Jodie Mack, Red Block Bash, Roundtable and Thursday Links
Before we get to our weekly edition of links to art writing (and this week, an art podcast) that’s not about us, a few programming notes that are about us:
Blaffer On Screen: The second screening in this fall’s film and video series features works by experimental animator Jodie Mack. The screening at 7 p.m. on Monday, Oct. 6, will include a discussion with the artist and is free and open to the public, but don’t come to Blaffer — we’ll be closed! Instead, head next door to the UH College of Architecture auditorium.
Red Block Bash: The UH Arts Initiative, Blaffer Art Museum and the Blaffer Art Museum Students Association invite one and all to the Red Block Bash, a free evening of creativity and fun in the newly-designed Grove between Blaffer and the Moores School of Music. Come out for live performances, art-making, food trucks and free dessert–plus free tours of our current exhibition, Buildering: Misbehaving the City from 4-7 p.m. (The activities in the Grove last until 8 p.m.) A full lineup of the evening is here.
Speaking of Buildering: Join us for a roundtable discussion of the exhibition at 6:30 p.m. Wednesday, Oct. 15. Artists Gabriel Martinez and Carrie Marie Schneider will be joined by Susan Rogers, a UH assistant professor of architecture and director of the Community Design Resource Center in conversation about this multifaceted show.
Okay, on to Thursday links (see previous editions here):
Drawing from his collaborative transmedia project Question Bridge: Black Males, artist Hank Willis Thomas examines the racial context of the 2012 killing of Jordan Davis as the man who shot 17-year-old Florida resident Michael Dunn is retried for murder.
Tyler Green records a great interview with Jack Whitten, the subject of a traveling retrospective at the Museum of Contemporary Art San Diego. Houstonians may recall seeing Whitten’s Single Loop: For Toots (2002) earlier this year in the Contemporary Arts Museum Houston’s Outside the Lines.
Jen Graves wants artists to start using drones: “Any technology that governments and corporations are using, artists should be using, too—if for no other reason than to draw attention to what those governments and corporations are doing. (Artists, also, often expand the capabilities of a given technology just by tinkering, hacking, and generally eschewing the owner’s manual.)”
Pulitzer Prize-winner Philip Kennicott offers advice for how to view art, and concludes: “[B]y forcing us to confront contradiction, art makes us ridiculous, exposes our pathetic attempts to make sense of experience, reveals the fault lines of our incredibly faulty knowledge of ourselves and the world. It is nasty, dangerous stuff, and not to be trifled with.”
Kennicott’s tips are mostly spot-on, but his position that taking pictures in museums “is fundamentally disruptive to the photographer’s experience of art” makes us wonder if he’s seen fellow Pulitzer Prize-winner Sebastian Smee‘s Twitter feed, which is chock-full of photos. (Disclosure: we have our reasons for thinking Smee’s eye can handle such disruptions.)
William Poundstone, prompted by this tweet from the Museum of Contemporary Art, wonders whether MOCA is “shaming” Christopher Knight for his negative review of Andy Warhol: Shadows. All we can for sure is that we offer free admission every day we’re open — no press clippings required.