Out of Alternatives
Presented by Common Practice New York
and Center for Curatorial Studies, Bard College (CCS Bard)
Artists Space Books & Talks
55 Walker Street, New York, NY
Sunday, May 18, 2014
11:00 a.m.–5:00 p.m.
On May 18, Common Practice New York will present Out of Alternatives, a symposium on the role of small-scale arts organizations in New York City, hosted by Artists Space Books & Talks and co-presented by CCS Bard. Participants include Rhea Anastas, Katherine Brewer Ball, David Joselit, Ralph Lemon, Stephen Levin, Park MacArthur, Nadja Millner-Larsen, and Andrea Fraser and Lise Soskolne for Working Artists and the Greater Economy (W.A.G.E.), with additional presentations and support from CCS Bard students Sabrina Blaichman, Neringa Cerniauskaite, Andrew Kachel, Clara Lopez, Cloé Perrone, and Carla Acevedo-Yates.
Out of Alternatives, the first public initiative by CPNY, will examine the ways in which small-scale organizations are perceived and understood by audiences, artists, and funders; identify the challenges of operating in today’s climate; and revive discussions of obstacles and inequalities which have persisted since the rise of the alternative space. Out of Alternatives will further a partnership between CPNY and CCS Bard that began in fall of 2013 with a series of invitational roundtables, site visits, and discussions. This partnership will continue with the production of a publication that will include transcripts from these events alongside additional essays and artistic contributions.
Space is limited, seating is first-come, first-served.
11:00 a.m.–12:00 p.m.
Keynote: “In Praise of Small”
Art historian David Joselit will ask whether there is a particular ethos possessed by small-scale organizations and, if so, how does it operate within the greater field? By reframing small-scale organizations as propositions unto themselves, Joselit will discuss how publics emerge from these spaces; the relationship between scale and radicalism; the importance of documentation; and the ability to speculate, politicize information, and re-signify art beyond its profit-making potential. Joselit will be introduced by members of Common Practice New York and Paul O’Neill, director of the graduate program at CCS Bard.
New York City Council Member Stephen Levin and the activist group Working Artists and the Greater Economy (W.A.G.E.)—represented by artists Andrea Fraser, board member, and Lise Soskolne, core organizer—will each present propositions for the city’s cultural policy. Both plans address the economic challenges facing artists and ways of combating inequality. Taken together, their proposals question how structures for art production, presentation, and reception are shaped and surveyed, especially with regards to the role of small-scale nonprofits. Do such organizations have a responsibility to local artist communities? How can these organizations successfully argue for their importance at the level of city government?
Artists Ralph Lemon and Park McArthur and scholar Katherine Brewer Ball will discuss how performance, deliberately or incidentally, adapts to the scale and audience of an organization. How is the radicalism of a performer’s proposition changed as a result? The academic field of Performance Studies considers performance as a sprawling category—one that encompasses social life and is inherently interdisciplinary and site-responsive. What can performance tell us about the changing relationship between small-scale organizations and their publics? With research and support by CCS Bard students Andrew Kachel and Clara Lopez.
CCS Bard students and curators Sabrina Blaichman, Neringa Cerniauskaite, andCloé Perrone will present three propositions for small-scale organizations, informed by the work of proliferating, agile, artist-led collectives. What methodologies might organizations adopt from collectives that have embraced so-called capitalist infrastructures and “accelerationist” strategies? In a landscape where both models coexist, even thrive, what challenges do artists and curators face when attempting to envision the future?
Art historian Rhea Anastas, media historian Nadja Millner-Larsen, and Light Industry cofounder and director Ed Halter, will discuss whether small-scale organizations establish a kind of instant art history, serving museums and culture-at-large as test sites for new artistic practice. What is the responsibility of an organization to address pressing social and political concerns with “instant” programming? Likewise, can an organization’s history—its archive, its public-as-archive—provide an ethical roadmap for its future? With research and support by CCS Bard student Carla Acevedo-Yates.
Common Practice New York would like to thank Rebecca Gordon-Nesbitt, David Joselit, Margaret Lee, Ralph Lemon, Allan Schwartzman, and Lynne Tillman, whose contributions to our invitational roundtables this past fall have informed and inspired Out of Alternatives. Generous support for Common Practice New York and Out of Alternatives has been provided by the Andy Warhol Foundation for the Visual Arts, Lambent Foundation/Fund of Tides Foundation, and Outset USA.
The Penitentiary is a collaborative umbrella project by artists Marina Andrijcic-Ojeda and Catarina Ferreira—operating a series of independent, site-specific art exhibitions to take place in abandoned war-era prisons throughout Eastern Europe. The Battery Project is The Penitentiary’s first exhibition and will take place at Patarei Prison, located in Tallinn, Estonia, June 1–July 1, 2014.
For other interventions into Cold War bunkers, see Lisi Raskin’s "Endgame Tourism" on Triple Canopy.
Image: David Baumflek.
Old Days, Fast Times
Circa 1976, this was a Dial-A-Satellite hotline providing New Yorkers with daily information about passing satellites.
Other tips from the 1976 listicle published in the New York Times, "101 Things to Love About New York City.”
Triple Canopy editor Molly Kleiman, with Ava Ansari, talks to Media Farzin about their upcoming telepresence workshop, connecting arts spaces in Tehran, Isfahan, and New York (hosted by La Mama’s Culture Hub).
In advance of their workshop in late April, Six Degrees invited critic and art historian Media Farzin to speak with the Back Room Codirectors Ava Ansari and Molly Kleiman about the urgencies that motivated their project’s formation in 2010 and the questions that have shaped its evolution since. Read the conversation here.
Six Degrees, as an editorial platform that feeds into and out of New Museum programming by functioning as a space for expanded dialogue, research, and reflection, will be inviting different artistic, curatorial, and educational initiatives to consider their own structures and material conditions for production.
How are artworks altered through the creation of facsimiles? This Saturday, poet Caroline Bergvall, scholar Lisa Gitelman, and artist William Pope.L respond to this question, facilitated by Triple Canopy editors. Get your tickets now.
Triple Canopy, Pointing Machines I (Chestertown, Maryland), 2013. Pigmented inkjet print, 22 1/2 × 15 in. (57.2 × 38.1 cm). Collection of Triple Canopy
Media Replication Services
Triple Canopy with Caroline Bergvall, Lisa Gitelman, and William Pope.L
Whitney Museum of American Art
Saturday, April 26th, 2014
How are the status and meaning of an artwork—whether an Ancient Greek statuary, a digital photograph, or an American naïve painting—altered through the creation of facsimiles, through exhibition, through the conversion of the object into image or code? How might reproduction, as an aesthetic strategy and a political act, present us with alternatives to the current, convoluted understanding of information as property? Media Replication Services will consist of presentations, performances, and provocations in response to these questions by artist William Pope.L, scholar Lisa Gitelman, and poetCaroline Bergvall, facilitated by Triple Canopy editors. The three participants will consider, as points of departure, forms of reproduction enacted in Triple Canopy’s 2014 Biennial installation, Pointing Machines.
Media Replication Services and the installation at the museum are components of Triple Canopy’s contribution to the Whitney Biennial, an issue of its magazine also titled Pointing Machines, which continues the reproduction and circulation of the displayed objects beyond the museum’s walls, and includes essays, artist projects, discussions, and performances to be published and presented online and IRL in the next year. Media Replication Services will later be represented as digital projects in this issue, alongside commissioned responses by writers.
(Source: mirrormirrorworldworld, via basava)