Chicago’s Mainstream Art Coverage Reduced to Zero

On April 22nd the Chicago Tribune announced it was cutting 53 positions in its newsroom.  And according to the Chicago Reader blog “News Bites” one of those let go is the Tribune’s only art critic, Alan Artner.  That’s leaves absolutely no one reporting on Chicago’s vibrant and massive art scene in our daily newspapers or other mainstream media.

I haven’t always agreed with Artner’s commentaries or criticisms, but it’s important for the Tribune to cover the art scene here in Chicago. Chicago has a massive visual arts community that is dynamic and active on all levels, from local apartment spaces to international exhibitions.  The city of Chicago is also increasingly marketing itself as a center of culture, particularly linked to the international scene.  This has been crucial in our Olympic bid.  An indication of our internationalism is we have both the Cultural Center and Millennium Park currently featuring contemporary Chinese artists (it’s even notable that the dual timing was coincidental).  And yet despite the city government’s growing emphasis on the arts and Chicago’s massive culture scene, Chicago’s newspapers have pulled away from culture coverage.

Ironically, the elimination of Artner was accompanied by this staff memo from Editor Gerould Kern: “Our thinking was driven by the Tribune’s goal to be the Chicago region’s top destination for news and information and grow especially in the digital space. . . [we must] cover the Chicago area better than anyone else across all of our media.”  Despite the popularity and importance of visual art in Chicago, and in the minds of Chicago’s citizens, the Trib has effectively and completely withdrawn from visual arts reporting.

In an era when newspapers are struggling and folding all over the country and looking for ways to reinvent themselves, committing to more arts coverage rather than less seems an obvious and easy way to go.  An increase in cultural reporting would be an easy way for a newspaper to gain a particular identity and voice.  In addition to regular gallery reviews, there could be comprehensive looks at the city’s cultural programming finding crossover interests between institutions or disciplines.  It would be an easy way to appeal to younger readers also, assuming there was a particular focus on emerging art and artists.  An increased focus on the visual arts would facilitate a logical move into cyberspace also, as both easily accommodate images.  The move to the web is something newspapers have voiced a desire for (even in the above memo from Kern) but seem confused on how to do it.  Oddly Christopher Knight’s “Culture Monster” blog on the Los Angeles Times site is well done and seems popular, but was not followed here in Chicago, despite the fact that both papers are owned by the same parent corporation.

Chicago is really the latest casualty of arts coverage, though one may hope it could lead the way revitalizing cultural reporting.  As Chicago reinvents itself as a culture capital it would only make sense that its media follow the play, but they haven’t and it’s disappointing to see Chicago’s mainstream arts coverage decline to nothing.

Chicago Public Libraries Seek Artists for Design Contest

From our friends at the CPL:

Chicago, IL – Fresh on the heels of the Not What You Think campaign, the Chicago Public Library (CPL) today announced a design contest that will bring attention to a hip, shortened version of the library’s official website address. Running from March 5 to April 9, Chicagoland artists are invited to submit original designs using as inspiration the URL “chipublib.org.” Judges for the contest will include renowned Chicago-based poster maker Jay Ryan, owner of screen print poster workshop – The Bird Machine, award-winning photographer Brian Willette, Creative Director at All Terrain/Chicago, and Chicago Public Library Commissioner Mary Dempsey. The winners will be unveiled at a free public event on April 23, 2009, at the Harold Washington Library Center in downtown Chicago.

“Our Not What You Think campaign challenges perceptions and highlights the library’s less well-known free services such as music and audiobook downloads, new release DVDs, and free Wi-Fi” said Ruth Lednicer, CPL’s Director of Marketing. “A design contest around the ‘shorthand’ version of our web address engages Chicago’s robust design community as well as shows our commitment to try unique ways of connecting with a new set of users who increasingly relate to topics through visual elements. I’m excited to see all of the creative designs that will be submitted and hope that through these efforts more people will visit www.chipublib.org since it’s a great place to learn about all we have to offer.”

The final piece of the design contest concept fell into place when Jay Ryan agreed to be part of the judging panel. Ryan’s posters, typically promoting rock bands and clubs, have been plastered throughout Chicago – from record stores, coffee shops and music venues to art studios, offices and bedrooms for over the past decade. His eclectic work has a distinctive, uniquely subtle illustration edge that gets noticed right away. Ryan has also illustrated book covers for Harper Collins and has written a book, 100 Posters, 134 Squirrels, which showcases his work across the country.

“My local library is a great place to go to find inspiration for my work,” said Ryan. “I can get new ideas by browsing everything from Shel Silverstein to the newest design books, then go find some CDs to take home. I’m pleased to get to be involved in this interaction between the Chicago Public Library and the design community.”

Submission Guidelines

Ryan, Willette and CPL Commissioner Dempsey will determine contest winners based on creativity, innovation and original expression embodying the essence of the Chicago Public Library. All designs must incorporate the chipublib.org URL and need to comply with submission criteria posted at www.chipublib.org/notwhatyouthink.

Thirty (30) finalists will be selected and receive a professionally printed poster of their design. Of the thirty finalists, two winning designs will receive special honors as Grand Prize and People’s Choice Winners.

The Grand Prize Winner’s design, as determined by the judging panel, will be unveiled at a special event on April 23, 2009, held at the Harold Washington Library Center in downtown Chicago. The design will be featured in a limited run Chicago Public Library advertisement. The Grand Prize Winner will also receive a framed, professionally printed poster of their winning design and a framed un-colored pencil drawing of an original screen print contributed by Jay Ryan.

The People’s Choice Winner will be selected by online voters who, during National Library Week (April 12-18, 2009), visit a special www.flickr.com site showcasing the top 30 designers as chosen by the official judging panel. The People’s Choice Winner will receive a framed, professionally printed poster of their design.

For rules, submission guidelines and examples of design entries, visit www.chipublib.org/notwhatyouthink. For more help, visit your local public library, browse the art or design sections, or ask the librarian for tips on inspiration.

It’s Bad Review Time Again!

Ever vigilant of badly written reviews, Tyler Green mentioned this terrible review in the Houston Press.  Sometimes I wonder why the public has such a hard time grasping contemporary art.   After reading Troy Schulze’s ramblings, I think the answer lies here:  some of the blame goes to critics guilty of dereliction of duty.  Click here to read Troy Schulze’s underinformed, overly personal, review of Paul Villinsky’s Emergency Response Studio.  Look for the apparent total lack of knowledge about historical precedents like Duchamp and the readymade, failure to mention other contemporary artists working with the exact same materials and even ideas, and finally ceding his critical voice to a local bar owner/artist.  If he doesn’t feel qualified to begin with, don’t begin!

This review was so bad, I had to add a comment on the review:

This review seems written by someone that lacks a very basic grounding in twentieth century art. The argument about whether Paul Villinski’s Emergency Response Studio “is this art” is besides the point and tragically outdated. I mean has this critic even heard of Duchamp? Can we expect equal outrage over the MOMA’s snowshovel (In Advance of a Broken Arm, 1915) displayed as art? Not only do the antecedents to this piece lie over a century ago, there are also artists currently working in a similar vein, even explicitly examining mobile living units. In fact Andrea Zittel exhibited in Houston in 2005! Yet the author makes no mention of other artists working in similar modes and instead chooses to attack Villinski in an outmoded language about a “lack of art product.” Perhaps Mr. Schulze would prefer a banner saying ART draped over the piece, so he is less confused.

Schulze also accuses Villinski of: “backhandedly suggest[ing] that rescue workers, medical professionals and city planners don’t think inventively to solve problems.” When all the artist ACTUALLY says is: “It also suggested that the inventive, nontraditional thinking practiced by visual artists can be a valuable part of the mix as we attempt to heal.” How does that statement backhandedly suggest anything? It doesn’t single anyone else out, doesn’t disparage the work in New Orleans, it merely suggests that artists “can be a valuable part of [that] mix.” What a egregious misreading by Schulze of a SIMPLE statement!

I’m also not convinced that Troy Schulze understands Prospect.1’s goal, to let artists create work which would then bring tourists and money to the city. It was very baldly commercial, rebuilding the tourism industry and simply bringing in money to the city was a stated goal. So when Schulze cuttingly states: “Villinski’s swanky pad remained parked in New Orleans, attracting onlookers and the press.” The artwork is actually accomplishing its goals in the city, but Schulze doesn’t see or understand that, a dangerous thing for a critic.

Also by implying that the artist should have left the work in New Orleans, the author overlooks the fact that by bringing it to Houston, Villinski is reminding a different geographic area again of New Orleans. Attracting the press and bringing attention to New Orleans is a very large aspect of the way this functions. Another piece Schulze overlooks.

Ironically, the first comment from New Orleans artist ‘Sidonie’ showed a better grasp of the artwork itself, its context and its wider function than the author of this article ever came close to.

What a disappointing, personal attack on the artist and what a disappointing, uninformed review.

–Abraham Ritchie, Chicago

Hip Hop exhibit arrives at Smithsonian 1,022 Years Early

“I can see what rap can be: glorious
Put in the Smithsonian on podiums for holy hymns”

–Deltron, 3030

And in the Smithsonian’s National Portrait Gallery this exhibit of hip hop inspired visual artwork has arrived 1,022 years early of Deltron’s (aka Del, aka Del the Funky Homosapien) prediction of the year 3030.

I wish I could make it out to D.C. for this show, the installation shots look pretty good at least from the pictures online. Finally someone is presenting graffiti straight on the wall. I think the style and genre can lose a lot of power when it gets put into a different medium. Click the image to go to the site.

The Neo Art Nouveau Movement

I have been thinking about this topic for a long time, but watching the Olympics last night finally convinced me to write on a trend that has been on the rise for several years now, the resurgence of the style of Art Nouveau, or what I call Neo Art Nouveau (hey its catchy right?).

Maybe this trend is powered by the new scientific possibilities of stem cell technology or cloning. The multiplication of organic life and cells certainly lends itself well to the art nouveau style. Like the promise of alchemy long ago, our new biological technology promise to create whole new organs and limbs out of baser tissue. The Neo Art Nouveau movement has perhaps responded to this through the stylized organic forms and swirls typical of the original, fin de siecle artistic movement, bursting across all sorts of images and media here in the 21st century.

I think that I first started noticing this trend in the design-based work of Ryan McGuiness (seen below)

Left: Ryan McGuiness. Untitled (Black Hole, Black), 2008. Acrylic on canvas, 72 in. dia. Right: Detail

His curving arabesques and love of decoration and design have frequently reminded me of the historical art noveau style. As does the way that McGuiness eschews traditional media boundaries and hierarchies, another similarity to the historical art noveau style.

Although I can’t find a good photo of the Olympic pool which had the curving lines typical of the the Neo Nouveau movement, the Chinese Olympic teams all have uniforms that indicate the influence of the art nouveau style. From the official Chinese news site here are publicity photos (these are the uniforms for the basketball team):

Again there are the curving, swirling lines and patterns typical of the original art nouveau style. A 19th century art review described these lines (originally describing the curving lines in a wall-hanging of a flower) as “sudden violent curves generated by the crack of a whip,” over time these lines were referred to as “whiplash” and became a staple of the art nouveau movement. They are also a staple of the revival movement, sometimes the only connecting motif.

The neo art nouveau movement is by no means limited in its influences to only historical art nouveau. While I have posited that art nouveau is an overarching genre, there are also elements of the baroque and rococo in some works. This is entirely appropriate considering the “neo-rococo” movement that is being written about in relation to artists like Jeff Koons in the pages of ArtForum. If anything the neo art nouveau is characterized by a variety of influences which all seem to be more or less subserviant to the organic, flowing, curvilinear motifs typical of the historical art nouveau. This 21st century movement adds influences like design (as I cited for Ryan McGuiness), especially graphic design, street art and graffiti. Typical of the original movement, neo art nouveau embraces bright colors and eschews traditional barriers between media. The below advertisement for a popular shoe brand demonstrates all these aspects working in tandem:

So keep your eyes open for the Neo Art Nouveau, once you start to notice it, you’ll see it everywhere.

–Abraham Ritchie