Monthly Archive for December, 2010

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Photo Diary: MCA Denver.


Parking Job: Gonzalo Lebrija’s, Entre La Vida y La Muerte, outside the Museum of Contemporary Art in Denver. Part of the exhibit Energy Effect (Elements). (Photos by Ben V.)

Over Thanksgiving break, I paid a visit to the Museum of Contemporary Art of Denver for the first time. Founded in 1996, the museum’s website describes itself as “an activator, content provider and immediate research vehicle of culture in the making — a museum without a front door — a place for public engagement.” That all sounds good, minus the front door bit. The best part of the building was without a doubt the front entrance, which is an imposing, Mordor-esque door which slowly begins to open as you approach. After that grand entrance, it’s a pleasant, well-lit, navigable space for art, designed by rising starchitect David Adjaye.

My favorite aspect of the museum was the Open Shelf Library (see image at right), a curatorial project where displaying artists fill a shelf with the objects that inspired their work. It is stuffed with books, study drawings, test materials, and other objects — a way of making the artistic process a little more transparent.

More photos after the jump. And more from C-Mon contributor Ben V over at Contemporary Art Truck.

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Calendar. 12.14.10.


Vintage Vegas, from the archive of Robert Venturi and Denise Scott Brown. Part of the exhibit Las Vegas Studio, at the Graham Foundation, in Chicago, through Feb. 19. (Image courtesy of the Graham Foundation.)

Congrats to power for winning the C-Mon/ArtWeLove Giveaway!!! More giveaways coming up, so stay tuned…

The Digest. 12.13.10.


Eko. (Image courtesy of Eko.)

Basel Frazzle Photo Diary: The Outtakes.

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Colbert: Doing artspeak & the Wojnarowicz controversy in one fell swoop.

The Colbert Report Mon – Thurs 11:30pm / 10:30c
Tip/Wag – Art Edition – Brent Glass
www.colbertnation.com
Colbert Report Full Episodes Political Humor & Satire Blog</a> March to Keep Fear Alive

The bit begins at about minute 2:00. Brilliant.

Over at Gallerina.

Working the phones at Gallerina today, where you can find my latest NYC Datebook — and a coupla good links related to the Wojnarowicz/Smithsonian controversy.

Fire in my Belly: Or how the Smithsonian capitulated to right-wing interests.

Untitled (One Day This Kid…), 1990, by David Wojnarowicz. (Image courtesy of PPOW.)

In the event that you haven’t been following, the Smithsonian engaged in a spectacular act of cowardice this past week. The short of it is that the museum removed a video by artist David Wojnarowicz from Hide/Seek, a queer-themed show at the National Portrait Gallery, after the Catholic League complained that the work was anti-Christian. Since then, the artist’s work has turned into a whipping boy for the far right (namely, no one who has seen the video or the exhibit).

Following the hubbub, the Smithsonian removed the piece, despite the fact that not a single museum attendee had complained about it. The video, titled Fire in My Belly, is a meditation on the AIDS epidemic, created in 1987, when the pandemic was in full and fatal swing. Needless to say, it’s extremely worrisome (and enraging) to see a museum buckle to special political interests in this way. Not to mention that it’s anti-intellectual and censorious.

I’m on a crazy deadline, so I haven’t been able to give this the focus it deserves, but if you’re looking for more reads, here are a few links:

  • ArtInfo has background on the story.
  • PPOW, the gallery that manages Wonjarowicz’s estate has issued a statement criticizing the move. They also have Wojnarowicz’s video online for viewing.
  • The Smithsonian has released a pathetic response on why it capitulated to a political interest group.
  • Over the weekend, a couple of protesters got arrested detained at the National Portrait Gallery for playing the video on an iPad and handing out fliers. See a video here.
  • The New Gay has direct e-mail addresses to the Smithsonian officials in charge of this mess. Let ‘em know what you think.
  • If you live in New York, you can check out the video at the New Museum, now playing in the lobby – for free!
  • If you read one story about this, make sure it’s Christopher Knight’s take over at the L.A. Times, in which he explores the anti-gay nature of the right-wing protest over the show.
  • LATE ADDITION: My 101 on the controversy over at WNYC.

Calendar. 12.07.10.


Strap-On From Memory, 2010, by Wynne Greenwood. Part of the solo exhibit Strap-On TVs at the Lawrimore Project in Seattle, through Dec. 30. (Image courtesy of Lawrimore.)

My slideshow from the Basel Frazzle.

And I rounded a corner, only to discover that someone else was wearing my exact same outfit. (See the rest of my Art Basel Miami Beach slideshow over at WNYC.)

At the Basel Frazzle: Breakfast at the Rubells.


Healthy-delicious. And all it required was the occupation of a full house. (Photo by C-M.)

This past Thursday morning I crawled through a hole in a wall, entered a condemned house and proceeded to help myself to porridge. In one room were the bowls. In another, the spoons. In yet others were bubbling pots of oatmeal and stacks of brown sugar and raisins. While the victuals were tasty, in a fiber-rich, heart-healthy kind of way, the whole thing felt seriously overwrought. Beginning with the warning sign, at the entrance, which cautioned that the installation could be “physically dangerous.” (Clearly, these art nerds have no idea what it really takes to get into a derelict building.)

All of this was part of Jennifer Rubell’s latest food piece, Just Right, at the opening of her family’s art collection space, the Rubell Family Collection, in Miami’s arts district this week. Three years ago, I partook of her hard-boiled egg extravaganza. And as much as I abhor the idea of eating hard boiled eggs with a latex glove, there was a certain freakiness to the installation that I had to respect. This piece, however, felt frivolous – a way for a very well-to-do family to occupy a crestfallen old home within range of their imposing compound. An unwitting metaphor of Miami’s complicated issues of poverty, race, class and real estate.

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