Monthly Archives: April, 2004

How refreshing it is in this culture of extremes to see an attempt to cut through the rhetoric and achieve some sense of old-school journalistic objectivity on the Israeli-Palestinian conflict.

The negative reaction to Gigli last year was one of those rare times when our entire culture was in consensus about a film. Critics, viewers, and late-night talk show hosts converged to mock Gigli for its shameless flaunting of Jennifer Lopez and Ben Affleck’s real-life relationship.

The vibe of Art Chicago combines the chaos of the crowds with the growing boredom of the gallerists, most whom sit at their booths for all three days and attend the after-parties for all three nights.

SAIC students find the most noticeable aspects of the 2004 Whitney Biennial is the attention to materiality and visible traces of the artist’s hand.

At universities and colleges across the country students are graduating, job hunting and getting jobs. Is it any different for students at The School of the Art Institute of Chicago? Does being an artist make this process inherently different?

Today’s framework for youth art is shaped largely by our laws and social values. How can SAIC students shape the art-making experience for kids?

Ad agencies are now hired not only by corporations but also by countries hoping to re-package and re-present themselves with a refreshed, refocused, magnetic national brand. SAIC students reflect on the implications of this.

Maybe the most astonishing thing about diamonds is how deeply we, the public, have been led to believe that they are rare and, thus, valuable.

"We know it and we can see it, and to be honest, I’ve been really disappointed by a lot of the work I’ve been seeing from African- American artists of my generation. And not to impute the generation before mine, but I’m not a huge fan of a lot of the stuff I see."

By design and default, the Ryerson and Burnham Libraries catalogue have large quantities of ephemera, or those items that are often printed and produced for temporary use and amusement. It is an idiom representing a significant aspect of the ways in which artists, publishers, and others have deployed mass production to substitute, emulate, and in some cases replace the original object of art.

By design and default, the Ryerson and Burnham Libraries catalogue have large quantities of ephemera, or those items that are often printed and produced for temporary use and amusement. It is an idiom representing a significant aspect of the ways in which artists, publishers, and others have deployed mass production to substitute, emulate, and in some cases replace the original object of art.