Experiential: 30 Americans at the Milwaukee Art Museum

This weekend I had the opportunity to visit the Milwaukee Art Museum for the 30 Americans exhibit currently on display. 30 Americans is the exploration of contemporary artwork made by African Americans. The pieces follow the theme of commentary on the Black American experience in all its nuanced forms.

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Jean-Michel Basquiat, “Bird on Money”

Going through this exhibit, I was confronted by wave after wave of emotion that I’m afraid I cannot fully articulate. The show was masterfully curated and each piece held its own both as individual artwork and as complimentary and supportive to the exhibit as a whole. Some pieces confronted America’s racial history, others the cultural legacy of Africa. Many provoked an analysis of today’s understanding and interpretation of race and identity from the emphasized affiliation between blacks and athletics to the contemporary associations of cotton. It many ways the show was a test of the viewer’s cultural literacy.

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Iona Rozeal Brown, “Sacrifice #2”

I loved this show. I wish I had had more time with each artwork. Don’t ask me to choose a favorite. If you are anywhere near Milwaukee, you have to go see this exhibit. 

Literary: Empress of Fashion

Image“The High Druidess of fashion, the Supreme Pontiff, Perpetual Curate, and Archpresbyter of elegance, the Vicaress of Style”

That is how you describe Diana Vreeland. Truly at 20th Century woman, Diana Vreeland led a fascinating career as society royalty, fashion editor at Harper’s Bazaar, editor of Vogue, and leader of the Met’s revival of its Costume Institute in the late 1970s. She walked the curious line of modern working woman versus refined and fashionable American aristocrat. Mrs. Vreeland defined American style and chic during the country’s most volatile periods carving a niche for herself that allowed her to be the “Everywoman” of fashion while maintaining her eccentricities.

Mrs. Vreeland had a selective memory and a habit of modifying her personal history. During her life time she claimed to have been raised in France until the age of 9, and when she was forced to move to New York with her family she could only speak French and refused to learn English as her own childish protest to the change of scenery. Her ahistoricism is revealed, for better or worse, in the biography Empress of Fashion by Amanda Mackenzie Stuart. It turns out that while Diana may have been born in Paris, she grew up in New York from the age of 3 and was fully capable of speaking and understanding English. Stuart spends a good portion of the biography debunking many of Mrs. Vreeland’s fantastical fabrications about her life, but it almost seems a shame since her active imagination was one of her most defining qualities.

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I am including my reading of Empress of Fashion in my artistic education for the very foundation of imaginative energy. While Diana Vreeland did not consider herself an artist, nor looked for art in the photographs for her fashion spreads, she also did not consider her role as editor to be “work.” For Vreeland, the whole goal of her life was to create fantasy and the dream, and this, I believe, is my lesson. Fashion was a gateway to a self-identification that was controlled by the wearer of the clothes. Dreams could be made possible simply by picking and choosing. It did not matter that Mrs. Vreeland fibbed about her childhood or her encounters with distinguished figures because she was determined to be the creator of her own life and to become her best self.

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Whether she defined herself as an artist or as something else, Diana Vreeland was practicing with a vision for which she would not compromise. Her detail oriented processes, her relentless modifications to make something just right in a spread, her unending wandering creative eye share the foundation of artistic mission. Creating was her life’s passion! Not only did I become aware that I should acquire some quirks of my own, I also understood that determination, detailed, nuanced work with an ever-navigating creative energy and constant observation would take me to my fullest artistic realization. 

Experiential: Pilsen Second Fridays

Like I said, Chicago and I can’t get enough art crawls. My second round of experiential learning was based in the neighborhood Pilsen and their monthly art crawl that occurs every second Friday. I have been going to Second Fridays much longer than I have even known about Brave New Art World, and to be frank, I’m glad I experienced Pilsen before River North. I never feel wholly satisfied at Second Fridays. It is my goal every month to hit all the galleries listed on the map, but somehow I always come up short. Not to mention that I usually miss the extra performance art that occurs at various time intervals throughout the night. My inability to “complete” Second Fridays makes me want to go back to try again – it is a lovely arts challenge that I just can’t say no to. I’m never sated at Pilsen, and I like it this way. I prefer a mystery.

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Blumgarten

Second Fridays also provides me with the unique problem of never remembering the galleries I go to. Then again, I should not be blaming Second Fridays. It is really my fault for not taking note of the gallery name, owner, and the artists they are exhibiting. But the excitement of Pilsen on a Friday night is all too much for me, and I willingly get swept down Halstead, floating in and out of galleries at the leisure of the current.  One gallery in particular that I cannot place features the work of the artist who owns the gallery. Again, terrible at names, but I believe the gallery is the artist’s studio space. At both the July and August crawls he was displaying a series of large portraits. The canvas space was entirely occupied by a man’s face painted in a style of rich colors and patterns that both camouflaged and revealed his facial features. I’m a sucker for bright and colorful artwork, so I spent a lot of time in his gallery trying to understand the expressions. The artist captured the facial features of a person that viewers can easily relate to and empathize with emotionally, and yet I was drawn to the exotic fantasy of the portraits. I could not help imagining the childish myths I would have imagined while growing up if my parents had owned this paint and displayed it in our home.

I followed up the colorful portraits with two rounds of performance art. In the ROOMS Gallery on Halstead, the ceremonial inspired piece “Ritual No. 6: THE WHISPERERS” was performed for three hours straight to the beat of a metronome. Featuring eight female performers, THE WHISPERERS was a work of rhythm and synchronization. Described in the wall label text, the performers followed the beat by moving either forward or backwards every four beats, taking four beats to move, between the block barriers on the floor. They could also choose to turn in place to face either the front of the gallery or the back on every fourth beat. Watching this performance installation reminded me of the acting workshop Viewpoints in which participants could walk, run, or move in slow motion in a variety of patterns – whatever they chose to do, it was an individual choice not influenced by direction. Eventually, though, your movements would synchronize with those of others around you and a fragmented movement piece became an integrated and responsive whole. It was exciting to observe the women all suddenly move at once in the same direction as if they had rehearsed it. While I’m unsure of what the ritual was, I was still moved by its observations on human nature.

My second encounter with performance art occurred down a mysterious looking alleyway lighted by fake candles. Following the sign to the back door, I found myself in Temple Gallery, both studio space and home to husband and wife duo Lyndsae Rinio and Bob Garrett. Their movement group PosterchildArt, which also includes Nadine Lollino, calls Temple Gallery home to their improv multi-media art series. The three artists welcomed their guests as if we were all old friends, offering sofa cushions and red wine, and then they assumed their positions. The “stage” was an open space of hard wood floor with a white-sheet backdrop. A light illuminated the sheets from behind casting a shadow of one artist while the others were in front of the curtain in full view of the audience. Again, I experienced a meditation on human nature, synchronization and individual impulse to move. Watching the three artists interact with each other made me want to get up and give it a try myself.

One of my last accomplishes of the night was the grand feat of purchasing a work of art. Upon entering this particular photography gallery I was underwhelmed and more interested in the poster board at the back on which I could freely doodle. As I was walking through giving the photos a half-glance, I had to stop in front of one cluster because I was so startled and amused by them. Specifically, it was the photograph of a man’s hairy legs in a short, pink, terrycloth robe and fuzzy, faded-pink house slippers against a bright window that made me giggle. I started laughing as I went through the pile of prints just below the original to find a copy in my price-range. When I did, I triumphantly presented it to my friends declaring that I just had to have it, it was too great not to buy. Confused, of course, my companions kept asking me what I liked about it, and as I tried to explain, a bearded ginger man joined the conversation. Moments later I realized he was the artist and those were his legs. I was relieved to find he was laughing, too.

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http://www.gingerjohnthomas.com

My brief and comical interaction with this man struck me as wholly satisfying. Not only was I gaining from great artwork, but I was also meeting the very person who created it. I, therefore, believe that the reason I never feel complete after attending Second Fridays is that I never take the time to find the artist and compliment their work. If anything, I learned from the August Second Fridays that human interaction is the common denominator of art and creativity. Plus, why would I ever pass up the chance to make someone laugh and gain a new acquaintance? Experience needs to be collective, so my goal for my next visit to Pilsen is to introduce myself to the artists available. Lesson learned, class dismissed.

Postcards from Google Earth

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Switzerland

Clement Valla collects images from Google Earth that exhibit interesting anomalies: something in the algorithm went awry and the images turn out distorted, fun house style. Valla asserts that these images are not glitches, but instead  they are new models of representation.

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Pittsburgh 

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Catskills 

To browse more of these creepy, whimsical postcards, visit Valla’s website http://www.postcards-from-google-earth.com/.

Experiential: Brave New Art World

If you have ever read an artist’s biography or memoir, or have attended a curator’s lecture, or briefly overheard dialogue from an historically inaccurate movie, you will have been able to gather that an artist’s education involves primarily experience. Impressionist painters traveled extensively to find the best light, Ernest Hemingway lived daringly in Spain and Africa to produce works of strength, and curator Marcia Tucker had to go out into the sprawling New York art scene in the 1970s and ‘80s if she wanted to find any contemporary art worth talking about. Experience is the key to understanding – empathy is the key to art.

For this reason, I obviously had to include art crawls, gallery openings, and museum visits in my Squatting Artist Education, and luckily for me, Chicago has been more than obliging. Aside from the Art Institute of Chicago, the Smart Museum, the Museum of Contemporary Art, and the Renaissance Society, to name a few art museums, Chicago is the home to hundreds of galleries of a variety of genres and styles. The galleries that cover all sectors of the city from far North Side to deep south Bronzeville to right smack in the middle of the Loop leave me breathless with opportunity.  How was I going to keep up with all these artistic spaces? The cards are in my favor with this city: Chicago cannot get enough art crawls.

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I begin with the River North art crawl Brave New Art World, founded by Claire Molek in January 2013. Every first Thursday of the month, Molek and her band of merry creative types dominate the Superior and Franklin intersection under the El tracks. Claiming to occupy the second most gallery-dense neighborhood behind Manhattan, BNAW coordinates the opening of over twenty galleries as well as live performance art, DJ, and pop-up art street sales. And of course there is free food and drinks, but this is implied.

If I had to synthesize my (first) experience at BNAW, I would use the words glass, mercurial, and stimulating. Many of the galleries featured glass works by artists both local and alien, like Chihuly for example. The pieces were beautiful, but I had my backpack on and a cup of margarita in my belly, so I was more focused on fighting the urge to break things bull in a china shop style. Mercurial is credited to the number of performance art pieces occurring along the sidewalks. One piece in particular grabbed my attention: two women wearing the same light denim dress, brown boots, and hair rags were hitting themselves in the face with pillows. It was titled “Don’t Stop, the War is Going On.” Performance did not seem to be limited to artistic volunteers either because the BNAW team and the participants in the crawl inhabited this intersection as if it was Narnia. There was  a glee and childish playfulness intermixed with serious artistic appreciation.

My last adjective applies mostly to the company I enjoyed during the crawl, I believe. I went with a new friend which was a brilliant idea because the provoking conversations we had about our reactions, interpretations, and general thoughts about the art we saw was, well, stimulating. Discussion is so often removed from the artistic experience because people associate hanging artwork with cold, quiet museum galleries filled with appreciators who wear black turtlenecks and have three Masters Degrees. I am guilty of hoarding my experiences and often corner myself into subjectivity, but attending BNAW reminded me of the joys of sharing. This new friend of mine enthusiastically jumped into analysis of every piece that spoke to him, and his reward was finding the artwork that he claimed defined his life. The epiphany occurred in Perimeter Gallery with a piece by Gordon Powell. According to my new friend, the wooden/mixed media work of art was the representation of his life complete with pieces cut from others part and put together, colors that were familiar but then one that was not, the foreign element in his life, and general satisfaction with finding a map of who he was thus far.  The revelation is captured below.

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While I was not nearly as successful, I still thoroughly enjoyed the night. Experiencing art first hand is not something that can be easily replaced, and it is also something that, I believe, should never be denied. Brave New Art World has smooshed together all those appreciators and aficionados, who so often fly solo, into a half mile by half mile sidewalk art fair so that they can experience creativity and artistic expression in its most natural state: communally. Kudos to Ms. Molek and her brave new team, my teachers on the lesson of shared artistic development. 

Check out the Brave New Art World website at http://www.bravenewartworld.com and come out for the next event on September 5th 5-8 pm. 

I will be posting soon.

I’m enjoying being lazy, so please forgive the delay. Also, my non-artistic life is experiencing a shit storm with gale force winds, so that might have something to do with it. But on the plus side I might be making s’mores this weekend…it’s the little things.

Stay classy.

Literary: Continuing the Legacy – My Summer with the Bros (so far)

Not long after knowing me, you will quickly come to know that I dislike writing. I make it clear often enough. This is a problem, though, because my career goals require some form of the written word. Plus, artistry includes the verbal and literary modes of expression – authorship. Here is my first attempt at written creativity. I would call it personal essay/memoir style about my experiences this summer (voluntarily) living in a fraternity house. Only constructive critiques welcome.

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I get a brief satisfaction from telling the curious that I am currently living in a frat house. The look of surprise and esteem on their face puffs up my chest. Yes, I am doing the unthinkable: I am living in a frat house with frat brothers in a frat environment. However, their faces turn to pity and mild disgust after the initial esteem, and I remember that I am living in a frat house with frat brothers in a frat environment. So goes most of my conversations with the curious.

At the end of the school year when my summer internship was finally confirmed and I was desperately searching for a place to live, it was my dad of all people who suggested the frat house. Dear ole dad, class of 1982 and so proud that his eldest daughter was following in his footsteps at his alma mater, wanted her to follow even more closely by joining his fraternity, even just for the summer. While I was searching the webbie web for cool, spunky four-person apartments to sublease a room in – the kind of apartments with roof access, no elevator, and aspiring free spirit roommates – my dad was making his own inquiries at the house. Triumphantly, my dad presented me with the option of living at the fraternity for a whopping $550 for the whole summer (July through September). Hella cheap. Dad was proud of himself for swinging me the “brother rate” since I could technically be considered a legacy. This amazing price, combined with other factors like location and storage space, flung me into the deal, and next thing I knew I was in a three story old mansion, once a professor’s home, now a fraternity house.

I was also down the hall from the communal bathroom that had two stalls with commodes, two showers with barely tinted doors, a single urinal, and a three-sink counter covered in guy paraphernalia like electric razors and dirty dishes. The perfume á la summer frat bro was a decadent mixture of weed and piss.

I am ashamed to admit that I avoid pooping when a brother is also in the bathroom. Yes, I use present tense on purpose because I still avoid pooping in their presence.

However, I was determined to make it work. My first day in I laboriously moved my stuff from the basement storage space to my third floor room: arranged my bright red desk, put up the multitude of vintage magnets on the mini-fridge, placed my hats on the dresser, and added floral sheets to the queen-sized bed. This was a physical manifestation of wishful thinking. My room became my refuge, my “normal life” space where I could escape the daily rituals of bro-hood. In my corner room I did not have to partake in discussions on Nattie Light vs. PBR. My room housed my computer which contained the electronic versions of my friends who would talk to me about art, boys, and vacations instead of Tuesday-night partying, almost over-sleeping for your job, and working all day with hangovers from the night before. Most importantly, in the scorching month of July, my room had an in-window AC, my personal savior from the muggy, sweat-stained thick air of the rest of the house. Also, my room did not contain flies.

But, truly, the experience is not so awful as I make it sound. For the price I am paying, this might as well be a luxury cruise line, and the other residents can provide an enjoyable, if perplexing, company. There are the mornings when the fraternity president and I brush our teeth together in the bathroom. He is in a towel and I am in an oversized t-shirt. There are the customary salutations and not-so-invested queries on how we are each doing. Then we descend into such a wonderfully awkward silence.

Sometimes the gentleman who lives across the hall from the bathroom joins us with a chin nod as a greeting before assuming his position in front of the urinal. For the past few weeks he has been humming the Mad Men theme song, evidence of binge watching.

The kitchen is the most interactive space. In the past few days a small vase of flowers have appeared on the island and a portable radio is always tuned into the local NPR station playing classical tunes or thought-provoking interviews, depending on the hour. Some nights I am making tofu and broccoli next to the house’s number one cook who is preparing home-made gnocchi or risotto or black bean burgers. Being the summer, most of the brothers have been putting their grill to good use, and I’ll walk downstairs to find whole fish stuffed silly with spices or a row of hot dogs awaiting their crispy fate. Conversations are as in-depth as they are in the bathrooms, but occasionally there are some golden nuggets: the other night a brother I have never seen started a discussion with me about the benefits of tofu vs. chicken while he poured himself a glass of milk. Without questions about my name or why I was in the house, he cheerfully commented on the healthfulness of my meal and then resumed his night’s plans.

On one occasion, a fellow resident called me asking to be let in from the roof after he got locked out. When I opened the fire exit, he thanked me embarrassedly offering boredom as his excuse for being on the roof.

Shenanigans aside, my summer in the frat house, so far, has been neither a terrible nor a wonderful experience. To be quite honest, it is just like living in a male dorm. The beauty of college is that the student body is maturing every day, and with maturity comes a vague sense of cleanliness, respectful neighborly behavior, and polite conversation whether you’re a frat bro or not. This is why my conversations with the curious are underwhelming because the curious have high expectations of antics, and while I would love to play along and thrill them with gag stories, nothing bizarre has occurred. The frat bro, I have found, is really not so distinct a species, and I must say I am relieved.

Exemplary: The Deep End Club

Image*Photo courtesy of @TheDeepEndClub Instagram

I learned about The Deep End Club from Paper Magazine. Former band member of The Like, Tennessee Thomas created The Deep End Club as her new home-base in a new country in her new band-free life. The club acts like an open-doors artistic hangout similar to Warhol’s Silver Factory used for equal parts collaboration and exhibiting grounds.

Located in New York’s East Village, The Deep End Club is my new number-one destination. Tennessee Thomas has accomplished the artists collective in a playful, clubhouse style fashion, an inspiration for my own endeavours to create a collective creation space of my own. While I do not have the resources to buy out a storefront, my current plan is to start straight out of my dorm room with designated “studio hours” to complete group projects. I will be sure to follow Ms. Thomas closely as my spirit guide into the artistic realm, and maybe one day I will make it to The Deep End Club to experience it first hand!

To read the Paper Magazine article, go here: http://www.papermag.com/2013/08/tennessee_thomas_the_deep_end_club.php