Tagged: winkleman gallery

Where the ladies at?

In her new installation at the Winkleman Gallery, Jennifer Dalton picks apart the lack of female guests on the Daily Show with Jon Stewart, among other programs. (Image courtesy of Dalton and the Winkleman Gallery.)

Jennifer Dalton’s latest exhibit began with an inkling. She was watching the Daily Show, in which some male guest was expounding at length about something when she realized she couldn’t remember the last time a woman had sat in that place. “I thought it was me, that I was just looking for that,” she says. “Then I went into the archives and I was like, ‘No fucking way.’” Dalton counted up all of the guests listed on the program’s online archives for all of 2010. During this time, 79% of the Daily Show‘s guests were men and only 21% were women.*

She then went and performed the same exercise on a bunch of her other favorite programs. All of them featured an overwhelming majority of male guests. The Colbert Report had a guest line-up that was 82.5% male. Charlie Rose came in at 80%. Bill Maher had 74%. And Rachel Maddow — Rachel effing Maddow! — featured dudes 80.5% of the time. Public radio fared somewhat better: Leonard Lopate‘s guests were male 66% of the time, while Brian Lehrer came in at 68%. Fresh Air, however, which is hosted by a woman, checks in with a low lady-guest ratio. More than 79% of Terry Gross’s guests are male. (Bands and other groups were counted as single guests, hence the fractionals.)

Dalton's "What does an important person look like?" (Click to supersize.)

“My gut is that it’s entropy,” says Dalton. “It makes me think that people are lazy. Like they’re just reblogging the same stuff.” The artist, who has previously charted the ways in which female cultural figures have been visually portrayed in the New Yorker (hint: cheesecake), has used this research to create new works for her latest solo show at the Winkleman Gallery. The central piece (shown at right) is devoted to the Daily Show, the program that spurred Dalton’s recent quest. In it, she has organized the guests by subject areas (authors, athletes, etc.) and placed the men in gold frames and the women in silver ones. The colors say it all.

Dalton says the piece was born of equal parts rage and glee. “These are heroes of mine and I think they’re doing really important work,” she explains of figures such as Stewart and Colbert. “But I just end up confused. It’s like are you with me or against me? I think of you as on my team, but maybe you don’t think of me as on your team?” She hopes that her work might get someone in some aspect of the media business to think a little bit more critically about what they do: “I would just love for these producers to be like, ‘Here’s a pile of women we rejected. Did we reject them too quickly?’” In order to do that, some of these programs might have to start by hiring a few more.

Jennifer Dalton: Cool Guys Like You opens today, at the Winkleman Gallery, in Chelsea.

*Update: Made a small correction to the Daily Show figures above. I previously had them as 78/22 male/female. The correct figures are actually 79/21.

**Further Super Duper Important Update (9/12 at 8:50pm): Some of the discussions I’ve seen on the internet about this piece suggest that Stewart’s male/female ratios are skewed towards men because he interviews so many political figures and most politicians are men. That is not the case. According to Dalton: only 18% of Daily Show guests are political figures. Of those 25 guests, only one was a woman (for a male/female ratio of 96/4). Just so you can draw some sort of comparison, the 111th Congress, which was in session when Dalton created the piece, was 17% female.

It’s actually authors and actors that make up the majority of Stewart’s guests — not political figures, as is frequently assumed. Together, these two arts-related categories make up 63% of the Daily Show‘s guests. And within these, the male-female breakouts remain nothing short of depressing. Of all the authors featured on the program in 2010, only 25% were female. Of all the actors, only 33% were women. In several categories (chefs, military figures, and filmmakers), the line-up was 100% male. Though, to be fair, he only featured one chef. What does this mean? It means that culture, as viewed through the Daily Show lens (as much as I love many parts of it), is heavily male. And don’t make me go to the gallery to count the minorities. ‘Cuz I’m sure that area is probably a hot mess, too.

Which brings to mind this delicious little video that Dalton recently Tweeted: Too Many Dicks on the Daily Show.

Photo Diary: Stuff artists are looking at.

Nefarious bacon thingies are occupying somebody’s psyche. And they’re now on view at Winkleman’s Curatorial Research lab in Chelsea. (Photos of photos by C-M.)

There’s a get-inside-the-mind-of-the-artist show going on at the Winkleman Gallery that is worth spending some quality time with. Signs on the Road is a found-object show about found objects: The organizers (a group known as Workroom G) got 150 artists to submit images of things that they are currently fixating on. And it’s a wonderfully random array of things, from photos of gnarly bacon appetizers to scans of marked-up books to a vintage prom advert that is all kinds of sky blue.

Over the course of the exhibit, the photographs will be arranged and rearranged by various collectives. The version I saw, on March 31, was damn intriguing, with oodles of twisted-crazy stuff to look at. It was like the best part of surfing the web, but without that feeling of being totally cracked out. If you go, be sure to take your time. You’ll miss lots of ridiculosity if you try to rush through.

Signs on the Road is up at Winkleman Gallery in Chelsea through April 30.

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Art Yoga. And the very many cool happenings at #CLASS.

The Art Yoga tribute to Marina Abramovic: Yoga in lab coats. Later, we sat around and stared at each other. (Screengrab taken from the live webstream.)

There’s all kinds of goodness going down at #CLASS this weekend and in the coming week, starting today with a panel on the art world’s shade of pale, organized by An Xiao, the motivational stylings of Rod Verplanck, and through the weekend, with working sessions and a contemporary art wake. This will be followed, mid-week, by balloon-popping with Man Bartlett, a feminist tea party with Suzanne Stroeb and Caitlin Rueter, a merciless Q&A with art dealer Magda Sawon of Postmasters, and a lecture, on Friday, by Yevgeniy Fiks, on Communist Modern Artists in the Art Market.

I attended Fiks’ fascinating guerrilla tour of MoMA early this week, in which he led us through a number of the works in the permanent galleries created by communists and sympathizers. (See my Tweets from that event here.) The history nerd in me (I have a thing for Cold War-era politics) was totally loving it. You can see reports on the tour at Bloggy and jameswagner.com. Fiks’ totally wonderful Russian accent just brings it all together.

Find a full schedule of events over at the official website. And I’ll see you in #CLASS.

How galleries are like hospitals. Or what I learned in #CLASS.

Spotted during the #CLASS tour of Chelsea with William Powhida. (Photo by C-M.)

Last Saturday, I joined a merciless gang of art nerds for a gallery tour of Chelsea led by artist William Powhida as part of the month-long series of events known as #CLASS at Winkleman Gallery. For the course of a couple of hours on a chilly afternoon, we inspected galleries all over Chelsea, looking not at the art, but at the galleries themselves. We studied spaces where the owner sat front and center, and others where management retreated to private offices beyond a partially-hidden elevator. Some galleries seemed downright residential (hello, couch art!), others felt like palatial mini-museums. We also analyzed how easily information was made available to the general public: as in, were price lists, press releases and artist statements front and center? Was there wall text? Or did viewers need to go begging for crumbs of information from a disaffected-looking gallerina? It was a fascinating anthropological expedition.

Afterwards, as I chatted with my fellow #CLASSmates (thank you, Barry), I realised that galleries bear an uncanny resemblance to an institutional space of a different nature: hospitals. The likeness, in fact, is downright unnerving.

Galleries and hospitals both…

  • …have lots of blank walls occasionally dotted with art of a questionable nature.
  • …are staffed by front desk employees who are willfully unhelpful until they’ve determined your ability to pay.
  • …are populated by individuals who look nervous and unsettled.
  • …are filled with unforgiving bright lights.
  • …feature dour-looking people in austere uniforms.
  • …are bare to the point of frigidity.
  • …have waiting areas stocked with odd magazines.
  • …smell funny.

Don’t believe me? Here’s a visual comparison:

From left: Hospital, gallery. (Images courtesy of pol ubeda and Marshall Astor.)

Get Ready to Shred. And many other happenings at #CLASS.

Ready to go all Ollie North on your art and other meaningful pieces of paper. (Image courtesy of Steve and Jaime at Brooklyn Street Art.)

There is all kinds of goodness going down at the #CLASS show at Winkleman Gallery in the coming week and I’m hoping you join us. On Saturday (as in tomorrow), William Powhida will be leading a gallery walk/slush in Chelsea, Mira Schor will be reading from her essay On Failure and Anonymity and blogbuds Barry Hoggard and James Wagner will be talking all about collecting. On Sunday, there will be hanging out, Battleship and artsy talk in Second Life. And, next Wednesday, at 2pm, I will be assisting my partner-in-crime, El Celso’s performance of Art Shred, in which he will dispose of several dozen works of  art, meaningful love letters and one-of-a-kind family photos. If you haven’t submitted anything for shredding, no worries: walk-ins are welcome. I’ll personally be disposing of a raft of love letters from someone who I once had a kind of intense mind-meld with. Yes, it will be wrenching to see them destroyed.

Plus, a list of other #CLASS related projects and information:

Plus, a small video preview for Art Shred:

Get motivated for #CLASS.

If only all art press releases could be this unbelievably awesome. These are the images that came through with Schroeder Romero & Shredder‘s announcement detailing the motivational speaking of Rod Verplanck CSP. Some of the text from the release:

This extraordinary live event will entertain you, challenge and transform you. Let his words of inspiration give you the tools you need to make it to the top of the Contemporary Art World. He will teach you how to “seize the day!” by acting on every passing impulse no matter how trivial or unkind, in order to unlock the suprising power in your self importance. Step by step, he will lead you to contemporary art’s Holy Grail.

This sounds like a must-see. Plus, it weirdly makes me want to get an ear piece and pretend I’m holding a baby. Catch him at #class at Winkleman Gallery on Saturday, March 6th at 6pm.

Imagined Artist Vacations: Christopher K. Ho at Pulse.

& Leisure, Christopher K. Ho’s project for the artiste with wanderlust. (Photos by C-M.)

When I’m not not making a living as a blogger, I spend a fair amount of time doing travel writing (a genre that is as sublimely ridiculous as arts writing). Which is why Christopher K. Ho’s travel-related project at the booth manned by Mexico City’s EDS Galería, at the Pulse NY art fair, caught my eye. In it, Ho’s fictional travel consultancy, & Leisure, plans vacation itineraries for well-known artists. Suggested trip for Barbara Kruger: a shopping excursion in Dubai. Olafur Eliasson gets blasted off into space for a zero-gravity flight experience. And the naughty Santiago Sierra is dispatched off to Rome for a session with the Pope.

You can view the entire project at the Winkleman Gallery, where it initially debuted in 2007. (Boy, am I timely, or what?) Better yet, scroll down for a few of my pix from Ho’s installation at Pulse.

Click on images to supersize.

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