I produced a video for the exhibition The Way of the Shovel: Art as Archaeology, which traces the interest in history, archaeology, and archival research that defines some of the most highly regarded art of the last decade. Curated by former MCA Chicago Manilow Senior Curator Dieter Roelstraete, the exhibition makes the argument that we are in the midst of an artistic movement which Roelstraete has termed the “Historiographic Turn.”
Los Angeles–based artist Amanda Ross-Ho premiered her first outdoor public art project, THE CHARACTER AND SHAPE OF ILLUMINATED THINGS at the MCA Chicago. This video served as a primary component of the interpretative materials for the exhibition.
The MCA Chicago’s exhibition Amalia Pica was the artist’s first major solo museum show in the United States. Pica uses simple materials—such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting, cardboard, and other found materials—to create work that explores metaphor, communication, and language. She is particularly interested in the role of the artist in conveying messages to audiences and the translation of thought to action, and idea to object. The video features Pica’s commentary as well as behind-the-scenes footage of the artist installing her work.
The exhibition This Will Have Been: Art, Love & Politics in the 1980s provided an overview of the artistic production of a decade of cultural and political transformation. Presenting canonical as well as nearly forgotten works produced between 1979 and 1992, the exhibition touched on major developments of the period, including the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of color, and the ascension of televised media.
The video features interviews with exhibition curator Helen Molesworth, and artists Donald Moffett, Dotty Attie, Gregg Bordowitz, Isaac Julien, Tony Tasset, Frida Kahlo of the Guerrilla Girls, and Allan McCollum. The video provided an engaging overview of the exhibition and was featured prominently on the title wall of the exhibition.
The Language of Less (Then and Now) was an exhibition inspired by the MCA Chicago’s rich holdings of Minimalist and post-Minimalist work from the 1960s and 1970s. The exhibition was presented in two parts, one devoted to a reinstallation of the historical works (featuring artists including Carl Andre, Donald Judd, Sol LeWitt, and Richard Serra); and a second showcasing five contemporary artists (Leonor Antunes, Carol Bove, Jason Dodge, Gedi Sibony, and Oscar Tuazon) whose work refers to the stylistic language of their forebears, albeit with entirely new content and concerns.
The A/V interpretive materials for the exhibition (including a suite of videos and an audio tour) featured the contemporary artists speaking about their own work, and about a work or artist featured in the historical half of the exhibition. The resulting materials were presented onsite (video screens as well as on iPods for in-gallery use) and online (through the website and various social channels).
In 2011, the MCA Chicago engaged MacArthur Fellow and contemporary artist Mark Bradford, whose personal interest in working with teenagers served as a catalyst for a yearlong residency project, connecting several different Chicago communities—students at Lindblom Math and Science Academy, and teenagers in Digital Youth Network’s YOUmedia Chicago program at the Harold Washington Library. With the help of staff at Lindblom, YOUmedia, and the MCA, Bradford spent the year mentoring the teens through the creative process of making conceptual art. The project culminated in an exhibition of the teen artists’ works, which coincided with Bradford’s own exhibition at the MCA in May 2011.
The purpose for the final video was to document Bradford and the teens’ process over the course of the year, and to elucidate the residency’s activities and outcomes. The final video was screened in the MCA’s theater as a part of Bradford’s exhibition opening reception. The audience, whose numbers exceeded the theater’s capacity, connected emotionally to the content, cheering and applauding enthusiastically throughout the piece.