2011 was a heckuva year!  It was my year, the Year of the Rabbit.  We’ve done some great work this year as a people.  And some stinkers, to be sure, but let’s forget all the bad things and concentrate on the sparkle times.  Everyone loves a year-in-review list, and here’s mine in no particular order:

1.  “The Clock” by Christian Marclay. I saw four or so hours of this 24 hour masterpiece at the Paula Cooper Gallery this February.  I wrote about it here, and I’m sure I’m not the only person to put it on their top 10 things of 2011.  Hell, it should go down as one of the top 10 amazing things ever.  It’s a celebration of film and culture, but also of viewership and consumerism.  It’s a 24 hour love letter to the movies.

2.  “Love Is What You Want” by Tracey Emin at the Hayward Gallery.  One of my undergraduate professors taught us that you can’t spend more than three hours in a museum and expect to retain anything that you saw.  Emin’s show was one of the most comprehensive retrospectives I’ve ever seen, and to really absorb everything, you need to spend nearly three hours in the gallery.  The result is triumphantly consuming.  It was a great journey back through her work and also back through my memories of being an art student (a link back to my original write-up is here.)

3.  Just Kids/The Chelsea Hotel. Patti Smith’s memoir Just Kids was an incredible read.  Her writing at times little embarrassing, using words like “chalks” instead of pencils (her crush on French poets is at high school tragedy level), but its heart and spirit are deeply moving.  We all have a bit of Patti in us, or should anyways, and I was surprised by her lucidity.  So much of the book is centered at or around The Chelsea Hotel that I couldn’t separate the two.  The last time I stayed there was right after I read the book.  It’s closed while it undergoes renovation, and none of us will ever go back to the Chelsea that was in the book.  Shame.

4.  Podcasts. I need people to read to me or talk to me for hours on end every day while I sit in my studio.  Podcasts aren’t linked to 2011 in any tangible way, but there were a bunch of really good ones that I added to my stable of voices this year.  Two of my favorites are “WTF” and “Walking The Room.”  I listened/still sometimes listen to the Nerdist podcast, but I get super annoyed by the way Chris Hardwick steps on everyone’s speech.  Plus, you get the sense that he’s a nerd that really wants to be a cool kid, rather than a nerd that says “fuck those cool kids.”  So yeah, podcasts.

5.  London’s Free Museums. This is the way museum experiences are supposed to be.  Not the way they usually are, where you pay $20 and then race through everything trying to get your money’s worth.  There is a relaxing of the shoulders, a slowing of the pace in the museums of London.  If you don’t see everything one day, you know you can come back the next.  You can linger at one painting and walk past another without a second thought.  It’s civilized.  One can look at art on one’s natural body clock.

6.  The Los Angeles Subway System. It’s a marvel, really.  It’s a subway in an earthquake zone in the largest square-mile city in America.  It has about 14 total stops.  And yet, the stations are so elegant.  So huge, so artfully decorated.  It’s an ode to the 20th century.  Bradford and I walked from the Arclight at Hollywood and Vine up to the Metro stop at Hollywood and Highland simply to ride the subway back to the Arclight.  Los Angeles: where everyone seems high and time is always on your side.

7.  Protests. The Occupy Wall Street protests are grabbing all the current ink, but what I’m referring to are the protests in Wisconsin this year.  The governor is a complete fuckwit and has no business managing a Fleet Farm, let alone a state.  And he finally pushed the good people of Wisconsin out of the bars and into the streets.  Wisconsinites are a proud, keep-to-yourself kind of folks, but they got back to their Socialists roots and demanded respect and representation.  I may live in Massachusetts, but I am a Wisconsin citizen at my core.  You, rah-rah.

8.  Technology. The iPhone 4S is a marvel.  The camera in it is worth the price alone.  It’s so pretty and perfect.  Its made me think about how we’re in the middle of a quantum leap of sorts, akin to that of the Industrial Revolution.  Our notions of connectivity and access are changing before our eyes, and the dust has not settled.  It’s exciting, it’s slightly disconcerting, and our lives will never be the same again.

9.  Melancholia by Lars von Trier. I love movies that make you shake with uncertainty at their end, because you’re not sure how you’re supposed to react.  I burst out laughing when the credits rolled.  It’s like my body didn’t know what else to do.  It was the best kind of unsettling.  I had similar experiences with Black Swan and Synechode, New York.  All great films, depending on who you ask.

10.  Chopin. Again, this is not a 2011-specific inclusion.  But we all need to listen to him more.  His is  not just classical music, but rather it’s the soul of mankind music.  And it’s so current.  He’s my go-to guy in the studio, in the same way Tom Waits and Sarah Vaughn are my go-to guys.  Whether I need to focus or need to clear my head, Chopin is it.  I’m listening to him right now in fact.

And there you have it, the best of 2011.  I hope you have a great holiday season with your families and friends, and I will write again in 2012.  Merry Merry, everyone.  Keep working.

Me, right now, as I write this blog post.

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There are some exhibitions that you know you want to see in person, but don’t really know how lucky you are to have seen it until days or weeks later.  I have a lot to say about the retrospective of Tracey Emin: Love Is What You Want, currently on view at The Hayward Gallery in London through August 29, and I’m going to try to unpack it as unclumsily as possible.

Emin is a household name in England, but is not generally known in the US outside of artist’s circles.  In the early nineties, she was considered one of the YBA’s, the Young British Artists.   She rocketed to fame/infamy in 1997 after being included in Charles Scaatchi’s “Sensation” exhibit.  She has been considered overrated, hyperexposed, under-developed, hacky, provincial, lowbrow, and vulgar.  The fact that she has weathered the criticisms and continued to produce work in the face of them says a lot.

When people do know who she is, they know her as the Bed girl.  Or the Tent girl.  In her sculpture Everyone I Have Ever Slept With (1963-1995) Emin appliquéd the interior of a tent with all the names.  In 1999, she exhibited My Bed, which showed her unmade bed with soiled sheets and used condoms.  And with those two pieces, most people saw her as nothing more than a one-note shock artist.

Everyone I Have Ever Slept With 1963-1995

My Bed

But not people like me, art students who were undergrads when Emin rose to fame.  Her work, like much of the YBA’s, really informed our understanding of how to create a narrative, how far we could push things, and how much we were allowed to expose of ourselves.  It wasn’t just us; the whole of the 90’s was alive with a new and earnest sense of political and personal introspection as a place to start larger discussions.

Her work fascinated me.  I first saw some of her blankets in 1996 at the “Brilliant!” show at the Walker Art Center in Minneapolis.  Whereas I was annoyed at Damien Hirst’s vacuum cleaners in formaldehyde (and seriously, who wouldn’t be), I had a strong positive reaction to Emin’s work.  It was funny and serious and used common language and common objects.  And it was so personal.  All of us, especially female art students, discovered for ourselves what had started in the 1970’s with the Feminist art movement.  But this wasn’t Judy Chicago or Miriam Shapiro or Womanhouse.  This was electrified art made by people close to our age.   The Bad Girls show happened in 1994 and the Guerrilla Girls were still a force.  We all “discovered” Cindy Sherman and Jenny Holzer and Frida Kahlo and Nan Goldin, and co-opted their style and meaning.   The power of the mirror, to gaze and reflect, was electric.

Specific to my work, I learned from Emin (among others) how to make highly personal, somewhat autobiographical work.  Any critic who loathes Emin’s work cannot say that she isn’t ruthlessly fearless about using her body or experiences as a vehicle to make her work.  There is no filter it seems to what she does or says.  Everything is fair game.  I tell my students that bad art gives answers; good art asks questions.  Where her work succeeds where others fall flat is that she has always been willing to show the least flattering parts of herself.  That, more than anything else, is what facilitates conversation and continues the dialogue, rather than throwing out statements and walking out of the gallery.

The retrospective at The Hayward Gallery is intense, but it’s one of the most comprehensive exhibitions I’ve seen in a while.  Even the gallery guide is a small booklet explaining at length what each room was about.  It takes a good two hours to give the show a proper viewing, which is about right.  Misia had no idea who she was before the show, but came away with a good understanding of who Emin was personally and professionally.  The exhibit spirals and curls throughout the gallery until you are completely in her world, understanding her frame of reference, and appreciating the beauty of her mark making.  Much has been made of Emin as a shock artist, yet hardly anyone speaks of her hand, her delicate embroidery, and the deftness of her economy of line.

Tracey Emin

Love Is What You Want opened a lot of memory doors for me.  I can’t stop thinking about my first few years at art school, when I could physically feel my brain understanding new concepts, when I thought I was inventing imagery that had never been seen or thought of before.  Seeing Emin track and trace her artistic progression, warts and all, is refreshing and important.

My Friend Anya supplied me with some links to articles about Emin from the UK perspective, and they are well worth a read:

http://www.telegraph.co.uk/culture/culturereviews/3557865/Tracey-Emin-dirty-sheets-and-all.html

http://www.tate.org.uk/magazine/issue1/something.htm

http://www.thisislondon.co.uk/arts/review-23951482-terrible-tracey.do

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