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Responding
to the changing nature of the art media in recent years and
a mutual interest in print and interactive culture,
Franz Ackermann,
Gareth James, Dave Muller, Danica Phelps, Ron Terada, and
the artist group BANK have created individual and collaborative
projects
that
will be published in New York-based art periodicals beginning
this spring. A related selection of the artists’ published
materials will be on view in the reading room at the Center
for Curatorial
Studies from May 11–25, 2003.
Upcoming
Berlin artist Franz Ackermann is recognized for
his "mental
maps," watercolors
he produces that visualize and track his international travels.
In a number of related works, Ackermann has used art world literature,
including exhibition catalogues and posters, as sites to create
special projects. Combining different modes of circulation and
travel, Ackermann exposes the interplay that exists between structures
in the art world and their significance in the world-at-large.
A project will appear in an upcoming issue of TRANS>arts.cultures.media.
Image:
Kunsthalle Basel catalogue (detail), 2002, courtesy Kunsthalle
Basel, Germany
Links: www.transmag.org
Spring 2003
In the May issue of the Internet publication Artkrush.com,
New York artist Gareth James collaborates with curator and color
theorist
Storm van Helsing to interview Simon Bedwell, a founding member
of the London artist group BANK, about their work during the 1990s.
The interview examines the group’s various works in print,
including their self-published tabloid The BANK (1996/1997) that
parodied the 1990s London art scene and Press Release (Fax-back
project), where BANK edited, then graded, gallery and museum press
releases before faxing them back with their need-to-improve commentary.
Through a layered dialogue that mixes fact and fiction, personae
and caricature, BANK/Bedwell/James/van Helsing offer an alternative
reading of how art history is perpetuated through art world literature,
ranging from established formats like the "interview" to
art periodicals and exhibition catalogues, through their critique.
Image: The
BANK (London is Over), 1997, The BANK tabloid newspaper,
courtesy of the artists
Links: www.artkrush.com
Image: Dazed
and Confused (detail), 1998, corrected issue of Dazed & Confused,
courtesy of the artist and American Fine Arts, Co.
Links: www.artkrush.com
Summer / Fall 2003
Hand-painted
invitations, advertisements, and magazine covers constitute a
large part of Los Angeles artist Dave Muller’s practice. In using
these to site and circulate his work, Muller highlights how the
concept of the “artist” is mediated through these
established art world systems and the enduring ways in which
artists continue
to communicate to their audience, to the magazines, and to each
other. For Subscribe: Recent Art in Print, Muller is creating the
subscription cards for Artforum, Time Out New York, and TRANS>arts.cultures.media.
Literally taking them as source material, Muller will cut out
letters from prior issues of each publication to produce a "ransom
note" on the front of each card. A small section of a picture
will be located on the reverse side. When placed together with
the cards from the other publications, a larger, composite image
(taking as its source the 1973 Al Green single, "So Good to
be Here") will appear. The cards are planned for a summer
issue of Time Out New York as well as the fall issues of Artforum and TRANS>arts.cultures.media.
Image: The
Unveiling, 1997, cover for Art Issues, courtesy of the artist
Spring 2003
Incorporating a system
where the artist tracks all of her purchases and expenditures,
the work of New York artist Danica Phelps considers
issues related to the artist and economy. Phelps has instigated
projects in which she has documented all of the places where she
pays her bills and created sets of drawings in an attempt to trade
them with those artists whose works Phelps admires. In the current
issue of Cabinet, the art periodical is used as its own site for
art and commerce, where Phelps has created a postcard project for
her contribution to Subscribe: Recent Art in Print. Anyone can
purchase her work by mailing in the postcard and in return, they
will receive a "next generation" drawing of the image
on the card including information about every other person who
has purchased it before them.
Image: January
14, 2003, 2003, postcard for Cabinet,
courtesy of the artist
Links: www.immaterial.net/cabinet | www.lflgallery.com
Spring / Fall 2003
The work of
Vancouver artist Ron Terada concentrates on language and the
various ways it is mediated through popular forms. Initially
concentrating on its representation in painting, Terada’s
recent work has immersed itself directly within the apparatus
of art world literature, where he produces gallery signage, brochures,
advertisements, and CD soundtracks for exhibitions he participates
in. Terada has produced an ad campaign for Subscribe: Recent
Art in Print, where an advertisement exists in at least one of
the publications where the other artists’ projects are
published. By using the same publication where his ads appear
as source material for the works found inside their pages, Terada
acknowledges the publications’ function as a site for commercial
production in relation to artists and their work.
Image: Subscribe:
Recent Art in Print (Cabinet), 2003, advertisement
for Cabinet, courtesy of the artist
Links: www.immaterial.net/cabinet | www.transmag.org | www.catrionajeffries.com
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