Archive for April, 2009

Digi-Curating

April 24, 2009

Recently, I saw the lovely person behind i heart photograph speak at SAIC. She was brought by the graduate Photography department’s programming committee. Although everyone was remarkably positive about her various projects (and I, too, love them and am jealous of her prescient eye), I am still weary of calling a blog a curatorial project. Sure, a blog consisting of your fave photos of the moment is a curated project in the way that a mix-tape is, but it’s also not the same thing as Hans Ulrich-Obrist’s Do It.

the print-version of the project

Do It consists in many forms, but the online manual of this commissioned project announces a thematic for the works included. Maybe this is what I don’t see happening on the lovely i heart photograph site – other than the blogger’s taste, nothing else unites the images, however interesting they might be.

Pulitzer Prize for Criticism

April 22, 2009

The winner of this year’s Pulitzer Prize in Criticism went to an art critic. Hooray for that, however, even though an art critic is not a common choice for this prize, the winner was the hardly obscure Holland Cotter of The New York Times. Known for publicizing Ryan Trecartin and contemporary Chinese artists, I always assumed he was a bit younger. But you know, it could just be a bad photo. Young at heart.

Paging Mr. Cotter

Paging Mr. Cotter

http://www.pulitzer.org/biography/2009-Criticism

Slumdog Millionaire

April 21, 2009

Artists and those involved in the arts have notoriously bad taste in music and film. I’m going to blame this on the motif of appropriation because many artists and artsy types have interpreted this to mean that they can like “everything.” In my pursuit of everything, I rented Slumdog Millionaire at my local video store (no Netflix). I had wanted to rent Twilight, but it was sold out. Even though I never watch the Oscars, I decided that I would be doing my job by watching their best movie of 2008.

I was wrong because this film is so cheeseball. I like melodramas, but this one tries to incorporate some artsy camera shots. The film is just choppily cut, uses a variety of filters, and has some slo-mo frames. It’s more like a music video made by someone who wants to show off all of the techniques they recently learned at film school. Oh, and MIA’s music appears ahistorically throughout the film.

Here’s the moral of the film: don’t let money rule your life and you will be destined to inherit money. It’s a love story, but not one that I would want to happen to me. I don’t want to be destined to be rescued from a drug ring by some gawky, unattractive dude I met when I was a child. This is probably why Latika’s dialogue with our protagonist consists of nothing more than, “Thanks!” or, “Get out of here!”

However, the film was entertaining enough to watch on my laptop before going to sleep, but I should have rented Twilight.

Jamal and Latika don't have much to say to each other.

Jamal and Latika don't have much to say to each other.

Case-by-Case Basis at the Lloyd Dobler Gallery, March 6 – April 11, 2009

April 6, 2009

The Southern Graphics Council Conference was held in Chicago last weekend. The culture of printmaking is one filled with extremes of application, from those that embrace the specifics of the medium or if its one based on the cultural implications of printmaking as a easily and instantaneously produced medium for circulation within the populace. Bad at Sports recorded a podcast in conjunction with the conference which, thanks especially to Mark Pascale’s contribution, helps to illuminate the discrepancies between what is printmaking in terms of an art practice in general.

This all-print show at Lloyd Dobler features carefully crafted, gorgeous works with a hint of mystery to them. Literally, something is missing, a ghostlike trace across the print in Alex Chitty’s works that distinguishes the present-day work from being mistaken for a 19th century print. This spectre points to the haunting of printmaking by its past, a fear still so real and tangible.