no, but this y’all:
Hills Esthetic Center
128 N Campbell Ave
Chicago, IL 60612
Miss Kilman and She Were Terrible Together
curated by Matt Morris
May 10 – June 6, 2014
Opening reception: Saturday, May 10, 7–11 pm
Shinsuke Aso, Luis Miguel Bendaña, Poy Born, Alex da Corte, Dana DeGiulio, Hunter Foster, Jesse Harrod, Richard Hawkins, Matthew Landry, Tony Luensman, Miller/Shellabarger, Ulrike Müller, William J. O’Brien, BD Pack, Daisy Palma, Eric Ruschman, Ryan Shubert, Amy Sillman, Joan Snyder
1. The epistemologies typically attributed to an analysis of the material conditions of an artwork’s production are almost always available through a phenomenological encounter with the art object itself.
2. Black is back.
3. There is a space beyond explicit depictions of same-sex coital encounters where eroticism and desire take other forms. Overturn anything and you’re bound to find sex.
4. For a period of time in the late 1950s, Agnes Martin and Ellsworth Kelly’s studios adjoined one another, and on most mornings they breakfasted together. This matters.
5. Coalitions across lines of difference are preferable to the eradication of nuanced subject positions.
6. Codes, closets, and separatism continue to be useful both as historical points of reference, but also as formal moves of constraint to play against the limits of painting.
This exhibition marks the completion of the first iteration of ‘Painting Queer,’ an undergraduate multi-level studio course Matt Morris taught at the School of the Art Institute of Chicago.
A small publication will be released in conjunction with the exhibition featuring contributions by David Getsy, Richard Hawkins, Matt Morris, Ulrike Müller, Lisi Raskin, and others.
Ivonne Ranier, 1966
Anne Teresa De Keersmaeker
From a 1986 Interview with David Hammons:
1. I CAN’T STAND ART ACTUALLY. I’VE NEVER, EVER LIKED ART, EVER. I NEVER TOOK IT IN SCHOOL.
2. WHEN I WAS IN CALIFORNIA, ARTISTS WOULD WORK FOR YEARS AND NEVER HAVE A SHOW. SO SHOWING HAS NEVER BEEN THAT IMPORTANT TO ME. WE USED TO CUSS PEOPLE OUT: PEOPLE WHO BOUGHT OUR WORK, DEALERS, ETC., BECAUSE THAT PART OF BEING AN ARTIST WAS ALWAYS A JOKE TO US.
WHEN I CAME TO NEW YORK, I DIDN’T SEE ANY OF THAT. EVERYBODY WAS JUST GROVELING AND TOMMING, ANYTHING TO BE IN THE ROOM WITH SOMEBODY WITH SOME MONEY. THERE WERE NO BAD GUYS HERE; SO I SAID, “LET ME BE A BAD GUY,” OR ATTEMPT TO BE A BAD GUY, OR PLAY WITH THE BAD AREAS AND SEE WHAT HAPPENS.
10. THE ART AUDIENCE IS THE WORST AUDIENCE IN THE WORLD. IT’S OVERLY EDUCATED, IT’S CONSERVATIVE, IT’S OUT TO CRITICIZE NOT TO UNDERSTAND, AND IT NEVER HAS ANY FUN. WHY SHOULD I SPEND MY TIME PLAYING TO THAT AUDIENCE?
DAVID HAMMONS 1986
Ringling circus performers.