tag:blogger.com,1999:blog-951781759466119392024-03-17T20:04:15.562-07:00MCA Denver | Blog<a href="http://www.mcadenver.org"> Back to mcadenver.org</a>Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.comBlogger62125tag:blogger.com,1999:blog-95178175946611939.post-37841244461634017722013-08-14T11:17:00.000-07:002013-08-21T09:08:48.005-07:00Inside the White Cubicle: Meet the Staff of MCA Denver<div class="separator" style="clear: both; text-align: center;">
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<i>Ever wondered about the hopes and dreams of the staff of MCA Denver? How long have they toiled away in their windowless basement under the museum? Where did they come from? What did they want to be when they grew up? What is their least favorite mode of transportion? What embarrassing songs did they once listen to? What do they look to in terms of an inspirational quotation? Here are their answers, part of a new, semi-recurring feature we are calling: </i>MCA Denver: Inside the White Cubicle.<br />
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<b>Nick Silici, Exhibitions Manager (pictured above)</b><br />
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Nick has worked with the museum since 2007. He was born in Fairfield, California and has lived in Denver since 1993. While growing up Nick always wanted to be a scientist but then gave up and became an artist. His least favorite mode of transportation is running. Although Nick claims to have exceptional taste in music, he did once own an album by WHAM, a fact he denied until George <br />
<a name='more'></a>Michael himself lent MCA Denver a Damien Hirst artwork from his own personal collection of YBAs. Nick's favorite quote comes from Pablo Picasso,"We artists are indestructible, even in a prison cell or a concentration camp I would be almighty in my own world of art. Even if I had to paint my pictures with my wet tongue on the dusty floor of my cell." <br />
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<b>Molly Nuanes, Program Producer </b><br />
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Molly, as one of MCA Denver's newest employees, as been with the museum just since July 2013. Born in Denver, as a kid she thought she would be a veterinarian until she realized there was math involved, and in college she thought she'd be a lawyer until she realized art history existed. Her least favorite mode of transportation are those tiny planes with 25 seats. When she was 10 years old she was the proud owner of a Spice Girls cassette tape, which she would probably still jam to if tape players still existed. Her favorite quote is from Julia Child: "People who love to eat are always the best people.<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">"</span><br />
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<b>Luc Hughart, Special Events Fundraising Manager</b><br />
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Luc (seen here in an portrait that has been lovingly restored) has been with the museum since September 2011, but he's been working on MCA Denver's special events as far back as 2007. Born and raised in Edgerton, Ohio on corn and creativity, Luc always wanted to be an adventurer, creator, problem solver - just like MacGyver. If he had to get somewhere, a boat would probably be his last choice. Luc is sad to admit that <i>Jock Jams, Volume 1 </i>was the first album he ever owned, although it has come in handy for MCA Denver tailgate parties. He admires a job-well-done; from CEO to sign-spinner. "Whatever you are, be a good one" -Abraham Lincoln.Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.com4tag:blogger.com,1999:blog-95178175946611939.post-45572959145616109122013-08-07T09:00:00.000-07:002013-08-07T09:18:20.229-07:00 Five Questions About Teen Music Night <div class="separator" style="clear: both; text-align: center;">
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<i>Kamron Hazel and Bailey Luke curated the upcoming Teen Music Night at MCA Denver. Kamron is a former <a href="http://mcadenver.org/teen.php" target="_blank"><u>Teen Council (TeCo)</u></a> intern who has spent the past summer working for MCA Denver’s special events and programs. Kamron went to Cherry Creek High School in Aurora and joined TeCo during his senior year. Bailey is also a former TeCo intern who attended Colorado Academy in Denver and joined TeCo during her senior year. She has worked over the summer as the technical assistant during Mixed Taste: Tag Team Lectures on Unrelated Topics.</i><br />
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<b>MCA Denver: What is Teen Music Night and who can attend? </b><br />
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Kamron Hazel: Teen Music Night is an event this <u><a href="http://mcadenver.org/teenmusicnight.php" target="_blank">Saturday, July 10 from 6–9PM</a></u>. It is an opportunity for teens to come down to MCA Denver to hear six of Denver's most promising young bands play sets on the museum's roof deck. Anyone can attend – teenagers, their parents and siblings or anyone who wants to see local talent. <br />
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Bailey Luke: People can hang out with their friends while supporting and learning about Denver's music scene. The evening is FREE for everyone under 18, thanks to the Merage Foundation Grant we received. It is 10¢ for anyone else. <br />
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<b>MCA: How and why did you select the bands? </b><br />
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KH: I went to high school with <u><a href="http://thebaltic.bandcamp.com/" target="_blank">The Baltic</a></u>. They have done a lot of shows recently – they played the <u><a href="http://www.theums.com/about/" target="_blank">Underground Music Showcase</a></u>. Some of the other bands have been the openers at different shows around town.<br />
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BL: The Church Goers were a band that my friends created during my senior year and their string skills combined with their well thought out lyrics was a huge hit at my school. I also contacted the band Meaghan and Jacob, because Jacob will be in Teen Failure Lab (MCA Denver’s new name for TeCo) next year, so I thought it would be awesome to have his band play here. <br />
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<b>MCA: You are on your way to college. Where are you going and what are you going to study? </b><br />
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KH: I am going to the <u><a href="http://www.mica.edu/" target="_blank">Maryland Institute College of Art (MICA)</a></u> to study illustration with a minor in painting. <br />
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BL: I am heading to <u><a href="http://www.kenyon.edu/" target="_blank">Kenyon College</a></u> in Gambier, OH. I am planning to double major in English and Philosophy, although that may change in the years to come. <br />
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<b>MCA: What will you miss most about Denver? What are you most looking forward to in college?</b><br />
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KH: I will miss the people and miss the familiarity of having somewhere to call home. But I am looking forward to being around a group of people that love art. <br />
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BL: I am going to miss my family and the communities I've gotten to be a part of at my school, at MCA Denver, and beyond. I will also miss the wonderful cultural center that Denver is, especially since I am heading to a very small town. I am incredibly excited though to be studying the things I am most passionate about while also being with kids who share those same passions. <br />
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<b>MCA: What has been the best part of working at MCA Denver? </b><br />
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KH: Seeing different art, meeting the artists and being part of all the cool things that are going on. <br />
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BL: I have loved the people and loved the environment. The artists and the people that I work with are very passionate, supportive, interesting, and willing to teach us anything we want to know. It has been amazing to have the opportunity to work here. <br />
<br />Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.com2tag:blogger.com,1999:blog-95178175946611939.post-24509837994985368342013-07-30T07:00:00.000-07:002013-09-18T08:53:42.532-07:00Mothersbaugh & Lerner's Mexican Vacation<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtu8Hs-4HhMnP81O78j2h6rCKjQ16brVb_Rrpu6ngq3jD7s-P7NM1S7QNyZ601aYdezQINTtijZiVQNw4GQ68P1-ZnhZtcZv3A8m9wPMsfWgyGXpMiZvn5Nt4-UU87uTGDnABTnH_G84p/s1600/image-1.jpeg" style="clear: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtu8Hs-4HhMnP81O78j2h6rCKjQ16brVb_Rrpu6ngq3jD7s-P7NM1S7QNyZ601aYdezQINTtijZiVQNw4GQ68P1-ZnhZtcZv3A8m9wPMsfWgyGXpMiZvn5Nt4-UU87uTGDnABTnH_G84p/s640/image-1.jpeg" width="640" /></a></div>
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In preparation for Mark Mothersbaugh’s upcoming exhibition<i> </i>at MCA Denver, Mothersbaugh (left) and Director & Chief Animator Adam Lerner traveled to <i>Ceramica Suro </i>in Guadalajara, Mexico to begin fabrication on Motherbaugh’s large-scale fiberglass work <i>Farewell Arch to Luxemburg City</i>, a sculpture which resembles a My Little Pony, but with two, <i>err</i>, rumps.</div>
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<tr><td class="tr-caption" style="text-align: center;">A small-scale mockette of <i>Farewell Arch to Luxemburg City</i></td></tr>
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While Mothersbaugh and Lerner were away, museum staff received occasional missives from the travelers, accompanied by photos and brief exclamations in Spanish. Using simple math and Google translate, we were able to cobble together what we assume to be a completely factual account of events.</div>
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<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR6ApYJQyxwI5bsxvf0O-ay3ReommbI1pJB11lRg-sK6hEikH1gg4bWzt5ScnMN1RdZthJEIiPz4iaZLhKEHccya7xfCUPEjc1dJOENsy1_3kOALjWvA9Le5FT53c42ua15YF3uy6yNTyu/s640/image-3.jpeg" width="640" /> <br />
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Spring break! We can drink here! <i></i></blockquote>
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<!--EndFragment--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie4nhbGAVhIk-JSS7iQxzlZxjY1rcvnlM8-CRWyelF2QOyI9A3QbH7x9sQNrChaFekvPvDZ-4l-gqLQz529geRzle3HVP2B_S07yNa12k_AojyNC_mJLdo2qHLgwVoGbQHoEO6FhUgOgtL/s1600/image-5.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie4nhbGAVhIk-JSS7iQxzlZxjY1rcvnlM8-CRWyelF2QOyI9A3QbH7x9sQNrChaFekvPvDZ-4l-gqLQz529geRzle3HVP2B_S07yNa12k_AojyNC_mJLdo2qHLgwVoGbQHoEO6FhUgOgtL/s640/image-5.jpeg" width="640" /></a><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"></span><br />
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Beer, tequila and champagne followed by fresh greens with a lite raspberry vinaigrette. </blockquote>
<img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZFWGXRQOvmxGJu0yQ38GUw6nQLegZuTY6faerenz4ZEfiHN_OFXqJP8izk14iDKuUkbIciBI4Bg9RYvrLdAn1iMLbpZY5-IK18nOMEI6ug9q64HA6XWZ-0W_AVy-0uotk004gXyU7Ahqv/s640/image-6.jpeg" style="cursor: move;" width="640" /><br />
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We don't know what's happening here. Maybe they cleaned their plates?</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZrcxWh3gBl_PgGOHMbpTGRX5dy56n-4Ex32lZRfss8CM_76-EdaiSjzmyuDqcKiJtPe0bUWqNGzR-MJknKVwRQ-57yFe7P7G6TFJfmdUBkBC4IpL7kIateGBEKTLxVyRFWGDEcpZeFng2/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZrcxWh3gBl_PgGOHMbpTGRX5dy56n-4Ex32lZRfss8CM_76-EdaiSjzmyuDqcKiJtPe0bUWqNGzR-MJknKVwRQ-57yFe7P7G6TFJfmdUBkBC4IpL7kIateGBEKTLxVyRFWGDEcpZeFng2/s640/image.jpeg" width="480" /></a></div>
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In Mexico it is customary to take a siesta following the mid-day meal.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiA8vbU1Bv0JYtZ2WxZ_tR1NhgOtl9gOE1n3dbiFl9vlgANzCFlF17XUzFnIa-jugiT1wDv53a7-VROo6XAyZhJNWqb2byRvTzTBvVNZZI_1nq5HWM6ZQ63DWQ075G3GmnGaSx4MexdbO4/s1600/image-2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiA8vbU1Bv0JYtZ2WxZ_tR1NhgOtl9gOE1n3dbiFl9vlgANzCFlF17XUzFnIa-jugiT1wDv53a7-VROo6XAyZhJNWqb2byRvTzTBvVNZZI_1nq5HWM6ZQ63DWQ075G3GmnGaSx4MexdbO4/s640/image-2.jpeg" width="480" /></a></div>
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<u><a href="http://en.wikipedia.org/wiki/Jos%C3%A9_Clemente_Orozco" target="_blank">Orozco</a></u> murals make Adam ANGRY.</blockquote>
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They died and someone made a monument out of them.</div>
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Still alive but Mark is needing some distance</blockquote>
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Mothersbaugh pulls the old "googly eyes on your passport just before we reach customs" prank. Man, if we've seen that one once...</blockquote>
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<span style="font-size: x-small;">images: All photos by Eduardo Sarabia. Well, at least, he's the one who sent them to us... </span>MCA Denverhttp://www.blogger.com/profile/07785416238926518416noreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-19264489718068863062013-07-23T05:00:00.000-07:002013-07-23T05:00:00.655-07:00The Artistics: Fayette Hauser<div class="separator" style="clear: both; text-align: center;">
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I recently returned from the <u><a href="http://mcam.mills.edu/" target="_blank">Mills College Art Museum</a></u>, where the exhibition I co-organized with Elissa Auther, <u><a href="http://mcadenver.org/WestofCenterMCADenver.php" target="_blank">West of Center</a></u>, opened to great countercultural, gender-bending, DIY fanfare. And thinking about the spectacle of opening-night performances, I was reminded of the extraordinary nature of one of the event’s key organizers <a href="http://www.queerculturalcenter.org/Pages/cockettes/cocketHauser.html" target="_blank"><u>Fayette Hauser</u></a>. <br />
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I met Fayette in person for the first time about five years ago at an outdoor café in an old Hollywood neighborhood. Before then, I had only seen her in photographs from when she was forty years younger. But she was immediately recognizable with the same round cheeks and thick hair that looked like she had just been outside on a breezy day. I was sitting at the café with Elissa (she is not just a co-curator but also my spouse) and together we watched her making her way down the sidewalk with great concentration. <br />
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“That must be Fayette,” Elissa said. And we called out to her, arms flailing. Suddenly the expression eased on Fayette’s face and she beamed hello. <br />
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We talked a little about her recent hip problems and the convenience of our hotel to the café. Then she began to tell us about the one thing in her life that may have come close to greatness. Holding a large stack of 8x10 photographs featuring her and her free-spirited gang of oddball characters, she talked about her involvement with the group called the Cockettes. <br />
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Founded in San Francisco in the late 1960s by George Edgerly Harris III, aka Hibiscus, <u><a href="http://www.salon.com/2000/08/23/weissman/" target="_blank">the Cockettes</a></u> was a kind of theater-troupe that performed both on and off the stage: at the Palace Theater, on the streets of the city, and in their communal homes. Producing outlandish Broadway-like musical shows on stage, most of the time they practiced “life theater,” appearing in persona even when they were not on stage and blanketing their home with props and effects. With no income to speak of, they scavenged the city for clothing and materials to make outrageous outfits that were feathered, sequined, sparkled, painted, fruited, at times, even architectural. The Cockettes, and their spin-off group, the Angels of Light, were not strictly speaking drag queens since men in beards wore dresses and feathered headpieces and biological women like Fayette were mixed in with the bunch. Rather, they eschewed definitions and partook in a kind of chaotic gender identification. And even in their time, they were legendary, with a reputation that extended far beyond the Bay Area hippies, who adored them, to the east coast avant-garde. Their influence extended from glam rock to haute couture. <br />
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The performances that Fayette helped organize at Mills College had many elements of madness that I imagine were crucial to the original Cockettes. There were handmade costumes that often failed and props that included large paper swans and red hearts with the word “vagina” written on them in glittery letters. There were arguments, long gaps between acts, and one act was even introduced twice, the second introducer correcting the mistakes of the first. It was the type of show that would probably have been much better to watch on LSD. But there was something awesome about a bunch of old folks being just as ridiculous as they were when they were young. <br />
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Fayette wasn’t a celebrity member of the Cockettes but that’s largely why I am so enthralled by her. There wasn’t much fame in general to be had from being involved with the Cockettes but Fayette was there – fully there. She immersed herself in something rare and special – and crazy. <br />
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Working on an exhibition about the countercultural movement in the 1960s and 70s, Elissa and I have been able to meet several people like Fayette over the past few years. To varying degrees, most of them have been recognized by others before we came along but none of them have made it into the art history textbooks. Many of them did not consider themselves artists or label what they did as art. But they all participated in breaking the mold of how things were done before them. <br />
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Offering a lesson on life, Fayette and her cohort don’t make a case for art but rather for living artistically. They advocate for something that lies at the core of art: the will to escape the natural human tendency to do things the way they have always been done. <br />
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<span style="font-size: x-small;"><i>The Artistics is a series of profiles on people at the forefront of changing what it means to be an artist. </i></span><br />
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<span style="font-size: x-small;"><i>Photo: Fayette Hauser (lower left) with guests at the Mills College Art Museum opening of West of Center. Photo by Adam Lerner. </i></span>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-95178175946611939.post-82647219661080455082013-07-17T09:00:00.000-07:002013-07-17T09:00:03.092-07:00Why I Love This Art – John McEnroe's Beauty Does <div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;">Why I Love This Art <i>features museum employees, volunteers, and interns talking about art they love from the exhibitions at MCA Denver. Here Director of Programming Sarah Kate Baie writes about John McEnroe's </i>Beauty Does<i>, on view as part of the celebration of the </i><a href="http://www.biennialoftheamericas.org/" target="_blank"><u>2013 Biennial of the Americas</u></a><i> from July 17 – Sept 29, 2013.</i></span><br />
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John McEnroe uses specially formulated industrial polymers to create large scale sculptural forms. For his installation in the atrium of MCA Denver, I found him balanced twenty-five feet in the air on <br />
<a name='more'></a>a cherry-picker, with an electric skillet filled with liquid-hot plastic the exact color and viscosity of nacho cheese, pouring the melted vinyl over dangling armatures. The process was dizzying and dangerous, with McEnroe and his assistant, <a href="http://mcadenver.org/staff+board.php" target="_blank"><u>MCA Denver's Nick Silici</u></a>, making art in real time above a crowd of onlookers. The results were equally spectacular, the vast negative space of the atrium punctuated by delicate orange threads dripping, pooling and flowing through mid-air. <br />
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McEnroe's work appeals to me because it strips a painting down to its most basic element––color–and then uses empty space like a canvas, freezing impossible rivers of paint motionless in flight. The atrium, with McEnroe's drips and globs falling all around, makes you feel what it might be like to be inside a Jackson Pollock. </div>
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McEnroe uses industrial materials to create his pieces, but the original intent of his medium is almost beside the point. He chooses materials because they do what he needs them to do. In this case, they are viscous enough to be heated and poured, but then they freeze and remain static while still in free fall. They are the sculptural equivalent of a snap shot: a single moment captured in perpetuity.<br />
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For me <u><a href="http://mcadenver.org/johnmcenroe.php" target="_blank"><i>Beauty Does</i></a></u> arrives at the answer to a question that, without McEnroe, I might not have thought to ask: What does empty space look like? By the deceptively simple act of filling the space from ceiling to floor with materials that define a volume without filling it, I am forced to consider empty space not as a void, but as a <i>thing </i>in itself. And yet, while McEnroe's work is rigorous and formal, it is also truly gorgeous. When my four-year old daughter walked into the museum to see the work for the first time, she looked up, gasped and said "Mama, I love this art." So do I, so do I. <br />
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<span style="font-size: x-small;">Image Credit, Headline: John McEnroe. <i>Beauty Does</i>, 2013. Resin, dimensions variable. Courtesy the artist and Robishon Gallery. Photo by Alex Stephens.</span><br />
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<span style="font-size: x-small;">Above: John McEnroe and Nick Silici creating <i>Beauty Does</i>. Photo by Sarah Kate Baie </span><br />
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<br />Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.com3tag:blogger.com,1999:blog-95178175946611939.post-90548026500182057562013-07-11T12:08:00.000-07:002013-07-12T09:03:50.817-07:00You are Welcome Here<div class="separator" style="clear: both; text-align: center;">
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Beginning in July 2013, admission to the Museum of Contemporary Art Denver is FREE for anyone age 18 and under. We are so proud to be the first museum in Denver where children and teenagers can </div>
<a name='more'></a>visit free of charge. While there are many excellent programs in our city for schools and families, there are fewer programs directed at teenagers, and none that give every child free access to the museum, everyday.* With help from generous underwriting from the <a href="http://www.merage.org/" target="_blank"><u>David & Laura Merage Foundation</u></a>, we are able to make free admission a reality.<br />
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As museum professionals, we know the <span id="goog_830980557"></span>arts to be an important part of a well-rounded education<span id="goog_830980558"></span>. <a href="http://www.americansforthearts.org/networks/arts_education/arts_education_002.asp" target="_blank"><u>National research</u> </a>shows that young people with high-arts involvement are more likely to be recognized for academic achievement, stay in school and and remain civic minded throughout their lives. Contemporary art and teenagers are well aligned. Naturally rebellious, teenagers, like artists, are interested in challenging conventions and questioning the rules. It is our goal to make the museum a safe place for teens to express themselves while connecting with art and artists. <br />
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<u><a href="http://www.egurian.com/omnium-gatherum/museum-issues/finance/admissions/examples-of-free-admission-to-museums" target="_blank">Free admission is an important part of this</a></u>. For many of us at MCA Denver, we had personally identified a particularly meaningful moment in our own lives when we had come to love and embrace the arts. It was, in all cases, a time or place where we could come to a museum to experience the magic and wonder free of charge. <br />
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<tr><td class="tr-caption" style="text-align: center;">MCA Denver's 2012 Teen Failure Lab </td></tr>
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Another important component of teen access is MCA Denver's Teen Failure Lab. Yes, you heard the name correctly. <a href="http://mcadenver.org/teen.php" target="_blank"><u>Failure Lab</u></a> is a school year-long internship program for high school-aged teenagers, where teens meet and work with contemporary artists and museum professionals. Over the last three years, Program Manager Ama Mills-Robertson has grown the program from a small offering into a competitive program attracting high school students from throughout the Denver area. The program is so named because it provides a safe place for teenagers to experiment with art, take great risks and try out wild ideas. In essence, the program gives them the freedom to fail.
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Teens in Failure Lab meet weekly throughout the school year to produce programs for other teens in the city and collaborate with artists to create new museum exhibitions. And now, when teens invite their friends, and their friends' friends, everyone can come through the doors of the museum for free. </div>
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It's a small step, but it is one we are so proud to be taking. Thank you David & Laura Merage for making this possible.</div>
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<span style="font-size: x-small;">*<u><a href="http://redlineart.org/" target="_blank">RedLine,</u></a> the pioneering arts space in Downtown Denver </span><span style="font-size: x-small;"><span style="font-size: x-small;">founded </span>by artist and philanthropist Laura Merage, is free for all people, everyday. Their mission defines the organization as a diverse urban laboratory where arts, education and community converge.</span></div>
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<span style="font-size: x-small;">image: Teenager patrons at MCA Denver's Faux Stache party in 2012. Photo by Jenn LaVista. </span></div>
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<span style="font-size: x-small;">video: MCA Denver's Teen Council. Video by Kim Shively.</span></div>
Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.com2tag:blogger.com,1999:blog-95178175946611939.post-30198258294709969542013-07-01T13:51:00.001-07:002013-07-01T14:17:01.401-07:00The Doctor Rates Your Pain with Brett Littman <div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;">The Doctor Rates Your Pain <i>is a new (hopefully) recurring feature in which MCA Denver Director & Chief Animator Dr. Adam Lerner interviews visiting artists and guests about hypothetical scenarios that might evoke pain. The featured guest today is Brett </i><i>Littman, Executive Director of <a href="http://www.drawingcenter.org/" target="_blank"><u>The Drawing Center</u></a> in New York and curator of <a href="http://mcadenver.org/guillermokuitca.php" target="_blank"><u>Guillermo Kuitca: Diarios</u></a>, on view through September 15, 2013 at MCA Denver.</i></span><br />
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The doctor makes a hypothetical statement that might evoke pain. <br />
The patient indicates the level of pain, on a scale of 1-10 (1= hardly noticeable, 10=unbearable)<br />
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<b>Dr. Adam Lerner: You are working with an artist on an exhibition and the artist wants to change the exhibition after the show is hung. </b><br />
Brett Littman: 8<br />
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<b>You are working on an exhibition with an artist who doesn’t care one way or the other about what you include. </b><br />
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<b>A collector doesn’t lend you a crucial work for an exhibition for seemingly no good reason.</b><br />
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<b>You get a negative review of an exhibition you curated in an anonymous blog. </b><br />
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<b>You get a negative review of one of your exhibitions in <i>Artforum</i>. </b><br />
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<b>Your exhibition travels to another venue, where it gets a positive review in <i>Artforum</i>, but you or your institution is not mentioned. </b><br />
6<br />
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<b>Your relatives complain that your exhibitions are too highfalutin. </b><br />
10 and that’s actually happened to me.<br />
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<b>Your relatives give you suggestions for what exhibitions they would like you to do. </b><br />
1<br />
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<b>You forget to thank a major donor in your remarks at exhibition opening. </b><br />
7<br />
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<b>A major donor gives you excessive praise in the donor’s public remarks. </b><br />
1<br />
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<b>You realize after a catalogue is printed that you got the title wrong on a major work.</b><br />
10<br />
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<b>You invite your relatives to dinner with an artist and they show up 30 minutes late.</b><br />
3<br />
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<b>At the dinner with the artist and now your relatives after the opening, the waiter interrupts you three times to ask if you are enjoying your food.</b><br />
9<br />
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<b>At home, after dinner you look in the mirror and realize that you have a red sauce stain on your lapel. </b><br />
9<br />
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<b>At home, after dinner, you think you there is a chance that you left the door of the gallery unlocked. </b><br />
10<br />
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<i>Denver, June 21, 2013</i><br />
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<span style="font-size: x-small;"><i>image: Dr. Adam Lerner (right, in stripes) asks Brett Littman "Rate your level of pain," which is typically how MCA Denver greets guests and visiting curators. Photo by Erin Algiere. </i></span><br />
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<br />Unknownnoreply@blogger.com69tag:blogger.com,1999:blog-95178175946611939.post-70742363381192975952013-06-25T14:10:00.000-07:002013-06-25T15:16:46.789-07:00Guillermo Kuitca's Diarios<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: large;">Guillermo Kuitca</span> began making what he calls his <i>Diarios </i>in 1994. <u><a href="http://mcadenver.org/guillermokuitca.php" target="_blank">Currently on view at MCA Denver,</a></u> each of these works begins as an abandoned canvas––often as the beginning of a <br />
<a name='more'></a>painting that was, for some reason, cast aside. He then stretched the canvases across an old table rescued from his parents' garden and situated in the center of Kuitca's busy studio. Over time, these once-forgotten paintings accumulate small sketches, doodles, notes and other evidences of the artist's daily thoughts and activities. Every three to six months, the artist removes the canvas, replaces it, and the process begins anew.<br />
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The seriality of the <i>Diario</i> project is a significant part of the way an audience reads the works. <i>Diarios</i> are created in sets of eighteen, over a course of years, and once a set is created, the works must be purchased and shown together. They are displayed around the room in chronological order and the artist asks that they be hung so that someone in the center of the gallery can turn in a circle and see every work. The premiere of <i>Guillermo Kuitca: Diarios</i> at the <u><a href="http://www.drawingcenter.org/" target="_blank">Drawing Center</a></u> in New York marked the first time the <i>Diarios</i> had been shown in the United States, though the first two sets were exhibited at the Cartier Foundation and as part of the Argentina pavilion at the <u><a href="http://www.universes-in-universe.de/car/venezia/eng/2007/" target="_blank">2007 Venice Biennale</a></u>. The set on display at MCA Denver is the third and most recent product of this now twenty-year-long pursuit.<br />
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The Spanish word <i>diario </i>can be translated into English as either "diary" or "daily," and the ordinary and mysterious details in these works honor both meanings. The canvases feature structured blocks of color, intricate lines and delicate sketches that reveal the works' identity as recycled canvases from cast-off paintings. In many works, a viewer can pick out endless numbers and disorienting maps and floor plans, which are common themes from the artist's larger <i>ouvre</i>.<br />
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In addition to this living chronicle of his creative practice, the hastily scribbled telephone numbers, listless doodles and small artifacts filling each canvas also draw attention to the diurnal happenings inside Kuitca's studio. The layering of the purposeful and accidental elements around and on top of each other blends them together, often making the "diary and the "daily" indistinguishable.<br />
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Kuitca's <u><a href="http://mcadenver.org/guillermokuitca.php" target="_blank">exhibition at MCA Denver</a></u> presents <i>Diarios </i>created between 2005 and the present, complete with a video of the artist working on his next <i>Diario</i> in his Buenos Aires studio. Through these uniquely transparent works, the viewer is invited to take a look inside the artist's studio and to understand the process and its record as work in its own right.<br />
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–– Sonya Falcone<br />
Curatorial Assistant<br />
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<span class="Apple-style-span" style="font-size: x-small;">Guillermo Kuitca's <i>Diarios </i>is on view from June 21–September 15, 2013. The exhibition is presented as part of the <u><a href="http://www.biennialoftheamericas.org/" target="_blank">2013 Biennial of the Americas</a></u>.</span><br />
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<span class="Apple-style-span" style="font-size: x-small;">image: Guillermo Kuitca. <i>Diario (16 October 2008 – 14 April 2009)</i> (detail). 9002. Mixed media on canvas. 47 in. Courtesy the artist. </span>MCA Denverhttp://www.blogger.com/profile/07785416238926518416noreply@blogger.com1tag:blogger.com,1999:blog-95178175946611939.post-7263799914903990922013-06-18T10:10:00.001-07:002013-06-18T10:12:02.872-07:00The Highlights from Feminism & Co.<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: large;">Every spring</span>, Feminism & Co. brings together artists, writers and all manner of scholars to discuss issues around women and gender. This is not your mother’s feminist lecture series. The topics discussed this year included rocket fuel ingredients in breast milk, the resurgence of roller derby in <br />
<a name='more'></a>women’s sports, the reclamation of sex crime transcripts in contemporary art and the presence of women in the blog-o-sphere. This three-minute video captures some of the highlights of the series.<br />
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The clips reel features (in order of appearance) film scholar Melinda Barlow, science writer Florence Williams, aikido practioner and artist Harmony Hammond, boxing coach L.A. Jennings, blogger Ann Little (of Historiann), blogger Heather Janssen (of Get Born), artist Maya Gurantz, blogger Ellina Kevorkian (of Violet Against Women), roller derby-ist Samantha Rose (a.k.a. Frack Attack), blogger Ru Johnson (of Westword) and sports scholar Sarah Fields. Kim Shively of Milkhaus shot and edited the piece. Whew. Fun season.
Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.com2tag:blogger.com,1999:blog-95178175946611939.post-26168761638737412892013-06-11T09:16:00.000-07:002013-06-11T09:19:40.440-07:00 Looking Back at May is for Mexico<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTyIICTkuQMx11edOGfEI1ZqaQbQ0QOrSD_YwXFL-xi81z-G2oDagiMf1zewlwXDJTCoFp8IinwUKCowG8ZuAmJSjuWs3mDNt-dnTp0Q2OBSUaAz3MsUOX1V9HpvRi800W9C085k9cACc/s1600/2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTyIICTkuQMx11edOGfEI1ZqaQbQ0QOrSD_YwXFL-xi81z-G2oDagiMf1zewlwXDJTCoFp8IinwUKCowG8ZuAmJSjuWs3mDNt-dnTp0Q2OBSUaAz3MsUOX1V9HpvRi800W9C085k9cACc/s640/2.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exhibiting artist Eduardo Sarabia </td></tr>
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At the Museum of Contemporary Art Denver, May is for Mexico. Throughout the month, MCA Denver produces <i>Huevos Revueltos</i>, an exhibition and series of programs focusing on contemporary <br />
<a name='more'></a>Mexican art and culture. <i>Huevos Revueltos</i> translates to “scrambled eggs," which is the name our artist friends gave to our Mixed Taste program when they launched it in Mexico City in 2008. It seemed like the right title for a mashed-up festival of events that brought together a host of interesting personalities from around the hemisphere. To curate the program, Guadalajara-based artist Eduardo Sarabia moved to Denver with his family for the month. This is a photo essay of a few of the friends who visited us<i> </i>in May.<br />
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Photographs by Tod Kapke.<br />
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<tr><td class="tr-caption" style="text-align: center;">Chef Roberto Solis from the restaurant Néctar prepared an exclusive dinner for invited guests on May 9, 2013.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">DJ Nancy Whang formerly of LCD Soundsystem performed for our Nueve de Mayo fiesta</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Guadalajara-based Los Master Plus launched their world tour from Denver as part of the Nueve de Mayo fiesta.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAAD2H0_7rJipaiqInssTH-PyZrebrflJJ-ug7_cg6DZn9yUlRS8D43g_iaUORZtvs76SJ6NiyZ_xO0u6n6jJA6aGTWBqSipaZnvXjJqGFQdIuWpfF729dGcfl1GLdOlz9kfiwMjR1y-w/s1600/green.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAAD2H0_7rJipaiqInssTH-PyZrebrflJJ-ug7_cg6DZn9yUlRS8D43g_iaUORZtvs76SJ6NiyZ_xO0u6n6jJA6aGTWBqSipaZnvXjJqGFQdIuWpfF729dGcfl1GLdOlz9kfiwMjR1y-w/s640/green.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MCA Denver's Director & Chief Animator Adam Lerner hosted the proceedings.</td></tr>
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Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-86617634946145439412013-04-11T09:08:00.001-07:002013-04-11T09:08:57.752-07:00Drawing Drawing<div class="separator" style="clear: both; text-align: center;">
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<a name='more'></a><br />At the Karen Kilimnik opening on March 2, we hosted a Drawing Drawing (a drawing contest), in which our curator, Nora Burnett Abrams, selects one winner and one runner-up. The winner receives a critique of their drawing and a dual/family membership. The runner-up just gets a critique. The winning drawing, by Ruby, age 8, from Denver, is above.<br />
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Here's what Nora had to say:<br />
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<i>This is a playful drawing. I like that we can interpret what these clouds might be saying to each other, though no words are written. I also like that the playfulness is countered by the way she stayed within the lines of the page--experimentation within a constrained space.</i></blockquote>
And now the runner up by Ian, age 35, from Denver:</div>
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Nora offered this critique: </div>
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<i>I like the rhythm of the pattern that he created. It's like the colors are gently, slowly raining down the page. Though the colors are applied arbitrarily, there is a delightful order to the composition.</i></blockquote>
Enter your own Drawing Drawing in the MCA Café from 10AM-7PM at our next opening on Saturday, May 4 in celebration of Eduardo Sarabia's exhibition <i><a href="http://mcadenver.org/eduardosarabia.php">Tainted</a></i>.Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-95178175946611939.post-25355345115629039292013-04-09T09:21:00.000-07:002013-04-09T09:22:42.110-07:00Interview with Artist Maya Gurantz<br />
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<i>Co-Directors of Feminism & Co.: Art, Sex, Politics, Elissa Auther and Gillian Silverman, sat down with artist Maya Gurantz to talk about her MCA Denver installation </i>The Whore’s Dialogue<i>, on view at MCA Denver in the Whole Room from April 11 – June 23, 2013. Maya will be speaking at MCA Denver on Thursday, April 11 as part of MCA Denver's series Feminism & Co.: Art, Sex, Politics.</i></div>
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<b>Fem & Co.: Maya, tell us about the history of the “whore’s dialogue.”</b><br />
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<b>Maya Gurantz</b>: The whore’s dialogue is an extinct genre of literary pornography, in which an older libertine schools a young protégé about sex and seduction as well as society (a lot of time is spent dissecting human nature, local politics, manners, survival tips). The main portion of the text of a whore’s dialogue involves the Mother’s advice to her Daughter; it often includes a Daughter’s response, in which she describes her own experience after her wedding night, her first lover, or after having turned her first trick.<br />
<a name='more'></a>The form emerged in early Renaissance Italy as an erotic and parodic take on Plato’s <i>Dialogues</i>, which had recently re-entered intellectual life. The whore’s dialogue remained the dominant form of written porn in Europe for hundreds of years, and it took until the late 1700s before a major erotic work was written in a style <i>other</i> than a dialogue. The word “pornography,” coined in 1857, means “whore’s story” or “whore’s writing” and early erotic novels maintained a structure based around a whore’s storytelling. The Marquis de Sade’s <i>120 Days of Sodom</i> (1785) and <i>Justine</i> (1791) or John Cleland’s <i>Fanny Hill, or Memoirs of a Woman of Pleasure</i> (1748) are good examples of the style.<br />
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<b>FC: How did you come across this genre of writing?</b><br />
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<b>MG:</b> I came to the whore’s dialogue backwards, through two layers of adaptation. The filmmaker Luis Bunuel led me to the Marquis de Sade, and de Sade led me to the whore’s dialogue.<br />
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Portait of Donatien Alphonse Francois, the Marquis de Sade, c. 1730</div>
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The final act of Buñuel’s film <i>L’Age D’Or</i> (1930) is based on de Sade’s <i>120 Days of Sodom</i>. The title card for the section briefly summarized the novel’s plot involving four corrupt nobles who stage a bestial orgy. It went on to say,<br />
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“To them, the life of a woman mattered no more than that of a fly. They took with them eight lovely adolescent girls to serve as victims for their criminal desires. <b>Plus four women well versed in debauchery, whose narrative skills would serve to stimulate their already jaded appetites whenever interest flagged.”</b><br />
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I instantly zeroed in on that last part—forget the virgins, I thought—who are those women?! That led me to the original novel. <br />
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In <i>120 Days of Sodom</i>, the old madams who narrate the orgy quickly become the central characters. De Sade spends a lot of time making clear that this sex party absolutely cannot happen without these women and most of the book revolves, Scheherazade-like, around their sexual histories.<br />
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Caterina Boratto as Signora Castelli in Pier Paolo Pasolini's 120 Days of Sodom, 1976</div>
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In further researching de Sade and erotic literature of the period, I came across other whore’s dialogues, which were clearly the basis for de Sade’s <i>raconteuses</i>. It was fascinating to learn that a dominant form of porn involved an older woman telling a younger woman about sex. This exchange held such erotic charge for hundreds of years but is now, essentially, absent from erotic and pornographic discourses.</div>
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Still from Pier Paolo Pasolini's <i>120 Days of Sodom</i>, 1976</div>
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Living in Los Angeles, it also made me think of how women actors become invisible as they age. It’s ironic, because the more experienced they are, the better they are at what they do. Those two thoughts collided and that was the start of the piece.<br />
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<b>FC: Is your installation <i>The Whore’s Dialogue</i> connected to your personal life in any way?</b><br />
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MG: That’s an interesting question. My work usually is not directly personal, and I wouldn’t say that <i>The Whore’s Dialogue</i> is either. However, although it’s not a piece about me, it definitely has more of a synergy with my personal life than my work usually does. <br />
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The idea, of the older woman’s role as the taxonomist of the perverse—a sexual memoirist, if you will—relegated entirely to the role of language, seemed to be a provocative container for my own ambivalent and conflicted investigations of sexuality and gender.<br />
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When I first had the idea, I was a new, first-time mother. Getting married and having babies wasn’t something I had ever fantasized about or yearned for. And yet, here I was, living out hetero-normative clichés I had resisted all my life. It was like the Talking Heads song, “Once in a Lifetime”—I woke up and thought, “how did I get here?”<br />
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At the same time, in the news, I was reading story after story after story about incredibly complex sex crimes, including men locking up their daughters in basements and raping them for twenty years and child predators with these intricate, sophisticated modes of grooming and abuse. Everywhere, <i>everywhere</i>, there is this constant parade of brutality and prurient details, and it just seems ubiquitous, horrifying and humdrum all at the same time.<br />
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While I’m thinking about the de Sade characters… the authority and skill possessed by these women comes from their encyclopedic sexual experience. But it doesn’t mean they are empowered or independent. Their childhood initiations into sex all involve being abused by various old lechers. They are hired to make a really brutal, murderous orgy possible by keeping the hosts aroused; they are entirely complicit in the machine.<br />
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So I was thinking about the strange inevitabilities of gender roles and wondering if there’s any escape from them or our increasingly pornographic culture, in which everything—horror, arousal, pleasure, violence—becomes the same, just another form of creating sensation.<br />
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It’s an exploration, an interrogation, more than an answer. <br />
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<b>FC: In a museum setting, you usually see the sexual material, but in <i>The Whore’s Dialogue</i> you listen to it. Were you thinking about this inversion when conceptualizing the piece? </b><br />
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MG: What a great question—it did not occur to me in exactly that way. <br />
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The visual language was about framing these women as simply and directly and elegantly as possible—in order to elevate their virtuosity as experienced performers as they demonstrate ease and mastery with such explicit material.<br />
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Explicit sexual imagery in museums provokes sensation in the viewer—but it doesn’t necessarily make them think, or question their own complicity. You can just blame anything you feel on the picture. In this piece, the explicit sexual picture is purposefully absent—it’s turned into memory and language—so that any sexual images that come to the viewer’s head are entirely his or her own. The viewer may or may not create the pictures in his or her head—but it makes the viewer more active, more complicit in the production of sexual imagery. <br />
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<b>FC: In your understanding, what’s the relationship between pornography and politics?</b><br />
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MG: It’s a Brechtian idea that all interactions between people are political interactions. It’s something I think about a lot.<br />
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In her study “Sade and the Pornographic Legacy,” the scholar Frances Ferguson writes that porn “shifts the burden of sexuality from sensation to representation...from individual bodies to the political world. Pornography thus registers the symbolic capital of even of apparently private experience.”<br />
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Illustration from Raimondi's I Modi or the Sixteen Pleasures, 1524</div>
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In other words, pornography makes the intimate political by putting the private into the realm of language and discourse. This idea was very provocative for me in creating <i>The Whore’s Dialogue</i>. It’s different than how pornography is usually thought of.<br />
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And it’s interesting that the most influential writer of whore’s dialogues was a political satirist, Pietro Aretino (1492-1556), nicknamed “The Scourge of Princes.” Another whore’s dialogue of the era, <i>La Cazzaria</i> (<i>The Book of the Prick</i>, by Antonion Vignali, 1525), actually climaxes in an “extended fable of civic conflict in which personified body parts fight for dominance in an imaginary commonwealth.” Cocks, Cunts, Assholes and Balls each correlated to one of the major factions of Sienese politics. Vignali was allegorizing the collapse of his state’s government as a fragmented body.<br />
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<span style="font-size: xx-small;">Top Image: Still from Luis Buñuel's <i>L'Age d'Or</i>, 1930</span>MCA Denverhttp://www.blogger.com/profile/07785416238926518416noreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-52166293829498834112013-03-15T13:18:00.000-07:002013-03-20T14:57:29.974-07:00Mark Mothersblog<div class="separator" style="clear: both; text-align: center;">
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Mark Mothersbaugh stopped by the museum yesterday, and he and Director & Chief Animator Adam Lerner re-enacted a fight scene from Wes Anderson's <i>The Life Aquatic</i>.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-82243656391431254232013-03-07T15:27:00.002-08:002013-03-08T15:21:16.937-08:00Teen Council's W3FI Opening<div class="p1">
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<i><span style="font-size: x-small;">This blog features <span style="text-align: justify;">MCA Denver Teen Council Member Polly Adams guest blogging about the recent </span></span></i><i><span style="font-size: x-small;">Teen Council (TeCo) opening. </span></i></div>
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On Saturday, February 23, the Teen Council (TeCo) members held an opening for our latest efforts, the <a href="http://www.mcadenver.org/w3fiproject.php">W3FI Project</a> that we completed with the help of artists Laleh Mehran and Chris Coleman. <br />
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<span style="text-align: justify;">For the W3FI Project, we created a wall vinyl with silhouettes of buildings, icons, or physical landmarks from our communities. Then we each selected keywords, which represented to us the cultural landmarks we chose. These included "yuppies," "suburbia," "play," "heart," and others. These keywords are pulled from Tweets as they occur and projected on the wall over the silhouettes. The clever Chris Coleman set it up so that the tweets would be actively rotating around the W3FI spiral, continuously updating throughout the duration of the exhibit. These keywords came from Tweets only in the surrounding areas of each icon, with the tweets we projected cut off at a certain number of words.</span></div>
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For instance, my keyword, "play", would be pulled from Tweets within a four mile radius around McWilliams Park, the icon I chose in South Denver. Since the text projected on the installation only includes a fragment of the actual tweet, this ended up being pretty funny because it was always a sort of mystery as to what the user was actually trying to say. "Finish the tweet" became an enjoyable game for me and my friends on the night of the opening.<br />
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The most popular keyword for the tweets was chosen by TeCo member Kamron and happened to be "twerking"... let's just say that apparently a lot of people in Denver enjoy the fine art of club dancing! </div>
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My favorite part of the opening was near the end of the night, when partygoers stopped to listen to the artists and interns discuss the process and idea behind the piece, as well as answer some questions. Getting to discuss the project was a fun and challenging experience, because we all discovered that the whole thing probably didn't make as much sense to those who hadn't been working on it for six weeks straight. Sparking up conversations about what "twerking" really even means, and why our icons were so important to us turned out to be quite entertaining, especially with such a kind and witty crowd of people. We also got some great group shots.</div>
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See, aren't we pretty? We'd like to think we look good next to our installation project, anyways. </div>
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The W3FI project will be up through Sunday, March 24, 2013. Come check out our exhibit!<br />
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For more information on the Teen Arts Council, visit their <a href="http://mcadenverteco.blogspot.com/">blog</a>.<br />
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<span style="font-size: x-small;">all photos by Jenn LaVista. </span>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-42858152719780378422013-03-05T14:58:00.000-08:002013-03-05T15:03:13.905-08:00New Season of Feminism & Co. Announced<div class="separator" style="clear: both; text-align: center;">
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<b><br /></b><a href="http://mcadenver.org/feminismco2013.php">Tickets</a> are on sale now for this year's series of Feminism & Co. The line-up is below.<br />
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<b>Thursday March 21: Full Contact</b></div>
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If you’ve ever attended a roller derby bout or witnessed a female martial artist then you know that women are not always the “softer sex.” Sport scholar Sarah Fields and aikido practitioner/feminist artist <a href="http://www.harmonyhammond.com/HarmonyHammond.html">Harmony Hammond</a> will be joined by the Rocky Mountain Rollergirls to discuss the history of women in full contact sports.</div>
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<b>Thursday March 28: Feminist Bloggers</b></div>
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Why are there so many female bloggers? Is blogging a feminist activity? Join us for a lively conversation about women and social media. Ann Little (of the blog <a href="http://www.historiann.com/">Historiann</a>) curates this panel of experts including feminist bloggers, mommy bloggers, music bloggers and artist blogger Ellina Kevorkian.</div>
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<b>Thursday April 4: Boobs</b></div>
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Voluptuous lobes of attraction or the root of women’s exploitation? Wondrous mammary systems for nourishing newborns or deadly sponges for the reception of toxins? Join science writer Florence Williams and film scholar Melinda Barlow for a rich and rounded conversation about breasts and their role in visual, medical, and maternal culture.</div>
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<b>Thursday April 11: The Fine Art of Talking About Sex</b></div>
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Join us for the US premiere of <a href="http://mayagurantz.com/">Maya Gurantz</a>’s video installation <i>The Whore’s Dialogue</i>. Maya Gurantz is a Los Angeles-based video and performance artist. Inspired by the storytelling women in the Marquis de Sade’s <i>120 Days of Sodom</i>, Gurantz’ piece is an exploration of how women acquire and transmit sexual knowledge. (Adult content)</div>
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<i>Feminism & Co. opens at 5:30 p.m. on the above listed dates; programs begin at 6:30 p.m. Tickets for the full program series are $89 ($59 for museum members), which includes a free drink each week; individual tickets are $17 ($12 for members) and student discounts are available. </i></div>
Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-95178175946611939.post-7253489985569707272013-02-26T15:43:00.000-08:002013-04-08T10:40:57.917-07:00Why I Love This Art – Patti Hallock's The West is Here<div class="p1">
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<span style="background-color: white; color: #5f5654; font-family: 'Open Sans'; font-size: xx-small; line-height: 18px; text-align: justify;">Why I Love This Art </span><i style="background-color: white; color: #5f5654; font-family: 'Open Sans'; font-size: x-small; line-height: 18px; text-align: justify;">features museum employees, volunteers, and interns talking about art they love from the exhibitions at MCA Denver. Here Event and Rental Manager Erin Algiere writes about Patti Hallock's exhibition </i><a href="http://mcadenver.org/pattihallock.php" style="background-color: white; font-family: 'Open Sans'; font-size: x-small; line-height: 18px; text-align: justify;">The West is Here</a><i style="background-color: white; color: #5f5654; font-family: 'Open Sans'; font-size: x-small; line-height: 18px; text-align: justify;">, on view through Sunday, March 3, 2013. </i></div>
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I would like to admit that I frequently find myself in Patti Hallock's gallery when I am supposed to be at my desk plugging away at accounting spreadsheets. And I realize that I could have gone anywhere else in the building to get away from those spreadsheets, yet chose to be among Patti Hallock’s desert views.</div>
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I’m willing to admit something else: I am a die-hard romantic, a cliché of a hard shell grumbling outside protecting a squishy, romantic sop inside – a sop who wants everything in the world to have an affected touch of drama topped off by a heightened sense of importance. </div>
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But Patti Hallock is not offering romance to me – or to anyone else for that matter. And my dashed idealizations of landscape are exactly what I like about <i>The West Is Here</i>. Hallock is certainly not mooning about our national parks (a favorite pastime of mine) or searching out a majestic version of the great outdoors which takes a guidebook and seven Sherpas to get to (I’ll mention here that I had a dog-sledding ambition as a child). Hallock is creating images that live in the now, that represent the allure of the West as she finds it. </div>
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But these images are more than documents from a passing traveler. They are crafted with the intimate knowledge of a native, someone whose scope of beauty isn’t confined to idealism or nostalgia. The more time I spend with these images the more it becomes apparent that Hallock is honing her gaze on details of the landscape, forming deceptively simple compositions that touch on human presence scattered through desert vistas. That bleached out, crumpled blanket in scrubby bushes isn’t a political comment about how we all need to become stewards for our planet; the dirty old blanket melts into the landscape, a fuzzy blur amidst blazing natural beauty. Those cans? Those aren’t petrified litter. They are perfectly planned desert compositions corralled into place by Hallock’s lens. </div>
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I love that you don’t get cowboys or palominos from <i>The West is Here</i> – you get a sense of place. A place where I’d rather be: traveling through the West, taking it in through the eyes of someone interested in the details. I love this art.<br />
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<span style="font-size: x-small;"><i>Patti Hallock's exhibition </i>The West is Here<i> closes Sunday, March 3, 2013. See it Saturday, March 2, when admission is only a penny and two new exhibitions at MCA Denver have their official opening.</i></span></div>
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<span style="text-align: justify;">At the </span><a href="http://mcadenver.org/pattihallock.php" style="text-align: justify;">Patti Hallock</a><span style="text-align: justify;">/</span><a href="http://mcadenver.org/williamlamson.php" style="text-align: justify;">William Lamson</a><span style="text-align: justify;">/</span><a href="http://mcadenver.org/fancygasm.php" style="text-align: justify;">Ladies Fancywork Society</a><span style="text-align: justify;"> opening last month, we hosted a self-portrait contest (a "drawing drawing"), and the winner we selected is above. As promised, the winner received a critique by museum curator Nora Burnett Abrams (as well as a dual/family membership to the museum).</span></div>
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<span style="text-align: justify;">Here's Nora's critique: </span><br />
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<span style="text-align: justify;">What a bold image! The Picasso-like portrait is both playful and vibrant. I particularly enjoy the contrast between the abstractly rendered mouth and the geometric bow placed just off-center on her head. The artist has a confident use of line and is a lovely colorist. </span></blockquote>
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We had so much fun with Nora's first critique that we asked her to do two more.<br />
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Nora had this to say: </div>
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I love the bold color and the delightful detail of the figure's handbag. This drawing has so much personality, despite its more restrained form.</blockquote>
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Nora's thoughts for this one: </div>
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What a great beard! The contrast between the refined eyebrows and the bushy beard offers a fun play on texture. </blockquote>
Drawing Drawings will return at our next opening on Saturday, March 2. Thanks for playing, everyone.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-85713838453726474042013-02-12T13:25:00.000-08:002013-02-12T13:25:14.742-08:00Photos from the opening weekend of the William Lamson, Patti Hallock, and Ladies Fancywork Society exhibitions<div class="separator" style="clear: both; text-align: center;">
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Artist William Lamson</div>
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Artist Patti Hallock (right) in front of her work, with Ivar Zeile of Plus Gallery</div>
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The Ladies Fancywork Society (center)</div>
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The front desk is always a party, thanks to our Visitor Services staff</div>
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MCA Denver staffer Nancy Blevins</div>
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Jim Robischon and Jennifer Durant of Robischon Gallery</div>
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Elizzabeth Bittel and MCA Denver's Sonya Falcone enjoy the Saturday night member's opening</div>
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<a href="http://3.bp.blogspot.com/-1Oe6i9yNW4A/URqGfex-OQI/AAAAAAAAAkI/CXhbcvXdpSA/s1600/T5616x3744-00443.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="http://3.bp.blogspot.com/-1Oe6i9yNW4A/URqGfex-OQI/AAAAAAAAAkI/CXhbcvXdpSA/s640/T5616x3744-00443.jpg" width="640" /></a> Artist Andi Todaro (left) with Fancy Tiger Clothing Owner Matthew Brown, & Gallerist Adam Gildar</div>
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Close-up shot of <i>Fancygasm</i>, the Ladies Fancywork Society's new installation </div>
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Kids enjoying our <a href="http://mcadenver.org/bubblegarden.php">Bubble Garden</a> during the public opening Sunday</div>
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<a href="http://www.facebook.com/TheTattoodMunchkin">The Tattoo'd Munchkin</a> slanged temporary tats for kids</div>
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Ama Mills-Robertson hangs out on our roof with Gallerist Carmen Wiedenhoeft</div>
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Banjo players Aaron McCloskey and Chris Elliot livened up our café</div>
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MCA Denver's Andy Lynes enjoyed the balmy January weather </div>
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<span style="text-align: center;">Close-up shot of </span><i style="text-align: center;">Fancygasm</i></div>
<span style="font-size: x-small;"> all photos by <a href="http://carmenwiedenhoeft.com/rpeterson.html">Richard Peterson</a></span><br />
<br />Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-60440416819991769852013-02-01T10:19:00.000-08:002013-02-01T10:19:54.961-08:00Erica Baum is folding paper (and so are you).<br />
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<span style="font-family: inherit; font-size: x-small;"><i style="background-color: white; color: #5f5654; line-height: 14px;">MCA Denver </i><span style="background-color: white; color: #5f5654; line-height: 14px; text-align: justify;"><i>invited artist Derek Beaulieu to guest blog during the duration of the exhibition </i><u><a href="http://mcadenver.org/postscript.php" style="color: #777777; text-decoration: initial;">Postscript: Writing After Conceptual Art</a></u><i>, in which excerpts from Beaulieu's 124-painting sequence </i>the Newspaper<i> are featured. </i><span style="font-style: italic; text-align: center;">Beaulieu is the author of 9 books of poetry and conceptual fiction. He teaches at the Alberta College of Art + Design and can be found online at: </span><span class="s1" style="font-style: italic; text-align: center;"><a href="http://www.derekbeaulieu.wordpress.com/" style="color: #777777; text-decoration: initial;">www.derekbeaulieu.wordpress.com</a>. </span><i>This is the final of four blogs for MCA Denver.</i></span></span><br />
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<i><a href="http://mcadenver.org/postscript.php">Postscript: Writing after Conceptual Art</a></i> contributor <a href="http://www.ubu.com/contemp/baum/"><span class="s1">Erica Baum</span></a> poeticizes our minor gestures. Baum transforms a reading act—the motion of dog-earing a book’s page—into a <i>writerly</i> one.<br />
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<span class="s2" style="text-align: justify;">Baum’s 2011 artist book <a href="http://www.uglyducklingpresse.org/catalog/browse/item/?pubID=176"><span class="s1"><i>Dog Ear</i></span></a> (Brooklyn: Ugly Duckling, 2011) </span><span style="text-align: justify;">presents a series of photographs, each of which lushly reproduces the images of the dog-eared page from a pulp novel. By dog-earing a page a reader employs the pages of a book as a new tool—not only does each page impart the text of the written work, it also can be used to mark the reader’s progress through that very text. Gently flipping through any used book reveals the ephemeral record of the previous owners—notes, underlining, marginalia, bookmarks (accidental or intended)—and the dog-earing corner creasing. Each of these marks the reader’s progress through the book; they map the imposition of life outside the novel on to the writing inside the novel. </span></div>
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With<i> </i><a href="https://jacket2.org/galleries/photographs-dog-ear"><span class="s4"><i>Dog Ear</i></span></a>, Baum documents how each memory-assisting fold that the reader places within a book becomes a generative act, creating a new, latent, text. A uniting concern of <i>Postscript: Writing after Conceptual Art</i> is the engagement with the materiality of text and writing, that the information we receive and filter, generate and propagate, has a physical presence beyond the semantic. Baum’s <span class="s4">engagement</span><span class="s1"> </span><span class="s4">with the <a href="http://www.writing.upenn.edu/~afilreis/88v/baum-erica.html%5D" target="_blank">physicality of text</a></span> is unique within the purview of the exhibition as she engages not only with the page but also with how readers manipulate and destroy books while reading. <a href="http://writing.upenn.edu/pepc/authors/baum/Baum-Eric_Dog-Ear_2010.pdf"><span class="s1"><i>Dog Ear</i></span></a> not only documents how the place-holding fold affects the book, it also how the folding creates something new to read.</div>
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Baum’s poems echo and extend the ideas of Brion Gysin and William Burroughs. In the 1950s Gysin and Burroughs “rediscovered” the compositional techniques of Tristan Tzara (the author of “ <a href="http://www.writing.upenn.edu/~afilreis/88v/tzara.html"><span class="s1">How to Make a Dadaist Poem</span></a>” in 1918) in what they dubbed “cut-up” and “fold-in” writing. A “fold-in” poem, <a href="http://www.writing.upenn.edu/~afilreis/88v/burroughs-cutup.html"><span class="s1">Burroughs argues</span></a>, is created when the author “place[s] a page of one text folded down the middle on a page of another text (my own or someone else's) <span class="s2">—The composite text is read across half from one text and half from the other.” Gysin and Burrough’s collaborations are most famously documented in “<a href="http://www.ubu.com/papers/burroughs_gysin.html"><span class="s1">The Cut-up Method of Brion Gysin</span></a>” and <a href="http://www.ubu.com/historical/burroughs/index.html"><span class="s3"><i>The Third Mind</i></span></a> (1978). </span></div>
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<span class="s4">Burroughs and Gysin, like Tzara before them, proposed a democratic form of poetic composition. Anyone could pick up a pair of scissors or fold a page of the newspaper to create poetry</span>—but Baum extends that idea from a form that anyone <i>could</i> do to something that everyone <i>does</i> do. Dog-earing books is an ubiquitous habit. By aestheticizing that minor gesture—the folding of a page’s corner to mark a pause in reading—she asserts that the artistic act in conceptual writing is one of choice.<span class="s4"> </span></div>
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The resultant texts in Baum’s <i>Dog Eared</i> pages can be read in multiple directions, piling up like Robert Smithson’s “heap of language” and every direction releases a text unintended by the original author. <i>Dog Ear</i> consists of reader-generated poems that use the destructive/productive folding of a page to both destroy(the original text is obscured) and produce (as the over-leaved text is revealed) a text that did not previously exist. Craig Dworkin, in his introduction to the <a href="http://www.ubu.com/concept/"><span class="s1"><i>Ubuweb Anthology of Conceptual Writing</i></span></a> argues that conceptual writing<span class="s2">—as typified by <i>Postscript</i> and Baum’s <i>Dog Ear</i>—is “not so much writing in which the idea is more important than anything else as a writing in which the idea cannot be separated from the writing itself: in which the instance of writing is inextricably intertwined with the idea of Writing: the material practice of <i>écriture</i>.”</span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-95178175946611939.post-92158030313642848352013-01-31T16:29:00.004-08:002013-01-31T16:52:58.779-08:00Why Postscript Matters<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">Why has MCA Denver curated an exhibition on conceptual writing, and why now? Part of the relevance of <a href="http://mcadenver.org/postscript.php"><span class="s1"><i>Postscript: Writing After Conceptual Art</i></span><span class="s2"> </span></a>stems from our present situation in the digital age. We are flooded everyday with the digital, which, as <i>Artforum </i><a href="http://artforum.com/inprint/issue=201207&id=31944&pagenum=0"><span class="s2">argued</span></a> several months back, "is, at base, a linguistic model. Convert any .jpg file to .txt and you will find its ingredients: a garbled recipe of numbers and letters, meaningless to the average viewer." If the digital is indeed "at base, a linguistic model," then this deluge of the digital indicates a linguistic shift. We are experiencing a linguistic shift about how we process information, and that linguistic shift also has visual consequences; e</span>veryday we access information via different technologies, and we process that information via different visual formats.<span style="font-family: inherit;"> .jpg files neatly summarize these visual consequences, as well as an apparatus like the Kindle might. </span><br />
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<a name='more'></a>Conceptual writing is uniquely positioned to consider the ways that language and the visual intersect, and that's why conceptual writing, both historically and presently, is able "<a href="http://artforum.com/inprint/issue=201207&id=31944&pagenum=3">to convey experience in ways adequate to our new technological circumstances.</a><span class="s1">"</span><span style="color: #333333; font-family: Arial, Arial Unicode MS, Helvetica, Verdana, sans-serif;"><span style="line-height: 16.375px;"> </span></span>So, when <i>Artforum </i>selected <i>Postscript </i>as a <a href="http://artforum.com/?pn=picks&section=us#picks36897">critics' pick</a> a couple months, and wrote that the show was concerned with "how to translate potential meaning and intentionality between the modes of visual art and language," they were only partly right. <i>Postscript </i>also presents a slew of artists whose generative strategies challenge the very silos that separate visual art and language and whose work, across various methods and mediums, engages authentically with our digital age. </div>
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<span style="font-size: xx-small;"><span style="font-family: inherit;">photo credit: <span style="background-color: white; color: #5f5654; line-height: 14px; text-align: justify;">Installation shot of Seth Price's <i>Romance</i></span><span style="background-color: white; color: #5f5654; line-height: 14px; text-align: justify;">, 2003, v</span></span>ideo, color, silent, 30 min. Image<span style="background-color: white; color: #5f5654; font-family: inherit; line-height: 14px; text-align: justify;"> courtesy MCA Denver. </span></span><br />
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-6002859698962532592013-01-27T14:22:00.000-08:002013-01-28T13:05:33.648-08:00Remembering Jake Adam York<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/udw6Rhev1YA?rel=0" width="560"></iframe>
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In December of 2012, our community lost one of its most beloved contributors, Jake Adam York. <br />
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In 2004, when I first came to The Lab at Belmar – long before I would take a job there, long before The Lab would become my second home – I came as a member of the audience. Like so many others, I drove in what might have seemed like an intellectual reverse commute –– from downtown Denver to a half-developed suburban shopping center in Lakewood, Colorado. We came to hear some of the most interesting talks being produced anywhere. This was <i>Mixed Taste: Tag Team Lectures on Unrelated Topics</i>, and there was nothing else like it in the world.<br />
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In the early years, going to Belmar was like taking a pilgrimage to a magical place where easy humor and absurdist fun met with deep scholarly insight. And no single speaker embodied this more than Jake Adam York.<br />
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Adam Lerner, who founded The Lab and invented the Mixed Taste lecture program, said this in his eulogy of our friend: <br />
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When we did a program on T.S. Eliot and Meat Sausage, Jake talked about T.S. Eliot because he was a great expert on poetry. When we did a program on Barbeque and Avant-Garde Film, he talked about barbecue because he was a great expert on food. He’s the only speaker who could have done both sides of <i>Mixed Taste</i>, the scholarly and the popular. Jake was <i>Mixed Taste</i>. And he developed his own following; the most loyal and adoring was Sarah Skeen, who became his wife.</blockquote>
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In the early days, before Mixed Taste would draw hundreds of people, Jake would be there every night, even on the rare nights when he wasn’t a speaker. And afterwards, he would go out to pizza with the people in the audience, where he would continue to make connections between the subjects. </blockquote>
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I wasn’t aware of it then, but in these numerous public talks Jake was developing into his role as a civic figure in Denver. It is rare for any artist to become such a recognizable civic figure, but I think it is more rare for a poet. And it is a testament to his force as an artist, which pushed ever outward, reaching ever-broader circles. The Lab at Belmar grew in stature feeding off of the energy that he generated. But he continued ever wider, seeing the city as a platform for his many talents.</blockquote>
Last night, on January 25, 2013, Jake Adam York’s friends and family gathered at the Museum of Contemporary Art Denver to celebrate his life and his work. Jake’s contributions were many – and his influence is great. And though he was a member of numerous communities, we are proud to have had him as a part of ours. The above video is a compilation of his many talks at The Lab. We will miss you, Jake Adam York.<br />
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<br />Sarah Kate Baiehttp://www.blogger.com/profile/11534126430946128712noreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-46070859479121141532013-01-23T15:22:00.002-08:002013-01-31T16:32:09.891-08:00Eric Zboya's Poetic Star Stuff<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="font-family: inherit; font-size: x-small;"><i style="background-color: white; color: #5f5654; line-height: 14px;">MCA Denver </i><span style="background-color: white; color: #5f5654; line-height: 14px; text-align: justify;"><i>invited artist Derek Beaulieu to guest blog during the duration of the exhibition </i><u><a href="http://mcadenver.org/postscript.php" style="color: #777777; text-decoration: initial;">Postscript: Writing After Conceptual Art</a></u><i>, in which excerpts from Beaulieu's 124-painting sequence </i>the Newspaper<i> are featured. </i><span style="font-style: italic; text-align: center;">Beaulieu is the author of 9 books of poetry and conceptual fiction. He teaches at the Alberta College of Art + Design and can be found online at: </span><span class="s1" style="font-style: italic; text-align: center;"><a href="http://www.derekbeaulieu.wordpress.com/" style="color: #777777; text-decoration: initial;">www.derekbeaulieu.wordpress.com</a>. </span><i>This is the third of four blogs for MCA Denver.</i></span></span><br />
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<span style="font-family: inherit;">If poetry could close it eyes and dream what shape would those dreams take? <i>Postscript:
Writing after Conceptual Art</i><span style="text-indent: 0.25in;">’s
contributor <u><a href="http://www.ubu.com/vp/Zboya.html">Eric Zboya</a></u> explores poetry
of delicate multi-dimensional dreamscapes—<u><a href="http://www.theadirondackreview.com/ericzboya.html">unearthly shapes hovering between dreams and wakefulness</a></u></span><span style="text-indent: 0.25in;">. When we close our eyes, unanchored floating shapes skitter and crawl across the blackness like alien mitochondria in a petri
dish.</span></span><br />
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<a name='more'></a><span style="font-family: inherit;">American poet Charles Olson suggested that poets should look to the page as a “compositional field.” To Olson, the page is the equivalent of a composer’s staff paper—a space that should be engaged with an awareness of meter and time, pitch and
volume. Olson’s ideas changed how poets saw the compositional space of poetry,
but they were limited by a two-dimensional idea of how poetry could be read.</span><br />
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<span style="font-family: inherit;">Zboya’s translations use digital means to create new poems—poems that are freed from
letters and sentiment and instead are feathered, vaguely biological
three-dimensional objects. Zboya accomplishes this magical feat by exploiting a glitch in his computer’s software. By applying mathematical algorithms inherent in his computer’s design software to literary texts (such as Allen Ginsberg's <i>Howl</i> below), Zboya creates accidental translations—translations that move language through mathematics into topography.</span><br />
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These translations have lead Zboya down the translation rabbit-hole into a preoccupation with how we see and read poetry and how we see and read in general. His latest works translate the chemical notation of vision medication (and theorized, unseen elements) into braille. Ironically Zboya’s work resembles braille but does not use the tactility of the raised notation of that system. Instead Zboya uses printed black dots which point to a tactile readability, much like his visual poems point to a poetic readability that is just out of reach. For example, <span style="text-align: center;">Zboya's braille interpretation of the superheavy artifical chemical </span><i style="text-align: center;">Ununseptium:</i><br />
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<span style="text-align: justify;">Zboya’s braille poems spread across the page like delicate fractal blooms, each
flowering seeds of poetic possibility. Zboya’s poetic gaze embraces both the
microscopic and the telescopic; his recent work attempts to recreate
intergalactic formations entirely from letters. Zboya writes that his ‘M1’ (see image below),</span><br />
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<span style="font-family: inherit;">attempts
to photo-realistically depict the Crab Nebula using nothing but letters. This
depiction helps to showcase the premise that all matter in the universe is made
up of language. Everything, from quantum singularities to galactic
superclusters, is, on the basest of levels, made up of units of information,
units of language, that, through some mysterious dialogic compulsion, cluster
together to form interstellar bodies of texts – bodies of poetry. There is the
saying, coined by the late Carl Sagan, that <i>we are all made of star stuff. </i>Almost
every element on earth, from the calcium found in our bones to the iron found
in our blood, represents a form of paragrammatic language created
intertextually through the dispersal and incorporation of stellar material
ejected from the explosions of massive stars now extinct. We are made of star
stuff; the mind that creates our thought patterns is made of star stuff; the
vocal system that helps to convey acoustically our thoughts is made of star
stuff. The language we create, and the language that we consume, not only finds
its origins within the fabrics of space, and far back into the origins of time
itself, but demonstrates William S. Burroughs’ idea that <i>language is a
virus from outer space</i>.</span></div>
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<span style="font-family: inherit;"><span style="text-indent: 0.25in;">Thanks
to Jesse Leaneagh for inviting me to be the official blogger for <i>Postscript:
Writing after Conceptual Art</i></span><span style="text-indent: 0.25in;"> at the
Museum of Contemporary Art, Denver. Thanks also to Andrea Andersson and Nora Burnett </span><span style="text-indent: 24px;">Abrams</span><span style="text-indent: 0.25in;">, the curators of the exhibition.</span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-46424261438339546312013-01-15T13:50:00.001-08:002013-01-15T13:50:51.704-08:00Please welcome new Curatorial Assistant Sonya Falcone<div class="separator" style="clear: both; text-align: center;">
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Recently, our former Curatorial Assistant Tricia Robson moved on to Google. Stepping expertly into the vacant role we have Sonya Falcone, formerly of <a href="http://www.platform5280.org/">Platform 5280- Biennial of the Americas</a>. Sonya was so kind as to accept my request for an interview, MCA Denver-style.<br />
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<b><span style="color: black;">If you were a fruit, which fruit would you be and why?</b></span><br />
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A clementine – they love winter and they have the coolest name.</div>
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<b><span style="color: black;">I’ve noticed your cubicle is still a little bare. Guess you are too busy to decorate! If you could have any artwork for your desk, what would it be? Size doesn’t matter, we can get you a bigger desk.</b></span></div>
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Can we set up my desk in one of the Raphael rooms at St. Peter’s?</div>
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<b><span style="color: black;">Name one of your favorite places in Denver, besides the museum of course. </b></span></div>
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Little Man ice cream.
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What would you like to be doing forty years from now? </b></span></div>
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Living on a lake with a big garden and a great dane (the kind with cow spots).</div>
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Please talk about someone from elementary school you still remember.</b></span></div>
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My elementary school music teacher, Dr. McCaskill, was such a cool lady that the kids in my 5<span class="s1"><sup>th</sup></span> grade class would come to school an hour early for choir practice. Our performance of <i>The Pirates of Penzance</i> was unforgettable.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-95178175946611939.post-40036723304824854102013-01-04T11:29:00.002-08:002013-01-04T11:29:59.661-08:00Watch the MCA Denver Holiday Video<span style="font-family: inherit;">Happy
2013 everyone. We had a blast in 2012 and hope you did too. </span><br />
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<span style="font-family: inherit;">Stay tuned for the blooper reel. </span></div>
<!--EndFragment--><br />MCA Denverhttp://www.blogger.com/profile/07785416238926518416noreply@blogger.com1tag:blogger.com,1999:blog-95178175946611939.post-70321038608462810002012-12-20T09:54:00.000-08:002012-12-20T09:56:26.289-08:00A Graphic Tour of My Desk<div class="separator" style="clear: both; text-align: center;">
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<b><b><span style="color: black;">A GRAPHIC TOUR OF MY DESK</span></b></b><br />
<b><span style="color: black;">ALEX A STEPHENS / CREATIVE & PRODUCTION MANAGER</span></b></div>
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Welcome to a short tour of my desk, with some of my creative & personal inspirations. (L to R)</div>
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<b><span style="color: black;">ELISA MCKNIGHT</span></b>: a "Cancer Sucks" button that my mother gave me during her Chemo/Herceptin therapy. As she said, "Here, have this. Why the hell would I want it." She has been in remission for about 2.5 years. Yay!</div>
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<b><span style="color: black;">HANK WILLIS THOMAS</span></b>: an "I Like Dick" image pulled from a gallery ad for <i>What Goes Without Saying</i>. Thomas is a contemporary African American artist whose photographs were shown in the MCA Denver exhibition <i><u><a href="http://mcadenver.org/MoreAmericanPhotographsMCADenver.php">More American Photographs</a></u></i>.<br />
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<b><span style="color: black;">THE LION KING SOUNDTRACK</span></b>: found in my record player when we used it for the <i><u><a href="http://www.mcadenver.org/bruceconner.php">Bruce Conner and the Primal Scene of Punk Rock</a></u></i> exhibition. Inspiring hearts & minds since 1994.</div>
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<b><span style="color: black;">THE VINE</span></b>: grown from a short, cut piece, nearly the only view of nature from the basement offices.</div>
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<b><span style="color: black;">DINO!</span></b>: My bronze dino, adorned with pink ribbon, always reminds me of my favorite movie: <i>Jurassic Park</i>.</div>
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<b><span style="color: black;">THE GOLDEN SECTION</span></b>: as an OCD graphic designer, this number makes everything I design extremely aesthetically pleasing. Everything.</div>
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<b><span style="color: black;">JUNK DRAWER</span></b>: where I keep little found items like a thimble, piece of candy and bottle cap; just in case that may help my creative juices. I am NOT a hoarder.</div>
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<b><span style="color: black;">PURE BLACK</span></b>: again, OCD designer. So the black I use for printing must be just right. All K just won't cut it.</div>
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<b><span style="color: black;">MY FAVE TYPEFACES</span></b>: got to have them always in your sight.</div>
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<b><span style="color: black;">REAL ARROW</span></b>: given to me by a crazy ex, this arrow fulfills my obsession with Native American objects. I also have three dreamcatchers above my bed and a full-leg tattoo of a dreamcatcher.</div>
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<b><span style="color: black;">BOUQUET OF MUSTACHES</span></b>: used during the <u><a href="http://www.mcadenver.org/teen.php">Teen Council (TeCo)</a></u> event <u><a href="http://www.mcadenver.org/fauxstache.php">Faux'stache</a></u> this year, these ended up on my desk. I already have a mustache, but I guess they are for all those visitors that are jealous.</div>
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<b><span style="color: black;">MILTON</span></b>: Milton (whose name came from Milton Glaser, the designer who created I HEART NY, etc.) reminds me of my background in type design and layout.</div>
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<b><span style="color: black;">TAHARA HEAD W/ POINSETTIA HAT</span></b>: I made this glittery head to display a Cockette's costume during the exhibition <i><u><a href="http://www.mcadenver.org/WestofCenterMCADenver.php">West of Center</a></u></i>. It is now adorned with a festive headband, also worn by a staff member during the <u><a href="http://www.youtube.com/watch?v=IqkSQvIz6S4&list=UUH0khedfqrBPjGbfBaYZKlQ&index=1">2012 Holiday Video</a></u>.</div>
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<b><span style="color: black;">ARTWORK BY SANDRA FETTINGIS</span></b>: I love this cameo-inspired work by local artist Fettingis. She not only works as a visitors services employee & gift buyer at MCA Denver, but also was the curator of the incredibly successful <u><a href="http://www.mcadenver.org/designwithindenver.php">Design Within Denver</a></u> trunk show series in Shop MCA.</div>
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<b><span style="color: black;">BUTTERFLY</span></b>: used my creative freedom to make butterflies in our <u><a href="http://www.mcadenver.org/bubblegarden.php">Bubble Garden</a></u> out of the museum's promo materials.</div>
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<b><span style="color: black;">MINI CACTUS FOREST</span></b>: love my little version of a desert made up of cacti, given to us by the <u><a href="http://denverbiennial.org/">Biennial of the Americas</a></u> staff.</div>
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<b><span style="color: black;">HAND LOTION</span></b>: I keep a hefty stock because my desk is like the outpost for people. The dry weather brings my coworkers from all over the office to take advantage of my tissues, lotion, trash bins and <b><span style="color: black;">BOTTLE OF ASPIRIN</span></b>.</div>
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<b><span style="color: black;">CUP O' GLITTER</span></b>: 'nuff said.</div>
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<b><span style="color: black;">HAT FROM FACTORY</span></b>: my favorite hat to focus in, given by our amazing marketing partner, <u><a href="http://www.factorylabs.com/">Factory Design Labs</a></u>.</div>
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Well there you have it. A short tour of the best desk in the MCA Denver office. If you stop by the Whole Room you can always catch a glimpse from the office door. Disclaimer: the views of me are not the views of the Museum of Contemporary Art Denver. Also, I can't guarantee the desk will ever be this clean again. </div>
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