L.J. Roberts. We Couldn’t Get In. We Couldn’t Get Out., 2006–07; installation view, Alien She, 2014. Courtesy of Phocasso and Yerba Buena Center for the Arts, San Francisco.

Currently on view at Yerba Buena Center for the Arts (YBCA), Alien She is a touring exhibition that examines the lasting impact of the Riot Grrrl punk-feminist movement on contemporary artists. The show’s title refers to that of a Bikini Kill song, with lyrics sung by Kathleen Hannah that begin, “She is me; I am her.”

This declaration of solidarity despite division could also be taken as a statement of intent as Alien She divides its focus across two temporally overlapping sections: an archival display of the cultural output of Riot Grrrls from around the world and a survey of seven artists—some contemporaneous with the movement—whose work is influenced by its politics, aesthetics, and representational and organizational strategies.

Read the full article here.

Anna Gray + Ryan Wilson Paulsen. Can These Antiques Ever Prove Dangerous Again?, 2012.

In honor of Labor Day, today we want to thank the publications that made our Summer Reading series a success. We were honored to host articles from Artforum, Art Papers, Art Practical, the Brooklyn Rail, East of Borneo, Frieze d/e, Hyperallergic, MN Artists, MN Original, MOMUS, Rhizome, SFMOMA’s Open Space, Temporary Art Review, and un Magazine. And we credit the labors of the artists and writers, without whom this series would not be possible: Juana Berrío, Timothy P.A. Cooper, Steven Cottingham, Jarrett Earnest, Matthew Fluharty, Orit Gat, Claudia La Rocco, Patricia Maloney, Pippa Milne, Ceci Moss, Mohamud Mumin, Matt Stromberg, Matt Sussman, Ana Teixeira Pinto, Catherine Wagley, Caroline Woolard, Ben Valentine, and RM Vaughan. We are truly proud to share this space with you! 

Image from Art+Tech: Virtual Reality, November 2014. Photo: CODAME.

Over the past year, San Francisco and the Bay Area have come to be defined in the national sphere by the thinkpiece. In the constant stream of articles about gentrification, the Ellis Act evictions, artist displacement, and arts nonprofits closing left and right in response to the city’s rising population and booming tech industry, it might be surprising to note that a number of tech companies are investing increasingly in artist residency programs. In fact, two of the biggest tech companies in the region—Facebook and Autodesk—maintain active residency programs. For companies without the infrastructure for such endeavors, local art and technology nonprofit CODAME offers to pair tech companies with artists for individual projects through their “Adopt An Artist” program. While there is a lot of conversation (and concern) in the Bay Area regarding the tech industry’s lack of support and philanthropy for the arts, the questions seem skewed towards trying to figure out how to cater to tech wealth, rather than thinking through art’s role in the tech industry itself. This text surveys corporate residency programs in the Bay Area which exemplify how artists engage with this industry, and begins to sketch out possible implications—or potential—for the art infrastructure and its relationship with tech creativity.

Autodesk’s Pier 9 Artist-in-Residence program is housed in the corporation’s immense facility in Pier 9 along the waterfront in downtown San Francisco. Artists apply for four-month residencies at the space, which provides access to their workshop, a stipend, and the ability to work directly with the company’s engineers on their projects. The program maintains a diverse pool of applicants who range from fashion designers to chefs, architects, and technologists as well as fine artists, who have access to Autodesk’s high-end equipment, materials, and software, plus training and skillshare programs. Although it is not an explicit part of the program, the focus on “makers” over “fine artists” benefits Autodesk as well. The company launched Autodesk 123D in 2009 as free 3D modeling software designed for the general consumer, and they acquired the DIY info sharing website Instructables in 2011. The AIR program began at Instructables before their purchase by Autodesk, who developed it into a much larger initiative. All AIR residents are required to post their projects to the website, so there is a direct tie into the site’s content. Envisioning how people create with their tools, or their competitor’s tools, in a variety of scenarios is clearly a valuable asset to the company, especially as the mainstream culture moves into a maker culture.

Read the full article here.

L.J. Roberts. We Couldn’t Get In. We Couldn’t Get Out., 2006–07; installation view, Alien She, 2014. Courtesy of Phocasso and Yerba Buena Center for the Arts, San Francisco.

Currently on view at Yerba Buena Center for the Arts (YBCA), Alien She is a touring exhibition that examines the lasting impact of the Riot Grrrl punk-feminist movement on contemporary artists. The show’s title refers to that of a Bikini Kill song, with lyrics sung by Kathleen Hannah that begin, “She is me; I am her.”

This declaration of solidarity despite division could also be taken as a statement of intent as Alien She divides its focus across two temporally overlapping sections: an archival display of the cultural output of Riot Grrrls from around the world and a survey of seven artists—some contemporaneous with the movement—whose work is influenced by its politics, aesthetics, and representational and organizational strategies.

Read the full article here.