propositions press... 2.0

a pause in the action matters

Sara Daleiden alerted me to the opening of Monument, a solo show by lauren woods at University Art Museum at Cal State University Long Beach. A brewing controversy peppered the air, having to do with the dismissal of Kimberli Meyer, the director of the museum, less than a week before the opening. At the end of a 40-minute gallery talk, the artist made a dramatic gesture in solidarity with Meyer, whom she considers a primary collaborator for this project. It was totally worth witnessing. It is not everyday that an artist declares a just-unveiled interactive installation “paused” and walks out of her own opening. 

The controversy has been reported on Hyperallergic, ArtNews, and Dallas News with good pictures. Meyer is appealing the termination.

The show is excellent. This is the best artistic treatment of the BLM movement and BLM urgency I’ve yet seen. This is in comparison to Hank Willis Thomas’s Hands Up, Don’t Shoot, and Lauren Halsey’s recent installation for Made in L.A., among others, so I offer it as high praise.

 

 

 

The artist shortly before speaking.

 

Lauren Halsey, Detail, The Crenshaw District Hieroglyph Project (2018). Photo credit to Colony Little. 

The centerpiece of the show is an arrangement of 25 turntables on pedestals, each loaded with a vinyl pressing of audio documents relating to police killings of African American people. It is true, I am a sucker for vinyl and turntables. But I would say that this installation well exceeded that basic favoritism of mine. On top of the impressive visual display, there is the sound. It makes for haunting listening for anyone with ears connected to the least bit of heart. woods played an excerpt from the cop killing of Philando Castile, one of the most egregious human rights violations caught on a phone in recent memory. The voice of Diamond Reynolds, Castile’s girlfriend and a passenger in the car at the time of the shooting, filled the hall. I’d heard that recording before and just like the first time, it brought to surface a physical response. It was hard to settle my agitation; some in the gallery shed tears.   

One of 25 unmarked turntables with unmarked records in Monument by lauren woods

Two side galleries also contained displays, all of them rendering primary documents from incidents of police murder into objects for aesthetic consideration–aesthetic in the sense that Susan Buck-Morss uses the word, i.e. in opposition to the unfeelingness of shock and the everyday anaesthetics of capitalism. woods gives us a enlarged graphic reproductions of the coroner’s diagram marking the sixteen bullet holes riddling the body of young Laquan MacDonald, from head to thigh. She presents printed transcripts from the incidents beautifully stored in metal boxes on tables measured to lengths matching distances specified in case law justifying police fear of “suspects”–which is to say, of course, just about any African American person engaged in just about any activity. Together with the central installation, the show is an emotional wringer, a work of collected trauma that undoubtedly tested the resolve of the artist, and an indictment of a national shame. 

Detail of graphic appropriated from coroner's report on Laquan MacDonald.

Transcript from dialogue of Diamond Reynolds and officers Yanez and Kauser, moments after Yanez shot Philando Castile.

I also read the Hyperallergic account on the quashing of the proposed feature whereby audio would be broadcast outside the museum. I didn’t miss it. I think the artist is already successfully walking a fine line. Organizing documents of traumatic racist violence and re-presenting them in ways that create physical and mental space for absorbing them anew, and in ways that put the discrete incidents in relation to each other, is the strength of the show. And to do it all with such attention to detail is quite admirable and, I would say, a big service to the ongoing need for careful political analysis—a need, just like careful art making, that runs counter to the immediacies of crises. Putting the audio out in the public air for unsuspecting passersby…ah, I am not sure that would perform the same service. As I am imagining it, that would more likely fall into a recursive strategy, i.e. taking a traumatic document and calling it art without a lot of evident organization. Even if there were thought and labor put into the editing, sequencing, etc. (which there might not have been, given the suggestion that the audio was to have been directly channeled from the turntables as played randomly by gallery goers), but that part of the work wouldn’t be readily available for interpretation—in contrast to the gallery arrangement of turntables, wherein the arrangement decisions are very evident, as an essential part of the work, as much as the raw documentation. A broadcast of the audio—again, only as I am imagining it—might smack more of Christoph Büchel’s proposed treatment of the prototyped border security walls: display them as is, and justify it as art for reasons of historical preservation, but make no accomodation for the mixed messages upon reception. This is a long way of saying, no matter the administration’s meddling with the artist’s intentions, as a viewer I did not miss anything for the absence of the outdoor audio. The show was plenty powerful without it.

In the reporting about the controversy, in many places it has been said that Meyer’s declared agenda was to address white supremacy and the museum’s role in both upholding and dismantling it. I hate to be critical at this moment of personal upheaval, but if those reports are accurate, then I must say, I find politics reduced to stances against white supremacy disheartening. I have many reasons for this, chief among them, an analytical lens of white supremacy simply leaves out too many other factors. This is not to flatten all regressive vectors into equivalent forces, but it is to say that they are all intertwined. Race or class or gender–to speak only of the Holy Trinity of Difference–make for primary antagonisms in different situations, and reinforce (or contradict) each other in different ways, both at micro and broad, historical scales; this is something we all know. A reduction to any one, particularly that of race, in my estimation and experience often clouds political intent with distractions like virtue-signaling and conversation-halting moralism. Let’s just say that, like Asad Haider lays out in Mistaken Identity, I find more of value in the late phase Amiri Baraka than in the current Frank Wilderson. Guilt-mongering by calling out white privilege is a pseudo-politics. That said, let me emphasize that I have no way to judge Meyer’s politics except as has been reported; I will grant her the benefit of the doubt and assume that she has a complex and nuanced analysis of power that is not being told. Facilitating a project like Monument certainly speaks well of her courage as a curator.  

The firing, by appearances at least, falls into the over-determined pattern of tone-deaf administrations that create mediagenic controversies while ostensibly seeking to avoid them. If the administration wishes for everything “to be centered around art,” as quoted in the Hyperallergic article, then maybe those decision makers ought to liberate the art from such bone-headed interventions as firing the director days before a major opening. 

The exhibition remains paused; the audio has gone silent for the time being. I can only hope that the museum and university resolve the disputed firing so that more people will be able to fully experience this important work. Our growth in political thinking–and feeling–to match the ongoing crisis in police violence, extremist racism, and rising violence in general, depends on shows like this one.

from the archives, our first site specific work

I found this old slide the other day. It is from the spring of 1990.

Miyo Kachi, Dan Froehlich, and I were students at the time. We rented the lower flat of a house in Northfield, west of the Cannon River, almost exactly between the two campuses. We (and our frequent guest Sarah Van Orman) called our home Pineapple House.

The house didn't come with a compost bin and the idea of household composting was still kind of a subcultural thing at the time. But we were all former Farmhouse residents, so composting had already become second nature to us. I remember that we can been "saving" our kitchen waste over the cold Minnesota winter, ie collecting it in a can or bucket out back, leaving it frozen until the spring thaws. As it warmed, we had to build a bin for it.

As it happened, Miyo and I were in a sculpture class together that spring. She had scavenged this cyclone fencing material and a clump of chicken wire. So we collaborated on this compost bin project in satisfaction of one of our assignments, the site specific project. We planted the bin on this little slope that ran across the property like the step into a sunken living room, about the only distinguishing feature of the backyard; you can see the brick supports on the back end, keeping the hardware cloth bottom level. For the critique we christened the bin with a banana peel, also visible.

I'm not sure if it was used much–the end of the school year came and we all moved out in a matter a few weeks. But it is funny to see this pic now, before I knew about all the different currents among artists that this project relates to. It just goes to show, often artists find their way to where they are through modest beginnings of intuition and immediate needs, without worrying about the formalities of discourse, art history, and proper theorizing. We had non-academic reasons to be creative. What mattered in this case, and what I am concerned about now even as I look at this image, is how the bin performed. It still strikes me as nice looking and a clever reuse of found materials, especially considering our somewhat limited skills at that time. But obviously it is not going to facilitate a hot compost, or be very convenient for turning.

Maybe Miyo and I could plan on designing an improved version for the project's 2015 25th anniversary. 

book points, furniture joints: John Preus and The World As Text

The Center for Book and Paper Arts at Columbia College commissioned me to write a text to accompany the exhibition The World As Text from earlier in the summer, organized by artist John Preus. The publishing schedule has been pushed back, the show is over, and I have not been given any info on a definite timeframe. But that is what a blog is for. Here it is.

– Dan

Book Points, Furniture Joints: John Preus and The World As Text

❆

What do books ask of us, besides some time with our minds and our eyes? Our ears, fingers, and palms? Our butts and our backs? Using a book usually means using all of these things. The comfortable functionality of most ordinary books is based on conventions that attend to the act of reading, that is, bringing all these body parts into coordination. But while the average paperback bears evidence of considerations that go into making a book a user friendly object, the space beyond the reader’s body almost always seems to lie outside the bookmaker or designer’s purview. And still the books demand of us—their readers, borrowers, and collectors—a consideration of space and support, of storage and display solutions. Books need a furnished space in which we can read them, look at them, and learn from them. A collection of artists’ books want even more, neither the false neutrality nor the ostentatiousness of a collecting institution, but rather a space equal to the books themselves.

✴

For decades now artists have been making books and book systems that take note of the space in which books get read and browsed. That attention could be negative, as in the literally passive aggression of Jorn and Debord’s sandpaper-bound memoires. Or utopian, as in the swarming circumvention of commercial art scenes and the creation of autonomous networks through mail art, which so often made use of book forms. The fine press bookmakers who create amazing hand-bound or letterpress printed books that seduce through aesthetics and celebrate a shared history of analog skills, situate their books self-consciously or not in the conservative surroundings of the special collections libraries or within vitrines in museums and art centers. Artists of a revolutionary nature have sometimes reworked the relationship between books and printed matter and their spaces of study altogether, as in Temporary Services’ Binder Archives. But it seems the “reading room” itself remains under-developed as, ideally, an aesthetically unpredictable but eminently functional space.

✼

Lots of books need to be disposed of. Bad novels, mass market paperbacks, textbooks, pamphlets, ring binders, magazines, and manuals of all kind overflow the bottom tier secondary markets. That is, if they are lucky enough to make any stops at all before going to the recyclers, incinerators, and landfills—in the case of mass market paperbacks, sometimes from the store rack straight to the dump, unsold much less unread. Books-on-demand and the new legitimacy of self-publishing are bringing books into existence that as of yet have no clear long term place in the world. E-books promise a whole other universe of waste, plastic, recoverable heavy metals, and unread gigabytes. Perhaps the Adam Batemans of the future will arrange thousands of e-book readers in carefully interlocked stacks. On the other hand, ever more books are collected, protected, conserved, and put away with some notion of perpetuity—or else treated as a semi-liquid investment. The pool of buyers of vintage, antiquarian, and collectible books, magazines, newspapers, maps, cards, art books, and comic books, has been greatly enlarged by the Internet marketplace, bringing in who knows how many buyers who otherwise might never have found access to such objects. Other than bidding and buying, the disparate online world of book wealth includes the viewable items of special collections libraries, the pictures of personal collections that generate bookshelf envy, and the occasional news item about institutional acquisitions of personal libraries and archives of notable persons. Electronic media in all its forms and uses in relation to books only makes the problem of real space functionality and purpose if not more urgent, then at least more neglected. Just ask any librarian, or for that matter, the former strategists of Borders. 

✥

How many of us have furnished our own homes in ways shaped by the spaces of books, from out in the world? I have a favorite reading chair. It is a sturdy Danish armchair with a torn leather seat that I rescued from the curb in Hyde Park, which also happens to be one of the best neighborhoods for finding books—new, used, and thrown away. That chair, both in my front room and on the curb where I found it, represents the way in which books exist not just a medium and a technology in themselves, but also as a core form around which revolves a particular field of behavior and material support. I have a friend who bought a table from a public library that was in the process of replacing their furniture, repurposing it as a kitchen table. How many and what kinds of books had spent time on that four-legged construction? Weeks after making the purchase at the library garage sale, he found a clue—may ’68 had been carved roughly into the skirt. In the case of my chair, somebody’s junked furniture eventually got plugged meaningfully into another person’s life through the activity of armchair reading. My friend’s table, once the site of quiet study and silent subversion surrounded by public stacks, now supports lively multi-generational conversations and the conviviality of family life, surrounded by a private collection of books. In both cases, we as secondary users and owners came into an inheritance of furniture that merged with the past and present of books.

❉

With The World As Text, artist, designer, and builder John Preus works with and about books for the fourth time.* In each case a client or an exhibition space invited Preus or the collaborative group that he was a part of to design a solution to a problem having to do with books. Books themselves are not one of his media and in none of the four projects did he or the group select the books for which they built structures. His responsibilities essentially ended where the books began. Thus, on one level Preus relates to books as do all busy people in that he simply wishes he had more time to read, finding in them the world of ideas. But having to meet the design needs posed by book collecting clients or book-centered exhibitions reveals aspects of the life, materiality, and use of books that most people, including most book artists, do not think about. Moreover the privileged perspective into books that may be gained by designing and building reading and display spaces, as well as objects made out of books, becomes quite interesting when set in relation to Preus’s constant interest, the inheritance and mutation of building and architectural materials and their utility. The question is, how and where does his evolving understanding and view of books, book collections, and book culture dovetail with his larger commitments to building out of materials—often scavenged or drawn from streams of surplus—that contain particular histories of design put into use, cultural patterns, and economic conditions.

❀

As with my friend’s table or my chair, the desks and chairs in The World As Text have been brought out of one bookish environment (maybe an office, maybe a waiting room) and put into another. The difference is that Preus and his team were charged with no mere task of salvage and re-use, but rather of formal mutation within the confines of overall functionality—in other words, to create furniture that leaves the realm of furniture, but still functions as furniture. It is an ambition to match that of those who curated the books on display, as well as of those who authored, designed, and crafted the books themselves. The measure of success then, might also be those of the books. That is to say, will the creations of Preus and his team—not only the discrete objects, but also the reading room as a whole—live on after the show, as the best books live on after they are returned to the shelf? My guess is that Preus himself will only grant success when he sees that the project lives on as not only material evidence, to be seen and used again, but rather as the most powerful inheritance of all: as inspiration.

 

* The projects were:

2nd-hand reading room, threewalls, Chicago

Another Story, Hyde Park Art Center, Chicago

Dorchester Project, Chicago

John has designed and assembled storage systems for several private residences, as well. Check out the Dilettante Studios site.

 

before i leave

I am wrapping up my teaching duties for the semester; summer is around the corner. True to the short springs of the upper midwest, it’s about to get warm after only week or two of sixty-degree weather. Up until late April spring had been all chilly rain and occasional flurries, as cold to the bones and body as the frosty air of winter proper. The shock of summer heat will be made greater by travel. A week from now I will be in Beijing, under the blazing, hazy sun of their hot season. It will be my eighth trip to China. Each time the experience becomes more familiar, but I don’t think it will ever feel routine. Maybe because the older I get the more I feel rooted to the midwest of my birth, youth, and adulthood, going to China will never feel like a casual trip, even as I spend more time there. Perhaps the more I live in both places, the more I understand the distance between them. Getting ready for a trip to the other side of the planet is a good time recap some recent art experiences. 

I made it to the Wisconsin Labor: A Contemporary Portrait show at the Watrous. It was full of photographic images and some video that faithfully, respectfully, and affectionately document the people who perform the work that makes Wisconsin. Workers in the agricultural, retail, hospitality, tourism, manufacturing and other sectors besides, are represented, with the subjects mostly shown in their occupational environment. 

But I left a tiny bit disappointed. The show could have and, really, should have been more ambitious in its concept. Of course, there is the increased urgency of addressing ideas having to do with workers’ rights because of Wisconsin’s current political climate—ie Scott Walker’s all-out neoliberal assault on all things public. But obviously the timing of the show cannot be planned in relation to a spontaneous social movement. So it is not that. 

Rather, I wished that the exhibition concept incorporated some analysis of Wisconsin’s economic system as it exists in the region and world. Maybe that can’t happen, since it would mean addressing the logics of globalization. But this is the problem: the concept and reality of both Wisconsin as an easily defined place, and labor as a self-evident category of human activity, are no longer the stable realities they were one or two generations ago. How, for example, is the work of those who live in Wisconsin but work a job across a state line to be categorized? Are we not “Wisconsin” labor? For that matter, what about the workers who make all the stuff that is imported into Wisconsin? What about the call center employees in India performing customer service for a Wisconsin company? What about the financiers and traders on Wall Street or in Dubai who invest in Wisconsin mortgages? Are they not Wisconsin labor? To me, the most glaring oversight on the labor side, for that matter, was the absence of the unemployed, especially those in the job hunt. Looking for work, it is often said, is a full time job in itself. I see this at the public library all the time—jobless folks working on applications, resumes, cover letters, and browsing the jobs listings over and over. 

Also there is the question of our present Great Recession, which as many of the more forthright social scientists will admit is actually a depression. This was hardly touched on in the show, but it defines the economics of all but the wealthiest households these days, and most certainly shapes the lifes of the working people represented in the show. To me, this is a picture of Wisconsin labor:

 

That's my favorite local music store, Good ‘n’ Loud, closed down due to a weak economy.

Deeper still, how about this for a picture of Wisconsin (or “Michigan,” or “California,” or “American” labor:

 

Automation, at the most quotidian level, rendering redundant a candy store or snack counter worker. These conveniences are so deeply naturalized by now that we hardly think of them as part of an economic logic that makes human beings unnecessary. Only the booths where a parking lot attendant once sat reminds us that unemployment is built into our economy’s tendency toward real and imagined increases in efficiency. 

I also caught the MDW Fair in Chicago. I browsed the last two hours of the Sunday it was open. Even though it was near to closing time, the energy was great, and as expected delivered a social experience as much as an art experience. This was an event organized by and for Chicago, and damn the big shot outsider buyers courted by Art Chicago and pretty much all the standard commercial fairs of other cities–that seemed to be the attitude, especially considering that scheduling it for only one weekend later would have brought it into direct comparison with Art Chicago and Next (favorably, is what most people I talked to felt). The organizers—Threewalls, Roots & Culture, and Public Media Institute—did an excellent job of bringing on board every grassroots initiative, small art publisher or bookstory, apartment gallery, non-commercial space, oddball collective in Chicago, and even some local art school departments. 

The bottom floor of the Geo Lofts was an open floor display of various sculptures and constructed projects. For me the highlight was getting to see Hui-min Tsen and James Barry’s Mt. Baldy Expedition boat, finally:

 

The second floor was all booths, tables, and exhibition walls. Regional Relationships, AREA Chicago, and Half Letter Press were all there, along with some cool things and people I hadn’t known of before. Like this:

 You know I'm a sucker for all things Aldi.

I was very happy (!) to see the Happy Collaborationists (a group of Columbia College alumni making fun things happen around town, including Anna, pictured below), a bizarre and super engaging floor arrangement in the Green Gallery booth, and the free-standing kiosk of the Silver Galleon Press. There were public discussions all day on Saturday and Sunday on the third floor, along with the first public display of the Threewalls CSA project. There was also a small room with a display of Dorchester Project plans, a Hyde Park Art Center exhibition space, and Philip von Zweck’s untitled free editioning project to which I was thrilled to contribute a drawing.

All in all,
satisfying. That’s saying a lot for an art fair.

 

on wisconsin, back to the art

With all the crazy political stuff going on in FitzWalkerstan, aka the state formerly known as Wisconsin, over the last two months, I have not had time to write posts about art. I can make up for some of that with a quick review of shows I’ve seen in recent weeks.

First there was Pittsburgh. There I managed to catch the Paul Thek Diver retrospective at the Carnegie Museum of Art. I count myself lucky. This is one of those shows for which the hype is well-deserved. I haven’t seen a big show that’s hit me with such impact since Mies in America. After seeing it, I feel secure in saying that for all the new studio Ph.d’s, artist-friendly curators, and global art world integration, we just don’t make artists like Paul Thek anymore.

The highlights were three. First, the early wax sculptures that gained Thek his renown were truly blossom-like in their over-ripe ickiness, but perfectly balanced out by the coolness of metal and glass. Additionally, all of the materials gained through age, in equal parts retro-neato 1960 artifacture but still nightmarishly brutal. Secondly, the surviving images and elements of the wild, whole-gallery installations that he did in European kunsthalles in the 1970s fill a whole I didn’t realize existed in the history of installation art. The partial nature of what survives adds to the intrigue and good fortune we feel, piecing together the story of a feral and fertile art world moment. Finally, there is the recreated hanging of his final show, just before his death by AIDS. The first two highlights are each amazing, but the presentation of the final show proved the most moving in the end, with the dying artist all but ignored by the New York art world that once adored him.

Three other shows at the Carnegie were bonuses. I wandered into the hall in which the show You Are Here: Architecture and Experience was installed and discovered the etchings and video of Cyprien Gaillard. The small etchings mashed up mountainous landscapes with modernist block high rise buildings of the public housing kind. His striking video Desniansky Raio, set in (and above, in some cool ariel footage) a monumental social housing complex outside Kiev, reminds a midwesterner like myself that the massive blocks of public housing I associate with Chicago were in fact an international phenomenon. I’d like to see more of this guy’s work and I am sure we will since he is still on the young side (barely thirty, I think).

Then there was a loose installation by Haegue Yang that filled a medium sized room with odd arrangements of exposed metal racks strung with wires, light sockets, cables looped, knotted, and hung, and an assortment of metal parts. It was a bit chaotic and hard to read—though the materials seemed very deliberate, the positioning betrayed no real system. But the direct content was supplied by four television monitors on carts positioned around the room running Martha Rosler videos from her Semiotics of the Kitchen era. Odd combination, for sure, and I'm not totally buying Yang's work, but I’d never seen those videos. So why not roll with it.

The biggest and best surprise at the Carnegie was the Andrey Avinoff show in the works on paper gallery. Wow. This guy was a noted field naturalist specializing in butterflies and an amazing biological illustrator who also served as the director of the Carnegie Museum of Natural History for nearly twenty years. He was also a semi-closeted fine artist who painted and drew beautifully, with an exquisite hand, shimmering colors, and a runaway imagination. And, he was a mostly-closeted gay man who painted and drew a number of lovely homoerotic works, and was one of sex researcher Alfred Kinsey’s go-to consultants on matters of homosexuality. The show included specimen cases of butterflies he had collected in Tibet and other faraway places. Like I said, wow.

I am sorry to end the Pittsburgh art report on a downer, but that is what the Ayanah Moor show at the 707 Penn Gallery was. The full wall coverage of all-text screen prints made for a striking visual experience upon entering the space, but once into the detail, the work couldn't keep its promise. The texts read as pretty interesting, the lettering was stylish but not distracting, and the voices speak to the universal experience of communities describing themselves and their home social worlds, in this case black women scenes in different American cities. But there were only something like five different voices/cities, texts/prints. For the artist who uses printmaking to cover walls, the problem always becomes one of multiples versus redundancy. If it is really about multiples, then commit to a very small number of different prints. Let’s say, one. One, repeated over and over becomes a kind of patterned drone or unending repetition, either of which has its own kind of power. If there are five, arranged with no discernible pattern, and the walls are covered by simply repeating those five, then it’s an experience of redundancy—for the viewer, it becomes an experience of always searching for more and never finding it. The expectation of complexity is raised but not delivered. That was the case here, which is not so unusual in itself, but for the fact that what I've seen of Moor's in reproduction kind of blew me away, so this was a disappointment. 

I’ll report on shows viewed in Madison and Chicago before long.