Articles about Peoria Contemporary Art Center Installation

 

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Jetzt auf deutsch: Contemporary Art Center Exhibition: "Meanwhile...." Mark Staff Brandl

Contemporary Art Center Press Release:
“Meanwhile….”  11.Juli - 27. August 2011

Mark Staff Brandl arbeitet zusammen mit Gary Scoles und Thomas Emil Homerin

Das Trio entwickelt und zeichnet vor Ort eine raumübergreifende Comic-Installation. Die Besucher sind eingeladen diesem Prozess beizuwohnen und haben die Möglichkeit, interaktiv mitzuwirken. Die laufende Arbeit von Brandl, Scoles und Homerin wird mittels Video und Fotos laufend dokumentiert. Die Dokumentation ist Bestandteil der Ausstellung.

Vernissage: Samstag 16 Juli 2011, 18.30 bis 210.30

Die Kunsthalle in Peoria, Illinois, USA, bekannt als „The Contemporary Art Center“, lud Mark Staff Brandl letztes Jahr ein, eine seiner "Panels" Installation zu machen. Der Künstler, geboren in Illionois aber wohnhaft in der Schweiz, bemerkte bald, dass dies eine perfekte Möglichkeit wäre, sich einen seit langem gehegten Wunsch zu erfüllen. Er wollte seine beiden Jugendfreunde, Gary Scoles aus Peoria und Emil Homerin aus Rochester New York, als kreatives Team wiedervereinigen, und gemeinsam eine Installation realisieren. Vom 11. Juni bis 16. Juni wird dieser Wunsch wahr. Das Trio realisiert vor Ort in der Peoria Kunsthalle eine "live" Installation.

Brandl, Scoles und Homerin lernten einander 1965 mit 10 Jahren in der fünften Primarschulklasse in Pekin, Illinois kennen. Sie wurden eng befreundet und verbrachten praktisch jeden Samstag während ihrer Zeit im Gymnasium zusammen. Sie waren stets damit beschäftigt, ihre eigenen Superheldencomics zu schreiben und zu zeichnen. Mark und Gary waren die Künstler und Letterer, Emil der Autor und Editor. Obwohl sie sich später in ganz verschiedene Richtungen entwickelt haben, sind sie sind fest befreundet geblieben. Brandl ist bildender Künstler und Kunsthistoriker in der Schweiz, wo er vor kurzem zum Doktor an der Universität Zürich promovierte; Scoles ist pensioniert und arbeitet als Comiczeichner in Peoria; Homerin ist Professor für komparative Religionswissenschaft und Poesie an der Rochester University in New York.

Die geplante Installation wird auf der Basis von Kritzeleien aufgebaut. Brandl und Scoles haben über das letzte Jahr hinweg regelmässig spontane Skizzen in Comics-Stil auf alles Mögliche gezeichnet. Sie sammelten diese Bilder auf alten Couverts und Zetteln, die eher fürs Altpapier bestimmt wären. Sie werden diese jedoch auf die Wände montieren und neue grosse Bilder, Sprechblasen und Zeichnungen hinzufügen. Dies alles unter der auktorialen und redaktionelle Beratung von Homerin, der versuchen wird, ein Narrativ daraus zu schaffen. Die Besucher und Besucherinnen sind eingeladen die „Installation-in-Progress“ zu besichtigen und mit dem Trio ins Gespräch zu kommen. Am Ende der Woche wird die "Panels" Comics-Installation den ganzen Raum umfassen. Und die Aktivitäten werden auf Video, Fotos und in Sektionen von "Meta-Comics" dokumentiert sein.

Mark Staff Brandl kam 1955 in der Nähe von Chicago zur Welt und hat lange Zeit dort gelebt. Seit 1988 ist er in der Schweiz ansässig; wohnt seit 10 Jahren in Trogen AR. Er ist Dozent in Kunstgeschichte und Malerei an der Kunstschule Liechtenstein und der Höheren Fachschule für Bildende Kunst und visuelle Kommunikation in St.Gallen. Seine Ausbildung in Kunst, Kunstgeschichte und Theorie machte er an der University of Illinois, der Illinois State University, der Columbia Pac University und promovierte am 20. Mai 2011 mit magna cum laude an der Universität Zürich als Doktor in Kunstgeschichte. Brandl ist international seit 1980 als Künstler tätig, hat verschiedene Auszeichnungen erhalten und ist mit zahlreichen Publikationen und Ausstellungen an die Öffentlichkeit getreten. Seine künstlerischen Arbeiten wurden unter anderem von Galerien und Museen in der Schweiz, Deutschland, Italien, Ägypten, der Karibik sowie in Städten wie Paris, Moskau, Chicago, Los Angeles, London oder New York gezeigt. Einige seiner Werke wurden vom Museum of Modern Art in New York, dem Whitney Museum in New York, dem Museum of Contemporary Art in Chicago, dem Victoria und Albert Museum in London, dem Thurgauer Kunstmuseum, dem Kunstmuseum St. Gallen, The Museum of Contemporary Art in Los Angeles, dem International Museum of Cartoon Art, der Graphischen Sammlung der ETH Zürich und anderen aufgenommen.

Vernissage  Samstag 16. Juli 18.30 bis 20.30

Für weitere Auskünfte und Bilder wenden Sie bitte an:

Mark Staff Brandl: www.markstaffbrandl.com/

William Butler, Executive Director,
Contemporary Art Center Peoria
+1 309 674-6822

artcentr@mtco.com

www.peoriacac.org/

Contemporary Art Center Exhibition: "Meanwhile...." Mark Staff Brandl

"Meanwhile...." July 11-August 27 Gallery 3R Mark Staff Brandl with Gary Scoles and Thomas Emil Homerin

The trio creates a comic book installation on site from scratch, eventually enveloping the entire room. Visitors are invited to watch the process and interact with the creators. Their activities are documented in video and photos, also becoming part of the completed exhibition.

Opening Reception: Saturday, July 16, 6:30-8:30 pm

When Mark Staff Brandl of Switzerland was invited to exhibit at the Contemporary Art Center, he realized this would be an opportunity to fulfill a long-held desire to reunite his friends Gary Scoles of Pekin and Emil Homerin of Rochester, New York into an active creative team in order to realize one of his Panels Painting-Installations, utilizing as a springboard the steady stream of comic-related ephemeral sketches and doodles he and Scoles consistently produce. Starting on July 11, the team will convene in Gallery 3R to create the work on site.

The three met in 1965, at the age of 10, in fifth grade at Douglas Primary School in Pekin, Illinois. They became fast friends, spending almost every Saturday and Saturday night together for years, through high school, creating original superhero comic books. Mark and Gary were the artists and letterers, Emil the author and editor. All created their own characters, yet each helped to contribute to and develop the others' ideas. Emil bore the brunt of making narrative sense of them all. Although their lives took them in various directions after high school, the three have remained in contact, sending comics, art and related materials to one another and collaborating on projects.

The installation will commence with a batch of collected comic-art-oriented doodles on various scraps and sizes of paper that Brandl and Scoles will have done and collected over the year prior to the exhibition. These have no planned continuity nor are even consciously link-ed or guided in any way. They will be laid out as well as mounted on the walls and serve as the basis for the event and installation. Then Homerin will concoct a narrative from these, telling the artists what to add, complete, extend, or change. Visitors will be invited to come to the Art Center, watch the process and interact with the creators. After a week, an installation-comic will envelop the whole room. The activities will be documented in a video, photos, perhaps even sections of "meta-comic" where sequences about the creation of the work will become part of the completed exhibition.

The opening reception on Saturday, July 16, 6:30-8:30 pm will also honor Minnesota artist Sally J. Bright in the Preston Jackson Gallery. Food & drink will be provided. Music provided by Paul Adams. Admission is free but a donation is requested.

This exhibit is partially supported by a grant from the Illinois Arts Council, a state agency.

Hi-res photos are available.

Mark Staff Brandl: www.markstaffbrandl.com/

William Butler, Executive Director Contemporary Art Center of Peoria 309-674-6822 artcentr@mtco.com www.peoriacac.org

Dr EuroShark (finally)

Mai 2011, zum Dr. phil. promoviert in Kunstgeschichte

Innovative Metapherntheorie: Künstler und Kunsthistoriker Mark Staff Brandl legt eine beachtenswerte Studie vor

Für seine Dissertation zur Theorie der Kernmetapher in der Kunst erntete Mark Staff Brandls höchste akademische Lorbeeren. Seine Arbeit überzeugt durch hohe Eigenständigkeit, intellektuelle und gestalterische Originalität. 

In seiner Studie Metaphor(m): zur Theorie der Kernmetapher in der Kunst entwirft Brandl eine eigene Metapherntheorie für die visuelle Kunst. Ausgangspunkt ist die These, dass Kunstschaffende in formalen, technischen und stilistischen Aspekten ihrer gestalterischen Arbeit besondere Tropen oder Metaphern entwickeln, die antithetisch auf kulturelle und historische Ausdrucksformen reagieren. Brandl nennt sie «Kernmetaphern». 

Brandls Theorie stützt sich auf Untersuchungen zur konzeptuellen Metaphorik, vor allem auf die Arbeiten des Kognitionswissenschaftlers George Lakoff, sowie auf Harold Blooms Traditionstheorie und dessen Aufsätze zur «kreativen Fehl-Lektüre» (poetic misprision). Seine Theorie der Kernmetapher wendet er auf Malerei, Installationskunst und elektronische Medien ebenso an wie auf das Konzept des erweiterten Textbegriffs, auf Zeitachsen der Kunstgeschichte, Comics und künstlerisches Kulturgut im weitesten Sinn.

Die traditionelle, auf Texten basierende Buchform wird durch zahlreiche Bilder und Zeichnungen, Comicsequenzen und eine Bildinstallation des Künstlers erweitert.

 

Seine am kunsthistorischen Seminar der Universität Zürich eingereichte Arbeit wurde als aussergewöhnlich originell eingestuft und von Professor Philip Ursprung (Kunstgeschichte) und Andreas Langlotz (Kognitionswissenschaft) mit dem Prädikat magna cum laude ausgezeichnet. 

Der Philosoph Arthur Danto meint, es könne «nicht viele Dissertationen geben, die so kreativ und anschaulich sind» und der Kunsthistoriker James Elkins ergänzt: «Dies ist die farbenfreudigste Dissertation aller Zeiten!» 

Brandls Doktorarbeit wird zurzeit mit kuratorischem Beistand von Markus Landert, Direktor des Kunstmuseums Thurgau, als Kunstausstellung und Installation konzipiert.

Mark Staff Brandl kam 1955 in der Nähe von Chicago zur Welt und hat lange Zeit dort gelebt. Seit 1988 ist er in der Schweiz ansässig. Seit zehn Jahren wohnt er in Trogen/AR. Er ist Dozent in Kunstgeschichte und Malerei an der Kunstschule Liechtenstein und an der Höheren Fachschule für Bildende Kunst St.Gallen. Seine Ausbildung in Kunst, Kunstgeschichte und Literaturtheorie machte er an folgenden Universitäten: University of Illinois, Illinois State University, Columbia Pacific, Universität Zürich. 

Seit 1980 ist Brandl international als Künstler tätig. Er hat verschiedene Auszeichnungen erhalten und ist mit zahlreichen Publikationen und Ausstellungen an die Öffentlichkeit getreten. Seine künstlerischen Arbeiten wurden unter anderem in Galerien und Museen in der Schweiz, Deutschland, Italien, Ägypten, der Karibik sowie in Städten wie Paris, Moskau, Chicago, Los Angeles, London oder New York gezeigt. Einige seiner Werke wurden vom Museum of Modern Art in New York, dem Whitney Museum in New York, dem Museum of Contemporary Art in Chicago, dem Victoria und Albert Museum in London, dem Thurgauer Kunstmuseum, dem Kunstmuseum St. Gallen, dem Museum of Contemporary Art in Los Angeles, dem International Museum of Cartoon Art, der Graphischen Sammlung der ETH Zürich und anderen aufgenommen.

Als Kunstkritiker schreibt Brandl für The Art Book (London), Proximity (Chicago), und Art in America (New York). 

Link für Bilder: http://www.markstaffbrandl.com/press-images/BrandlPhD_images.html

Brandl: Four Works

 

 (click on image to enlarge)

A horizontal-scrolling doc of images of a few of my more recent works. Made for the profile on me at teh Höhee Fachschule Bildende Kunst St Gallen Switzerland.

Brandl Painting-Object in MerzWelt Exhibition in Cabaret Voltaire

Here is one photo of the Painting-Object (titled 45s Drawer) which I have in the MerzWelt exhibition in the Cabaret Voltaire in Zurich. The CB is an art center in the original space which was indeed a cabaret where Dada was created in Zurich in 1916. The show is an homage to Kurt Schwitters and his Merzbau(en). The show is from 14 April –21 August 2011. It includes many artists whose works are exhibited within a kind of Merzbau filling the space, made of cardboard. In my piece there are about 20 45s represented life-sized and 5 movable separate movable ones, including one not seen here which is an homage to Schwitters's Ursonata, titled Urblues. All are my own inventions of potential 45s that do not, however, exist. Such as a Garage Rock version of John Cage's 4'33" of Silence, Marcel Duchamp's Erratum Musical, The Handcuffs, "Meet Brandl," a single of my PhD dissertation,  a record by my pets and more.

Link to show here.

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Podcast: Interview with Latvian Painter Ieva Maurite by Mark Staff Brandl

This week: Mark Staff Brandl talks to Ieva Maurite, a young Latvian artist living in Riga. Brandl, (the Bad at Sports Continental European Office and EuroShark) interviewed her during her visiting artist gig in the Principality of Liechtenstein. Maurite is a painter, book artist and art academy instructor who has also had residencies in Paris, Iceland and many other parts of Europe.


Maurite and Brandl discuss the itinerant European artist life, art study and the artworld in Latvia, Maurite’s difficult-to-photograph linear imagistic paintings and generally have fun meandering around art topics while Brandl fails to pronounce anything in Latvian correctly including her name (which begins with an “i”, by the way, in case Richard and Duncan screw up this paragraph.)

Link: http://badatsports.com/2011/episode-292-ieva-maurite/

Liechtensteiner, Ostschweizer, Vorarlberger: Malen! Deine Stil finden! Öl, Alkyd, Acryl. Paint like a Profi!

Allgemeine Einführung in die Malerei für Fortgeschrittene;
Kurs für Erwachsene mit Mark Staff Brandl
im Kunstschule Liechtenstein

Auf dem Weg in ein selbstständiges künstlerisches Schaffen.

Möchten Sie ihre eigene Malerei und Zeichnen weiterentwickeln?

Dieser Kurs ist für Teilnehmer/innen gedacht, die schon fundierte Erfahrung mitbringen, sei es im Zeichnen, Malen oder im experimentellen Gestalten. Er wendet sich an Kreative, die bereit sind, sich nicht nur handwerklich, sondern auch geistig mit künstlerischen Phänomenen auseinanderzusetzen, um ihr eigenes künstlerisches Schaffen bzw. Gedanken zur Kunst weiterzuentwickeln.

Mögliche Inhalte:
• Verschiedene Zeichen- und Maltechniken, historisch und modern.
• Beschäftigung mit moderner und aktueller Kunst in Theorie und Praxis
• Ausstellungsbesuche
• Atelierbesuch


Mögliche Fragestellungen im Unterricht:
• Was denke ich über ein Bild?
• Wie finde ich zu einem eigenen Ausdruck?
• Welche Prozessen mache ich gerne?
• Was sind die Bedeutungen der verschiedenen Techniken?
• Techniken als Metaphern
• Welche Techniken sind richtig für meinen eigenen Ausdruck?

Ziele:
• prozesshaftes, praktisches („hands-on“) Lernen
• zum eigenen Ausdruck finden
• lernen, sich selbstständig weiterzuentwickeln
• Miteinander zu Diskutieren, Analysieren und Malen

Kursort:
Kunstschule Liechtenstein, Nendeln

Kursdaten:
Dienstags 19.00 - 22.00 Uhr (jeweils alle 14 Tage)

1.2. / 15.2. / 1.3. / 22.3 / 5.4. / 19.4. / 17.5. / 31.5. / 14.6.201 (aber Anfang zu jeder Zeit)

Kurskosten:
Erwachsene CHF 480.- / Lehrlinge und Studenten CHF 260.- inklusive Materialbeitrag

Anmeldeformular:
http://www.kunstschule.li/?page=4&action=anmelden&kat=46&id=221&kurs=221

Interview with Berlin Artist AlexanderJohannes Kraut

This week: This is the second of two interviews with German artists conducted by Mark Staff Brandl on the island of Elba, Italy. Alexander Johannes Kraut is an artist who concentrates on drawing and printmaking, sometimes reaching installative proportions. He has also created an amazing thirteen chapter wordless graphic novel. Kraut comes from a farming village in the Allgäu, and is now based in Kreuzberg in Berlin. He has lived in many places and exhibited widely in important museums and other venues including in Mexico City, Paris and New York as well as several places in Germany.

The artist was in an invitational retreat in July as a working guest of a foundation on the island of Elba along with Viennese jazz pianist and composer Martin Reiter, New York playwright Sony Sobieski, Ruessellsheim artist Martina AltSchaefer (the interviewee in part one) and Mark Staff Brandl, the EuroShark the Bad at Sports Continental and now also islandal European Bureau. As a note to English speakers: Kraut's name is not only amusing as the English-language slang for 'German,' but also means 'herb' in German, and 'Johannes Kraut,' called 'St. John's wort' in English, is a plant traditionally used to combat depression and, in ancient times, to ward off evil.

Look for more Sharkforum Berlin connections soon!

Link: http://badatsports.com/2011/episode-279-alexander-johannes-kraut/

Martina AltSchaefer, German artist of drawing, interviewed on Bad at Sports

This week on Bad at Sports I interview Martina AltSchaefer.This is the first of two interviews with German artists I conducted on the island of Elba, Italy. Martina AltSchaefer is an artist living in Rüssellsheim, Germany. She studied with the famed Konrad Kapheck and her creative work centers on very large, labor-intensive drawing in colored pencil on translucent paper. AltSchaefer has exhibited in many prestigious galleries and museums. She also does printmaking and is an expert on mezzotint, about which she has curated shows and written essays. She was in an invitational retreat in July as a working guest of a foundation on the island of Elba along with Viennese jazz pianist and composer Martin Reiter, New York playwright Sony Sobieski, Berlin artist Alexander Johannes Kraut (the interviewee in part two) and me, Mark Staff Brandl, the EuroShark, Bad at Sports Continental and now also islandal European Bureau. And for all the Napoleon fans, especially those commenting on Facebook, they were not in exile and even Mark was allowed back on the mainland without having to invade it.
Link: http://badatsports.com/
Direct page link: http://badatsports.com/2010/episode-272-martina-altschaefer/

Brandl Dissertation On-Line

(Click on image to view enlarged.)

The final central chapters to my PhD dissertation, Metaphor(m): Engaging a Theory of Central Trope in Art, in almost finished form, are now up on my website. That is, Chapters Four, Five, Six, Seven, Eight and Nine. Please check them out including the accompanying Covers paintings at the beginning and sequential comic art sequences at the end of each. They are titled:

CHAPTER FOUR: Conceiving Metaphor(m)s

CHAPTER FIVE: My Metaphor(m)

CHAPTER SIX: Central Trope in Two Contemporary Painters' Works

CHAPTER SEVEN: Artistic Ground: Cultural Inheritance, Struggle, Respect, Material and Identity

CHAPTER EIGHT: Metaphor(m) and the Expanded Text Concept

CHAPTER NINE: Timelines, Comics and a Plurogenic View of Art History

Link to the dissertation on-line here.

Please comment on them either here or on my Facebook page, if you desire.

Brandl: 'Cover' Painting for Chapter Four of the Dissertation

(Click to enlarge)

Bad at Sports exhibition at Apexart Gallery NYC --- With extra special guests!

Over the past two months everyone at Bad at Sports has been in a frenzy preparing for the exhibition, "Don't Piss On Me And Tell Me It's Raining" at apexart in New York. The show was a bit of a last-minute golden opportunity, so details have been scarce, but we now have the full scoop on what's in store, and it's pretty awesome. (You can keep up with Meg, Duncan, Amanda, Tom and Richard throughout the show's installation and opening events by following Bad at Sports on Twitter and the hashtag #basapex.) The exhibition features over 100 objects, images and ephemera that will serve as a visual complement to Bad at Sports' considerable audio archives, submitted by Bad at Sports contributors and guests of the show, including:

Carol Becker, Britton Bertran, Temporary Services, Adam Brooks and Mathew Wilson, Ivan Brunetti, Tom Burtonwood, David Coyle, Death by Design, Elizabeth Chodos, Miguel Cortez, Tony Fitzpatrick, Rob Davis and Michael Langlois, Jeremy Deller, Lisa Dorin, Jim Duignan, Dan Devening, Cody Hudson, Jason Dunda, Fendry Ekel, James Elkins, Anthony Elms, Pete Fagundo, Mary Rachel Fanning,Tony Feher, Rochelle Feinstein, Pamela Fraser, Liam Gillick, Helidon Gjergji, Michelle Grabner, Dylan Graham, Madeleine Grynsztejn, Sarah Guernsey, Terence Hannum, Anni Holm, Brian Holmes, Astrid Honold, Christopher Hudgens, Meg Onli, Amanda Browder, Tom Sanford, Duncan MacKenzie, Christian Kuras, Ben Tanner, Scott Hug, Richard Holland, Carol Jackson, Paddy Johnson, David Jones, Alex Jovanovic, Atsushi Kaga, Mark Staff Brandl, Vera Klement, Peter Saul, Gregory Knight, Monique Meloche, Leo Koenig, Chad Kouri, Steve Lacy, Caroline Picard, Jose Lerma, Laura Letinsky, Kerry James Marshall, Ed Marszewski, Eric May, Dominic Molon, Anne Elizabeth Moore, David Morgan, Julian Myers, Gavin Turk, Liz Nofziger, Jamisen Ogg, Neysa Page-Lieberman, Trevor Paglan, Raymond Pettibon, John Phillips, Allison Peters Quinn, Lane Relyea, Lawrence Rinder, David Robbins, Thomas Robertello, Julie Rodriguez Widholm, Elvia Rodriguez, Nathan Rogers-Madsen, James Rondeau, Marlene Russum Scott, Alison Ruttan, Steve Litsios, Dan S. Wang, Stephanie Smith, Deb Sokolow, Scott Speh, Chris Sperandio, Lisa Stone, Shannon Stratton, Randall Szott, Christine Tarkowski, Tony Tasset, Tracy Marie Taylor, Ron Terada, Philip von Zweck, Hamza Walker, Chris Walla, John Wanzel, Chris Ware, Oli Watt, Tony Wight, Anne Wilson, Jay Wolke, InCubate, Curtis Mann, Alex Meszmer and Reto Müller, Michael Velliquette, Clare Britt, Shannon Stratton, Damian Duffy, William Conger, M N Hutchinson, Mark Francis, Annika Marie, the artists of Blunt Art Text, and more.

The exhibition also features three related exhibition talks, all of which are free and open to the public. They'll all be rebroadcast on upcoming episodes of Bad at Sports' podcast, for those of you not able to catch the events in NYC.

You can download the exhibition brochure, which features a conversation between co-founders Duncan MacKenzie and Richard Holland about the history of Bad at Sports, here.

Brandl Dissertation Chapter Three: Excursus

This is Chapter Three of my PhD dissertation (thus the fourth on-line following the Prelude and Chapters One and Two which I already posted). This chapter is in comic form and in it I begin to apply my theory to my own work as well as that of others.

The Chapters are permanently archived on my website here, but I am posting a notification on Sharkforum as I finish them and they are critiqued and approved. (I am writing under the direction of Prof. Philip Urspung at the University of Zurich, Switzerland. My second reader is Prof. Andreas Langlotz at the University of Basel, Switzerland.) This is also to offer a location where any reader who wants to can post comments, most of which will go into my final dissertation project in some fashion. I would love your comments, criticism, tangential thoughts and more!

Link to chapter here (in pdf).


Please be aware that by commenting here, you are giving me permission to use your words, with proper citation including your name, in some fashion in my final book and exhibition.

All elements are (c) and TM 2010 by Mark Staff Brandl.

Brandl Dissertation Chapter Two, The Theory of Central Trope: Metaphor and Meta-Form

This is Chapter Two of my PhD dissertation (thus the third on-line following the Prelude and Chapter One which I already posted). This is the key chapter, as it fully elucidates my theory.

The Chapters are permanently archived on my website here, but I am a post of notification up on Sharkforum as I finish them and they are critiqued and approved. (I am writing under the direction of Prof. Philip Urspung at the University of Zurich, Switzerland. My second reader is Prof. Andreas Langlotz at the University of Basel, Switzerland.). This is also to offer a location where any reader who w ants to can post comments, most of which will go into my final dissertation project in some fashion. I would love your comments, criticism, tangential thoughts and more!

Link to chapter here (in pdf).


Please be aware that by commenting here, you are giving me permission to use your words, with proper citation including your name, in some fashion in my final book and exhibition.

All elements are (c) and TM 2010 by Mark Staff Brandl.

Steve Hamann: Bad at Sports Podcast Group, Cartoon for Apex New York

Click on image to enlarge.

HOLLAND COTTER: Art in Review ‘#class’

Winkleman Gallery
621 West 27th Street
Chelsea

Can we talk? That seems to be an urgent art world question, partly because of an economic shakedown that sensible people — i.e., the writers of art fair news releases — keep saying is over, or never happened. But New York artists, in need of jobs or apartments or ways to pay their art school loans, are pretty sure that it did happen, and that it isn’t all that over, even if the Armory Show really had an extraspecial year.

Winkleman Gallery is doing its part to keep the conversation on the boil with an exhibition called “#class,” organized by the artists Jennifer Dalton and William Powhida, who is on loan from Schroeder Romero & Shredder Gallery. The pair have turned the main exhibition space into a combination lecture hall and conference center, with big tables, sit-up-straight chairs and wall-to-wall chalkboards in a constant process of being filled and erased as the show’s events come and go.

So far, the schedule has included discussion panels titled “Success,” “Access,” “The Ivory Tower,” “The System Works” and “Bad Curating.” To get competitive juices flowing, the artist Amanda Browder of “Bad at Sports,” a Chicago-based art podcast, offered a presentation called “Battleship,” which pitted Formalists against Conceptualists, artists against dealers, and painters against the world. A bruiser, I hear.

The art historian and critic Mira Schor, author of an excellent new book called “A Decade of Negative Thinking” (Duke University Press), read an essay on the potentially positive aspects of failure and anonymity. And the artist Joan McNeil led a panel on the notion that the art world isn’t as racially integrated as it likes to think.

So the show’s program is substantial. And there’s even something for gallerygoers in search of art on the wall. The chalkboards — think 1960s Cy Twombly — make for very entertaining reading. And Ms. Dalton and Mr. Powhida have small, conference-approved text drawings in the gallery’s back room. (They’re for sale, but with stipulations way too complicated and finicky to go into here.)

Bottom line: artists are artists’ best friends, and there should be more gatherings like this one.

Final thought: class, as in social class, is the elephant in the art fair V.I.P. rooms, in the art school studios and in Chelsea galleries. Please, can we talk? Yes we can: Friday at 2 p.m. in the gallery, the estimable art critic Ben Davis will present his “9.5 Theses on Art and Class.”


The New York Times, March 19, 2010

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Dawoud Bey: History Lesson in Philadelphia

The Society of Photographic Education Meets in Philadelphia

The Society for Photographic Education held its national conference this past week in Philadelphia. I had been active as an SPE member in the 1980s and early 1990s, but hadn't attended or participated in one of the conferences for probably fifteen years or more. This years conference theme and title "Facing Diversity," along with an invitation from the conference organizers to be a featured speaker, found me in Philadelphia among some 1200 photographers and photographic educators who came from all over the country to participate in panels, show their work to portfolio reviewers and to interview for various college and university teaching positions. A wealth of other programming--both on and off site--along with the presence of a number of a number of curators, writers, and critical theorists leading and participating in provocative discussions, made for a lively and engaging four days.

At the conclusion of the conference a convocation program was held that saw a number of awards given to both students and various professionals in the field, acknowledging their works and contributions within the field. The Honored Educator was my dear friend Dr. Deborah Willis, who received an outpouring of heartfelt tributes from former students, those she has mentored over the years and her son Hank Willis Thomas that left not a dry eye in the room. My remarks that evening were dedicated to her. I wanted to provide some historical context for the gathering, since the population of attendees at these events is becoming simultaneously both older and younger. The older folks may or may not know the history leading up that moment and the younger ones just coming into the field almost certainly don't. I was pleased to be introduced by Myra Greene, my colleague in the photography department at Columbia College Chicago. The text of my remarks follow below:

"When I was asked to speak at this event I thought long and hard about what I wanted to say here and indeed if I wanted to say anything at all. Actually I thought about what needed to be said on this occasion in this place as this community gathers here in Philadelphia where over four days a wealth of ideas, thoughts and work would be presented. As a black person I have to say that I was quite honestly somewhat put off by yet another event purporting to be about “Diversity” since on the surface it appeared to be yet another ready opportunity to preach to the choir or to come to Philly and “stick it to the man” while “the man” is actually elsewhere, going about his usual dastardly business, completely ambivalent to the absence of those routinely excluded from the institutional conversation. I also am aware that the conversation about “diversity” as a specific term has gone on now for well over two decades even as during that time some things have changed while sadly more than a few things remain the same. I thought then that it would be helpful to re-examine some recent history, since I believe that it is important to be familiar with that history in order to avoid some recurring pitfalls. I am also aware that some might not know this history at all and subsequently take a lot of hard work and struggle for granted. Whatever advances have been made require an historical framework.

My interest in making photographs was crystallized in 1969 when I went to see the exhibition “Harlem On My Mind” at the Metropolitan Museum of Art when I was sixteen years old. I had never been to a museum before on my own and I have to say that actually didn’t go to the museum that day to see the exhibition. Some of you may know the contentious history of that exhibition. You might know that Benny Andrews and a multiracial group of other artists organized themselves into a group that became the Black Emergency Cultural Coalition to protest the exclusion of the voice of the black community in this this exhibition that purported to speak on their behalf. You may know that Meir Kahane formed the Jewish Defense League at that moment to protest what he felt were the anti-Semitic statements made by a young black woman student, who took the Jewish shop keepers in Harlem to task for what she considered to be their exploitative relationship with the black community. Unknown to the writer her essay had been altered and footnotes removed, making some of the quotes appear to be her own rather than words of others that she was quoting in her essay. You may or may not know that Roy DeCarava, refusing to give up control of his work in order to be in the exhibition was on the picket line, with a sign that said, “The White Folks Show the Real Nitty Gritty.” So when I set off that day from Queens, NY to go to the met I was actually going to see what all of the controversy was about, since I had read about in the local papers. As fate would have it by the time I found my way there the picket lines had vanished. Or maybe they had never come that day. At any rate I then had little choice but to go in to see the show.

Usually when I talk about the “Harlem On My Mind” exhibition I talk about seeing the photographs by James Van DerZee for the first time and how that experience informed my decision—along with my own family’s history there—to begin my first project “Harlem, USA.” But what I am in interested in looking at and revisiting this evening is the sense I got very early on of the museum as a highly contested site as the Met sought to move what it considered to be “the black experience” into the halls of a mainstream museum.

The “Harlem On My Mind” protests were not the only flashpoints taking place between artists, the larger social community and mainstream institutions. That same year Andrews and others petitioned the Whitney Museum of American Art, demanding that they be more responsive to the works of black artists. In the ensuing back and forth the BECC announced what it called “a massive boycott” of the Whitney over its decision to indeed mount an exhibition of works by black artists but with no input from them or black curatorial input. Similar protests took place at the Museum of Modern Art that same year, led by the Art Workers Coalition, a group of artists, filmmakers, writers, critics and museum staff, pressuring MoMA into implementing various reforms. These included a more open and less exclusive exhibition policy concerning the artists they exhibited and promoted: the absence of women artists and artists of color was a principal issue of contention. The coalition successfully pressured the MoMA and other museums into implementing a free admission day that still exists in certain museums to this day. All of these actions were undertaken by artists to press the issue of how to dynamically engage the museum as a pubic institution and make it more truly responsive to that public and the larger art community.

Not only were artists and their supporters protesting the lack of equitable representation on the part of mainstream public institutions, but more importantly they were forming their own organizations in order to provide the support that others were not. It is worth revisiting this history as a way of also looking forward. So let me talk a little bit about some of that history:

In 1967 the Studio Museum in Harlem was founded. The institution took its name and identity from a proposal that was written by the painter William T. Williams, whose idea it was to have a community museum for African Americans that also included studio space where members of the community could interact with black artists, and the artists would have the opportunity to more directly engage the community. Williams and fellow artist/sculptor Mel Edwards rolled up their sleeves, and with push brooms and much sweat cleared the light industrial loft space--then located over a Kentucky Fried Chicken-- in preparation for repurposing it into studios and exhibition space. The Junior Council of the Metropolitan Museum lent its backing to the fledging effort shortly thereafter. By 1969 [the very year of the Harlem On My Mind controversy] the museum mounted an exhibition, "X to the Fourth Power" that featured to work of Williams, Mel Edwards, Sam Gilliam, and Steven Kelsey (a white artist). The museum has been continually exhibiting works by black artists ever since that time. It’s first artist-in-residence was the painter LeRoy Clarke, who was joined shortly thereafter by Valerie Maynard and Lloyd Stevens. The museum has been providing work space, stipends and exhibitions to artist continuously ever since and many of those artists have gone on to become some of the most celebrated artists working in this country. The numerous publications that Studio Museum in Harlem has produced and the curators and art administrators it has trained are all testimony to its endearing importance. But it is important to remember that it began with one artist’s proposal and then another one joining him to help make that vision a physical reality, one that continues to provide much needed and extraordinary support some forty years later.

Also in 1969 the photographer, curator, writer and educator Nathan Lyons along with his wife, the artist Joan Lyons, founded the Visual Studies Workshop in Rochester, NY. For forty years now VSW has been provided a resource to the community of photographers and those committed to the artist book. Their publication AfterImage has been published consistently and has been an absolutely valuable source of information as well as providing an outlet for those writing on photography and media. Again, it was two artists who undertook the hard work needed to create, build and sustain this institution.

Another history lesson: In 1974 five New York Puerto Rican photographers—Charles Biasiny-Rivera, Roger Caban, George Malave, Phil Dante and Nestor Cortijo--came together to found an organization that became En Foco. While initially formed to create exhibition opportunities locally for their work and others, the organization for over thirty-five years now has exhibited, published and otherwise promoted the works of hundreds of photographers of color and provided workshops, portfolio viewings and other programming that have probably—both directly and by extension—benefited thousands of photographers as well as providing a resource for other institutions seeking the work of those photographers and artists. I know that many of you in this room today—including myself--have been the beneficiaries of the work that those five visionary photographers did as the organization has moved forward and grown over the years. It is important to remember that En Foco was not formed by someone deciding to open their doors and “diversify” or otherwise reconsider their pattern of exclusion. It was founded by photographers, by five Newyoricans who had a vision and attached a plan to it and did the hard work needed to make it a reality. So let’s acknowledge Miriam Romais and the current staff of EnFoco for the work they continue to do.

Let me continue with this history lesson: Around that same time in 1973 two former Syracuse University students Phil Block and Tom Bryan set up and began running the Community Darkrooms, a public access photography facility they had created by petitioning the University for much needed work space for area photographers. Community Darkrooms soon expanded and became Light Work/Community Darkrooms. Phil and Tom then brought in Jeffrey Hoone, who became and remained the director of Light Work from 1982 until recently, bringing in Hannah Frieser to continue the work of this extraordinary organization. Light Work’s residency program has provided an opportunity for hundreds of photographers over the years to have the necessary support to pursue their work in an absolutely supportive environment, and to disseminate that work through the publication Contact Sheet, which they grew from an 11X17 folded black ink broadside into a major publication which regularly puts that work in front of an audience of thousands. It would seem to me that we as photographers should be paying them for this, but no, they pay us while also providing this ongoing support through their residency and publication program. The existence of Light Work and its extraordinary growth makes it clear the power we each have to be the ones to make the difference that we need. I’d like to ask Jeff Hoone to stand so we can acknowledge his hard work on our behalf along with Hannah Frieser and current Light Work staff.

I could repeat these story in so many other ways by talking about so many other institutions. I could talk about Exit Art, which was founded by the artist Papo Colo and Jeanette Ingberrman, or Autograph, which was founded by several black photographers in London in 1988 who had previously started a group called D-Max, or we can talk about GASP Arts, founded five years ago by artist Magdalena Campos Pons and her husband, the musician Neil Leonard. I had a wonderful pleasure last night of participating in an event at the Philadelphia Photo Art Center, a new organization here in Philadelphia that is being run by two young photographers, Stephanie Solfa and Christopher Gianunzio, who are doing some really meaningful work right here in this community, creating opportunities and infrastructure for photographers here in Philly. All of these people, and others too numerous to mention, and some I don’t even know remind us what it is we as a community need to continue to do if we are to ensure our survival. There is no one else, quite frankly, but us. As the saying goes, “We are indeed the ones we have been waiting for.” I think we always have been and we always will be.

I believe that it is this self initiative, along with continuous public and vocal agitation insisting that public institutions be truly reflective of the public that sustains them by their tax dollars as well as demanding that public institutions reflect the very nature of the society in which they are situated, that will bring about the change that we both want and need. It was those public demonstrations, protests, writings and other forms of agitation that created whatever inroads were made over the past several decades. And progress has been made, but only because it was demanded. If you want an example of what happens when we fail to publicly agitate for change, what happens when we let our guard down, what happens when we stop letting people know that we have the capacity to get seriously pissed off if we are disrespected, one has only to look as far as the current Whitney Biennial. In an exhibition that ironically uses an image of Barack Obama on the catalogue cover, we find among other things absolutely no Latino artists and a total of three black artists among fifty-five artists in the exhibition. Artists from other non-white cultures are also underrepresented or not represented at all. What is your response to that? What would the response have been in 1969? I can’t imagine that this kind of situation would have been tolerated at that moment. Perhaps because there have been some changes over these past decades that we have become complacent or less vigilant. After all a few people of color have received MacArthur Fellowships, Rome Prizes, Guggenheim Fellowships and other forms of significant recognition. Some of us may have books, commercial gallery exhibitions, residencies where others pay us to simply do the work we want to do. I’m one of them And others here tonight are also among those fortunate enough to have have made important inroads, all due to those who came and agitated before us. So it’s easy to think the work is done, the struggle over. And yes, it’s frustrating to realize that even as progress is being made pressure must still be continuously applied.

And then along comes the Whitney Biennial 2010 to remind us just how little some things have changed as far as some people are concerned and why we must continue to agitate for an inclusive presence. With all of the profound problems we are facing as a country right now and for all of the frustration that grows out of a seeming inability to directly affect real and sustained social and political change, some have said that the progressive movement in this country is experiencing a kind of collective depression and that this explains the eerie silence surrounding so much of political discourse from the left at this moment. I wonder if those of us who have struggled so long in our various arenas may not also be suffering from a kind of battle fatigue? One thing I do know is that those who would like to maintain the status quo of exclusion never seem to get tired of doing so. And we must never tire of letting them know that we belong at the table as much as anyone else, even as go about the business of building our own tables.

So what to do? I don’t think it’s for me to come here tonight and answer that question. Rather I can only hope that through the example of history we get a sense of what needs to be done. Finally, I’d like to share a few thoughts on “Diversity,” since that is the theme of this conference. Diversity to me implies that there is still some normative paradigm at the center that we are seeking to destabilize rather than doing away with it in favor of something quite different. It suggests that institutions have an inherently white and male identity that needs to be added to. To operate out of this paradigm is, of course, a kind of tokenism by yet another name and seeks to trade on the momentary (but always empty and short lived) self-congratulatory excitement of seeing a new color in still unexpected places. It would seem to me that by now we should be approaching a point where anyone should be expected to be anywhere. I think it's time to turn away from "diversity" as an operative objective and turn instead towards the more meaningful and substantial goal of making institutional spaces ever more inclusive and embrace the goal of inclusivity, in which everyone's identity is central to the whole. One way to accomplish this is to consider how in fact the institution's identity can be meaningfully transformed and expanded conceptually by this enhanced inclusiveness in a way to deeply transforms the very nature of that institution. Inclusivity implies a desire to actually change through institutional expansion, while diversity implies to me that those being brought in have to simply fit into the normative and dominant existing paradigms and simply add "color" to it.

In the end of the day we still need to agitate for a transformed worldview within institutional culture that embraces the truly global and multiracial character of our human community.

Anything less than that should met with continuing, vocal and vociferous protest."

See more Bey posts at his blog, What's Going On?

Clifford Meth's Welcome to Hollywood and His Sharky Response

As Rich Johnston writes, "Earlier this week, writer Clifford Meth revisited his rather-abandoned-of-late column at Comic Bulletin, Meth Addict.In which he told how a project he was associated with, Dave Cockrum's The Futurians almost made it to the screen a couple of times.And how he was also hired to write a screenplay treatment for his IDW series Snaked, before being moved aside for another writer - and then discovering he was suddenly not getting paid his kill fee...

"We have a contract," I said. "Of course he's going to pay me." "No he isn't. He's pretty sure you won't sue him. The fee is too small and you'd have to fly to Los Angeles to file for damages. Apparently this is how he does things." "Tell me this is a bad joke." "Sorry Cliff," said my agent. "Welcome to Hollywood."

So Cliff describes how he offered to "talk" with the producer's parents. Whose address Meth happened to have. Which suddenly has the desired effect.The column has been pulled, after someone got a bit scared it seems. But I understand the specific column in question has been bought out by a bigger site who will be running it tomorrow.

Not Bleeding Cool, we weren't even in the bidding. But if you'd like to read the whole column now, go to Daniel Best's Blog, where it is re-posted here.

Noah Berlatsky: "Artists Write: The Last Shall Be First"

Proximity continues its Arts Theory Column, edited by Mark Staff Brandl, with an essay by Noah Berlatsky: "The Last Shall Be First."

Most traditional economic theory is built around the concept of scarcity -- the idea that there's not enough stuff to go around. In The Accursed Share (1946), famed theorist Georges Bataille inverts this; life, he says, is characterized, not by too little, but by too much. Life is excess -- it pushes onto every bleak rock, every cranny; it spends itself in profligate sexual activity and in the ultimate profligacy of death. And it throws out unneeded economic activity; too much fat, too many children, too much grain in the stores, too many bodies in the street, too much creative energy shaking its collective tuchas on the YouTube videos.

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For Bataille, it is the business of life and of society to consume this "accursed share". The paradigmatic way to do this is through sacrifice; the burning of goods -- or, better, of lives -- with no recompense. Through sacrifice, Bataille argues, the blasphemous impulse to turn other creatures, other lives, into productive things, is reversed, acknowledged as false and evil. To respect the universe, abundance must be spent, not horded. The Aztecs, in burning men, honored life.

The bloody Aztec rituals were paradigmatic; the North American Indian custom of potlatch, on the other hand, was, for Bataille, a sinister travesty. In the potlatch, an Indian would give a valuable gift to a rival to demonstrate his own wealth and power. In response, a rival would have to give an even greater gift. This could go on and on, back and forth, and whoever ended by giving the greatest gift would show himself superior. Thus, squander was not in fact squander -- the winner did not lose his gift, but instead traded it for prestige, or rank. Bataille thus notes contemptuously that potlatch "attempts to grasp that which it wished to be ungraspable, to use that whose utility it denied." By turning sacrifice into rank, Bataille believed, potlatch turns, not a part, but the whole of the universe to a servile thing.

...in the modern day, the avatar of Bataille's twisted potlatch is none other than the artist, in all his or her needy, self-deluding, miserly profligacy



Potlatch as such is now practiced in only a handful of places, and (to be remorselessly PC) one has to wonder whether Bataille's anthropological account really did the custom justice. Still, if Native Americans don't exactly recognize Bataille's potlatch, others, I think would. Who, after all, profligately spends time, energy, and resources in a remorseless quest for status and rank? Who grasps the sacred and turns it to the profane ends of thingness? Who wastes, not in the name of a sublime nothing, but in the pursuit of a soiled, excess something?

The answer is clear enough: in the modern day, the avatar of Bataille's twisted potlatch is none other than the artist, in all his or her needy, self-deluding, miserly profligacy. The artist hunkers down with her or his materials, practicing, practicing, practicing, wasting life in the pursuit of an entirely useless form--and for what? Why to be noticed, admired, proclaimed a genius--in short, for rank. True, some artists, the least debased, seek, not some subcultural caché, but simply money. They are guilty only of the typical human failing; the desire to turn bits of life into things; to treat the sacred as a business proposition. Beyoncé and Rod Stewart are no more despicable than, say, Bill Gates, or your average carpenter. But by far the vast majority of artists forswear (relatively) healthy capitalism for the putrid wallowing in essences; they desire to turn life itself "authenticity" into a bludgeon with which to beat their rivals. The Aztecs tore out hearts to offer to the Sun God; artists pour out heart and soul and offer it to Pitchfork reviewers.

That is not to say that all artists are inevitably defiled. On the contrary, if any contemporary figure attains to Bataille's ideal of pure sacrifice it is one particular kind of artist--that is, the failed artist. Note that by "failed" here, I do not mean the artist who has missed commercial success, but has underground cred or aesthetic bonafides, or who is discovered and lionized after his death. On the contrary. When I say "failed" I mean "failed." I mean an artist who profligately, copiously, obsessively works on creating objects that are, literally--by everyone and forever--unwanted. Creators of tuneless songs that never achieve dissonance; of ugly canvases too self-conscious to be outsider art; of doggerel verse too banal for even the high school literary magazine--in them, the excess of the universe is annihilated. Genius, love, life--are exchanged for neither lucre, nor cred, nor beauty, but are instead simply thrown away. Failed art is permanently wasted, and it is therefore sacred. Squatting amidst the gross outpouring of sublimity, the ugly, the thumb-fingered, the clichéd piece of crap, is alone sacred.

Proximity magazine here.

Lamis El Farra, Painting Show in the Collapsible Kunsthalle

The Collapsible Kunsthalle: documentation of the latest exhibition, "Faces," paintings by Lamis El Farra. Trogen, Switzerland, Galerei am Landesgemeindeplatz.

Link here.

Short Video Interview with Brandl at CAA on Columbia College Blog

Barabra Trinh says, "While I’m sitting waiting for a session to begin, my curiosity was sparked when a man in front of me was enthusiastically speaking about comics and his art on the T-shirt he was currently wearing. Instead of handing someone an ordinary business card, he hands them a button with his contact info on the back. That is because Mark Staff Brandl (http://www.markstaffbrandl.com/) is no ordinary artist. He is interested in comic/ sequential art, painting, and art history. His installations are described as ‘walk in comic books’, a mixture of installation and comic books that are 12 ft tall. In the video, Mark tells us about himself and his experience at CAA."

Barbara Trinh, BA Candidate from the Film & Video Dept

Student Comics KSL 2010

Comics by the Students in the 2-day Class in the Kunstschule Liechtenstein

(Art Academy of Liechtenstein)

in March 2010 with Mark Staff Brandl.

(click on comics to view enlarged)