Twelve Galleries Project Presents…
Quarterly Site #3: Stay In Your Lane!
hosted by the Swimming Pool Project Space
Opening, Saturday July 17th, 6-10pm

Twelve Galleries Project presents…
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Quarterly Site #3: Stay In Your Lane!

July 17 – August 15, 2010

Opening Reception and Pool Party: Saturday July 17, 6-10 pm at the Swimming Pool Project Space located at 2858 W. Montrose Ave, Chicago, IL 60618.   Poolside Performances with Academy Records and others will begin promptly at 7:30 pm.

Twelve Galleries Project began as a roving exhibition series featuring the work of emerging artists over the course of one year. With each new month, a new location was selected and a new gallery was formed, producing 12 site-specific exhibitions from JANUARY all the way through to DECEMBER gallery.

For its second transitory venture, Twelve Galleries Project presents the Quarterly Site Series. QSS will focus its attention to the efforts of curators and current Chicago galleries. Every quarter for the next three years, within an existing Chicago
gallery, three curators will collectively organize a themed exhibition. Specific to QSS is collaboration. With the exception of a predetermined theme that is conducive to varied interpretation, there are no rules. Because there are no rules, each group of curators has the possibility to develop a unique model of curatorial practice.

Quarterly Site #3: Stay In Your Lane! is hosted by Swimming Pool Project Space. Using the theme of direction, three curators conceptualize their various interpretations of the word by dissecting the gallery into physical lanes.

Urban Dictionary dot com defines:

stay in your lane [stey] [in] [yoo r, yawr, yohr; unstressed yer] [leyn] Stop talking about things you don’t understand or know. Let experts do the talking. Don’t talk out of your ass.

Well, the prestigious institution that is Urban Dictionary dot com need not worry any longer because we have assembled the experts right here, right now for Quarterly Site #3: Stay In Your Lane! And, as you may already know, experts don’t have to follow the rules-they make ‘em, as is evident by the curatorial efforts of Anthony Elms, Katherine Pill and Philip von Zweck. Organizing a three-four-five-six-in-one exhibition, each curator has expertly directed the theme of direction into a walled off lane within the gallery space.

Anthony Elms curates the work of artists Danielle Gustafson-Sundell, Shane Huffman, Erin Leland, Matthew Metzger, Sonny Venice and Philip von Zweck.

Every driver thinks that they are a great driver, and every driver is an expert on the road of life. However, being that expert driver on his cell-phone who drives just over the yellow lines and even occasionally veers off into on-coming traffic, Elms curates a lane that asks itself, Can I really manage to stay inside these lines? And furthermore, do I want to:

The world is black and white; between the lines. Keep your hands on the wheel and your eyes at the horizon. Get lost in the scenery, for even a second, and you’re likely to drift, dragging your side against the guide rail. Oops. Of course, now that the damage is done you have to admit that the scraped paint looks pretty nice. And the crumpled, slashed and puckered surface feels real nice to the touch. Fits the hand nicely, even.
-Anthony Elms

Katherine Pill curates the work of artists Madeleine Bailey, Samantha Bittman and Matt Nichols.

Curating site-specific works that concern the idea of self-control and discipline, Pill creates a lane that is meant to be followed precisely. In order to exemplify the often strict regime of the artist, she taps into her right brain’s expertise and formulates a visual representation of persistence and will-power.

Philip von Zweck curates sub-curators Christina Cosio, Stevie Greco and David Roman.

von Zweck divides his lane by three to establish himself as the mathematical expert of the bunch. The ultimate delegater, he then directs those who direct by selecting three proxy curators. In turn, each sub-curator directs their own lane within von Zweck’s initial lane. Yes, it is quite the equation:

Christina Cosio curates the work of artist Erik Peterson.
Stevie Greco curates the work of artists Jason Bryant, Todd Mattei and Caroline Picard.
David Roman curates the collaborative work of artists Matt Irie and Dominick Talvacchio.

Also, you don’t want to miss…

Pool Party!

In honor of Swimming Pool Project Space’s two-year anniversary, the gallery’s outdoor space will be the location of Pool Party, an anniversary celebration. Featuring art, food and fun games selected by the directors of Swimming Pool Project Space and Twelve Galleries Project as well as the live entertainment of Academy Records and friends.

Pool Party is one night only, during the opening reception of Quarterly Site #3: Stay In Your Lane!

Swimming Pool Project Space
2858 W Montrose
Chicago, Illinois 60618
www.swimmingpoolprojectspace.com
www.twelvegalleries.com
twelvegalleries@gmail.com


Don’t Piss on Me and Tell Me it’s Raining
Curated by Bad at Sports

April 7 – May 22, 2010

Opening reception: April 7, 6-8 pm

go here to read the following in its entirety…

Richard: Just talk it through? Is that too postmodern?

Duncan: I don’t know. Well, what do you want to do with the apexart essay?

Richard: Are we recording? Is this ironic or is this not ironic?

Duncan: I don’t know if it’s ironic or not, but yes, we’re recording.

Richard: I think that we should talk about the philosophy of the program. Do a little bit about how it got started. Sort of do the compressed version of that talk we did the other day. And by “we,” I mean you, mostly. The royal “we.”

Duncan: [Laughs.] So you want to start with…?

Richard: Well, I think originally, we were just screwing around, having a conversation, being dumbasses, and I think it’s evolved into something more rich, with more depth and more seriousness. I mean, I think, at this point, we’re creating an audio archive of what’s going on in the art community, or at least the art community we have access to in this time and place. And the place has expanded into more cities than it was originally. Now it’s New York, San Francisco, Los Angeles, London, Switzerland, Sweden.

So I think it’s an examination, like a time capsule of what’s going on now, and that we’ll look at this project twenty, thirty, fifty years from now—at least on a personal level—and see an interesting history of what was going on now.

Duncan: Do you think we already do that? Do you think, when you look back on the programming that we put together five years ago, it seems kind of strange? Like, what we thought was urgent at that moment versus what turned out to be kind of urgent?

Richard: Oh, it’s embarrassing. [Laughs.] I listen to those early shows and groan. We were very flip about it at first, only when people started to list us on their resumes and we started to get feedback, either…deliriously angry or deliriously happy about what we were doing…only then did we realize that we had any sort of an audience and that we might need to be conscientious about how we were doing things.

posted by Caroline Picard

We the editors were given the best kind of umbrage. Check out the following review in Chicago Art Review courtesy of one Anthony Elms who more or less talks about how awesome Stephanie Brooks is. I feel like I read this review and blushingly applauded. I’ve pasted the beginning here. Read the review in its entirety by going here. Or. Pick up a copy of the book and judge for yourself by going here.

Elms Choice: Stephanie Brooks’ Love is a Certain Kind of FlowerStephanie Brooks, Love is a Certain Kind of Flower

Sunday March 14th 2010, 6:43 pm
Filed under: Artists Books

A studio visit means an excuse to prepare by brushing up on the artist prior to the visit. This means research, you know what that is, how a brainiac pronounces procrastination. In anticipation of a visit this Monday with Stephanie Brooks, I can here and now recommend, just in time for Valentine’s Day (What is that you just said?), Ms. Brooks’ recent Love Is a Certain Kind of Flower, published by the fine folk(s) at Green Lantern Press.

Ms. Brooks has been known for sculptures that mingle a certain institutional display or delivery of decidedly not institutional thoughts and language. Sometimes the works literalize metaphor, at other times reinterpret abstract forms, and maybe even bring about ridiculous attempts to quantify and advertise those things we get nervous about being quantified and directed. You know, the kind of answer you just do not want to hear or read right now.

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