South African artist William Kentridge talks about Max Beckmann’s manipulation of physical space and its influence on his work. Max Beckmann’s The Dream is on view in the exhibition Dreamscapes.

On March 2, in the Pulitzer galleries, the Pulitzer and Washington University hosted a panel discussion for graduate students on the artistic practice of William Kentridge. Panelists included: William Kentridge, Artist; John Hoal, Chair of the Urban Design Program and Associate Professor at Sam Fox School of Design & Visual Arts; Sabine Eckmann, William T. Kemper Director and Chief Curator at Kemper Art Museum; and Francesca Herndon-Consagra, Senior Curator at the Pulitzer. 

If you view some of Kentridge’s animated films, you can see how fitting it was to discuss his art amidst Dreamscapes, which is filled with recurring dreamlike and hallucinatory imagery. In an Art21 video, Kentridge explains that his characters Felix and Soho came to him in a dream and he later found that they were actually self-portraits, as if not he but his distinct dreaming-self had planned it that way. Most of Kentridge’s works are not intentionally connected to dreaming, though they lend themselves to conversations about topics, such as trauma, memory and the ephemeral, which arise in the current exhibition.

Listen to the rest of this fascinating panel discussion on the Pulitzer’s YouTube channel. 

Click here to view the embedded video.

Panelist Paul Ha, Director of Contemporary Art Museum St. Louis, explains his relationship with Food and that food and art have always gone together.

If you’ve been paying attention to our Transformation site, you know that tomorrow the Pulitzer is hosting “Food, Art, and Community,” its final panel discussion in the series fired by Urban Alchemy/Gordon Matta-Clark. This week’s topic relates to Gordon Matta-Clark’s fondness for using cooking in his artwork and the legendary Food of 1970s SoHo . Panelists will discuss how combining art and food movements can lead to social progress. You can RSVP to this event on Facebook.

Everybody eats (See Sesame Street clip, ca. 1970s), and, as we should know by now, the way we get and eat food fundamentally defines our way of life. Drive-thru windows. Pre-packaged food. Devotion to convenience in the United States leaves cooking as a hobby rather than a part of being human.

Next Thursday evening, the Pulitzer will present “Food, Art, and Community,” its final panel discussion in the series fired by Urban Alchemy/Gordon Matta-Clark. Panelists will talk about offsetting disengagement with what we gobble and how blending art with urban farming, farmers’ markets and food has the potential to strengthen whole communities. This topic was inspired by Gordon Matta-Clark’s use of cooking in his artwork and the artist-owned/run restaurant Food, which offered a “perpetual dinner party” to SoHo in the early 1970s.

This week, Rachel and I decided to highlight an example of art and food fostering fellowship in St. Louis by interviewing a founder of Sloup, a monthly soup dinner that donates its proceeds to artistic ventures. Below is my interview with Amelia Jones.
What is Sloup exactly? What is the rationale behind it?

Sloup is a monthly soup dinner that funds artists’ grants in greater St Louis. The idea is that it doesn’t take a super large amount of funding to bring art projects to fruition.

Can you relay the conversation that led to Sloup?

Sloup was sprung from visiting a soup dinner hosted by InCUBATE in Chicago. Very simply, we decided that this idea of a micro grant process could be applied to St. Louis.

What are the details that go into a dinner, like where does the soup come from?

We made the first soup ourselves. The second soup was donated by The Mud House, a local coffee shop. We are soliciting other restaurants and individuals to come make a soup and share something they are excited about, be it an ingredient in the soup or an element of their restaurant/organization/etc that is unique.

Who are the people who participate in Sloup?

Maggie Ginestra and I facilitate the dinner, but that is becoming an easier and simpler component since more people want to contribute to the actual dinner, by donating soup and bread and beverages. We’ve had local art organizations like The Urban Studio Café (who won out first grant) and individual artists like Jordan Hicks and Dave Johnson apply for the Sloup grant.

Can you describe what took place at the last Sloup meeting? What is the atmosphere like at a typical dinner?

We have had two dinners so far: one in February and one in March. We have had a little over twenty people attend each dinner. Sloup is a casual occasion. People start wandering in at 6pm or so and we try to hand out the proposals as the soup is being served. Since we have only had two Sloups, it is hard to say what is a typical dinner. At our last dinner we had Kimmy Sue talk about a project she is working on called Fresh Bread. Kimmy is donating bread, which she will screen print on with edible ink, to April’s Sloup as part of her Fresh Bread project. As more people begin to finish the projects the Sloup grant funded, more of the dinner will have a presentation element, where the artists and organizations will come back to Sloup and talk about the projects that they have completed.

Besides awarding money to artistic endeavors, what has Sloup accomplished so far, and what do you hope for the future?

We have started to connect different populations in St Louis and we want to continue to do that in, hopefully, bigger and bigger ways. When you hear the word “Sloup,” we want people to think about a great place to put ideas about food and culture in motion.

Update: Sloup, along with our friends at Urban Studio Cafe, were just featured on Marketplace! Check it out here.

Whew.  Our posting on 2buildings1blog this month has slowed, but our overall blogging activities are currently at full steam.  We’ve launched a website for Transformation – the community programming organized in conjunction with the Matta-Clark exhibition (which you can also explore online here).   A few highlights:

The Panel Series:  We’ve organized a panel discussion each month to explore topics related to Matta-Clark’s work within the context of St. Louis.  The key question we’ll address in each panel: “How do communities evolve and in what ways can their members guide the process?”  Within this online section we’ll feature interviews with the panelists, research info related to the topic, and full audio from the discussion shortly afterward.  I also attempt (key word) to live tweet each panel (http://twitter.com/thepulitzer).  The next panel just happens to be tomorrow (Oh! You’re in luck! And it’s free!).

Local Artists:  This is where the bulk of the blogging happens.  We’re documenting the three artist-run projects throughout the course of Transformation – hear updates from the artists, watch videos of the classes, even watch DIY videos to learn some of the skills yourself, and generally stay up-to-date as each project evolves.

Your St. Louis:  Definitely the most interactive of all the sections.  We’re posting candid interviews with St. Louis residents, to help paint a fuller portrait of the community.  Show us your St. Louis by adding photos to our Flickr group.  Show off your favorite route, by creating a custom Google Map for others to use.  We want to showcase what St. Louis means to those of us who live here.

Forum:  We’re hoping this section will grow into a place for discussion.  Want to expand on ideas you heard in the panel?  Want to ask an artist a question about their project?  This is the place to do it!

This website will continue to grow and shift as the programming grows and shifts, and as always, we’d love to get your feedback.  Leave your thoughts in the comments below!

In addition to this exciting launch, we’re also kicking off the first in our Transformation programming tonight.  At 7:30pm we’re hosting a panel discussion called “The City as Studio,” where we’ll explore how creative acts and alternative arts spaces can impact a community.  We have a fantastic group of panelists who will lend their perspective and expertise to the topic:  Theaster Gates, an artist from Chicago (who is also participating in the 2010 Whitney Biennial); Mary Jane Jacob, Director of Exhibitions at the School of the Art Institute of Chicago; Juan William Chavez, an artist and the Director of Boots Contemporary Art Space; Luis Croquer, Director of the Museum of Contemporary Art Detroit; and moderated by Christy Gray, Director of the Whitaker Foundation.  If you’re unable to attend, we’ll be posting the full audio from tonight’s panel for you to download as a podcast.  I’ll also try to tweet updates throughout the night – follow us @thePulitzer!

Our next film program with Cinema St. Louis will feature a selection of water-related short films by Peter Greenaway.  Take a look at his entry on Wikipedia here and his official website here.  Many of his films have shown a strong interest in the subject of water, and he will be choosing which of these he would like to present.  He’ll be flying in to St. Louis to screen and discuss these works on November 17th.  The next evening he’ll also be participating in Cinema St. Louis’s incredible festival they organize each year– the St. Louis International Film Festival–  with another film screening held at the Saint Louis Art Museum.

We’re also planning our second-ever poetry event at the Pulitzer.  This is a part of a continuing collaboration with the Poetry Foundation in Chicago (who has an incredible website, you should take a look).  Last time, writers sat on a panel and discussed the relationship between poetry, art and portraiture.  This time, a new set of writers has been invited to discuss how poetry relates to water.  I’ve just posted the writers, their bios, and the subjects they’re planning on discussing on our website here.  I’ll keep you up-to-date on any new information as it comes…

You can find “A Conversation with Richard Serra and Carmen Gimenez, Moderated by Matthias Waschek” under ‘Events & Programs’ or at this permanent link: www.pulitzerarts.org/serra-gimenez/interview.

The conversation comes at a very interesting moment in Serra’s career: shortly after his triumphant installation at the Guggenheim Bibao, The Matter of Time, and shortly before his retrospective at the Modern. It was no doubt a time when Serra himself was thinking about his position in art history. Indeed, agreeing to discuss Brancusi and Serra in Dialogue, which literally put the artists’ works side by side, made confrontation and comparison with history inevitable for Serra.

If you watched the video clips Rachel posted of Serra talking to Charlie Rose, you know that last month, at his retrospective, he was not willing to draw many relationships between his work and the masterpieces in MoMA’s collection:

Rose: How is this [your work] going to be of that import?
Serra: I don’t know.
Rose: Speculate for me.
Serra: I can’t.
Rose: But is it of that quality?
Serra: How would I know? I don’t know. I’m just trying to do the best I can do.
Rose: But you think you are every bit of that quality! You do!
Serra: No, I think I’m of that effort.

In 2005, in the conversation we have preserved, it seems to me Serra had not yet decided to be so undecided about his qualitative relationship to the past. In fact, Serra repeatedly speculates in the fashion Charlie Rose requested. Herein lies much of the transcript’s value. It allows one to consider Serra considering his own significance–the artist inside history weighing his own work.

Eliasson will discuss his reaction to the Pulitzer’s installation, Minimalism and Beyond, and whether he would place his work in this category of “beyond”. He will also talk about his own position (whether positive or negative) on the legacy of Minimalism.

Other topics covered by the panelists will be how visitors physically relate to artwork, and if physical interaction is a key issue for Eliasson.

If you’re interested in hearing further discussion on the above topics and more, call 314-935-9347 and come to tonight’s lecture.

Additionally, this Saturday from 4:30-6:30pm is “The Pulitzer by SLU”. I wrote about the event a few posts ago, and Amy wrote about the collaboration with Saint Louis University students here. Student docents from SLU will be throughout the galleries to discuss the exhibition with visitors. Those with a SLU ID also have a chance to win packages from local institutions. We’re hoping this will encourage further exploration, not only of the Pulitzer, but also of our neighborhood. Our next student event “After Hours at the Pulitzer” will be on Thursday, April 13th, and students from throughout the St. Louis area are invited to attend. More info to come.

In prep for the evening, check out Eliasson’s website (I know I’ll need to). Also, check out the subjects being discussed at the Wash U symposium this weekend, entitled “After the Digital Divide”. According to this site, the symposium will “investigate the legacy of German aesthetic and critical theory as seen against the spreading background of digital culture since the 1990s.” Each of the people involved in the Pulitzer discussion are either of a German background or live in Germany, so it will be interesting to see how their own experiences and observations play in. If you are also curious, visit the Pulitzer on Wednesday, and then come hear what he has to say on Thursday. To reserve a space you can call 314-935-9347 or email samfoxschool@wustl.edu.