March 2003 73 posts, 2407 lines
Toasted sesame oil? What inspired that question??
Nevertheless, a quick google search:
--ali--
See [http://othergroup.net/shows] for a Bridge sponsored May boat trip.
(have I got that right?)
Go read the item "artboat2003"
Hey folks;
-A few updates on the OtherGroup.net site and listserv
The last four posts are listed now, rather than just one. Hope this will make it easier for you to trace a thread and find the context for replies.
It could as easily include the last ten posts, or list posts in other than reverse order, and if you have any thoughts, or any design suggestions, post them here or send email to help [at] othergroup.net.
Send suggestions for any other art or discussion resources also.
(1) The categories 'Art and Gallery Links', 'Grants and Technical Assistance' and 'Jobs and Work Opportunities' were added to the free adds of the Notices page (others are: shows, spaces, sales).
To post to a category, address an email to {category} [at] othergroup.net -- see the page for directions. Then post a short description here, and point to the category and subject.
For the notice, use a brief description for the Subject line, maybe including the date of the event. For security reasons the Subject line is cleared of meta characters and periods, so don't count on the use of periods and funky punctuation.
(2) Links: If you represent a gallery, or want to put up notice of one, or any other art resource which can be reached with a URL, including yourself, send a description and the URL in the body of an email to links [at] othergroup.net with a descriptive Subject line. These will stay up.
If you have suggestions for other categories ('Used Bicycles' 'Art Escort Services' 'Lake Art Cruises') post these here or contact us. The notices page will be linked from Spaces Org soon -- which should increase the exposure by a factor of 100 or 1000.
A section on "internet style" has been added to the about page which suggests frequent paragraphs breaks in texts, and brief quotes. To wit:
.. and a few other caveats. Other suggestions welcomed.
Top Ten Picks has been removed temporarily (but will be back soon, Scott), pending introduction of an on-line editor, which will make it easier to update. An on-line editor has been introduced for FYI, and FYI will soon go real-time, while remaining a broadcast listserv.
Next time you send a reply to othergroup which was meant for Jane or Bill, or want to withdraw something you wrote, just ask to have the post removed. Send the post number (the # number in the [down] box link) with a request for removal to help [at] othergroup.net. Easy? As easy for us.
The archived pages are read, and are being re-archived by search engines. Don't let that shy you away from spouting off. There are 14 archive files, and 4 site files. In the last two months 8000 of these were requested.
If anyone actually reads this stuff is another matter. But take a look at the access file at [http://othergroup.net/access] (which is updated nightly) and note that there are plenty of requests for 6 to 10 files in a row -- plus the hits from the AOL ip-switching proxy servers.
The 'Monthly Reminders' which arrive at your mailbox on the 15th are mostly from the about page, but include additional information. Note that these are not archived. They will stop after May or June (when everyone has become an expert), except for possible off-line bulletins (like the recent notice about Topica).
The strictures on email and the cleanup of email at othergroup have managed to keep spam and the Big [at] Boss.com worm off this site and out of your mailbox. From the extensive headers recently added by Topica, it looks like they are under spam attack. And a look through Google reveals that the Big [at] Boss.com has broken into most of the UseNet and quite a few listserv's since mid January.
Since February, the error message you may have received as a return to an invalid email has an added paragraph which sums up the restrictions. This will probably explain the initial line which points to the actual reason for the refusal. 'Multipart' errors may take more than one try.
Also since February emails from othergroup have included a header, 'X-Size: **** bytes', where **** is the size of the email on arrival, including the headers and envelops.
Responses to errors [at] othergroup.net email address are filed. If you want an quick response on a question, use the help [at] othergroup.net address (which goes to Keri and me).
Hope all of
this helps.
-/jno
On Sat, 1 Mar 2003, a li w al s h wrote:
That may be a problem, I use the sesame oil with soy sause and garlic powder as a tenderizer (or whatever you call that when meat sits around in a dish for a day or so). Beats having to squash thousands of 1 mm diameter seeds by hand.
But since it is an oil, it also ends up in the broiling pan.. and I wasn't certain of its normally use, if for example you could heat it to 400 degrees F. Since it is poly-unsaturated, I think not. I'll go back to olive oil, which will stand the temperature. (I don't care about cholesterol.)
I should probably let meat tenderize by hanging it on a hook in the kitchen for a few days...
OK - this is not about art .. so, Ali, what exactly is 'Gallery 13?"
-/jno
Hi Jno,
I haven't followed the thread - has your sesame oil burned?
Olive oil burns at high temps, but it is low in cholesterol.
I use Canola oil, which is also low cholesterol, but works fine for the few things I need hot oil for (potato pancakes).
Claire
-- Claire Wolf Krantz 903 West
Roscoe Chicago, IL 60657 e-mail: cwkrantz at rcn.com
www.clairewolfkrantz.org
Greetings Othergroup,
The Chicago Dept of Cultural Affairs is devising a "Technical Assistance Program for Visual Artists" (aka. Survival Skills for Visual Artists). We've received some funding from the Tremaine Foundation to propose a program that would provide affordable, effective, ongoing technical assistance for Chicago's Visual Artists.
We'd like to enhance and market existing City programs (grants, exhibitions, some workshops on taxes + accounting, % for Art) other programs, ie.Chicago Artists Coalition, and possibly create new ones.
To this end, we are compiling a database of TA needs, existing resources, methods of delivery/distribution. We plan to develop a series of programs to serve the TA needs of artists (possibilities include: workshops, distance learning, discussion forums, print publications, individual assistance, website, networking opportunities, etc.)
So, I'd welcome your thoughts on: 1) what kind of technical assistance Chicago's visual artists would find helpful and/or essential; 2) What is already out there (and is it useful or could it be improved); 3) What can/should the City be doing to market existing programs; 4) What new programs can/should the City create.
Thanks for your consideration,
Barbara Koenen Project Manager Chicago Department of Cultural Affairs (312) 744-7649 bkoenen at mindspring.com
B. Koenen wrote:
We (speaking, I am sure, for all the members of OtherGroup), would love some assistance. Is start-up money available, possibly retroactively? Or is this just 'technical' assistance, where the City hires the technicians, and we go to lectures?
And is this limited to artists, or can the benefits include organizations, galleries, studios, coalitions, colleges, art-departments, publishers, web domains, etc?
/jno
OK, it was not burning or aflame. "Burnt" was just my shorthand for what the bottle calls "toasted sesame seed oil". It looked more exotic than the "plain, filted, wadded up sesame seed oil" bottle. But is smells burnt, and I asked if anyone knew anything about sesame seed oil, cause I use it to tenderize sides of beef. But never mind, I switched from soy sauce and sesame seed oil to left-over red wine and sesame seed oil, and the additional direction to wipe it off before grilling.
The bottle actually says "saturated - 2g, Monounsat - 5g, Polyunsat - 6g". So the "a polyunsaturated fat" aint right. But thanks for the first clues. And I should not heat it to 400 degrees, since it already transmongrified. Olive oil has about the same mix of fats.
And of course it has no cholestorol. Neither does water. It says so on both my sesame seed oil bottle and water bottle.
Next thread: house pets.
-/jno
In response to recent Gallery 13 inquiries, I offer the following.
Gallery 13 was born in early December when we converted Chicago artist Dolan Geiman's home/studio into an exhibition space Aron Packer style. Translation: we painted the walls, threw the couches/mattresses into closets and storage and extended invitations to a number of local artists to co-exhibit work with Dolan in our space for weekend-only art shows.
We worked fast and organized events like art was going out of style as we knew the building would eventually be demolished. The demolition crew is finally knocking down our door and we are losing the space at the end of March. The landlord has agreed to this final collaborative project between Dolan and Josh Miller (the residency work that will be the veedon_pop show at Javacha Café March 14th) and a short film being shot by Nadav in the space the final week of March.
From here, the balance between and nomenclature explaining us as a mobile alternative art space or artist collective or art A-team is still uncertain. We are currently searching for a large raw warehouse-esque space to maintain our current momentum. (Anyone that can assist with this please email me!)
I envision a Pilsen gallery/Open-End/Bridge magazine/Law Office hybrid. Dolan will continue to produce/exhibit work and together we will continue to organize art shows and lectures in our space and other alternate locations.
I feel the loss of the Gallery 13 buzz and want to keep the eyebrows raised and inquiries flowing. Our hope is to transition from our vague Gallery 13 physical space to perhaps a migratory collective, extending our tentacles into innumerable locations, like an ooze of lectures/art exhibitions/art-related events that smell and taste of our productions. Think 1/2 Law Office, 1/2 early Aron Packer.
I want to continue to explore and push the limits of what people think of as gallery space while questioning the art displayed in the alternative art circle. While Dolan and I pursue these multifarious projects and approaches, the desire to have a buzz name or linking entity is less for notoriety or fame and more for momentum. It is easier for someone to observe a mound of snow versus scattered snowflakes of projects and I hope our drive has an avalanche-like effect that inspires and propels other artists/organizers/curators.
That is a snippet of Gallery 13 and its antics. But, sadly enough, the veedon_pop should be the last event with the Gallery 13 name attached. Unless, I suppose, we decide to become the gallery 13 collective or gallery 13 commandos or even gallery 13 mobile art unit.
Until we officially become a gallery or curating collective or some semblance of the two, look for us in the Pilsen-based artist collective, Polvo, and sprouting our heads in various locations across the city and Midwest.
//ali walsh//
jno wrote:
Sure all the members of Othergroup would love some assistance, but I imagine that they would be very specific on what kind of assistance is really of interest. Which is why I posted the query.
What do you mean by "start up money?" Start up for what? How much? Loan or Grant? Chances are that start up money, beyond the city's existing grant programs, will not be the primary result of the plan. You know the story... we are working with less money than we have been for quite some time. That's why we are trying to figure out what else can be done (by the city or by private sector) to make Chicago's visual artists better able to continue to work as artists.
But that doesn't mean that the only alternative is a city-curated lecture series. Would a web site similar to spaces.org be of use? Would job, space, exhibition, grant, commission, production facility listings be of use? Is there an interest in workshops or websites or consultants for tax, copyright, permit, other business issues? Housing seminars? Mentor programs?
The funding we received specified visual artists. They can be represented as individuals or as part of an organization, college, studio, coalition, etc.
Barbara K.
jno
you shouldn't use "left-over red wine" for anything. My brother is a chef and he tells me that if the wine ain't good enough to drink, it ain't good enough to cook with.
--s
At 02:33 PM 3/4/2003 -0600, you wrote:
b.koenen wrote: "...Would a web site similar to spaces.org be of use? "
we don't need a web site similar to spaces.org, we just need money to pay jno for all of the work he has done and to pay him so that he can continue to improve spaces.org so that it can become an even better resource for the Chicago art community.
"Would job, space, exhibition, grant, commission, production facility listings be of use? "
yes! maybe these could be included on spaces.org someday?
keri
barbara-
I agree 100% with keri that jno and spaces.org should be funded. you should seriously look into that possibility.
-cindy
--
On Tue, 4 Mar 2003, Scott Speh wrote:
"you shouldn't use "left-over red wine" for anything. My brother is a chef and he tells me that if the wine ain't good enough to drink, it ain't good enough to cook with.
I found that out today! We had ugly steak for supper, tasted something between sweetened vinegar and burned hay. So much for the left-over wine. I'll just drink it, a sip at a time. /jno
On Tue, 4 Mar 2003, B. Koenen wrote:
"What do you mean by "start up money?" Start up for what? How much? Loan or Grant?
Cash money. Starting up a website dedicated to "an unmoderated discussion listserv of Chicago area artists, collectors, critics, curators, and dealers, on topics of exhibitions, art, fine art, criticism, reviews, opinions, galleries, and sesame oil" (Only joking; who would tolerate something like that?) -/jno
Quoting keri butler Hear, hear. It would be most wise and efficacious for the City to
apply resources to existing, functional models, rather than trying to
re-invent the you-know-what. I believe that the City is (currently?)
trying to learn from so-called 'shared resource' models, which would be
great learning in this case. A City-based/driven initiative, although
well-intended, will never have the reach, the relevance, and the efficacy
of spaces.org and its ancillary sites/groups. Not to mention the timetable
for 'launch' of such an 'internet presence' and the lead time required to
update the website through any City agency. Which, of course, Jno makes
lunchmeat out of, because he can throw out a webpage over breakfast. And
that's another reason why spaces.org will always trounce the rest (sorry,
Jno, I'm shameless in my appreciation). Listings of other types
would be useful, as well (again, hear, hear) but again, the very strong
backbone already exists through spaces.org. The City has a great
opportunity to do the smart thing and support a functional model that
works well, that we already support and utilize, and that is an
independent voice (this, however, may be the sticky point--as it tends to
be with any new initiative--'control'). I usually remain silent
on these groups, and apologize for sounding like a pest, a geek, or an
academic, but I wouldn't want Ms. Koenen to think that the opinion about
supporting spaces.org was only shared by two people on the list. I'm done
now, and I promise to shut up, as well. --Tamara
have you tried hot pepper sesame oil? it is the best.
especially good sprinkled on cold tofu cut in cubes, w/ some soy sauce and
minced scallions. mmmm. but I digress. Othergroup currently has 74
members, but Chicago has 10,000 artists. So this model is good, but only
up to a point. I doubt that jno would want spaces.org to become an
"official city site" (whatever that means) which is why I said "something
like spaces.org" But, how much start up money is needed for
creating a website like spaces + the other listings that keri thought
would be good? and then, how much money is needed to maintain it?
Are there other websites out there that we should be looking at as
models as well ? B remember - othergroup is only part of
spaces.org. (Jno has the visitor numbers for the entire site). And, since
it has become part of spaces.org (only recently) the membership has
steadily grown, and the discussion has included a lot of new people. I
think it would be great if this continued to grow - maybe several
different discussion topic threads could be created or different forums
that one could be a part of. there are many ways in which the current
site could grow and be improved, but again, that takes administrative time
(and, it would be nice if jno could be paid for his time). Jno
created a budget for this a while ago - when we were talking about working
with a local nonprofit to get grants. maybe he could share the estimated
budget... keri I have long since felt the necessity of
more organized discussion, information dissemination and resource
archiving regarding Chicago art resources. Paling in comparison to Jno's
computer skills, I began a discussion group in Topica devoted to this
topic hoping to provide a forum for open discussion about the resources
and opportunities that artists need-supplies, space, grants, artist career
development programs, etc. I wanted the various non-profits in the city
to feel they could disseminate information about their workshops, lectures
and grants through this email listserve and simultaneously create a more
organized feel to the multitude of artistic resources in Chicago.
Eventually, I wanted to find a webmaster to assist in this project and
develop a sophisticated Chicago art resource website..and possibly
non-profit group. There are some models in the Bay area that inspired the
project. Clearly, this was before I found othergroup and
spaces.org and Topica is not the way to go with this. I agree that the
city has a great functional model with these sites and othergroup and
spaces.org are in a fantastic position to evolve and expand to implement
this vision. Clearly the occasionally aloof/impenetrable nature
of othergroup postings must discover new pores and discussion might be
rechanneled into a multitude of different listserves. But I very much
agree with Tamara that the backbone exists through spaces.org/othergroi[
and we should make plans for listserves/archives/discussion/workshop
calendars/etc. with spaces/othergroup as the first assumption and
foundation. Perhaps a separate website could be initiated through
spaces.org that speaks exclusively (well exclusively here applies to a
large sphere of information) to Chicago art resources. To begin to
answer Barbara's question more directly, there are innumerable non-profits
that offer these sort of resources. I think the problem is less shortage
of resources as solidified marketing of these programs. Around the Coyote
offers numerous artist career development workshops, for example, but is
constantly having to cancel these workshops for lack of attendance.
Time and money must first and foremost be addressed so we can find
the best resource for solidifying all these resources into a website and
discussion board. //ali w// I wrote this off-line before Tamara
posted.. b.koenen wrote: "...Would a web site similar
to spaces.org be of use? " On Tue, 4 Mar 2003, keri butler wrote:
"...we just need money to pay jno for all of the work he has done
and to pay him so that he can continue to improve spaces.org so that it
can become... " Thank you, thank you, although note that Spaces
Org has a charter which reads in parts, "The sort-of white-walls design
remains." As Thucydides noted of the 800 year old Constitution of Sparta,
"It has served them well." Spaces will likely remain more or less as it
is, the eight year old aesthetics has served it well. And it takes 20
minutes per week to update, unless I get bored and start playing with
things. And I don't need to get paid (thank you Cindy for yr vote)
unless I need to involve other gearheads. I do this for entertainment,
really, and it's a challenge. Start with an idea, and develop an inkling
of how it might be done.. It's just art. "The only art is in the program,"
Judson Rosebush. "Barbara= 'Would job, space, exhibition, grant,
commission, production facility listings be of use?' "Keri= 'yes!
maybe these could be included on spaces.org someday?' Want to
start "ChicagoArt.Org" instead? As an art resource entirely
driven by whoever wants to use it for good purposes? Some malleable format
determined by users? With no-body really in charge? If it runs by itself,
I am all for it. And not "someday" -- if any two co-conspirators
are interested, I'll have a it up in a week. But we would need a number of
ideas and concepts to start. Come on, wake up you lurkers, you can make
history, be able to tell your grandchildren, "Yeah, and I came up with
_that_ idea." We need the incubation possibilities. Sure, "job, space,
exhibition, grant, commission, production facility" -- but how? and what
else? -/jno On Wed, 5 Mar 2003, B. Koenen wrote:
"have you tried hot pepper sesame oil? it is the best. especially good
sprinkled on cold tofu cut in cubes, w/ some soy sauce and minced
scallions. Now yr talking! Did that when I was in my 20 year
vegetarian phase. That was the stock sautee sauce (substitute: olive oil,
add: garlic power and a mediterranian sweet spice - basil, marjorem,
tarragon). But twenty years is enough. Now we are trying to recreate the
taste of tofu with beef. (forever behind)-/jno
On Wed, 5 Mar 2003, keri butler wrote: ".. when we were talking
about working with a local nonprofit to get grants. maybe he could share
the estimated budget... Deja vu... But that budget
included a bar and swimming pool! But (seriously) the budget included NFP
overhead, and a programmer for a MySQL database and site security (I dont
want to handle that in my spare time). So make allowances with the
following.. - account and service...$ 3000 (liberal one year
operation cost) (The OG archive is
not set up for tables!) After one year the operating expenses
reduce to the cost of a shared T-1 line, ISP account, phone line,
registration, and continued tweeks and debugging. The tweeks and debugging
can be extremely expensive if you fail to start with solid information
design concepts and crack programmers. This budget does not
include any amount for promotion. It also assumes there are no excess
bandwidth and storage charges, which for a commercial site would probably
run $200 per month. So, $10,000. A site like CNA would price at
$200,000, a site like "Widget Mfg" would come in at $40,000 -- done
internally, in three months, by two people. Yes, programmers make as much
as shrinks, but not as much as lawyers (no-one should make as much as
lawyers). And, yes, you could also hire HS kids with copies of Kompozer --
everyone is a web-site designer, like everyone is an artist. But
state money dried up; and by leaving off the multi-threads and an SQL
database, Othergroup.net got done in 4 days. Besides, it's small, and was
expected to have modest traffic (400 posts in 2002). I know
Tamara is right, having worked in the official system. It would be slow as
snails to get underway and off the ground if invoked by City folks. Not
that they cannot get things done overnight if it has to be done, but there
will be too many people saying, "Let's see what we are getting into here,"
in order to create time for thinking on the project. And there
certainly ought to be room for quiet meditation. What we won't have is the
concept of a web site as a living organism which just sort of grows up by
itself -- not a magazine bound to immutable hard copies, or an exhibition
moving toward an opening. It is more like a garden of weeds. -/jno
Jno, Tamara, Keri and others, Sorry its
taken a while for me to respond. Thanks for figuring out approximately
what funding would be necessary a site like spaces.org But, as Tamara
noticed, we at the city are compelled to hash and rehash things. I
certainly am. In that light, I'd like to know what you think of these
other sites as well (if you're interested): www.artsnet.org.uk
www.artscouncilbuffalo.org www.artsresourcenetwork.org
www.artistsincanada.com www.calaa.net (California Association of Local
Arts Agencies) Regards, Barbara K. this one seems well designed:
www.artsresourcenetwork.org this looks like a good example of what
not to do: www.calaa.net -cindy -- On
Mon, 10 Mar 2003, B. Koenen wrote: "Jno, Tamara, Keri and others,
Sorry its taken a while for me to respond. Thanks for figuring out
approximately what funding would be necessary a site like spaces.org But,
as Tamara noticed, we at the city are compelled to hash and rehash things.
I certainly am. After a silence of some days I was gonna post a
comment of: "silence" But instead I looked at some
available public data files over the weekend, and started to grep them for
significant things which would be of interest or of use. Here is a list of
possibilities (without hosting as one of them): "lists of some
interest" Plus, easy
links to __more__ information. I put together a couple of flat
files of data, just to see what things would look like, and some PHP web
pages to present them. I'll point to them as soon as Cpoint admin aliases
and provides a dns listing for ChicagoArt.Org (Org, not Net, and not Com,
and not ArtChicago either). Meanwhile, I described the proposed
database to a related gearhead, ending with the comment, "Wanna do this,
and how would you do it?" "How" is important because there are some
complex data extractions and relational associations involved (well beyond
a list of names or links). The answer I got was, "I'd love to
tackle this; I love complex databases." So we have a volunteer, and we
will just get started, just to have a base to work from. You can strike
$9,000 from the budget. The other aspect is "hosting" -- where
some service is presented to artists (or art professionals) with files
located locally, rather than through links to elsewhere. Then we are into
a deadlevel of security, endless fights about stupid Kompozers and fonts,
and hosting costs (add $9,000 back into the budget). Hosting a service for
artists would require design, negotiations, agreements, generation of
texts -- read, "takes time". We should at any rate let the city do that.
But a database of information could probably be done in days, and
to have it available would be a nice way to build up a clientel for future
additions. We'll start there. Besides, I _too_ love complex databases.
I will now duck out of this conversation.
Looked
at a few local agencies and galleries of some interest: Mainly I was
looking for lists of galleries and agencies, links to sources, but also
lists of on-line artists, exhibition archives.. etc. Not looking for
working resources as yet. I'll follow Koenen's links on Wed. [ARC
Gallery] [http://www.arcgallery.org] [Artemisia Gallery] [http://www.artemisia.org/] [Chicago Artists
Coalition] [http://www.caconline.org/] [Around the Coyote] [http://www.aroundthecoyote.org/]
[http://chicagoartdistrict.org]
-- a pilsen overlord outfit [http://www.artpilsen.com/] [Chicago Art Net] [http://chicagoart.net] [Chicago Art Dealers
Association] [http://www.artline.com/associations/cada/cada.html]
[Caca Journal] [http://homepage.interaccess.com/~jpbrunet/]
[Department of
Cultural Affairs] [http://www.cityofchicago.org/CulturalAffairs/]
I have 275 galleries and agencies on my list, and 250 links, but
no people. Just give me another moment. :) "Now we are trying to recreate the taste of tofu with
beef." Thank you Mr. Cook for being the
only man I know with wit enough to wage a meaningful battle on soy using
beef, the original alternative meat. Drunken Cowboys the world over will
be raising toasts to you for years untold. While our British allies will
thank men such as you for making the future safe for children named Angus.
Where it only that stalwart people such as yourself could be found
for the liberation of the other white meat, Jims Maxwell St. might still
be on Maxwell St. Instead isolated on a peninsula betwixt highway and
condominium as it is only furthers the divide between omnivore and
herbivore. One day perhaps we will learn to live together. Until
then Omnivores have a new hero. I salute you Jno Cook. Diego Bobby
Hey, my calendar tells me it's time to fret about Art Chicago and
The-New-and-Improved Stray Show. Hope you're not bored already. I
think after Art Chicago last year I decided that one really isn't missing
all that much to skip it, and I'm leaning in that direction on these new
incarnations of the Stray Show. Though I will never deny how I enjoyed
and appreciated the opportunity to be a part of the Stray last December.
Not sure that I'll ever be off of the fence when it comes to this stuff.
Speaking of factionalization: If I have anything invested in the
stray spaces it is because many of them have been my friends. How did
Thomas Blackman Associates (TBA) get the stray spaces to pay him money for
appropriating their name? (Of course there is the argument that that name
would not exist without TBA) Is taking a few potential bluechips out of
the ranks of the out-of-pockets and dropping them in the oldschool
commercial artworld ample payment for the work that so many people have
done to make stray mean what it means? Maybe it is. Basically it seems
like TBA used it's money and resources to force a lot of out-of-pocket
spaces and groups out of an arena they built. Fortunately the
social networks that this art and these artists need are still intact and
work will continue. You don't need art fairs to do art. Mike Wolf
Dear Mike, I appreciate your comments. It seemed
overdue that people have a discussion about the Stray Show, its meaning
and impact (or lack thereof). I had hoped it could happen shortly after
the Show and John and I of Hypothetical Continent were hoping to put
something together. But maybe a little time was necessary--everyone just
seemed exhausted and ready not to think about it immediately afterward.
But now you're ready to discuss it, and hurray! As to your
comments, Stray was a name before the Stray Show happened. To pay money is
ostensibly to receive value. A conventional answer might be that TBA
provided a venue, publicity and logistical and technical support, areas of
their expertise that the stray spaces might not be able to provide
themselves. Why should TBA not cover their expenses in providing those
services? On the otherhand there seemed initially to be a process
to the fair in which decisions were made by consensus. That seemed to
disappear as the AIC collector's group became the beneficiary of the
opening night event and advertising decisions were made in house at TBA.
If the Stray spaces want to maintain control then opinions need to be put
forward. A say in ALL decisions should be requested. One of the
things that I can identify as the root of these difficulties is putting
the shows on with no lead time. Everyone is always impressed that the show
comes off so well with so little preparation time. But the flip side is
that many of these thorny questions could be sorted out if participants
could feel like they had the time to discuss and sort them out. As it was,
no decisions could be made other than the barest logistical ones.
It seems to me it is everyone's best interest to slow down,
consider what is being produced and how and then clearly decide a tack to
take. Chicago's art scene has so much energy and intelligence that it
deserves a well considered presentation of its present state.
Lorelei Lorelei Stewart Director, Gallery 400, UIC
1240 West Harrison Street (MC 034) Chicago, IL 60607 312 996 6114
T 312 355 3444 F [http://gallery400.aa.uic.edu]
"lists of some interest" somewhere in all this there is
a need for: this might fit in
the "how-to" and "agency information" but I thought I would pull those
from the hat //ali// Lorelei, I agree that a little reflection on the 2002
Stray Show is way over due. I know that after it was over I was happy to
move onto the next thing, and reflect on the Stray only in relative
privacy. I hate to drop this into some moral narrative but it's hard to
resist, maybe now the stray world (if you will) is paying the price for
that lack of follow-up dialog after Stray 2002. (Hey, it's only a moral
narrative, there are a lot of other narratives here.) Read on: I
guess I wrote that last post under the presumption that a lot of people on
othergroup were aware that there is another Stray Show being planned
concurrent to Art Chicago. But from your response it seems like you were
not aware of that. I'm sorry to have been so presumptuous (it's
actually par for my course). So just how many people are aware
that this is happening, I wonder? My information comes from an
email Heather Hubbs sent, that I got via one of my Stray Show '02
comrades, Brian Taylor. It is an invitation to participate in the May,
2003 Stray Show at the same location as the Dec., 2002 show. There is
nothing on the web page about it (stray-show.com). I've also heard a bunch
of rumors about this thing from the fabulous Michael Thomas. I will
disclose what consistently seems to be the part of this invitation that
garners the most attention: "The price of a 10' x 20' booth will be
$750.00 US. The increase reflects an expanded advertising/promotion budget
and increased production costs. We realize that this is a substantial cost
increase for many of you. However, we are confident that the co-production
of The Stray Show with Art Chicago will more than justify this additional
cost." That's up from $300. Am I picking knits or whining when I say
that this just cuts a lot of potential participants right out of the
picture?! Including most of the spaces that made "stray" mean what it
means! You (Lorelei) said: "It seems to me it is everyone's best
interest to slow down, consider what is being produced and how and then
clearly decide a tack to take." I agree, but I am always a strong
proponent of slowing down when it comes to cultural production. Slow is
the way to go (with some notable exceptions I can think of, mostly in
activism). And maybe that's a confession of my pathological nostalgia for
a world where we are more than our velocity. Anyway, sorry if this is
defeatist, it seems a little late to affect any slow down of Stray Show
2003. Maybe if more people were more vigilant about follow-up discussions
after '02 that wouldn't be the case. Like you say: "If the Stray
spaces want to maintain control then opinions need to be put forward."
I appreciate TBA's support of the stray world, and even appreciate
the structure they set up with the stray show, to some extent, exchange of
reasonable amount of money for services (value). But it seems that in
this latest incarnation a lot of people will be excluded (a lot more
people than in 02), priced out of the fun. And it seems to me that it
debases what I thought the meaning of Stray was, DIY, out-of-pocket,
unorthodox, take-what-you-can-get-use-what-you-can-take to show art. But
I don't know what I expected. TBA is a business and it's too big. Big
business is great at selling services (sometimes) but as anybody who goes
to Art Chicago or a blockbuster show at a big museum will find, big
business sucks at showing art. Splat! Too little too late again.
Peace! Mike Wolf Does anyone get the sense that suddenly there are too
many exhibition platforms, with not nearly enough work? C'mon:
Art Chicago, Art Boat, and Stray #3, all happening simultaneously and
competing for the same 500 viewers? Why? Is there enough decent work to
warrant this spastic flurry of activity? I sense a bit of
misguided ambition. And a new power dynamic: Art Boat is the new
"angry young man" context; the Stray Show has become solidly bourgeois
within a year; and Art Chicago, of course, represents the guardians of
marketable culture. -- GF No, No I don't think its too late. If you and others
care, you should make your voices heard and formulate conceptions of what
Stray can be. I did know that Stray is planned by TBA to accompany
ArtChicago. But if you and others are concerned that many are priced out,
why not ask what services you get for the money. Where does it go exactly?
What has increased in price? And what can you expect exactly if TBA is
"confident that the co-production of The Stray Show with Art Chicago will
more than justify this additional cost." Can that be true if TBA's notion
of value comes from the sales potential Stray spaces might have during
ArtChicago or do the Stray spaces find some other value in the production
of group exhibits. Yes, TBA has created a lot in putting on the
Stray Show (1), not least of which is the opportunity to ask these
questions. Its 8 weeks till the thing starts, right? Can't other people
join in and give their opinions on how it should be presented? I remember
meetings in preparation for Stray 2002 in which people were very vocal
about the direction they wanted. Where are those voices?? If so many are
going to work so hard to create the event maybe those many should help
determine how it goes off. Lorelei (1) I have as much
respect as anyone for the work they do to put on these mammoth events.
Lorelei Stewart Director, Gallery 400, UIC 1240 West
Harrison Street (MC 034) Chicago, IL 60607 312 996 6114 T 312 355
3444 F [http://gallery400.aa.uic.edu]
my additional question, gabe, would be enough
well-thought out exhibition platforms. Its one thing to have or not have
the work. Its another to present it to its best benefit. This a discourse
that I was happy to see stirred up by Really Real and one that it seems a
lot of people hunger for. :) Lorelei Lorelei Stewart
Director, Gallery 400, UIC 1240 West Harrison Street (MC 034)
Chicago, IL 60607 312 996 6114 T 312 355 3444 F [http://gallery400.aa.uic.edu]
On
Thu, 13 Mar 2003, Gabriel Fowler wrote: "the Stray Show has
become solidly bourgeois within a year" LOL - that was the goal.
But seriously, keeping the alt.galleries happy also keeps them
quiet, and develops a next generation of dealers and patrons. That would
be in TBA's interest as well as the Strays. No losers - unless they feel
manipulated. The Strays are a weird bunch - they exhibit the bulk
of new artists in Chicago, they offer the bulk of exhibitions - and some
work sells. And they are very earnest about it all, despite warehouse
spaces, basements, shoestring budgets. And amazing organizational
abilities. Their numbers, 10 or 20, is small compared to the
total of 250 exhibition venues in Chicago (which includes bars and
schools), but measureable against the 40 or 50 "real" galleries. If I were
TBA, I'd be sure to establish a relationship with them, and offer some
concessions, for they could make nasty objections about representation,
and in five years some of them will have gone completely legit -- er, I
mean, "bourgeois". - /jno I feel
I should respond to this string of discussion partly because my gallery is
in part responsible for the Stray Show and also because I respect the
opinions of folks like Mr. Wolf and Ms. Stewert. I agree with everything
that has been said. More notice for these shows would be
marvelous. We did the first stray in a matter of weeks and it worked out
beautifully. But with more planning a better overall showcase or structure
for the presentation of work could be had. The spaces aren't
actively involved any longer. We just get contracts and are asked to send
money. I think the stray show and art chicago are very important
parts of our community. I don't wish to see either go away. I
don't know that it matters any longer if the chicago galleries
participate. We aren't TBA's market. They need to make money and
revitalize art chicago. this is a step in that direction. Stray is a token
to the community but is meant more specifically to entice young dealers
from New York and LA, etc to throw down along side art chicago. Its slowly
being priced out of our range but that was in part the intention. Create a
young fair that operates like art chicago but has the enthusiasm and vigor
of the young spaces and can compete with Miami and armory. Many
spaces mine included have little desire to sell work. We aren't dealers.
We love art. We love dialogue. We are fascinated with structures that can
be constructed to last. We love the smell of a good idea. The first stray
seemed to meet these motives head on. TBA is helping the dealers
amongst us. Thats not so bad. As artists eventually we'll get around to
thinking we deserve to make money for our work. Real galleries come in
handy then. Real art fairs come in handy to. If some of the people we know
are involved so much the better. Community. This is a huge issue.
I don't think it ever gets enough attention. This is our community. We can
do anything we want with it. We can build stuff and break it. The thing
is, its ours. Its yours and mine together. If the stray is no good then
don't participate. Not even a little. We can do anything we want here.
I personally feel it will do fine without me (stray). Work will be
sold dances will be danced and people will read all about it on artnet.
But let me just say one more thing. If you don't want work to be
viewed as commodity. Stop letting these venues have so much sway and get
behind some structure that isn't commerce based. Its your community. The
galleries do what you want (at least the small ones do). If you don't want
to be represented, don't want to make work to sell, don't want things that
glorify these institutions then don't keep sending your slides to spaces
that do this. If you want a stray show that doesn't exemplify these things
then build a bianale or some such that isn't an art fair. TBA after all is
only going to do what TBA does and that is look after chicago after it
secures its own safe place. This happens to be making art fairs happen.
Nobody gets pissed about a dog being a dog so way waste energy getting mad
that TBA does what TBA has always done. I guess discussion on
this issue is good but most of you are about two years to late to change
the direction this train happens to be heading. I would personally just
try and build something new that reflects the community you see. That was
the spirit that got most of the Stray(tm.) spaces started to begin with.
Its never to late for that. Michael S. Thomas, Director Dogmatic
(Diego Bobby) Wow Jno
I didn't know you cared. At any rate what do the stray spaces have to
bitch about? Every one loves us right? Right? DB first of all, to call TBA big business kind of makes me laugh.
maybe because i work there. I guess if you mean that TBA works in the art
market anyhow, even though I do work there, I have been pretty much
completey non-involved in the Stray Show, so please correct me if I get my
facts wrong. However, I think the whole thing is kind of funny. I mean,
when I went to the first stray show I thought It was just like a mini-Art
Chicago. Nothing there was "cutting-edge" really. (Actually, I really
liked the video room). Not that the work was bad, it was just your basic
art market fare, or at least it was presented in that way. And that's ok,
but a precident was set and if you didn't like it, why did it continue?
In the last (2nd) stray show it was the same thing, just bigger -
only Law Office, Deluxe and a couple others did anything that was
different from the normal art fair booth. But, overall it looked really
good - and, there were new spaces from other cities which is really cool,
no? Anyhow, I wonder which molded which - the walls or the art?
What I mean is I'm not saying that this
is TBA's agenda, I'm just thinking about it. This is why I think the
Contemporary Arts Council became involved - so that hopefully some of them
would buy work from the stray galleries. Anyway, it seems like if you
didn't have these art-market related goals in mind then you wouldn't have
participated in the second Stray show. or maybe there isn't/wasn't a
clear consensus on what exactly the stray show is supposed to be.
The only bad thing is that with a higher price certain
collaboratives will be left out - but maybe there's a solution - like an
Invitaitonal for Stray! sorry, I'm getting delirious. but maybe
there could be room for those who can't afford the higher rate.
sorry, I also have to say something about costs - that Kingsbury
location is not cheap. And the walls, and lights and fencing, and
advertising - that's expensive too. why don't you pull a real grassroots
effort and build your own walls for the next show? I just hope nobody
thinks that this is actually a money-making venture. Planning - I
would love to have more time for planning. but, I guess sometimes you
just have to throw it up and see what happens. but then again, we've
already seen what happens. hm. maybe something like this should have been
thrown up somewhere easier - like a parking lot or something (remember one
year Chuck M did an exhibition in a rented van right near Navy pier?).
keri
Michael Diego: About yr stray long post: you could not have spoken
better. I think you brought up something important, which a lot of people
forget, or are in conflict about: The alt.galleries are about exhibiting
work, not about selling (OK, if it get sold, good, but ...) (at least,
that is how the artists see it) (I think) And "why I care" --
where else am I gonna show work? /jno Well,
chillun, I seen some shows in my day. Folks usta do art in apartments and
hotel rooms, in borrowed spaces and trucks, and Flotilla just had things
bobbin' in the water. Doesn't seem like that long ago. Now the
paradigm seems to be to get out of school and have your livingroom listed
every month in the Reader as a claim to legitimacy. The Stray Show needs
$750 worth of fancy lights/publicity/bureaucracy to compete with Miami and
the Standard guys booking space on a tourist boat counts as a newsworthy
stunt. All of this seems like a bad idea. There is far too much
energy wasted on trying to be, or arguing about, a legit venue, and far
too little energy wasted on making something that is worth looking at and
talking about. If you want to show your stuff to your community,
the logistics are pretty simple. People will show up to your apartment or
truck or coffee shop or vacant lot. (of course, it helps if you make
something worth looking at or talking about.) If you want to become rich
and famous from doing this, you are in the wrong business and the wrong
town. michael We seemed to have passed 10,000 file hits last
night, On Thu, 13 Mar 2003, a li w al s h wrote: "somewhere in
all this there is a need for: To Ali's list..
-live/work spaces: [http://othergroup.net/spaces]
I will set
these up as Forms, soon, so it can be done on-line. Might be easier than
email. - /jno How about lectures, forums and workshops?
...everything from the event last night at the Chicago Cultural Center to
Around the Coyote Artist and Taxes, Grant writing, etc. Saturday
workshops? ali On
Fri, 14 Mar 2003, a li w al s h wrote: "How about lectures,
forums and workshops? ...everything from the event last night at the
Chicago Cultural Center to Around the Coyote Artist and Taxes, Grant
writing, etc. Saturday workshops? Good idea. I'll add it in both
locations in a while - "Cao" should be up and propogated after this
weekend. Sample at [http://othergroup.net/org/] --
comments from this august group will be appreciated, and dont expect
anything to stay the same. hello othergroup, went to see Scott Wolniak's show at
College of DuPage, and just wanted to say that it's worth seeing if you
can make it out there (disclaimer: he's a friend, but I wouldn't say it if
I didn't think it). He's got a couple new videos that are
optically entrancing and weirdly surreal, and a nice departure from
previous work. I'd be interested if anyone else saw the show what they
thought. it's up through the 22nd: these are the directions scott
sent out (driving in the morning will help avoid traffic):
-Eisenhower Expressway (290) West. on a different subject: I think artboat should happen
during some other time besides art chicago time. -cindy --
Agreed. This is a show of well made and well-conceived work. The
two projections made after the one done for his mfa show are good examples
of an artist taking what seems to be a pretty simple idea all the way to
it's end. They reminded me a lot of the video work being done by the
artists Xu Zhen and Yang Zhengzhong. A lot of interesting details,
socially provocative in a totally open-ended kind of way, and fun to
watch. I really can't say anything bad about this show. I walked away
satisfied. Who wouldn't want to be friends with him? Dan w.
Cindy said: "went to see Scott Wolniak's show at College
of DuPage, and just wanted to say that it's worth seeing if you can make
it out there (disclaimer: he's a friend, but I wouldn't say it if I didn't
think it). "He's got a couple new videos that are optically
entrancing and weirdly surreal, and a nice departure from previous work.
I'd be interested if anyone else saw the show what they thought. it's up
through the 22nd:" Cindy writes…call me a romantic, but I liked Amanda's gold
shoes hanging on the telephone wire outside. I could not agree more. I
also thought that this was a very strong and provocative piece.
The other pieces in the show I admired were Ruby Slipper Sneaker
Covers, 2001; Still life, 2002; and Tragedy and Tragedy, 2003. I was less
interested in the photography and do not know if it is a question of mere
taste, or if there is concrete objective truth to my critical process.
Which brings me to the word romantic in Cindys statement. I must admit, I
felt guilty liking these works. But why? What is it, precisely, that
makes appreciating these works romantic? I think it has something to do
with the works ability to consistently evade rational criticism. My
objective criticism-o-meter does not have the right setting to perceive
these objects. I can’t say this is good because of this, or this is bad
because of that. The forms do not necessarily equal their content,
something is occurring and it doesn’t ring intentional or unintentional.
I feel like I am looking at an abstract painting, only the medium is not
paint, but rather, the aesthetics of post conceptualism. I can’t like
this. I shouldn’t like this, but I do. I cannot help but recall
Allan McCollums vases when I look at Still Life, but all of the content is
washed away and I am left with an arrangement of clean homelessness. I
keep asking myself, what does it mean! And keep arriving at the conclusion
that it doesn’t matter. It wasn’t created with this intention.
It’s modernism all over again. Still Life is poetic and personal, even
if its not. No rational deduction can be made, and you either accept it
on its terms or you do not. Usually with work that is personal and poetic
I can easily disregard it as being bad art and walk away. What keeps me
coming back for more? Its indulgent, decadent and awful, but I want to
believe it is somehow, honest. It would be an extra bonus if it was
intentionally so. However, it seems that intention matters little in the
artworld today. Maybe that is where my conflict lies. Am I just becoming
an old fuddy duddy, willing to escape into irresponsible worlds of
personal interpretation? Is it taste or is it meaning? Or, am I becoming
refined to appreciate work that can be both and neither? Development or
regression. Are we perpetuating a world of surface? Or, are we piercing
the essence of surfaceness? In the tier of knowledge where moral
distinction is absent, maybe I just don’t want to know anymore. I’m
reflecting on the numerous conversations I have had concerning this very
subject, recalling specifically the Feng Meng Bo show at the Renaissance
Society, January 2002. It doesn’t matter how it got here, just that its
here. I couldn’t except that then and I don’t want to accept that
now. I want artists to be responsible and take, head on, all aspects of
the production of meaning. We cannot simply offer our random meanderings
to the public for inspection and leave it to them to project their
meanings onto our work. Its lazy. Scene of Changery, however,
comes off as earnest. I cannot quite figure out where I stand. The
bronze cast sneakers hanging on the telephone wire are actually the most
unromantic piece in the show. The medium signifies traditional high art,
yet is presented in the form of sneaker in a location connected to
poverty. It interacts with the space in an intelligent way, reflecting
the neighborhoods past and its inevitable future, and passes no literal
judgment. It simply hangs there, passive and conscious, saying this is
the way of the world, and I’d like to show that to you. There is a
desperation to communicate that I for one cannot ignore, regardless of the
validity of the attempt. Ben Foch With Stray being at the same time also, maybe
Artboat should be at another time. There is a lot going on all at once.
But, I guess its too late! We will all have to cross our fingers and make
do. Maybe take advantage of the momentum? Ben Foch
Hi All, See [http:/othergroup.net/shows] for a
Bridge sponsored March 28 film show. Go read the item
"Bridge.2-Year" Kind Regards, Michael Workman
Editor-in-chief, Bridge 119 N Peoria, #3D Chicago, IL 60607 Ph:
312-421-2227 Fax: 312-421-2228 www.bridgemagazine.org Sorry to have dropped the whole stray show dialog. I'm a
little preoccupied right now, mostly with bird watching and this photo
project my friend turned me onto. I'm basically totally enthralled by it.
It's project that Paul Chan has initiated and I'm curious if anybody else
has checked it out, participated in it, or has any ideas about it.
It's called the Baghdad Snapshot Action. It is a stark contrast to
the way many artists, like Gursky, Cindy Sherman, or Jeff Wall--to name a
few--are using photography. As many have pointed out, large format color
prints often involving complicated sets and expensive processes are what
fine art photos look like right now, and they are often very gorgeous. But
Chan's project demonstrates how photography can be gorgeous, cheap, and
touch a huge audience, much more huge than the Gursky or Cindy Sherman
shows at the MCA did. Chan was in Baghdad, Iraq, with the Iraq
Peace Team ([http://www.iraqpeaceteam.org/),]
a group of activists "on the ground in Iraq working in tandem with those
in the United States and the world who seek to prevent a U.S. attack on
Iraq." While there, he made a series of digital snap shots of his hosts
and various folks out in the streets. The candid pictures show what
appear to be regular citizens of Baghdad hanging out, partying, posing and
dorking for the camera. Many of the photos look like they could have been
taken just down the street, here in Chicago, accept for certain details;
in my favorite shot a young girl carries a large gas can, something that
would look a little odd here. Each picture is labeled, "Baghdad" and had
a date, most of them are from Dec, 2002 and January, 2003. All of
the photos are posted on Chan's website ([http://www.nationalphilistine.com/)]
and can be downloaded as PDF's, in either color or black and white,
individually or as a whole portfolio. The site chronicles the ongoing
campaign to post these pictures throughout NYC and follows a resulting
arrest of two people in conjunction with this campaign. The site
implicitly invites anyone to print the pictures out, copy them, and post
them in public (though I have some hanging in my living room where they
look quite good and serve as a reminder...). Further more the site has a
list of cities all over the world where the pictures have been spotted.
Whenever someone asks me what my favorite movie is I just can't
come up with a response, it's the same with favorite colors. But, for
whatever it's worth, I can now say what my favorite photography project
is. Peace Now, Mike Wolf Is there truth to the rumor that you haven't seen
Really Real or that you came to the opening but haven't been back to see
the naturally-occurring camera obscura or the Beaver Trilogy by Trent
Harris. Don't miss the last Really Real Free Lunch, Friday noon -2
pm., 3/21; Teardown Party, Saturday 2 pm; special screening of The Beaver
Trilogy, Thursday, 7 pm. Gallery 312 312 N. May 312-942-2500
anything resolved with Stray? always thought it was a
good idea -- almost shut out last year-- not participating this year
because I'm in the invitational at art Chicago. would totally do it again
if allowed by the masses -- regardless if you "want" to make $ or not,
important to understand anywhere in the globe there are fairs to make
money and fairs to make contacts (i.e. getting the good work shown) --
trust me I do plenty of fairs if you want to talk about non-commercial
ventures. I think it is important to let people know that there are
interesting galleries/ spaces/whatever you want to call them in Chicago
especially this year seeing fairs in too may cities. I agree that the
increased price for Stray during May is prohibitive... I have no idea to
suggest what could change the cost structure -- I actually know the TBA
agenda and know they are not making money on this venture. All I know is
that they have the right intentions and are always open to your comments.
All I can say is think of what you are trying to achieve and can this be
the avenue... monique meloche ps- I don't see any problem with the artboat
-- TBA has been trying to do a boat cruise for their VIPs forever -- do it
now!
On Fri, 14 Mar 2003, bulka wrote: "There is far too much energy
wasted on trying to be, or arguing about, a legit venue, and far too
little energy wasted on making something that is worth looking at and
talking about. Hey Michael; I agree, but there is a dual
desire to be both an exhibition space and a sales space. I think you are
also right about, "If you want to become rich and famous from doing this,
you are in the wrong business", but you can't tell that to a gallery which
occassionally sells something. They (we) all live by hopes and dreams. At
least the Stray galleries present things worth looking at. That may not
nbe important for collectors, but it is important to artists.
Established sales galleries probably do $2,000 to $4,000 per week
in sales as a minimum, and not from shows, but by telephone. What other
level of gross income will support a staff of two or more, and pay rent on
a space in some foofoo district? But I think the 'Floating Stray
Show' is a great adventure; it is just an extension of that Rider truck
parked in the lot at Pershing and Illinois a couple of years ago.
A recurring theme: "TBA is not making any money on the
Stray Show" That's great, and I love Blackman & Co., but the money
issue begs a question: If exhibitors paid $300 per booth at the
Kingsbury location in December, why are they paying $750 now? I
certainly hope SOMEBODY is making money with a $450 price increase.
GF No.
My bet is that no one is. I haven't seen the books or talked to
him about it, but it is my bet that Tom was loosing 500 bucks per booth in
December and now he's trying to break even. The lost money is an
investment in the art community which Tom hopes to recoup in future years
as the Stray galleries (or at least some of them) hit their stride and
become profitable. Curt
On Thu, 20 Mar 2003, Curt wrote: "... it is my bet that Tom was
loosing 500 bucks per booth in December and now he's trying to break even.
And what is the cost of a 'regular' space? The Reader quoted
something a few weeks ago, but the papers were recycled. It was like a
couple of grand. Jno.. Still getting 2 copies of these emails Anyway to
eradicate this problem? Did you talk to Miguel about your
installation?? //ali//
On Thu, 20 Mar 2003, a li w al s h wrote: Unsubscribe one, I will
fixed. too many knobs played with. I pulled the guts out and set
it next to the box so they can henceforth see what they are doing if they
twidle knobs. /j
well, we could look at some numbers... I need help filling in the blanks
though. 300 x 40 = 12,000 lease on 1418 W. Kingsbury = $13,000
lease of lights = ? paying people to re-paint, move, install walls =
approx. $2000 renting fencing = ? renting tables and chairs (for cafe
areas) = ? renting coat check racks/hangers = printing of postcard = ?
advertisements in Reader = ? Heather's time = a lot On Thu, 20 Mar 2003, Keri Butler wrote: "well, we could
look at some numbers... I need help filling in the blanks though.
And fill in this blank: what is the rental cost for a 'normal'
booth at ArtChicago? Hey, sorry about the knobs and stuff. I too
got caught in one of those 'Reply-To' things (as, I think, did Ali). At
least I didn't reveal my thoughts on Catholicism. :)
I'm
having a hard time tonight caring about the cost of renting a coat check
rack. I'll be at Federal Plaza at 8 AM Friday, hoping not to be
arrested before coffee. This shit makes these niggling
negotiations seem petty, and the nik-naks of the Real show even more silly
and irrelevant. I'm not part of any organized group, but I march
with an ad hoc skeleton band. Come play with us or talk to me if I can
help some other way. Michael Thank you Michael Bulka. Anyone who opposes this stupid war and
would like to participate in something exhilarating that costs a lot less
than $750.00 would do well to head downtown at some point today. I do not
go to very many protests and marches, and was not part of any organized
group either, but last night was a powerful and important experience. You
don't have to chant those chants if you don't want to. Come enjoy the
pleasure of walking through downtown Chicago in the middle of the street
with hundreds of other decent and happy civilly disobedient people. If you
are feeling as much tension and sadness as I was this week, I would
recommend coming out as a terrific way of alleviating some of that misery
and being with a lot of very normal, fine people - many of whom will be
your friends who also needed to get out of the house to express some of
their dismay about the hopelessness they are feeling. My hope is that
after regaining some semblence of humanity, I'll be able to closely think
about art projects again too. Many artists are naturally having a pretty
hard time getting any work done this week. Marc bulka
wrote: "I'm having a hard time tonight caring about the cost of
renting a coat check rack. I'll be at Federal Plaza at 8 AM
Friday, hoping not to be arrested before coffee. This shit makes
these niggling negotiations seem petty, and the nik-naks of the Real show
even more silly and irrelevant. I'm not part of any organized
group, but I march with an ad hoc skeleton band. Come play with us or
talk to me if I can help some other way." Michael
"And fill in this blank: what is the rental cost for a 'normal'
booth at ArtChicago?" Booth space at art fairs typically costs
somewhere between $35-$40 a square foot depending on the city and the
fair. With the smallest spaces usually being about 200 sq.ft. So that's
about $7000 for a booth, plus the cost of light rental, additional walls,
catalogue pages, furniture rental, electricity, etc. Easily another
$1000-$2000. TBA does their booths in packages - costs about $9000.
You can view the ArtChicago application with prices at:
www.artchicago.com/pdf/2003Application.pdf I think the Scope show
charges in the neightborhood of $3000 to $4000 to be in a hotel room.
(I received this from my friend Alex Lynn. Leah) PLEASE
READ The following article is transcribed verbatim from its
original publication in the Wall Street Journal of April 17th, 1986. It
was written by Irish journalist Alexander Cockburn immediately following
the United States bombing of Libya. At the time, the U.S. was pursuing an
aggressive military policy against Libya and the Libyan leader Muammar
al-Qaddafi. Some of the arguments set forth in this polemic will sound
familiar to anyone with an interest in the current sad state of U.S.
policy and its impact on world affairs. U.S. foreign policy under Bush II
is nearly identical, in both methods and hypocrisy, to the bankrupt policy
of the regime established under Reagan and Bush I. If the terms ‘Iraq’ and
‘Hussein’ are substituted for ‘Libya’ and ‘Qaddafi,’ this article becomes
shockingly current, and for this reason if none other, it is well worth
reading. The political advantages of waging a ‘war on terror’ are neatly
articulated in Cockburn’s analysis of the double standards applied to
compliant versus unruly foreign dictators. Please read this, and
circulate it freely, as you see fit. This article can be found in the WSJ
and on pages 409 – 411 in a published edition of Cockburn’s writings from
the Reagan era, entitled Corruptions of Empire (New York: Verso, 1987).
March 20th, 2003 Bombing Libya by Alexander Cockburn
In the face of the negligible threat posed to U.S. interests – and
to the world – by Muammar Qaddafi we now witness the U.S. tossing aside
elementary dictates of law, evidence, morality, compassion and proportion;
all discarded in a gust of national self-congratulation. Law:
Since the raids against Tripoli and Benghazi would quite clearly have been
illegal had the U.S. invoked a principle of retaliation, President Reagan
cited Article 51 of the U.N. Charter claiming the right of self-defense
against future attack. But this piece of legal justification is equally
without foundation. The purpose of Article 51 was to give the right of
self-defense to any U.N. member state actually sustaining attack, until
the Security Council could take appropriate action. But, of
course, since the U.S. was not under stack by Libya at the time of the
bombing raids, it has become necessary to invoke the threat of future
attack, equipped with the usual convenient ‘intelligence report’ of
imminent Libyan conspiracies. Is the Reagan administration now raising
prophecy to the level of international juridical principle? If so, the
Nicaraguan government, very reasonably determining that the U. S. is
planning an attack on its territory, has the right to bomb Washington.
Denis Healey, shadow foreign secretary in Britain’s Labor opposition,
pointed out to ABC’s Ted Koppel on Tuesday night that by this same
rationale of defense against future attack, Britain could bomb apartment
blocks in New York and Chicago on the ground that they contained sending
money and military supplies to Irish Republican Army members in the UK.
Evidence: Although he cannot legally claim the right of
retaliation, the president has invoked the bombing of the Berlin nightclub
as justification for the attacks on Libya, saying the evidence of Libyan
guilt is ‘irrefutable.’ The U.S. media now echo him with overwhelming talk
of ‘overwhelming’ evidence. But how overwhelming is it? As late as April
14, U.S. and West German officials were speaking of ‘suspected’ Libyan
involvement. Only later came predated assertions of certainty by April 5.
Nothing in the history of the Reagan administration – whose
relationship to veracity has been spasmodic at best – gives one any
encouragement to credit such claims. The administration’s idea of
‘irrefutable evidence’ is anything CIA director William Casey chooses to
put under plain brown wrappers. And, on Reaganite logic, if the Libyans
were implicated in the nightclub bombing, the could no doubt similarly
claim this was retaliation for U.S. military activities in the Gulf of
Sidra in the last week of March: the London Sunday Times has quoted a
British engineer in Libya as having said that on the basis of his radar
observations, U.S. planes overflew Libyan soil before the Libyan missile
batteries opened up. More than 50 Libyans apparently died in those
attacks. Would not the evidence as easily suggest that for the
second time the Reagan administration sought a (politically popular)
confrontation with Libya on the eve of a congressional vote on funding of
the Nicaraguan contras, and that the eccentric interpretation of Article
51 could be designed as an excuse for suture bombing of Nicaraguan
installations? Morality: That so many prominent citizens of a
large and powerful country now delight in calling the leader of a small
country a ‘mad dog’ indicates that dignity and self-possession have
yielded to childish, brutish emotions. To hear and to watch politicians
and commentators talking with abandon about ‘taking out’ Col. Qaddafi,
even ‘nuking’ him, in the name of ‘self-defense,’ is to be reminded of the
way the Nazis used to speak. Hitler liked to talk about self-defense just
before he attacked a small nation. Is it really now the policy of the U.S.
to attempt aerial assassination of leaders it opposes? A dead Quaddafi
would render all the more weighty the charges addressed against the U.S.
act. All the talk about efforts to limit ‘collateral damage’ by
bombing strikes of ‘surgical precision’ is the purest flimflam, made all
the more squalid by subsequent shifting of blame to ‘hung’ fuses or Libyan
missiles. If you bomb a city at night – or by day for that matter – you
are going to hit civilians, as the Reagan administration knew well. The
U.S. military certainly knew. With the use of infrared viewers and
laser-guided equipment, at least 20% of the bombs would go wild.
Compassion: The president exults and the people exult with him.
The speak of a victory over terror. Let them remember what they have
wrought. ‘In the wreckage of what had been a comfortable two-story villa,’
went an Associated Press report, ‘rescuers found the body of Mohammed
Ibrahim al-Shirkawy, an elderly merchant. His body still dressed in
nightclothes was buried in rubble on the top floor bedroom. Across the
street in a one-story villa … reporters walked through pools of blood on
the marble floor. In one room where neighbors said children had been
sleeping, bed sheets soaked in blood lay strewn about the floor. …’ Think
of Mr. al-Shirkawy before you dance in the streets. Proportion:
How is it that the Reagan administration could, without any apparent sense
of irony, proclaim its duty to wage war on terrorism at the very moment it
was seeking millions in Congress to export terrorism, via the contra
clients, into Nicaragua? How is it that Col. Qaddafi can be enlarged from
a figure of puny consequence into the world’s premier contriver of terror?
Amnesty International reckons his unfortunate political victims in two
figures. Since 1980, more than 50,000 people have died in El Salvador,
largely as a result of right-wing violence condoned by the U.S. In
the shadowy world of the Reaganite imagination, Col. Qaddafi is a figure
of immense utility, an easy demon, in pursuit of whom all common sense may
be abandoned, just as a war against ‘terror’ substitutes the geography of
political paranoia and prime-time posturing for the geography of the real
world. Is terrorism the main enemy, as opposed to famine, disease,
underdevelopment? Is it a matter of national self-congratulation that when
it comes to the map of paranoia, the U.S. inhabits the same latitudes in
which it locates its foe Col. Qaddafi, though with infinitely more
consequence for the world, and thus deserving of far greater censure?
I received this from a friend from high school who after
graduation gave up a scholarship to study photography to go into the
Marines. He could be one of the few people with whom I associate myself
(other than older relatives) who does not share my politics. I was
appalled that he forwarded this to me. I was appalled at the selective
knowledge the writer's opinions are based on. I acknowledge that my
ideology is most likely as skewed by emotion and irrationalities, but I am
secure in my anti-war position no matter how it is constructed. I thought
I would share the following email 1. because I find it inconceiveable and
2. to give those folks heading out to anti-war protests an idea of what
brings out the counter protesters who will be shouting back. Leah
This was written by Ed Evans, MGySgt., USMC (Ret.) who retired
with 25 years in the Navy (Korea and Vietnam). Now I Know Why I
sat in a movie theater watching "Schindler's List," asked myself,
"Why didn't the Jews fight back?" Now I know why.
I sat in a movie theater, watching "Pearl Harbor" and asked
myself, "Why weren't we prepared?" Now I know why.
Civilized people cannot fathom, much less predict, the actions of
evil people. On September 11, dozens of capable airplane
passengers allowed themselves to be overpowered by a handful of poorly
armed terrorists because they did not comprehend the depth of hatred that
motivated their captors. On September 11, thousands of innocent
people were murdered because too many Americans naively reject the reality
that some nations are dedicated to the dominance of others. Many
political pundits, pacifists and media personnel want us to forget the
carnage. They say we must focus on the bravery of the rescuers and ignore
the cowardice of the killers. They implore us to understand the motivation
of the perpetrators. Major television stations have announced they will
assist the healing process by not replaying devastating footage of the
planes crashing into the Twin Towers. I will not be manipulated.
I will not pretend to understand. I will not forget.
I will not forget the liberal media who abused freedom of the
press to kick our country when it was vulnerable and hurting. I
will not forget that CBS anchor Dan Rather preceded President Bush's
address to the nation with the snide remark, "No matter how you feel about
him, he is still our president." I will not forget that ABC TV
anchor Peter Jennings questioned President Bush's motives for not
returning immediately to Washington, DC and commented, "We're all pretty
skeptical and cynical about Washington." And I will not forget
that ABC's Mark Halperin warned if reporters weren't informed of every
little detail of this war, they aren't "likely -- nor should they be
expected -- to show deference." I will not isolate myself from my
fellow Americans by pretending an attack on the USS Cole in Yemen was not
an attack on the United States of America. I will not forget the
Clinton administration equipped Islamic terrorists and their supporters
with the world's most sophisticated telecommunications equipment and
encryption technology, thereby compromising America's ability to trace
terrorist radio, cell phone, land lines, faxes and modem communications.
I will not be appeased with pointless, quick retaliatory strikes
like those perfected by the previous administration. I will not be
comforted by "feel-good, do nothing" regulations like the silly, "Have
your bags been under your control?" question at the airport. I
will not be influenced by so called, "antiwar demonstrators" who exploit
the right of expression to chant anti-American obscenities. I will
not forget the moral victory handed the North Vietnamese by American war
protesters who reviled and spat upon the returning soldiers, airmen,
sailors and marines. I will not be softened by the wishful
thinking of pacifists who chose reassurance over reality. I will
embrace the wise words of Prime Minister Tony Blair who told the Labor
Party conference, "They have no moral inhibition on the slaughter of the
innocent. If they could have murdered not 7,000 but 70,000, does anyone
doubt they would have done so and rejoiced in it? There is no
compromise possible with such people, no meeting of minds, no point of
understanding with such terror. Just a choice: defeat it or be defeated
by it. And defeat it we must!" I will force myself to:
-hear the weeping I sat in a movie
theater, watching "Private Ryan" and asked myself, "Where did they find
the courage?" Now I know. We have no choice. Living
without liberty is not living. -- Ed Evans, MGySgt., USMC (Ret.)
Not as lean, Not as mean, But still a Marine. Keep this going until every
living American has read it, and we don't make the same mistake again
"It is the soldier, not the reporter who has given us the freedom
of the press. It is the soldier, not the poet, who has given us the
freedom of speech. It is the soldier, not the campus organizer, who gives
us the freedom to demonstrate. It is the soldier who salutes the flag, who
serves beneath the flag, and whose coffin is draped by the flag, who
allows the protester to burn the flag." ~Father Dennis Edward
O'Brien, Sergeant, USMC
More police than people at the plaza this morning. Your tax dollars at
work. We were very polite, but they still filled a couple of
wagons. See you tonight. michael These sentiments are really scary to me. My father was
in the air force for 25 years and I have had to deal with the same
arguments. It can get pretty ugly when these issues divide families.
one thing that caught my eye in his email was: "some nations are
dedicated to the dominance of others" what hypocrisy! anyhow, I
have been going to the protests and some anti-war meetings. The problem
I've found is that I don't really fit in with any of these groups. And,
some of their arguments can be just as blind-sighted as Leah's friend's.
hope to see all you later today... keri My apologies as well for the personal email
to Jno...yes I perpetuated the Reply-to stupidity. In light of
recent emails to othergroup, I want to once again invite everyone to the
opening this evening at Polvo Art Studio, Terrorist Art: Protesting War.
This is less shameless self-promotion as a sincere invitation to
gather at our space this evening and discuss recent events, plan future
courses of action, and, in general, unite together. I hope to see
many of you there. Peace and resolve for a better way! Ali Walsh
Polvo Art Studio
****************************************************************************
********************** TERRORIST ART: Protesting War
Featuring: John Weber, Mark Nelson, Edra Soto Fernandez, Miguel
Cortez, Amy Mall, Juan Compean, Jesus Macarena-Avila, Robert Corwin, Jason
Churchill, Sonja Kruitwagen, Saul Aguirre, Cariana Carianne, Tom Simbley
and Jno Cook Terrorist Art: Protesting War will open at Polvo Art
Studio adjoining the installation, sculpture, video, photography, mixed
media and painting of fourteen veteran and emerging Chicago artists.
Propelled by the tensions, anxieties and complexities of war, their
collaborative effort will critique and promote awareness of the casualties
of war and the benefits of peace. From comical manipulations of homeland
security to acute examinations of domestic and international policy, the
artwork acquires sociopolitical agency and transmits the opinions and
voice of the Chicago art scene in respect to this war. Opening:
Friday March 21st 6pm-10pm Show runs till: Saturday April 19th
POLVO ART STUDIO 1257 W 18th Street, Pilsen Chicago, IL 60608 T:
312.217.3050 polvoarte at yahoo.com [http://www.polvo.org] Terrorist Art show
hours: Saturdays 12-5pm Support all Polvo activities! Buy a Polvo t-shirt
(designed by Dolan Geiman) for $10 dollars! Marc, Michael and others- Heard you shut down Lakeshore
drive--keep up the good work! Thank you Michael Bulka.
Anyone who opposes this stupid war and would like to participate in
something exhilarating that costs a lot less than $750.00 would do well to
head downtown at some point today. I do not go to very many protests and
marches, and was not part of any organized group either, but last night
was a powerful and important experience. You don't have to chant those
chants if you don't want to. Come enjoy the pleasure of walking through
downtown Chicago in the middle of the street with hundreds of other decent
and happy civilly disobedient people. If you are feeling as much tension
and sadness as I was this week, I would recommend coming out as a terrific
way of alleviating some of that misery and being with a lot of very
normal, fine people - many of whom will be your friends who also needed to
get out of the house to express some of their dismay about the
hopelessness they are feeling. My hope is that after regaining some
semblence of humanity, I'll be able to closely think about art projects
again too. Many artists are naturally having a pretty hard time getting
any work done this week. Marc bulka wrote: "I'm
having a hard time tonight caring about the cost of renting a coat check
rack. I'll be at Federal Plaza at 8 AM Friday, hoping not to be
arrested before coffee. This shit makes these niggling
negotiations seem petty, and the nik-naks of the Real show even more silly
and irrelevant. I'm not part of any organized group, but I march
with an ad hoc skeleton band. Come play with us or talk to me if I can
help some other way." Michael Sorry
for the off topic postings, but these are the times we're living in.
I encourage you to visit [http://www.chicago.indymedia.org/front.php3]
it's pretty active, with lots of postings about Friday's marches,
Thursday's, and plans for today's. And other stuff. And work back for
other info. We'll be counter-demonstrating at the Rally for
America, Federal Plaza (Dearborn & Adams) 11 AM Sat. Y'know, I
really don't like doing this sort of thing, but those assholes don't give
me another choice. What else am I gonna do - sit home and yell at the
radio? Stay in the studio making pretty pictures and let the grown-ups
run the world? I don't want to repeat the comments I made on the
indymedia site, but tonight's very polite march, between hundreds of well
armed police, was sad. Like getting graffiti artists off the street by
giving them a few square feet in a library or train station. The city
just built a riot-suited blue playpen so we can work out our little
tantrum until we get tired. Clogging the LSD was bold and good: tonight
barely counted as a protest. We'll see what happens when we meet
the "Saddam Must Die" crowd tomorrow. From what I saw tonight, we don't
have to do much to make them look foolish, but I doubt they, the media or
the gov't will recognize the foolishness. sorry, i'm tired. see
you tomorrow. michael As Bulka said, the excessively patrolled march through public
space last night left a lot to be desired as compared to the free form fun
of Thursday evening. The turnout felt impressive and massive but it was
deeply unpleasant walking between lines of riot cops along a predetermined
route. There have been a bunch of reports of people having an impossible
time even joining the protest because of the police lines/barricades.
Anyway, I felt like cattle and was reminded of why I don't usually go to
marches. Nonetheless, it was an impressive showing. And if the city ever
wants to organize a Chicago PD football, ice hockey or lacrosse league,
they have a really tremendous array of pads, gloves, and helmets at the
ready. If a baseball team ever needs a couple thousand catchers there
should be plenty of shin guards to go around. And here is news of
a more creative protest from an email from Edmar: "Proof that we
do not need to gather in federal plaza to protest was confirmed when at
11:00pm a hundred members of the Antiwar Street dancing team took over the
intersection of Milwaukee Damen and North. They danced to some smokin hip
hop selections of the Pink bloque sound system stopping traffic for about
10 minutes. The dancing team dispersed into the woodwork of the Liquor
park neighborhood when dozens of CPD (not in Ninja gear) responded to the
spontaneous reclamation of the streets... No arrests everyone got a way to
protest another day. The CPD then continued to block traffic for another
15 minutes..." Oh yeah, and WGN reports that a lot of girl scouts
have been sending happy letters to the troops. Ra ra ra. Marc
bulka wrote: yea, I arrived late and the cops wouldn't let me in so I just
marched along side of the group with a bunch of other people including two
guys who were for the war (or at least support the troops or something).
It was kind of sad to see everyone confined like that, but whenever they
stopped we were on the sidelines cheering them on. I have to say
that I was pretty frustrated for a few reasons: 1. some guy that
was yelling at the pro-troops guy. he was really annoying and
embarrassing - saying things like "guys who like guns are homos!" I mean,
what is that all about? 2. This guy, who I guess is a
representative from some organizing group who was yelling to his friend
from inside the protest "yea, these FREAKS won't let you in, so meet me at
the end.." and the same guy gets up at the end of the march and goes on
about despite the efforts of the cops to derail the march ... This was
annoying, not because I think the cops were there to protect our free
speech or anything, but because I don't see how this type of antagonism is
in anyway productive. 3. how easily a peace protest can feel
un-peaceful. anyhow, sorry I won't be downtown this morning. I
had to take a cab home last night after the march because of stomach
pains. turns out I have a bladder infection. sorry, I know that's too much
info. on 3/22/03 6:54 AM, Marc Fischer at marcf at corecomm.net
wrote: "There have been a bunch of reports of people having an impossible
time even joining the protest because of the police lines/barricades.
Anyway, I felt like cattle" Hi All, Regarding recent events: It's important
to remember that our society, like any other, will always have lying
within it a certain number of people who when given the opportunity, will
happily become "terrorists", mass murderers, torturers, rapists, death
camp guards, and abusive monsters of all sorts. Denied an opportunity,
they live quiet normal lives, and probably don't even know themselves that
they have this propensity within them. Yet when a society begins to fall
apart, or lose it's cohesive moral vision, these folks come out of their
shell, and begin to show us what actually was lurking within them. They
are indeed terrifying. And all the more so because they are so avarage,
yet so outrageous. They seek the power to become such monsters by accusing
other people of the very darkness lurking in their own hearts. The
nazis accused the Jews of being "sub-human", yet in the end this is
exactly what they themselves turned out to be. Bosnia, Angola, Nicaragua;
various countries all over the world and throughout history have in their
turn been over-run by these "terrorists" within them, and then broke into
orgies of mass murder, torture, rape and pillage; neighbor against
neighbor. There are real terrorists among us, make no mistake. But
they are not usually the ones being labeled as such. More often then not,
they are the ones doing the labeling. History has proven this time and
again. But we never seem to learn the lessons of history. It's as if there
is some perverse inclination within us all, that occasionally just has to
embrace the insanity. And we don't realize that we've done it until it's
too late, and the real monsters are out of their cages. I'm not
calling anyone a in particular a "terrorist", here. I'm merely pointing
out that people who like to do terrible things to other people are always
among us. And that they often begin their path to hell by accusing other
people of being the very demons that are lurking within their own hearts
and minds. In the end it's their desire to kill the monsters they see in
other men that expose the monsters that they themselves have become. In
fact the monsters they were seeing in other men were really only the
reflections of their own internal demons. It's times like we are
living in now, that require us to be extra vigilant for the demons lurking
within our own hearts, and within our own governments. The "terrorists"
within and among us will do us far more harm in the end than those "out
there", that we are attempting to destroy. Let's be vigilant.
Dave S. Sorry, because that was a forward it got chewed up.
here's the full text: The National Lawyers Guild will be holding a
meeting on Sunday March 30, 2003at 2 p.m. at the Chicago Temple, 77 W.
Washington, Chicago (southeast corner of Washington and Clark).
The meeting will address legal issues and legal representation for
people who have been detained, arrested and/or charged at recent
demonstrations. We will dicuss legal representation for those facing
criminal charges and those who may wish to pursue a civil rights suits
against the police. In the effort that we can systematically
collect information about the illegal arrests that have occurred at and
since the Thursday protest, the Chicago National Lawyer's Guild now has an
E-mail address where we should all E-mail the contact information (name,
address, telephone, E-mail address), next court date, amount of bond
posted, and the charges. Please E-mail at: m20arrests at
nlgchicago.org This data will be put in an address book which we
can use to contact all arrestees, to better determine how and who we can
assist in their criminal cases, and to perhaps bring a civil action on
behalf of some or all of these folks. Director, Gallery 400, UIC 1240 West Harrison Street (MC
034) Chicago, IL 60607 312 996 6114 T 312 355 3444
F [http://gallery400.aa.uic.edu]
- development.............6800 (db design, scripting
- cheap!)
- management..............1360 (office and supervision
percentage)
- total..................11160
- gallery and agency locations and phone numbers
-
links - by god, links to everywhere in and around Chgo
- gallery and
agency information, descriptions, contacts
- who is who, among
dealers, curators, critics
- who does what among local artists
-
resources: materials, shipping, legal, how-to, printing
- /jno
-
lists 27 members with links, 5 years of exhibition archives
-
there may be a membership list, but it's behind a password
- spotty
exhibition archives going back a few years (some in the 70')
- large
'resources' file, but much is out of town sites
-
list 160 artist (they have to pay) [http://www.caconline.org/cac/alpharegistry.html]
- list of current openings (from their mag?)
- workshops, credit
union, health plans, other.
- sells public resources lists (Sell?)
- extremely restrictive "terms and conditions" -- scary [http://www.caconline.org/webbytes/caconlineterms.html]
- site run by a third party, and uses Win-1252 char set
- lists ~170 members (cant see: asp, js)
- regular workshops and
edu programs
- Frames (I gotta get a new browser, they say)
- about 32 artists listed, 5 galleries
(cant see: JS)
- local calendar, but seemingly no archives
-
impossible to navigate (I dont have JS)
- I have no idea what the
relationship is to the Pilsen art area, all of it is also covered by [http://www.artpilsen.com/] (see
next)
-
representing the same 5 galleries as above
- looks like spaces.org,
brief and topical
- info on 80
galleries: descriptions, contacts, etc
- some archived openings
(reputed to have three years on file)
- lists 45 galleries
- nothing else, although I didnt backtrack
- lists 13 critics (last update dec 99)
- events at their 4 or 5 galley spaces
- grant programs, help/ed
programs at some longwinded location(s) [http://www.cityofchicago.org/CulturalAffairs/CulturalGrants/]
- links to galleries and stuff (the URL couldn't be longer) [http://www.cityofchicago.org/CulturalAffairs/CulturalProgramming/ArtsTechnicalAssistance.html#ArtsTAGuide]
- a hard to navigate link happy site: things go in rotation.
- /jno
-Jno Cook, CA 3.2003
- gallery and agency
locations and phone numbers
- links - by god, links to everywhere in
and around Chgo
- gallery and agency information, descriptions,
contacts
- who is who, among dealers, curators, critics
- who
does what among local artists
- resources: materials, shipping,
legal, how-to, printing (from jno)
-live/work spaces--where are the large live/work lofts,
start-up artist communities, venues for residency work, alternate
Podmajersky landlords with some vision -posting site for artist career
development lectures-workshops
-posting site for calls for
submissions--this would be enormous and I will leave this -to jno and his
love for complex databases and more discussion
-art-related print
publications bridge, Mouthtomouth, tenbyten etc.
- but I'm not sure. And, just to confirm - this email
represents my own personal thoughts - not the thoughts of TBA.
- most of the stray galleries already fit in quite
well to this art market situation. And I think the idea is to help those
galleries grow and build a collector base so that maybe they could someday
afford to do Art Chicago (or some other fair). And, the hope would be
that these galleries would stay in Chicago because for those people who
like it here - they want it to be cool.
- see [http://othergroup.net/access]
-live/work spaces
-posting site
for artist career development
-posting site for calls for submissions
-art-related print publications
-posting site for artist career development: [http://othergroup.net/jobs] and [http://othergroup.net/grants] ..
but maybe we need "assistance?"
-posting site for calls for
submissions see [http://othergroup.net/shows]
-art-related print publications: will add a links list
- /jno
-Stay left at split,
taking the 88 tollroad west (follow signs to Aurora)
-(Shortly after
the 40 cent toll) Exit at Highland Ave.
-Right onto Highland, then an
IMEDIATE Left down ramp, onto Butterfield Rd.
-Take Butterfield for 5
min. or so, past 355, and 53.
-Turn right onto Park.
-Turn Left
onto Fawell
-Park in the giant lot.
-Enter at Main Entrance of
Art Center.
-/jno
-/jno
-/jno
-feel the helplessness
-imagine the
terror
-sense the panic
-smell the burning flesh
-
experience the loss
- remember the hatred.
-Steve