Tag Archives: Cauleen Smith

CAULEEN SMITH — MUTUALITIES

I always think of Sojourner as being in conversation with many different objects, wallpapers, surfaces, textures, and banners. By the time viewers watch the film, they have already received so much informational groundwork from the environment that the film can focus on conveying a particular kind of imagery or feeling. When the title credits appear at the end of Sojourner, the room is completely dark, and that’s the moment when people can see the disco ball installation producing a cosmos on the ceiling. I always consider who the work is made for and what I want it to convey. It is so important that people are given an experience that cultivates their intellectual and physical well-being. That’s why I started making installations for my films, instead of simply showing them. — Cauleen Smith

MUTUALITIES—Smith’s first solo exhibition in New York City—has reopened at the Whitney. The show, which includes her 22-minute video installation Sojourner, was organized by Chrissie Iles, with Clémence White.

This week, join Smith and curator Amber Esseiva for a virtual conversation presented by the Carpenter Center for the Visual Arts at Harvard.

See links below for information.

CAULEEN SMITH—MUTUALITIES

Through January 31, by appointment.

Whitney Museum of American Art

99 Gansevoort Street, New York City.

CAULEEN SMITH and AMBER ESSEIVA IN CONVERSATION

Thursday, September 10.

4:30 pm on the West Coast; 7:30 pm East Coast.

Cauleen Smith, Mutualities, Whitney Museum of American Art, February 17, 2020–January 31, 2021, from top: Alexis Hold Audre Lorde, 2020, from the ongoing series Firespitters, gouache, graphite, and acrylic ink on paper; Gregg Bordowitz, 2020, Firespitters series, gouache, graphite, and acrylic ink on paper; Sojourner, 2018, stills (2), video, color, sound; Pilgrim, 2017, still, video, color, sound, Whitney Museum of American Art; Natalie Holds Dionne Brand, 2020, Firespitters series, gouache, graphite, and acrylic ink on paper; Natalie Diaz, 2020, Firespitters series, gouache, graphite, and acrylic ink on paper. Artwork and video images courtesy and © the artist, Corbett vs. Dempsey, Chicago, and Kate Werble Gallery, New York City. Firespitters series photographs by Matthew Sherman, courtesy of the photographer and the Whitney Museum of American Art.

CAULEEN SMITH ON MIKE KELLEY

Written in 1981 and shot in 1982 while I was teaching a performance / installation class at the Minneapolis College of Art and DesignTHE BANANA MAN was my first completed video work.  Basically it is a one-person affair, though several of my students assisted and performed in the project.  The tape was my attempt to deal with the problem of character, the subject of much discussion at that time in relation to performance art.  I

In my own performance work, character was a function of language. As ideas shifted, so did one’s understanding of who was talking: unlike traditional theater, there were no consistent characters. I realized I could never deal with all the material I had written about the Banana Man in a live performance because it was character-based. I felt that the character would ground the piece too much, and prevent the kind of temporal confusion I was interested in. No matter what happened or how the ideas would flip, the viewer could always resort to this stable character as the “logic” of the piece. This is why I decided to present the work in video. Because of the conventions of editing, video and film tend to normalize fracture. The viewer is expected to jump from one image to the next and experience it as a seamless development. To me, this experience of seamlessness seemed to correspond to the notion of unified character. As film viewers try to normalize time, so they also attempt to normalize character. No matter how inconsistent their actions are, actors are seen as portraying “beings” driven by some unifying “psychology.” The viewer’s job is to figure out what that is. In THE BANANA MAN, I was interested in this impulse toward unification. The tape is a series of scenes about one character, and it is up to the viewer to come to terms with what this character is. — Mike Kelley

As part of the program At Home with Mike Kelley, the Mike Kelley Foundation for the Arts and Electronic Arts Intermix present an online screening of THE BANANA MAN, followed by a live conversation with Cauleen Smith, Michael Smith, and Ying Liu, moderated by Mary Clare Stevens and Rebecca Cleman.

See link below for details.

MIKE KELLEY—THE BANANA MAN

CAULEEN SMITH, MICHAEL SMITH, and YING LIU IN CONVERSATION

Tuesday, July 14.

5 pm on the West Coast; 8 pm East Coast.

Mike Kelley, from top: Portrait of the artist as the Banana Man, circa 1983, photograph by Jim McHugh; studies for The Banana Man, 1981–1982 (3); The Banana Man (1983), still. Images courtesy and © the Mike Kelley Foundation for the Arts.

CALARTS POSTER SHOW

Materials from the postponed Redcat exhibition Inside Out & Upside Down—Posters from CalArts: 1970–2019 are available online.

CalArts Archive, from top: Conny Cavazos, Lei Lei, 2019; Onyou Kim and Vivian Naranjo, Martha Friedman, 2017; Florencio Zavala and Victor Hu, Miranda July & Phil Elverum, 2007; Jae-Hyouk Sung, Matmos, 2003; Cassandra Cisneros, Juyoung Kim, and SoYun Cho, Redcat: Cauleen Smith: “Black Utopia LP,” 2013; Jens Gehlhaar, Anthony Hernandez: Landscape for the Homeless, 1997; Bijan Berahimi and Sarah Faith Gottesdiener, No Age & Brian Roettinger, 2013; Angela Bac and Jessie Zo, 2014 CalArts Halloween, 2014; Scott Barry, Rachel Harrison (3/3), 2010; Louise Sandhaus, Ed Fella Farewell Lecture: Educated, Philosofated, Detroitated, Esplicated, 2013; Allison Hsiao, Redcat: Adentro, 2018. Images courtesy and © the artists and CalArts.

A GRAMMAR BUILT WITH ROCKS

A GRAMMAR BUILT WITH ROCKS—a two-part group exhibition at Human Resources and ONE National Gay & Lesbian Archives at the USC Libraries, curated by Shoghig Halajian and Suzy Halajian—“presents artistic practices that trace the racialized and gendered relationship between bodies and land, and question narratives of socioecological crisis that contribute to the displacement and erasure of people and collective formations.

“The project appropriates its title from Édouard Glissant’s writingsas it looks to the ways in which the landscape contains, unfolds, and narrates its own history.”*

In a related program, Jumana Manna’s WILD RELATIVES (2018) will screen at Redcat in December.

A GRAMMAR BUILT WITH ROCKS

Through November 4.

Human Resources, 410 Cottage Home Street, Chinatown, Los Angeles.

 

Through December 22.

ONE National Gay and Lesbian Archives at the USC Libraries*

909 West Adams Boulevard, Los Angeles.
.
Monday, December 10, at 8:30 pm.
Redcat, 631 West 2nd Street, downtown Los Angeles.
Top: Cauleen SmithRemote Viewing, 2009, video still, 15:13 min. Courtesy of the artist, Corbett vs. Dempsey, Chicago, and Kate Werble Gallery, New York.
Above: Film still from Wild Relatives, directed by Jumana Manna. Image courtesy the artist and Redcat.
Below: Pauline Boudry and Renate LorenzToxic, 2012. Installation with Super 16mm film / HD, 13 minutes and archive. Courtesy the artists.

HANS ULRICH OBRIST IN CHICAGO

As part of Art Design Chicago—a citywide celebration of the city’s arts and design legacy—the first U.S.-based marathon by Hans Ulrich Obrist will be held this weekend.

CREATIVE CHICAGO—AN INTERVIEW MARATHON takes a “multi-dimensional, multidisciplinary look at creativity in the city—past, present, and future. Bringing together artists, authors, activists, architects, historians, musicians, philosophers, scientists, and Obama Presidential Museum director Louise Bernard, the CREATIVE CHICAGO marathon examines the numerous sparks that make the city a center for art, design and architecture.”*

Obrist’s career as a documentarian has been strongly influenced by the late Chicago raconteur Studs Terkel, whose first book of oral history was the landmark Division Street, America (1967).

“[Terkel] gave me a lot of tips [about] how to actually do an interview. He became my mentor, my teacher… Marathon Chicago is an homage to Terkel. Without him, without his encouragement, my interview project would not have happened the way it has happened.” — Hans Ulrich Obrist

Amanda Williams, Art Green, Barbara KastenBrandon Breaux, Cauleen Smith, Dawoud Bey, Eddie Bocanegra, Eula Biss, Eve Ewing, Fatimah Asghar, Gerald Williams, Jeanne Gang, Joseph Grigely, Stanley Tigerman, Theaster Gates, and Tim Samuelson will join Obrist at Navy Pier, the site of EXPO CHICAGO, which is collaborating on the event with the Chicago Humanities Festival.

 

CREATIVE CHICAGO—AN INTERVIEW MARATHON

Saturday, September 29, from 1 pm to 6 pm.

Navy Pier, 600 East Grand Avenue, downtown Chicago.

Hans Ulrich Obrist.