#class Organized by Jennifer Dalton and William Powhida
February 21 - March 20, 2010 Opens February 21 4:00 PM - 8:00 PM Wed. - Sun. 2-8 PM
Winkleman Gallery is slightly nervous pleased to present #class, a month-long series of events organized by Jennifer Dalton and William Powhida. In the artists' own words:
"#class will turn Winkleman Gallery into a 'think tank', where we will work with guest artists, critics, academics, dealers, collectors and anyone else who would like to participate to examine the way art is made and seen in our culture and to identify and propose alternatives and/or reforms to the current market system. By 'current market system' we mean the commercial model and attendant commodification of art, but also the unquantifiable, intangible, unpaid aspects of participating in the art world. We will work to physically transform Winkleman Gallery from a showroom into a think tank, where discussions and events will take place from approximately Feb 20 - March 20, 2010.
These issues will be approached from three intersecting spheres of artistic practice: 'Think Space', 'Work Space', and 'Market Space'. While thinking is also work, we make the distinction here to separate the labor the organizing artists, Jennifer Dalton and William Powhida, will perform individually from the collaborative and communal dialog that we will facilitate.
Among other things, we hope to reduce the amount of certainty that the audience feels when entering a gallery and encountering an art work. The outcome of this project is totally uncertain, and involves risk. We will process this uncertainty and risk artistically and respond as individual artists by making work at tables in the 'Work Space' and and displaying it in a small, marginalized 'Market Space' within the gallery. This will make explicit the conflict artists often feel between their belief in socialist or communal values and their isolated, individualistic artistic work and career.
The gallery will be reconfigured from a display-space into a place for working, thinking, and hanging out. Several walls will be covered in chalkboard paint where artists and others may participate in defining and working out problems consecutively or communally. There will be chairs and tables available for visitors to use to sit and converse. We hope to improve upon and refine our current working definition that “art is a luxury commodity for the wealthy that limits the possibility of ownership, understanding, and access based on class, education and geography”. We will work in the gallery to continuously update, record, and modify the information that the public provides. Eventually, we hope to move from identification and definition into analysis to propose solutions.
We ourselves, along with other collaborators, will spend as much time in the gallery as possible. During some of this time, we will participate simply by talking, drinking, and working on the walls themselves as we would in a private studio. Members of the public will be welcome to join in on the dialog and make themselves comfortable.
We believe that this aspect of the project will implicitly challenge some of the expectations of the market including (1) that most art is produced in private by individual artists and (2) is presented as a finished product ready for consumption. We hope to make our thought process tangible.
The last goal of the Think Space will be promote a critical and academic dialog around the project and attendant developing ideas by hosting a series of informal events and discussions involving critics, bloggers, artists, dealers, collectors, academics, and the general public through a call-for-proposals. We would like to avoid the professionalism and authority of traditional panels by making the discussions less formal and encouraging people to speak with greater freedom and candor about the subjects by plying them with food and drink. We will have a full calendar of performances, discussions, and uncategorizable art-like events, all invested with the aim of enlarging and deepening the conversation about the intersection of art and the market.
As the show progresses, the individual artists Jennifer Dalton and William Powhida plan to participate in the market by making art work inspired by the information, events and discussions generated in the space. At the work tables in the space, in public, we will create small works on paper based on our interpretation and documentation of the evolving project. This work will not be priced in the usual commercial manner, premised on 'what the market will bear' based on our past work and reputations. Instead, we plan to offer our work to the highest bidder with no reserve. We may offer suggested guidelines for appropriate prices, such as one day of the buyer's income from his or her job, 0.1% of his or her net worth, etc. However, the buyers will be free to offer whatever price they see fit, and the artists will be obliged to sell the work at the highest offered price.
There will be a clearly defined, physically marginalized Market Space within the gallery where these works can be displayed and marketed to those who would like to view or purchase them. Our transparent complicity in the market and the proximity of the think/market spaces to the work space will help steer the discussion back to the emotional conflict between ideals and reality." For a complete list and schedule of the events and discussion in #class, visit the exhibition's website : http://hashtagclass.blogspot.com
For more information, please contact Edward Winkleman at 212.643.3152 or email@example.com
William Powhida appears courtesy of Schroeder Romero & Shredder, New York
Jennifer Dalton and William Powhida have over 40 events in some stage of development already. There will be a few different things going on every day the show is open! A full schedule will be publicly posted once it is finally hammered out. For now, a preview.
Painter and writer Mira Schor will read her 1990 essay “On Failure and Anonymity” and lead a discussion on how these conditions might play a positive role in making art.
Hyperallergichas prepared $ECRET$ OF THE NEW YORK ART WORLD, which invites visitors to reveal who in the city's art industry owes them money. Will the pyramid scheme that is the art world collapse when the secrets come out? Hyperallergic hopes so.
An Xiao will present "Photoglam," during which she and her glamorous entourage will be photographing attendees during the opening and posting them on the Facebook event page. The photos with the top number of 'likes' will be publicly posted.
Magda Sawon of Postmasters Gallery will host "Ask the Art Dealer," vowing to truthfully answer any and every question posed to her. We're starting to collect questions now, if you post one in the comments here it will get asked!
Free Gift Wrapping! Anyone who buys an artwork during the run of the show can have it gift-wrapped by Zoë Sheehan Saldaña in handmade brown paper and twine.
Artists MTAA will demonstrate "Autotrace," a completely automatic, software-generated appropriation and shape creation system.
Rebecca Goyette will present "Market U," an art critique as experiential theatre. The Ringmaster of Market University will review the live examples of artwork of selected recent graduates of of various NYC MFA Programs including Market U. A panel of judges, internationally recognized art critics, gallery owners and artists who work for Market U will be the jury... or will you?
Sarah Smizz will give away free posters featuring her "Maps of the Art System."
Nic Rad will present "The Celebritist Manifesto," a stirring defense of celebrity culture as the boldest creative expression of a democratic society, in which it will become abundantly clear that James Franco is the most significant artist of the decade, if not all time.
Man Bartlett will be presenting "24h #class action," a marathon group intervention involving systematically blowing up hundreds of skinny balloons and popping them, without creating or harming any cute little puppies.
Dr. Lisa Levy, S.P. (Self-Proclaimed) will present "Investigating Personal Obstacles to Creativity and Creative Productivity," a workshop using the tools of psychoanalysis to begin to identify how personal history and emotions subvert and misdirect our actions to make creative work so we can realize our full potential as artists.
Yevgeniy Fiks will present a slide-lecture titled "Communist Modern Artists and the Art Market," showing how many of the the most highly valued art of the 20th century was produced by artists who considered themselves communists (Picasso, Leger, Kahlo, Rivera and more).
The Art Blahg will present "Art Wake," a funeral ritual for contemporary art.
Carolina Miranda will lead participants in "Art Yoga by C-Mon," incorporating newly invented poses to aid artists in the contortions necessary to advance their practice and career.
PLANNED TABLE DISCUSSIONS
Collecting with Your Eye, Not Your Ears • What motivates collectors to acquire work? Is it what you hear about an artist or is it the work itself?
Nocation, Nocation, Nocation • How does not having a traditional brick and mortar space affect the roles of independent curators, pop-up galleries, roving spaces, independent dealers?
The Critic's Panel • What will happen when some of New York's most prominent critics come to the table at #class?
The Anti-Conceptualism Discussion •There are a vast number of people out there who don't like conceptual art, what Jen and William do, or what Winkleman promotes. Do you think we are bullshit? We'd like to hear from you! We are inviting any formalists, purists, and ideologues with open arms into the gallery for a frank discussion on conceptual art and even #class itself. The System Works •What's wrong with the market? Well, for many artists fully invested in it, nothing!
The System Doesn't Work •What's wrong with the market?! Well, for many artists with nothing invested in it, everything!
Access • One of the defining issues at the heart of #class. Is open access for all artists even a possibility in the broadest sense of the art experience? Is it the wisdom of the crowd, a lottery drawing, or the discerning 'eye' of the curator, dealer, or tastemaker that should shape we see?
The Ivory Tower •In the late 80's and the early 90's, you could get an MFA without so much as drawing a line, well if you don't count all the underlining and highlighting of Derrida and Foucalt. Many young artists plow through undergraduate and graduate school for degrees so they can immediately get a tenure track teaching gig in....well anywhere, without ever trying to be a working artist. There are also a lot of artists who've been teaching for decades out there. What's your take on the rise of academia and the proliferation of art programs that promise a 'career' in the arts?
The Art World as High School •You can't possibly have a discussion about the art market without thinking about New York as a series of carefully placed lunchroom tables where even the subtlest glance, bit of gossip, or movement can set off a fight. Are you a cool kid? A rich kid? A fat kid? A jock? A nerd? An Outcast?
Bolshevik! •An open invitation to Marxists (and sympathizers!) to have a special dialog about the aging alternative to Capitalism.
Success? • Another open invitation to discuss how the easy and plentiful money of the art boom fueled perceptions that this one was different and that it would last forever. How does the influx of money change artists, dealers, collectors, and is it a trap that promotes a defensive, cautious position?
"I use light as a material to work the medium of perception, basically the work really has no object because perception is the object. And there is no image because I am not interested in associative thought."
- James Turrell
PIPPY HOULDSWORTH GALLERY, London presents RUTH CLAXTON - Specular Spectacular
7 June - 6 July 2013
Specular Spectacular is a complex maze that occupies the 'centre stage' of the gallery.
Interconnecting structures hold mirrors that both become part of and reflect the installation itself.
Worlds within worlds are housed here, and inhabited by found figurines that are themselves swallowed up by amorphous reflective masks.
Icelandic nature is prominent in Eliasson's work, and his artistic relationship with it often involves collection or documentation that is scientific in tone. The country becomes a sensory laboratory where ideas can be developed and evolved into art, as evidenced in the multiple photographic series that would seem to witness a near compulsive need for collecting.