Bad At Sports

This week: San Francisco checks in and talks to curator and art historian Abby Chen!  

This week on the Amanda Browder show, Amanda and her trusty side kick Tom visit Wendy White's Brooklyn studio. The discuss Wendy's paintings as she finishes up a bunch for her current exhibition at Andrew Rafacz gallery in Chicago. Amanda finally finds a painter that she likes in Wendy and Tom learns that Amanda is not a sculptor (as he had believed), but she in fact works in a new genre (to Tom) called "Fibers". Wendy White is a New York painter who has shown all over the world, including recent shows in New York, Madrid, Amsterdam, Tokyo, and even Omaha! Her work has been discussed and reviewed extensively by the art intelligencia in such publications as ArtForum, Art in America, The Brooklyn Rail, the Huffington Post and the Gay City News.  

This week: Duncan, Richard and guest co-host Dr. Amy Mooney, Associate Professor of Art History at Columbia College, talk with superstar artist Kehinde Wiley about his work and his exhibition "The World Stage: India-Sri Lanka" which just opened at the Rhona Hoffman Gallery (through October 23, 2010).   The following seemingly outdated bio was lifted from the New Museum of Contemporary Art. Kehinde Wiley was born in Los Angeles in 1977. He received his BFA in 1999 from the San Francisco Art Institute and graduated from Yale University School of Art two years later. Wiley is viewed as the modern-day heir to a long line of portraitists --Reynolds, Gainsborough, Titian, Tiepolo-- from whom he appropriates the symbols and visual language of heroism, power, and opulence in his realistic renderings of urban black men. While referencing specific old master paintings and fusing period elements-- French Rococo ornamentation, Islamic architecture, West African textile design-- into his portraits, the final

This week: Brian sits down with Ava Jancar and Eric Jones of Jancar Jones galley in San Francisco. They discuss their peculiar gallery space, what it is like to be a young art dealer after the financial meltdown, and the future of the contemporary art scene. Enjoy!  

This Week: Our sixth season kicks off with a great interview with artist Jitish Kallat. We talk about his work, his installation at the Art Institute, and what it is like to live and work in an art scene in a city with 14 million people. If that weren't enough, curator Dr. Madhuvanti Ghose chimes in as well! The following shameless lifted from the AIC web site: Public Notice 3 September 11, 2010–January 2, 2011 Grand Staircase Overview: In the first major presentation in an American museum of Jitish Kallat’s work, the contemporary Indian artist has designed a site-specific installation that connects two key historical moments—the First World Parliament of Religions held on September 11, 1893, and the terrorist attacks at the World Trade Center and the Pentagon on that very date, 108 years later. The resulting work, Public Notice 3, creates a trenchant commentary on the evolution, or devolution, of religious tolerance across the 20th and 21st centuries. The basis for Kallat’s installation is a landmark speech

The five year behemoth is upon us! Episode 260 kicks off with a discussion with Mary Jane Jacob and Michelle Grabner about the artist and studio. Then we turn the camera on ourselves and have a discussion about where we are and where we are headed, if anywhere. Thanks for listening! It has been a great five years!   P.S. Cauleen S. you are a sad, sad, petty whiner. Grow the hell up.  

This week: Tom and Amanda talk to NYC based painters Aaron Johnson and Ryan Schneider. BAS sends mucho congratulations to the MacKenzie family.

This week: We talk to Artist Nathan Carter who has a work in the current MCA Exhibition “Alexander Calder and Contemporary Art: Form, Balance, Joy”about his work, the youth perspective, and the secret trasmissions of numbers stations. Here is a slightly outdated bio I lifted: Nathan Carter’s wall reliefs, sculptures, collages, and hanging objects are inspired by myriad aspects of contemporary society: modes of transportation, mass communication devices, sports insignias, and architecture for mass gatherings like stadiums and parade grounds. At once gestural and reductive, his works amplify strategies first explored by modernist artists in the early 20th century. Deeply rooted in a fascination with how visual abstract codes represent a means of abbreviated, if not universal, communication, Carter’s free-form compositions are simultaneously non-objective and referential. Playful at first impression, Carter’s art contains allusions to mundane yet foreboding engagements, such as radio transmissions, enc

This week: Something for everyone! Lori Waxman and Duncan do reviews. Terri and Joanna review "The Ask" by Sam Lipsyte. Duncan and Richard talk with Michael Perry the Marketing & Programming Project Coordinatorfor the Chicago Loop Alliance about Art Loop Open among loads of other things. The outro is a rare piece of unedited, pure, unadulterated Duncan. Stick around for it.

This week: Brian and Patricia sit down with Andrew McKinley, proprietor of Adobe Books Backroom Gallery, and Devon Bella, the gallery's current director. They discuss Adobe Books' seminal place in the San Francisco art community, the Mission School, the gallery's recent renovation, and the ominous installation in the window proclaiming "Everything Must Go!"

This week: Philip von Zweck (Bad mofo, artist, and storied, long running host of Something Else on WLUW) and Simon Anderson (Associate Professor Department of Art History, Theory + Criticismm SAIC) interview a living legend, Genesis Breyer P-Orridge. Breyer P-Orridge was in town for an exhibition S/he is having at Western Exhibitions.   Genesis P-Orridge and performance artist Lady Jaye Breyer began a collaborative effort begun in 1993  that focused on a single, central concern: deconstructing the fiction of self.  Frustrated by what they felt to be culturally enforced limits on identity but emboldened by the radical power of love, P-Orridge and Lady Jaye applied collage and cut-up techniques to their own bodies in an effort to merge their respective selves.  Through plastic surgery, hormone therapy, cross-dressing and altered behavior, they fashioned a single, pandrogynous being, Breyer P-Orridge.  The work is an experiment in identity, a test of how fully two people can integrate their lives, and, ultimatel

This week: Our Open Engagement series draws to a close with an interview with conference organizers Jen Delos Reyes and Harrell Fletcher.  

This week: We talk with artist and visionary Nils Norman. Nils Norman was born in Kent, England in 1966. He studied fine Art Painting BA Hons at St. Martins School of Art in London. After graduating in 1989 he moved to Cologne, Germany. There he lived for three years and collaborated with the artists Stephan Dillemuth and Josef Strau at their experimental storefront project Friesenwall 120, during this time Norman also set up a small gallery space in London, which later became Milch. In Cologne Norman worked for one year assisting the German painter Gerhard Richter in his atelier. His first US exhibition was at the Pat Hearn Gallery in Chelsea (with Denis Balk and Simon Leung), after which he began to be represented by the late Colin Deland at American Fine Arts. Norman founded an experimental space called Poster Studio on Charing Cross Road, London. This space was a collaborative effort with Merlin Carpenter and Dan Mitchell. In 1998 in New York he set up Parasite, together with the artist Andrea

As part of the ongoing collaboration between Bad At Sports and Art Practical, as well as the summer series exploring social practice, this week Brian Andrews and Patricia Maloney sit down with Natasha Wheat as she prepares for her upcoming exhibition and temporary restaurant “Self Contained,” which opens at the Museum of Contemporary Art, Chicago on July 13.     Currently based in San Francisco, Wheat is an American artist whose work attempts to understand and interrupt the way that human beings exist together. She is interested in the social hierarchy of space, utopian attempts, and the tension between exclusivity and inclusion. Wheat founded Project Grow (http://www.growinginalldirections.org/), a Portland Oregon based Art Studio and Urban Farming Project that includes people with mental diversity. Her recent work examines agriculture in relationship to human culture, distribution, and control. She received her BFA from the School of the Art Institute of Chicago in 2008.   Wheat has exhibited collaborativel

This week: We talk to artist Mark Dion, about social practice, the Museum of Jurassic Technology, cabinets of curiosity. The word "taxonomy" is bandied about at great length. Mark Dion was born in 1961 in Massachusetts; he lives and works in Pennsylvania. Dion is known for making art out of fieldwork, incorporating elements of biology, archaeology, ethnography, and the history of science, and applying to his artwork methodologies generally used for pure science. Traveling the world and collaborating with a wide range of scientists, artists, and museums, Dion has excavated ancient and modern artifacts from the banks of the Thames in London, established a marine life laboratory using specimens from New York’s Chinatown, and created a contemporary cabinet of curiosities exploring natural and philosophical hierarchies. His approach emphasizes illustration and accuracy but is charged with a biting undertone. Dion has a longstanding interest in exploring how ideas about natural histor

This week: Holy bicenquinquagenary Batman! Brian and Duncan (and guest stars including but not limited to Randall Szott) talk to Creative Time chief curator, author, and all around interesting guest Nato Thompson. This show is the second in the series of interviews recorded at the Open Engagement conference at which Mr. Thompson was a guest. This series already charts among some of my favorites in the history of the show. Enjoy!Since January 2007, Nato has organized major projects for Creative Time such as Democracy in America: The National Campaign (2008), Paul ChanÂ’s acclaimed Waiting for Godot in New Orleans (2007) and Mike Nelson’s A Psychic Vacuum. Previous to Creative Time, he worked as Curator at MASS MoCA where he completed numerous large-scale exhibitions such as The Interventionists: Art in the Social Sphere (2004), a survey of political art of the 1990s with a catalogue distributed by MIT Press. His writings have appeared in numerous publications including BookForum, Art Journal, tema ce

This week: The first in our series of interviews from the Open Engagement conference that took place in Portland this past May. We start off with an excellent discussion that Randall Szott, Duncan, Brian and the occasional Incubate person had with artist, writer, lemon tormentor Ted Purves. Topics include; Ted's work, the past present and future of Social Practice and what it means to be an artist today.This series of interviews (thusfar, I've only gone through the first two) are some of my favorite discussions that (the royal) we have had in the 5 years of the show. Great stuff!Ted Purves is a writer and artist based in Oakland. His public projects and curatorial works are centered on investigating the practice of art in the world, particularly as it addresses issues of localism, democratic participation, and innovative shifts in the position of the audience. His two-year project, Temescal Amity Works, created in collaboration with Susanne Cockrell and based in the Temescal neighborhood of Oakland, fac

This week: Brian Andrews and Duncan MacKenzie check in with Judith Leeman and Shannon Stratton while visiting Portland, Oregon and discuss their most recent curatorial endeavor the "Gestures of Resistance" exhibition at Portland's Museum of Contemporary Craft.  We talk about problematizing the standard static exhibition, how a viewer can access a dynamic and evolving show, what an object be "loaded" with, and the problem with placards. The exhibition includes... Sara Black and John Preus, Anthea Black, Carol Lung, Cat Mazza, Mung Lar Lam, Ehren Tool, and Theaster Gates. Links... http://www.performingcraft.com/ http://www.shannonstratton.com/ http://three-walls.org/ http://www.judithleemann.com/ http://material-exchange.org/home.html http://www.youtube.com/watch?v=Tfi3DIlaXqg http://www.fraufiber.com/ http://www.post-craft.net/catmazza.htm http://www.munglarlam.com/ http://www.bquayartgallery.com/archive/access_tool2007.html http://theastergates.com/home.htm

This week: The third in the lecture series that was in conjunction with the Bad at Sports organized exhibition “Don't Piss on Me and Tell Me it's Raining”. Tom and Amanda talk to Bridget Elmer and Emily Larned of Impractical Labor in Service of the Speculative Arts. Founded by two letterpress printers, Impractical Labor in Service of the Speculative Arts (ILSSA). ILSSA is a membership organization for those who make conceptual or experimental work with obsolete technology. Consisting of a Union and a Research Institute, ILSSA seeks to build community and create resources, promoting the creative re-use of discarded innovations and the values embedded within them. Since its inception in 2008, ILSSA has grown to over 100 members, including a social sculpture weaver, a clip art librarian, a blogger who posts in needlepoint, a designer/builder of vacuum tube electronics, and an heirloom farmer. On this evening with the use of an overhead projector and a portable anachronistic sound system, the ILSSA co-operat

This week, Duncan, Amanda and Tom talk to artist Steven Rand, who is the founder and Executive Director of apexart in New York. If you are in or around NYC this is the last week of "Don't Piss On Me and Tell Me It's Raining" the Bad at Sports organized show, go check it out while you still can!