for hand made mark making. This past March 25th- 29th Columbia College Chicago had the honor of hosting the Southern Graphics Council Conference 2009. Although the conference has come and gone they left their mark at the C33 E. Congress building where they feature their Traveling Exhibition.

Columbia is the first venues to host this traveling exhibition which features prints and drawings on paper created by members of the Southern Graphics Council. These prints have been juried by the Southern Graphics Council Printmaker Emeritus, Warrington Colescott, to best present works that embody the continually evolving practice of printmaking and its role in contemporary art. The aim is to present ways in which artists continue to innovate and push the boundaries of printmaking while maintaining a respect for the use of traditional methods and techniques. Which is the perfect fit with Columbia College where the magic word seems to be “innovate.” The mission statement of Columbia says they aim to teach students to expertly do the work they like to do, and to master the crafts of their intended occupations, as well as discover alternative opportunities to employ their talents and create change. It’s all about pushing the boundaries here.

This traveling exhibition showcases pieces that were everything from screen printed, intaglio, etched, aquatint, mezzotint, relief, lithography, to photo polymer etching, monotypes with vegetable dyes, woodblocks, linocuts, and combinations of these. There is such a diverse outcome when it comes to printmaking. The processes are so specific and different, not one piece was a like. Yet, I thought the traveling exhibition didn’t show case everything printmaking can be. I assume they were all small prints and similarly framed because the show is meant to, “travel.” But if you really want to “push the boundaries” why not mount the work in ways that break away from sterile white walls, to include installations, printed artists’ books, graffiti prints and paste-ups on city streets, 'zines and comics, even work that exists only in cyberspace.

One aspect of printmaking that I’m really drawn to is the concept that a print is not merely a photographic reproduction, it has an element of originality to it. And even if you print a plate more than once, you in most cases will never result in an identical print. “An original print is a fine art process that produces multiples. An original print is not a copy of a reproduction- each print is an original-created and hand pulled by the artist.” Maybe in this sense I am a formalist, but I enjoy this element of authenticity in artwork and as our world becomes increasingly abstract, virtual and harnessing new technologies, this value seems to be depleting in importance.

Printmaking traditions are a source of strength, but also a source of isolation. We now realize that our resources are limited, that what is done in one location will probably affect someone, somewhere else. And printmaking may now be seen as an art that is falling between the cracks of new technological advances and is no longer seen as a relevant form of printing just because it is a very meticulous, time consuming, tedious craft that has given way to laser ink jet printers- where an identical print is guaranteed every time. But I think its still important to hold strong to traditions and to create works that are irreproducible and have a certain aura and personality from all the labor put into them that you can’t get from a digitally drawn image.

The Southern Graphics Council Traveling Exhibition funs March 9th- April 24th, 2009 and is free and open to the public Monday- Thursday 9-7 & Friday 9-5.

C33 Gallery
33 E. Congress
Chicago, IL 60605

Prose for the Passerby

On January 30tth, 2008 the Harrison Redline subway station bore the poesy fruits of the collaborative works of two downtown institutions, Columbia College Chicago and Jones College Prep. Their goal of The Harrison Haiku Project was conceived as both a means to showcase the creative product of Columbia Poetry students and to contribute to the downtown southern loop community where both schools reside. After getting approval from the CTA to adopt the Harrison station, the school’s Office of Campus Environment held a competition with Interior Architecture students to design the physical installation. Then workshops were held to choose original Haikus created by college students from Columbia and high school students from Jones.

These Haikus span the columns of the dark damp subway tunnel and with each step deeper comes more prose. I hate to say it.. but this prose blows. At this point in the project, a mere year and a half later these “flaky” haikus are missing letters, the font is a dull black and don’t really do much of anything aesthetically except take up space. These haikus are adjacent to ill designed geometric orange and yellow leaves that concave with the subway’s clammy ceiling. No doubt suggesting a season of “change” to come these visual designs bite.

The everyday passerby doesn’t even seem to notice this “change.” Being only fully displayed and explained at the entrance of the subway, most commuters are in too big of a huff down to the train to notice anything other than their watches. This poor representation of art when noticed just makes you wonder, “why?” Why would an art college design the potential “gate” to their school to look like it’s falling apart? Did one school not hold up their end of the deal? Or does this say that kids in the south loop receiving an education just simply not care.

And technically, not to nit-pick, but the haikus showcased aren’t even academically correct. They are intended to give a snapshot into a harmonious natural moment in time, and not involve characters or action. Yet, all the flaky prose seem to contain both elements. Yet, I suppose it’s meant to provide an urban twist on the poetry. But throughout my time spent in the Harrison station, this just leaves me wondering, “What is art?” And is that really what were they going for?

The whole project just seems conflicted in the way that it’s incorrect haikus represented in an almost street like graffiti way, even though they have been granted permission to perform this station’s restoration. But if it is in fact a restoration.. why is it falling apart already?! I do regard this station as the “gate” to the southern loop and I think it’s time for a real facelift. This project gets overlooked by such a large demographic and populous of people in one day, it deserves a little credit and respect or it should just go.

Coveying Space- PhotoDimensional

Do you ever wonder what gets lost in translation when sharing a three-dimensional object embedded in a two-dimensional print? Is there a tension created from the flatness of the 2D print and the spatial relationships of the 3D object being portrayed? Most of “PhotoDimensional”s artists make photos about sculpture—often with curious twists on one of photography’s traditional roles, the documentation of sculpture. Others literally make sculptures out of photos. The Museum of Contemporary Photography in conjunction with its Columbia College Chicago affiliate bring you work that supplies answers to questions current day artists struggle with.

This relationship between photography and sculpture has been an interest of artists ever since the invention of photography. Even Louis Jacques, Mande Daguerre and William Talbot recorded sculptural objects through photography, such as marble statues and plaster casts in the late 1830s and early 40s. This being an early attempt to overcome this new invention’s limitations, especially pertaining to dealing with visual spatial dimensions. Yet, with the advancement of technologies and digital renderings there are artists who use photography in this current day to meet more practical ends of documenting sculptures that may be less permanent and more ephemeral or remote. For instance, the earth art of Robert Smithson, or Andy Goldsworthy. It’s the same for performance artists as well. But along with this the question is raised about concerns of these documents lacking some aspect of “firsthand experience.”

Curator of the show, Karen Irvine, has particular interests that lie in the limits of spatial representations, which in turn yields to some of cleverest works on display here. On the third top-most level of the gallery you will find American artist Melinda McDaniel and Venezuelan artist Susana Reisman who makes sculptures out of photographic materials. McDaniel takes images of various textures and cuts them into strips and proceeds to form them into minimalist sculptures that elude the original subject matter of the photos. Hung in an Eva Hessa fashion, Reisman makes use of strips of light sensitive paper outside for days at a time, varying the degrees of exposure thus creating abstract patterns and gradients along with various weather marks. I found these two pieces to be the two of the most imperative pieces to the curators main theme of the show.

Spanish artist Pello Irazu combines painting, drawing and sculpture in photo with many layers that are translated in such a way that they invite to viewer to imagine the passing from the experience of one dimension to another. These compelling images create and illusion that’s difficult to reconcile in the mind’s eye. True, Irazu engages a theme that’s been around since the early 20th century, but his well-executed work has plenty of aesthetic appeal. While the show doesn’t break any new art-historical ground, it doesn’t make any grand claims, either: It’s simply a comprehensive, carefully assembled look at its subject.

As you descend into the second level of the gallery you come upon American artist John Coplans who started photographing his body at age 60, focusing on creating images that utilize the body in a sculpturally aesthetic way.

Featured on the first floor isolated in a dark side room of the gallery space is the video work of German artist Bettina Hoffmann. She uses a slowly panning video camera to present multiple points of view on subjects who are completely still. Entitled “La Ronde” 2004, the piece causes the viewer gets the sensation that the still life photograph has opened up for him or her to navigate through this specific frozen moment in time. Hoffman cleverly reminds us that for every given shot, 359 other angles are possible.


Immediately after this you are drawn into Debris Field, created by Chicago artist Heather Mekkelson. She makes three-dimensional sculptural objects inspired by disaster photographs she finds on the internet and in newspapers. Mekkelson isolates interesting details from these photos and translates them into sculptural forms, which she distresses so they resemble the original disaster. This is an example of a piece that I did not understand until I read wall text and researched further. Although fascinating to look at, the work has so many differing elements and blank gallery space doesn’t contribute to the destructive nature of what’s trying to be portrayed.

Although I found this exhibition compelling and thought that each artist translated dimension in fresh and comprehensive ways, I felt that without the wall text and contextual background an audience might not fully understand what the curator wanted to get across. And I still feel that the concern of a photo lacking “firsthand experience” was not fully investigated and considered either. Although that consideration may break into another medium or combination of media all together. While the show doesn’t break any new art-historical ground, it doesn’t make any grand claims, either: It’s simply a comprehensive, carefully assembled look at its subject.

Each contemporary artist featured had such different ways of traversing the mediums of sculpture and photography, and I feel yielded answers to the limitations of photography that invite the audience to imagine passing from the experience of one dimension to another and back again. I think this is a concept that all artists past, present, and future will and have struggled with and no matter what media is being dealt with must consider and scrutinize.


PhotoDimensional ran February 13th – April 19th, 2009.

Museum of Contemporary Photography
Columbia College Chicago
600 S. Michigan Ave.
Chicago, IL 60605

312.663.5554
mocp.org

Bob Ross is Boss for Generations to Come...

Bob Ross is best known as the host of the public television series 'The Joy of Painting', in which he creates a beautiful painting right before our eyes in a heart-warming half hour segment completed in real-time. Encouraging his viewers to follow along on their own, Bob instructs even the most novice hobby painters and aims to prove that painting is not just for snobs or elitists.

Using his wet-on-wet oil painting technique, he guides his viewers with his soft-spoken instruction through a step-by-step process to create harmonious landscapes similar to his. But what I find interesting is a vast majority of viewers are not painters, and do not paint along upon viewing the program. I never did… I would be inspired as a second grader to paint after the program ended, using Rose Art watercolors and computer paper; but what’s so appealing about watching someone else paint? Yet, ever since I was a child I’ve been mesmerized by Ross’s masterful works, encouraging words of wisdom, and quirky 80’s sayings.

The program aired 1983-1995, and still appears as reruns in many broadcasted areas. As Bob Ross welcomes you to the show you are taken into a world where only you the viewer, Bob, and the canvas exist. Using only his supplies and products he begins by brushing mere hues of color into the canvas, and within minutes you are transported to a calming landscape and state of mind that only Bob can convey. I think that viewers get a sort of emotional release just from watching this man paint. They are elevated to a form of relaxation and wonder for a mere 30 minutes, as Bob encourages the audience to lay down “happy little trees” and “lil buggers” where ever they please.

He repeatedly stated on the show his belief that everyone had inherent artistic talent and could become an accomplished artist given time, and practice, and was often fond of saying, “We don’t make mistakes, we just have happy little accidents.” All this encouragement feels good… even when you’re not participating!

Bob Ross has built his fortune off his instructional videos, books, and painting sets and supplies, but donated his show to public television. Bob Ross historian and former business associate Annette Kowalski (along with her husband Walt and their daughter) presently run Bob Ross Incorporated from the quiet suburbs of Washington, D.C. People clamor for his books and videotapes, his brushes and paints, his discarded drop clothes. What kind of easel does he use? What's gesso? They want to know everything, and they're prepared to put it all down on their Discover card.

The Bob Ross empire leverages no small degree of delicate sorrow from its participants: often audience members fall in love with Ross before they realize he's been dead since 1995. Viewers who maintain emotionally wrenching, co-dependent television relationships with him latch onto him even harder once they discover he's "not here" any longer. They simply cannot let go- thus causing a sort-of cult following.

Nearly 15 years after his death, Bob Ross is still an icon of afternoon public television. And as one generation of viewers and amateur painters grows older, it looks like the next might be ready to embrace his eclectic charm and encouraging rhetoric.

Just this past week on Thursday April 2nd, fans of Bob Ross were able to come together for “Beat The Devil Out Of It” - Bob Ross tribute party in New York City at Gallery bar on 120 Orchard Street. This event consisted of a look-a-like contest, a $1 raffle with exclusive Bob Ross brand products, lessons in painting "happy trees," and a special performance featuring the Boss Ross tribute dance troupe Titanium White Hot Dancers, plus a gallery of Bob Ross-inspired artwork! Holy shit, right?

The event organizers gave all proceeds to an organization that helps teenagers living in shelters pursue art by promoting creativity, "as a means of transforming lives, just as Bob Ross believed." And I’d like to think he'd be very proud.

So not only is there a following still coming together to honor Ross the Boss but I recently discovered that Bob’s ethics and masterful skills are being sought by a younger generation- on a virtual level. Back in April of 2006, news broke that a Nintendo DS, Wii, and PC games based on The Joy of Painting were in the works. Little was known about the games except that they were scheduled to be developed by AGFRAG Entertainment Group, a small studio largely concentrating on PC flash games.

Unfortunately, the game is currently in limbo. On the Bob Ross Game Yahoo Group, which the developers used to keep gamers up to date on the project, the following message was posted:

"AGFRAG is no longer involved in the development of ANY Bob Ross Game. Please contact Bob Ross Inc. for further information. Thank You."

So that’s a bummer… hopefully the happy virtual trees, mountains, and clouds will someday come into existence, but while it is possible that another developer may hop onboard, Bob Ross Inc. would be hard pressed to find another taker for what looks to be a merely cult project.

I thoroughly enjoy watching The Joy of Painting even if I’m not painting along, and I would love to play it in video game form as well, but I believe Bob Ross’s peaceful demeanor and appreciation for art and life is an example for all mankind to follow for generations to come.

I find “The Joy of Painting” therapeutic, humorous, and highly entertaining for adults and children of all ages. I recommend that everyone should become regular viewers. So Join Bob Ross on Chicago’s Create channel that airs on Tuesdays, Wednesdays, and Thursdays. http://www.createtv.com/CreateProgram.nsf/vProgramsByNola/BJOY?OpenDocument&Index=
And Bob Ross products, merchandise, instructional videos and books can be found on: http://www.bobross.com

I Hate TMZ. period.

• Serena Williams' Butt Goes Jet Skiing
• K-Fed Spotted buying donuts
• Hugh Hefner's B-Day -- The Party to Die For
• Dr. Dre and Joanie "Chyna Doll" Laurer spotted walking on a beach
• Chesney Goes Topless with Playboy Chick
• Brittney Spears ALMOST goes to jail AGAIN!

For those of you unfamiliar, these are the kind of headlines you’ll catch with Harvey Levin's 30 excruciating minutes of the obnoxious TMZ TV- AOL Time Warner owned gossip show, shown daily on your local Fox affiliate.

Tune into an episode of this and you will be bombarded by terrible video clips, and paparazzi photos of B-list celebrities going about their daily lives. And there’s no actually articles or stories to go along with these images, it’s nothing more than mere “witty” anecdotes and put-downs from Harvey Lenin and his army of smug “employees.”

What I find the funniest about TMZ TV is between these clips and photos they will cut to an office scene with Harvey and these obnoxious people sitting in their cubicles, passing around their campy remarks. And when something amusing or somewhat clever is said, the head honcho, Harvey walks over to his clear erase board and writes it down, as if that makes them look like they have legitimate office jobs, and they are participating in some sort of a diligent business meeting. I kid you not.

They have a website as well that’s equally revolting. It’s so distasteful and nauseating that I always have to click away before I can remember to look for anything remotely amusing. I can find nothing entertaining or redeeming in any of the site's content, and if I do, it’s the same as the show; there’s NO actual information, it’s just their stupid remarks and anecdotes on a photo. It's all just base and poorly written and arbitrarily amoral. I mean good god let's try to have a little style while we ruin people's lives, eh? Making a mockery of these people is what’s paying your bills after all!

So do you know what's funny about TMZ? Why is this show is still on the air?
No, I'm... uh, I'm actually asking.

Are people drawn to the crude, mean-spirited humor? Maybe they are the types that feel better about themselves if they can put down well-known celebs who make gobs more money than they do doing almost next to nothing. The only legit reasons I can think of for people to actually enjoy TMZ would be maybe they like to follow fashions of what celebrities are wearing, or maybe they just like seeing the ridiculous lifestyles these spoiled people live are entertaining to them. Or perhaps, viewers think it’s their responsibility to call out spoiled stars for the stupid shit they do.


Things like this disturb me, but what bothers me even more is the insatiable greed with which many people devour celebrity gossip. They feed on it, almost as though it gives them sustenance, and I'm greatly concerned that our society has become dependent on knowing whether or not Nicole Richie and Paris Hilton have become friends again. It seems we are more concerned with what celebrities are doing with their endless wealth than what our own family members are doing on the other side of the country.