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Steve Kurtz: Artist, Patriot…Felon?

By Arts & Culture

The death of the artist’s wife raises questions about science, art, and legal rights

Why did dozens of government agents in hazmat suits descend upon the home of prominent artist Steve Kurtz the day after his wife died? Why did they confiscate his books, papers, art materials, his car, his cat and even his wife’s body? Because among the art materials confiscated were a DNA amplifier and bacteria samples.

After the county examiner determined that Hope Kurtz had died of a heart attack and though the health department had stated, in agreement with a number of highly respected scientists, that the bacteria in question were harmless, you might then ask, how artist and professor Steve Kurtz could possibly be facing a twenty year prison sentence?

It all started when Steve Kurtz called 911. On the morning of May 11, 2004, Steve Kurtz woke up to find that his wife of 20 years, Hope Kurtz, was no longer breathing.

While in the Kurtz home, paramedic responders noted the laboratory equipment and Petri dishes in his studio and they reported Kurtz to the police. A warrant was obtained and Kurtz’s home was searched.

Kurtz, art professor at the State University of New York (SUNY) at Buffalo, is a founding member of the Critical Arts Ensemble (CAE), a group which travels the world making science-based performance art. CAE exhibits, which explore topics such as DNA and bacteria, challenge, among other things, the veracity of the biotechnology industry.

Ostensibly fearing that fnewsmagazine.comSteve Kurtz might be a bioterrorist, the police eventually called in the FBI. Kurtz, who has no immediate family in the Buffalo area, left an emergency phone message for his friend and colleague SAIC professor Claire Pentecost.

Upon hearing of Hope Kurtz’s death, Claire flew from Chicago to provide support. When Pentecost arrived at the airport she saw that Steve was flanked by two agents. Pentecost and Kurtz were told that they were “not under arrest,” but Pentecost stated that they were informed that they were being “detained.” The agents checked Kurtz and Pentecost into a hotel and the following day began questioning Pentecost.

“They had already been questioning Steve,” says Pentecost. The two ‘detainees’ were informed that they could call an attorney, but both artists had no idea who to call.

Immediately following his wife’s death, Kurtz had been detained by the FBI for 22 hours. Although he was actually free to leave during the entire time, “the FBI forgot to inform him of these rights,” states CAE member Beatriz da Costa. She relates that as soon as Kurtz got a lawyer, he was released.

Addressing the presence of the bacteria samples, lab equipment and books on bioterrorism, Pentecost states that Kurtz “was in the midst of researching the issue of biological warfare and bioterrorism, to assess the actual danger these weapons pose and to bring U.S. policy on such threats into public dialogue.”

The Joint Task Force on Terrorism began an onsite examination of the home which resulted in the sealing off of Kurtz’s entire block as well as the seizure of the university teacher’s computers, science equipment, books, research papers and manuscripts, the Kurtz car and the family cat. They also confiscated, for extensive further analysis, the body of Hope Kurtz.

One would have thought that after finding that his equipment was legal and the bacteria in question, serratia marcenscens, bacillus atrophaeus and a benign strain of E.coli were of the same variety as those used in high school science experiments, the federal government might have issued Kurtz an apology. Surely they would have dusted him off, set him back on his feet and left him alone so that he could begin grieving the loss of his wife.

Instead, on June 8, several artists and professors, as well as one of Kurtz’s students, were subpoenaed to testify before a grand jury. The subpoenas, citing the US Biological Weapons Anti-Terrorism Act of 1989, indicated that the ongoing federal investigation of Kurtz was necessary due to the uncertain legitimacy of his use of a “biological agent.”

SAIC’s Greg Bordowitz, a spokesperson for the CAE Legal Defense Fund, stated that of the seven individuals subpoenaed all but one refused to testify. They invoked “their Fifth Amendment Rights on advice of counsel.”

Bordowitz, who participated in a pro-Kurtz rally outside the Buffalo courthouse where the grand jury testimony was being heard, related that the action drew between 200 to 250 protesters from various parts of the country. According to CAE Defense Fund members, there were simultaneous protests in cities such as Chicago, San Francisco, Vienna and Amsterdam.

Initially, in trying to build their case against Kurtz, the government had sought to focus on Kurtz’s possession of the microbes in relationship to their possible use as implements of “bioterror.” But section 817 of the Patriot Act provides for prosecution of someone who “knowingly possesses any biological agent, toxin or delivery system of a type or in a quantity that, under the circumstances, is not reasonably justified by a prophylactic, protective, bona fide research, or other peaceful purpose…”

Perhaps, due to the widespread outcry asserting the validity of CAE work, the federal government decided it would be too difficult to convince anyone that Kurtz had committed a terror-related offense.

On June 29, Steve Kurtz and Robert Ferrell, the University of Pittsburgh geneticist who helped Kurtz obtain the bacteria samples, were indicted on four counts of mail and wire fraud. If found guilty, the charges carry a penalty of a maximum 20 years in prison, as well as a fine of $250,000, on each count.

In response to the federal prosecution, many highly respected artists and scientists from the world’s most prestigious institutions, as well as organizations such as the American Association of University professors, the College Art Association, and the ACLU, have issued statements of protest that support Kurtz and Ferrell.

In contrast to earlier indications that this action against Kurtz was about fighting terrorism, William J. Hochul Jr., the chief of the anti-terrorism division in the U.S. attorney’s office, stated that, “this case isn’t about what people were intending to do with these materials. [It’s] about how did you get these materials?”

The allegations against the two professors center on e-mail messages in which Ferrell agreed to obtain for Kurtz the three bacteria samples. Since Kurtz is not a scientist, the prosecution asserts that Ferrell’s purchase on Kurtz’s behalf was illegal. The professors have been accused of “using false and fraudulent pretenses and representations” and for employing “the mails and interstate wire communications in furtherance of their scheme and artifice to defraud.”

According to a CAE release, mail and wire fraud charges are most frequently reserved for those defrauding others of money or property and is most often a charge brought when the government can not prove other criminal charges.

The indictment against Kurtz and Ferrell is made on behalf of the University of Pittsburgh and American Type Culture Collection (ATCC), the Virginia non-profit organization which sold Ferrell the bacteria samples. The allegation is that Ferrell gave Kurtz the bacteria without charge, thereby defrauding the University of Pittsburgh. The indictment also asserts that the exchange between Kurtz and Ferrell disregarded specific ATCC provisions, which stipulate that the shipped materials be employed only in the recipient’s research facility and only for purposes of research.

Kurtz’s attorney, Paul Cambria, Jr., stated that “there was obviously no criminal intent. If the University of Pittsburgh feels there was a contract breach, then their remedy is to sue Steve for $256 in a civil court.”

According to a CAE Defense Fund release, “many scientists are wondering why this seemingly absurd case is still being pursued.”

“I am absolutely astonished,” said Donald A. Henderson, who was appointed by the Bush administration to chair the National Advisory Council on Public Preparedness. Henderson is Dean Emeritus of the John Hopkins University School of Hygiene and Public Health and resident scholar at the Center for Biosecurity of the University of Pittsburgh Medical Center.

“Based on what I have read and understand, Professor Kurtz has been working with totally innocuous organisms… to discuss something of the risks and threats of biological weapons—more power to him, as those of us in this field are likewise concerned about their potential use and the threat of bioterrorism.”

Henderson further stated, according to the CAE release, that the microbes involved in this case do not appear on the list of substances that could be used in biological terrorism.

Seized along with the other property of Steve Kurtz was equipment for the CAE project “Free Range Grains,” a collaborative performance piece which actively examined the biotech industry’s genetic modification of the American food supply. The work was scheduled to be part of the Massachusetts Museum of Contemporary Art’s (Mass MOCA) exhibit, The Interventionists.

Prior to its confiscation, the CAE’s “Free Range Grains,” was shown at the Kunsthalle in Frankfurt, Germany. The exhibit employed standard laboratory equipment in order to test food provided by patrons of the museum.

Members of the Critical Arts Ensemble used a DNA amplifier to detect whether the food contained transgenically altered ingredients. They were then able to show that traces of genetic material from other organisms had been inserted into the genes of food that the audience had contributed for testing. The CAE exhibit had the effect of making Europeans aware that unlabeled genetically modified (GM) grain could cross its borders and find its way onto their plates. corn poster

Beatriz da Costa relates that the CAE mostly tested corn products and “at least half of them showed positive results.”

European citizens have consistently questioned the safety of Genetically Modified Organisms. According to CAE, “the EU has passed fairly strict laws regarding the importing and labeling of GM foods in an effort to protect/inform a concerned public about the origin and manufacture of the food on the market… it will be very difficult to filter out GM foods… one has to be suspicious about American ethical/ legal resolve about volunteering information damaging to its profits. In the U.S, all the companies agreed that labeling GM foods is not helpful to the public nor good for business.”

Consequently, information about genetically modified ingredients is not freely available to the American consumer.

Da Costa revealed that during the exhibit of the Ensemble’s “Molecular Invasion” at the Corcoran Gallery in Washington, DC., lawyers from Monsanto were present.

According to Claire Pentecost, “The biotech industry is a very little understood force transforming our lives with almost no public input.” In the case of genetically modified agriculture, transgenic crops were approved by the FDA for commercial use in 1994 with no studies on the long term effects on human health and the natural environment, no plan for tracking those effects, no liability for the corporations selling this technology, and no public debate.

Defense Fund Spokesperson Carla Mendes said that “today, there is no legal way to stop huge corporations from putting genetically altered material in our food…yet owning the equipment required to test the presence of ‘Frankenfood’ will get you accused of ‘terrorism.’ You can be illegally detained by shadowy government agents, lose access to your home, work, and belongings, and find that your recently deceased spouse’s body has been taken away for ‘analysis.’”

Despite the confiscation of “Free Range Grains,” Mass MOCA has been courageously undeterred from focusing on the situation, choosing instead to chronicle the case by displaying the news articles written about Kurtz and Ferrell.

Nato Thompson, SAIC alum and associate curator of Mass MOCA, says that “what’s really interesting are the questions CAE raises about the control over biotechnology, who gets to decide what the important issues are…. These questions are definitely highlighted by these circumstances.”

As to the fate of “Free Range Grains,” Thompson says he has his “doubts about whether we’ll ever get the exhibit back.”

Considering the provocative public activism of Kurtz and CAE, supporters of Kurtz have wondered if the government’s actions are as motivated by national security concerns as officials have claimed. In their effort to make sense of it all, they have voiced a range of theories.

Although some see this as a simple case of post-9/11 governmental hyper-diligence, others believe it must be a face-saving measure on the part of investigators, a way of justifying the tax dollars already spent on the inquiry.

Yet others, such as Ed Cardoni, director of a Buffalo arts organization cite the government’s examination of CAE’s free internet publication “Molecular Invasion” (see www.critical-art.net).

The publication encourages the average citizen to “learn the fundamentals of scientific study and ethics” in order to be equipped to participate in dialogues which challenge the biotech industry’s autonomy over American’s choices. Cardoni describes it as “subversive…in all the best senses.”

In an open letter to the board of the National Association of Artists’ Organizations which was published in Counterpunch, Cardoni asserts that “though the germs are harmless, their presence in Steve’s apartment ended up calling attention to ideas and writings that the feds might well deem ‘dangerous,’” because of their dissident nature.

As interviewed in the Tacoma, Washington, News Tribune, UW geneticist Mary-Claire King stated that “Kurtz’s materials are politically, not physically, dangerous.”

Da Costa, when asked about the government’s response to Kurtz’s papers, stated that the agents investigating Kurtz “mentioned at some point that they ‘found something in the writing,’ not mentioning which writings/articles/books they were referring to.”

Kurtz’s lawyer, Paul Cambria, speaking to the magazine, The Scientist, believes, “There’s no sense to be made of it, except to realize that the administration wants the public to feel there’s this constant threat and paranoia… they’re seeing terrorists in every corner and every shadow’.” The message to voters, according to Cambria, is that the current administration should maintain office, “because we’re under a constant threat.”

As evidenced by the numerous letters displayed at CAE’s Legal Defense Fund site, at least one consensus has been reached among those supporting Kurtz and Ferrell: that the actions against Kurtz and Ferrell will discourage U.S. artists, scientists, and teachers whose work causes controversial public dialogue or challenges the status quo.

Interestingly, if these were the intentions of the federal government in regards to the Critical Arts Ensemble, they may have back-fired. “Although this situation is really bad for Steven Kurtz,” says Nato Thompson, “and no one would want these tragedies…. What’s happened has given these artists who have something to say, a platform to speak their minds, it’s given them the eyes and ears of the world.”

Steve Kurtz was allowed to give his wife a funeral. His cat and his car were also returned to him. But the property confiscated by the government, the computers, the book in progress, the manuscripts and the project, “Free Range Grains,” is still in federal custody.

According to da Costa. “Almost nothing has been returned… he received his marriage certificate and his wife’s birth certificate.”

On advice of council Steve Kurtz isn’t making statements right now. Friends say that the toll this has taken on him has been extraordinary. He hasn’t been allowed the time or the peace to grieve the loss of Hope Kurtz yet.
we want your dnaChilling free expression

“The consequences for CAE have been extreme,” says Gregg Bordowitz, in The News Standard. “They’ve effectively shut down. That’s their work, their livelihood. The burning question is, why is this still going on? The government, in this instance, has gone too far.”

Some see the damage to Kurtz and the CAE as a wake up call for artists and scientists.

According to Amnesty International, the U.S Patriot Act “threatens the rights protected in the U.S. Constitution” and the Universal Declaration of Human Rights and the Convention against Torture. Echoing the concerns of many others, they say that the Patriot Act “creates a broad definition of ‘domestic terrorism’ that may have a chilling effect on the U.S. and international rights to free expression and association.”

Da Costa agrees. “Unless the Patriot Act and its various relatives [such as the Bioterrorism Act of 2002] undergo serious revisions, freedom of speech has been actively undermined in this country.”

“I don’t know if anything could redeem this,” she continues, but she believes “the CAE would be glad if their misery could help mobilize more people to fight authoritarian culture and the current political climate in the United States.”

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John Kurtich 1935-2004

By Arts & Culture

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Thanks to all of Professor John Kurtich’s colleagues and students during this sad time. John loved all of you and we are grateful to have shared the multitude of memories with you.

Troy & DAnn Underwood for the Family of John Kurtich

By Linda Keane

Dear John,
It was all about you
It was all about us

1400 Prune Street Hollister California
Blond becurled boy
Cousin diann
Playing butterflies
In the grass
Summers in Cambria
Watching ships in the harbor
Unloading Hearst Castle

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You were a lode stone who
Prismed the everyday
Into radiant brilliance

Columbia, Berkeley, Rome
Athens, London, Paris, Berlin
Maybeckís Temples
Mount Olympusís Vision!
Life is not for finding yourself
Life is to be lived!
I met you in Muncie

36 slide projectors, 10,000 slides
Cornfields of Indiana observed and glorified

Architect, Cinematographer, Urbanist.
Painter, Photographer, Filmmaker,
treasured travel, travel treasures,
travel teacher, time travel

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Dear John,
It was all about you
Itís all about us

Books on the shelves
Boxes of toys in the mail
Barges on the canal
Chicago. The Art Institute…Samothrace!

TIME SPACE

The Keys to your kingdom
Unlocked the secrets of our school
Art is life. Life is art.

XXXX Humboldt Boulevard
Vine Covered Sanctum
Resphiggi, Vivaldi, Chopin and Bach
One piano Two pianos Cameras AND CARS!
A man’s home is his castle!
And everyone is invited!

Roger, Martin, Carol, and Don
STUDENTS
Ms. Maryia, Werner, Leah and Tom
STUDENTS
Uta, Andrea, Felice and Vicki
STUDENTS
Zelda, George, Nadine and Roland
STUDENTS
Garret, May, Tony, mornings with Nancy
STUDENTS
Anders, Doug, Carl Ray. R and HM
STUDENTS

(PEOPLE who Need People are the luckiest people in the world)

Avocado, artichoke, asparagus alchemy
Passions of the Mysteries
Salads for Senate Meetings
In the Kitchen with Julia!
Like the glass asks for wine

Eros: God of Love and Beauty
Agape: Goddess of Truth.
Zeus, Athena, Aphrodite, Circe,
Dionysian dance of happiness

Choreographed Reconstructions
Imaginations MetaPhysically Realized
Multi Media Museum Masterpieces
Slow solemn soulfull searches
The sublime Illuminated
Looking beneath the glass darkly
The Visual Splendour Experienced
Seeing face to face clearly

You introduced me to Mark
And Children followed
1..2..3..4..and yes, they all play the piano

Seven souls, seven circles
Seven layers of life to go
Architecture, Interior Architecture, Designed Objects
We continue to know.

SILENCE
4737 South Ellis Avenue, Hyde Park
An Exposition castle a Mercedes chariot
Love again
Merry Muse, Perceptive Poet
Compassionate Converser
Gentle Generous Mentor to Many
Like the flower needs the rain
Pied Piper True friend

An Enchanted life, An Extraordinary Life.
TRANSCENDENCE

Dear John,
It was all about loving you
It is all about you loving us
NOW IT IS ALL ABOUT US LOVING LIVING
Like the morning needs the sun
Thank you ever so much.
Until we meet again

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Animal Behavior

By Uncategorized

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Bitter Bunny

By Uncategorized

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Wake up and smell the shorts

By Uncategorized

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Student government election

Arrangements vs. Deus ex Machina

Did you remember to vote? Or, should I say, did you care enough to vote? SAIC held student government elections April 21st and 22nd. The elections do not feature individuals but teams of four that come together to run en masse. Two teams ran this year, the Arrangements and Deus ex Machina. One team, the Arrangements, found each other, according to candidate Travis Hugh Culley, after an F Newsmagazine article featured many of the students for using their art to create social change. Both parties ran on platforms of increasing communication between student government leaders and the school community with that of the student body. According to the Arrangements, these platforms come out of a sense of confusion prevalent in the student body. The teams’ campaign promises are remarkable only in that these things aren’t already commonplace. For instance, having course syllabi available before registration or providing recycling in the school buildings.

The Arrangements had two MFA students running for the first time that anyone interviewed can remember. Iris Bainum-Houle, an Arrangements candidate, commented that, “everyone says the school is the best art school but really it is the graduate program that is [ranked #1 for art programs] and until now they have had no representation.” No one interviewed could remember if other MFA students had ever even run and campus activities didn’t have information on former candidates.

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A general apathy seems to pervade both the faculty and the student body when student government is involved. Both of the parties’ platforms reflect this sentiment, trying to create the impression that, as stated in Deus ex Machina’s campaign literature, student government is “a helpful, functional resource for [the SAIC communities’] interpersonal and artistic development.” As the platforms of both teams foreshadow, even the election process wasn’t free of both confusion and apathy. This year, if you wanted to vote you had an hour during lunch and two hours after your 4:00 p.m. class to get to, on Wednesday, the Sharp lobby and, on Thursday, the Columbus lobby to do so.

Few people seemed to realize elections were happening and even the candidates were confused as to where and when the elections were. La Shawn Jones, Director of Campus Activities, explained why the voting locations and times were so obscure. There used to be voting all day and at multiple locations, explains Jones, but only 10 percent of the student body was voting then. That is the same percentage they get now with fewer voting times and locations, so they found no compelling reason to expand it. Kind of makes you wonder–is apathy contagious? And if so, did the students catch it from the administration or the other way around?

[Late breaking news: Deus ex Machina wins this year’s election. SAIC’s student government representatives will be: Chris Naka, Danielle Martin, Elliot Layda, Robert Martens. Stay tuned to F News for future coverage on how this team tackles apathy and confusion in order to represent student interests within the administration.]

Design contest

An F pat on the back

F Newsmagazine was a big winner in the annual contest of the Student Society for News Design, with judges from the design staffs of the New York Times and the Los Angeles Times.

F won second place for Overall Design and Amir Berbic, F art director, won second place for Designer of the Year. First place winners included Jemal Diamond for cover design and Sarah Oates for illustration. Other winners included Christine Kim, Alexa Joyce, Wilson Tjuatja Widjaja, and Ted Atzeff. The details are on the SSND website at missouri.edu/~wwwssnd and you can see F News on the web at www.fnewsmagazine.com, with archives going back over three years.

One door closes

Another door opens

Although much of F’s design staff plans to return in the fall, the newsmagazine’s art director Amir Berbic is receiving his MFA. He has accepted a position teaching design at the American University of Sharjah in United Arab Emirates.

As a result, the magazine is looking at portfolios to fill an art director or associate art director position. To set up an interview, e-mail [email protected].

The Interdisciplinary Tradition

The Interim Graduate Dean Speaks about SAIC and Rauschenberg

The tradition of interdisciplinarity is particularly strong at the SAIC. Students are encouraged to push the boundaries of their work in all directions, including the media they choose to work in. The strongest work is one in which the materials used to create it are chosen with attention and awareness of their historical and practical connotations. Starting in the 1950s, Robert Rauschenberg became famous for pushing the boundaries of easel painting and later collaborated with John Cage in sound and Merce Cunningham in performance. Professor in Art History, Theory and Criticism and Interim Graduate Dean Lisa Wainwright chose Robert Rauschenberg’s diverse career and education to talk about her own research as well as the interdisciplinary tradition at SAIC. Taking the podium, she stated: “Robert Rauschenberg is a transdisciplinary artist, beyond compare. Transdisciplnary for his knowledge of discreet media, his disciplinary knowledge goes deep… Rauscenberg’s inventiveness with a vast array of media and technology in all dimensions: two-three-four, and his engagement with the changing artistic and critical political climate around him, has taught me much about the education of artists.” Wainwright proceeded to illustrate Rauschenberg’s time at the Kansas City School of Arts, in France, and finally Black Mountain College, where his engagement with the ideas of John Cage proved critical to the shaping of him as an artist. She sees Rauschenberg as the model for the type of artist who is completely willing to cross all media boundaries in order to push his art in new directions. Wainwright emphasized the importance of his collaborations and interaction with specialists from different fields: performance, technology, printmaking, painting and film, illustrating them with the variety and lyrical beauty of Rauschenberg’s work Undoubtedly, the atmosphere for similar contacts exists at SAIC. The lecture remained focused on Rauschenberg’s formation as an artist and the shaping of his output by interaction with other artists as well as modern psychology and philosophy. The context of the lecture was art historical, but the paramount significance of interdisciplinary approaches to contemporary art-making in general and SAIC curriculum in particular cannot be overstated. The topic is central to school’s identity and can be a source of numerous other discussions within the community.

SAIC Press

Object of Labor

This fall, the SAIC press will release The Object of Labor: Critical Perspectives on Art, Cloth, and Cultural Production. The scholarly anthology, many years in the making, will feature work by the school’s faculty and other leading artists. It blends essays and artists’ projects with a creative book design that is, itself, beautiful. The book is edited by Joan Livingstone and John Ploof.

AIC employee lawsuit

No shirts, no shoes, no overtime

A federal lawsuit against the Art Institute of Chicago was filed in April on behalf of thirteen current and former employees who worked as either waiters, bartenders and busboys at the museum’s Garden Restaurant. According to the Chicago Tribune, the museum had failed to pay overtime wages to their restaurant employees, a violation of federal labor laws. The thirteen workers are seeking an undisclosed amount of back wages plus punitive damages. The violation of federal labor laws was discovered when the workers’ payrolls were moved from the museums to that of the hired contractor Bon Appetit. The museum had hired Bon Appetit as a contractor to alleviate the financial stress that Art Institute, Inc., is experiencing. When this shift occurred, employees discovered that they were eligible, under the Fair Labor Standards Act, to be paid a mandated time-and-a-half pay for the excess hours. The Fair Labor Standards Act also entitles the unpaid workers to recover their wages going back to only three years, even though some of the first-generation employees had been working at the museum since the 1980s. According to Jamie Sypulski, the workers’ lawyer, the Art Institute paid the food-service employees different wages depending on their work—workers were paid $3.50 at the restaurant and $13 an hour for catered events. Sypulski further stated that, “I don’t know if the museum thought that by dividing their work it would exclude them from paying overtime.” Under U.S. Labor laws, a single employer is required to give overtime pay after 40 hours were completed in a single week. But the fact that an employee works two different shifts in the same day does not, according to the U.S. Labor Department, preclude them from overtime pay.

Since Bon Appetit has taken over the food service management at the Art Institute, it has kept a strict 40-hour-a-week schedule to try to avoid overtime costs. Sypulski, speaking to the Tribune, has said that employees who worked under the museum’s management complained that the new contractor Bon Appetit restricted their working hours. The workers were then surprised to learn that they had not received overtime pay in the first place from the museum. According to Sypulski, several employees did not speak up because of the fear that the museum might cut their hours. The Art Institute has declined to comment on the lawsuit. Eileen Harakal, Vice President for Audience Development and Public Affairs, in a response to an email sent by F enquiring about the lawsuit has said: “We were just served with the complaint recently, so we have not yet had time to complete our investigation of the claims, and we have not distributed an official statement to the press. When we are faced with a lawsuit, we prefer to let the judicial system fulfill its function rather than trying the case in the media. That is not always a comfortable stand, but it is, we believe, the only appropriate one.”

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Broken barriers

By Uncategorized

“Fluid Interfaces” challenges concepts in art

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By Audrey Michelle Mast

What does one call the space between the body and the garment it wears? Where is the line between urban and suburban? What are the defining factors that distinguish art and design?

SAIC professors Andrea and Hennie Reynders urge their students to explore, as they describe, “centers and borders” such as these in the course Fluid Interfaces, which they created and have been co-teaching since 2001. Their seminar/studio syllabus combines postmodern theory, critical problem solving, scholarly research, and studio practice into a truly unique experience.

To understand the nature of uniquely modern tensions, students read Jean Baudrillard, Marshall McLuhan and the Futurist Manifesto, among other work, and study the idea of Il Quarto Sesso (The Fourth Sex, the awkward sexual identity of a teenager) as defined by Francisco Bonami in the eponymous exhibition he curated with Raf Simons. They also look at avant-garde fashion like Hussein Chalayan’s dresses that convert into portable furniture-garments for the urban nomad.

Andrea and Hennie’s backgrounds are quite different but very complimentary—Andrea is chair of the Fashion department, an alumna of SAIC, a consultant and curator, who, as her husband Hennie describes, “has crossed the boundaries between design and art, and contributes specifically in her capacity as a team member in the making of objects, and in her ability to work around a student’s ideas and needs.” Hennie, an Assistant Adjunct Professor in the Department of Architecture, Interior Architecture, and Designed Objects, was teaching and practicing as an architect in South Africa when he came to SAIC on an invitation in 2001. He holds an M.A. in architecture from UIC and is currently studying for a P.h.D. at the University of Edinburgh, researching the “social shaping of technology and the interface between electronic space and physical space.” He feels strongly about the social, economic, and political implications of the decisions designers make.

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Interior Architecture student Somi An says that “the combination of [Andrea and Hennie’s] lectures work very well” and that their respective backgrounds in fashion and designed objects meant that, for example, great consideration was given to why a simple garment like a hat can become a powerful symbol. Kathrin Eirich, graduating senior in the Interior Architecture department, agrees. “In their class I think the best ideas came out of long and passionate discussions…it was a very fertile environment,” she says.

A typical class project is to conceptualize and build a multipurpose lifesaving object (such as a blanket or radio) meant to be air-dropped into a natural disaster or war zone. But the object must have a secondary, opposite life of its own: as a desirable, fashionable commodity, paying for its lifesaving distribution to the needy by demanding a high value among status seekers. Hennie and Andrea give the example of the “Freeplay” wind-up radio that is sold as a necessity in Africa for $9 – $12 but sold by MoMA as “lifestyle design” for ten times that amount. Kathrin Eirich’s project was a bundle of biodegradable felt pieces attached to each other with Velcro that can be configured into a coat, blanket, tent, or sleeping bag, and is also burnable and edible.

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Other projects are more conceptual: students use either a map, an X-ray, or a designer shopping bag as the basis for a game of “silent acts of communication,” wordless messages like those conveyed through color, sound, expressions, and gestures. The resulting games must communicate clear narratives or ideas.

Students say they are inspired by the variety of media their colleagues use to execute their projects. As Tacita Morway, a junior in the Painting department, who took the course last semester, describes, “There was a student who videotaped the death of a dragonfly, another student who created a garment of light, [and] we were all involved in a public performance on a beach…it is the diversity of projects presented in a single critique that stands out.”

Morway adds, “Many classes [at SAIC] are open-ended, flexible…the instructors give students the freedom to explore pretty much whatever they want. Fluid Interfaces also encourages this kind of undirected exploration but manages to do it in such a way that enforces serious thought behind each decision, or consideration of each intuitive, unplanned move.”

It is this focus on decision making, on communication skills for the artist, that may be the most valuable lesson learned. “The biggest part of the class is thinking,” notes Somi An, who was encouraged to think about her work on an abstract, philosophical level, continually searching for new layers of meaning. In her class, each student developed work that dealt with a bare, anonymous stone slab in a city park—and also with particular words, in An’s case, “symbolic” and “occupation/deoccupation.” She chose to install a red carpet and an antique chair on the slab, simultaneously suggesting all of these.

“ I was inspired and influenced to work in ways that make it hard to put art over the couch,” says Sculpture and Art and Technology student Andres Laracuente, who took another course co-taught by Andrea and Hennie, Fashion and Architecture: Clothing Us. He describes a performance project in which he covered his body in gesso and did as many sit-ups as he could on a found blanket in Lincoln Park that demonstrated “the idea of priority in our culture, as well as the idea of occupation.” Students also say that both professors are tough and demanding in critiques, but that they relished the challenge. “I like the pressure, “ says Laracuente. “We need tough professors. Very, very badly.”

Current Fluid Interfaces students will exhibit their work in an upcoming two-day exhibition at a new space in River North, which is sure to feature a wide range of media and experimentation with methods of communication.

The Fluid Interfaces exhibition, at 416 W. Ontario, opens Thursday, May 13 at 5:30 pm and will be open from 10 am – 6pm on Friday, May 14.

Photos courtesy of Somi An

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Reflections of crit week

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An art historian gets a crash course in the art of critique

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“ Was this the first video you ever made?,” Joe Cavalier, Professor of Sculpture, asked MFA Photography student John Opera. “This is the first good video I made,” Opera frankly replied as he and the five Crit Week panelists sitting in his studio let out a little laugh. Speaking candidly while keeping a sense of humor seemed to be the prevailing sensibility amongst the critiques I observed during Crit Week. As a graduate student in art history, attending a day of critiques proved to be a very valuable crash course in Art World 101. There were egos being pumped, egos being deflated, biting, screaming, laughing, whimpering, students being kicked to the curb, curators picking their noses, professors sighing—usual art world stuff. Actually, most of that is fiction. Instead I witnessed dedicated professors who know how to look at art and create a dialogue around what they view. I also observed that in order to prepare a student for the cut-throat art world, the panelists left their sugar-coated comments at the studio curtains and entered the graduate students’ spaces with an important objective—to be honest.

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The panel I observed was headed by Adjunct Assistant Professor of Sculpture Mary Jane Jacobs and included Sculpture Professor Joe Cavalier, Printmedia Assistant Professor Peter Power, Sculpture Instructor David Standifer and MFA Art and Technology student Alexander Stewart. At the first critique of the day we viewed Opera’s psychologically-charged photographs of clay sculptures of his head. When Opera revealed to the panel that reading Freud this semester has influenced his work, Cavalier shared an appropriate quote by George Bernard Shaw: “If you have skeletons in your closet, the least you can do is let them dance.” At the very end of the critique, Opera let us peek at the sculptures he had made for the photographs. Standifer, who teaches a course in anatomy, recommended that Opera think about the musculature of the face.

Power praised the modesty and serious investigation apparent in Opera’s work. Equally apparent was the panelists’ sincere enjoyment probing deep into the artist’s work. After Opera’s critique, Cavalier admitted that he loves critiques. “I always feel privileged to get into students’ minds. It is a challenge.” I wondered if all critiques were this loving?

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Fifteen minutes after viewing Opera’s photographs, the panelists and I found ourselves staring up at a sculpture of a giant lemon wedge hanging from the ceiling. Below the giant piece of fruit, a homemade-looking basin sat on the floor. My nose twitched. Was I smelling a lemon scent or did I just think I was? This is what MFA Sound student Tamara Albaitis had worked on this semester. Frustrated with sitting in front of a Mac each day in the Sound department, she explained her exploration into different medias. Albaitis aimed to awaken the senses and to reach beyond what meets the eye. (Yes, my nose was not lying. The citrus fruit sculpture was sprayed with lemon essence.) Understanding that creating this sculpture was a learning process for Albaitis, the panelists quickly realized that she has reached a critical juncture in her art-making at SAIC. Instead of immediately sharing their opinions, the panelists asked the student to describe what was working and what was not working about the piece. Standifer emphasized the importance of where a work lives. He suggested that Albaitis think long and hard about where to hang her piece. Perhaps the bathroom, the panelists joked. Later in the critique Jacobs built upon Standifer’s comment and devised a new way to hang the sculpture that would at once utilize the architecture of the studio as well as emphasize its form. Cavalier brought up the iconography surrounding the lemon and basin and suggested that she ask her work “dumb questions.” “Is the lemon a Democrat or Republican?”

The panelists proved that the most important part of critiques is to teach the students how to make decisions as artists. As Power stated, “Art is about nothing if it is not about making choices. We are judged by how well we can defend and define that.” The last critique of the day was the most challenging. The panelists faced a student that they felt needs to be exposed to art-making strategies right away. In the limited time frame, the five panelists did their best to probe into the student’s thought process. Jacobs asked which artists interested the student and then urged her to take an active involvement in what fascinates her. After commenting that at least they liked the gray walls in her studio, I knew I was not the only one relieved when the 45 minutes were up. As the panelists gathered their belongings, Cavalier smiled at the weary student and reiterated the greatest lesson that an artist learns, “Don’t lose the faith.”

Ain’t that the truth.

Images by John Opera and Tamara Albaitis

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Art students take on the working world

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How some SAIC graduates are seizing their futures with both hands

The end of the spring term is fast approaching and, for some of us, that means it’s time to find a summer job. For those who are graduating it could mean it’s time to find a this-could-be-for-the-rest-of-my-life job. 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? If it does make it different perhaps it is in the nature of being a creative person. Many SAIC graduates will want to continue to create their artwork and many won’t settle or feel comfortable with a nine to five corporate job.

The good news is that when you have the ability to be creative in your artwork, you have the ability to be creative in structuring your life. It is possible to use your creativity to make a work-life that supports you in all the ways you choose. Some graduates will go the route of finding a job that supports them financially, yet still fits into their personal aesthetic and allows time for pursuing their own creative endeavors. Yvonne Dutchover is graduating from the MFA Writing program this spring and has already secured a job as a grant writer at the Mexican Fine Arts Center Museum. “I knew I wanted to do something with writing, and by working for an arts and cultural institution as a grant writer, I use my skills but also support an organization I believe in. I would say to students to try to find a “day job” that pays the bills, but also gives you some satisfaction since that’s where you spend most of your day. Grant writing is perfect for me because I write and edit, which keeps me sharp, but it isn’t so exhausting that I don’t have the time or energy for my own work. It’s also interdisciplinary, with visual arts, performing arts, educational programs, etc., so it’s interesting and fun to work there.”

Outside of her “day job,” Dutchover’s goal for her first year or two after graduation is to continue working on and finish writing her novel. It is fortunate that she has found a job that affords her the energy to put time into doing this, but even so she is planning to apply to short-term artist’s residency programs. “I am able to write sections of the novel while also working full time, but a couple of weeks or a month of uninterrupted time to work on my book would be a big boost in helping me finish.”

Odie Lindsey is also graduating from SAIC’s MFA Writing program this spring. While he says he plans to get a job, it is out of the necessity to generate income. “I’d like to teach, but jobs are insanely not-there for recent MFA’s. Too bad SAIC, being so culturally-forward, doesn’t offer more residency-type opportunities. Can you imagine what could be done if as much creative energy was put towards cultivating the work of just-graduating students [as] enrollment?” This desire to continue the opportunity to be in such a supportive environment as SAIC is born out of his previous experiences in the work day world. “I worked in music forever, which was worse than working in insurance—no matter how cool the clients were.” He adds, “May you artists and writers never have to work to promote someone else’s creative efforts—save in academia. There is no such thing as a day job without compromise, no matter how hard you try and justify it to yourself. Thus, please compromise on your own time, your own dime. Sell insurance, not yourself.”

While you’re still at SAIC, though, Lindsey advises, “take advantage…It’s a great forum for people to come together and present work: written, visual, other, all, etc.” Again, Lindsey is speaking from experience here. During his stay at SAIC Lindsey was one of the founding members of Telophase, a publication that organizes shows and performances. The publication was spawned out of the writing department by the hard work of a few individuals, a supportive faculty, and collaboration from many different artists. “The big difference between this and so many other potential arts-groups is that as opposed to just talking, we actually went out, found a space, worked the space, sent press releases, posted things at SAIC, edited submissions, put a book together, held a show, etc…it was certainly an amazing learning experience, alongside a great feeling of accomplishment.” Telophase has grown from focusing on SAIC’s writing department to reaching out to other artists and departments at SAIC. Now, there are current submissions are coming in from all across the country.

When Lindsey talks of his experiences with Telophase a theme emerges— much of the experience of being at SAIC comes from collaborative projects. “For me, it’s about the romance of working together…We [the co-founders] are all fairly different individuals, and the idea that our brains can come together to fight, fuck, live, breathe…create and melt into each other is the most rewarding part.” He goes on to add, though, that while “the business stuff, the press, etc., is all secondary. It’s a pain, but it’s also a reality. In fact, overall, the most important things might be the ‘un-fun’ elements: planning, press, marketing, binding, cleaning toilets at the space, meeting, making excuses, etc.” Given how important these elements are to making something like Telophase successful, Lindsey is concerned that “most of us aren’t given the opportunity to experience and learn about this while in school.” He’d like to see this practical side emphasized a bit more by the administration at SAIC.

Other SAIC graduates also have managed to find their own ways to learn these business skills and bring them into the work they do post graduation. Shannon Stratton (MFA Fiber and Material Studies; 2003), Sonia Yoon (MFA Sculpture; 2002), and Jeff Ward (MFA Sculpture; 2002) all work at Three Walls Gallery (www.three-walls.org) which is a not-for-profit artist-in-residency and art center in Chicago. All of them had some sort of arts administration or management experience before coming to Three Walls where each of them is currently an unpaid director. Both Stratton and Yoon gained management experience while at SAIC by working as gallery managers of 1926. Each of them also worked on other projects before coming to Three Walls. Ward began The Pond, a curating collective and exhibition site, with his classmates David Coyle (MFA Painting and Drawing, 2002), Pete Fagundo (MFA Painting and Drawing, 2003), and Howard Fonda (MFA Painting and Drawing; 2001). Ward explains: “My transition from student-hood to civilian life was largely already made through The Pond. That project was started while I was still in school to advance a conversation wherein art and artists’ practice was seen to be both an inherently noble and valuable contributor to culture and worthy of rigorous critique and loyal championing. Taking a position at Three Walls, I spied a similar fidelity to art as well as a forum to continue the kind of work I had been doing in an also worthwhile and more community-oriented venue.”

While each of them still has to find other ways to support themselves financially, Yoon says: “I earn my living using self-taught skills to do what I have been privileged to gain from going to art schools. Each, however, mutually generate skills and motivation for the other…Some of us still produce our own artwork. Although challenging, we manage to succeed in presenting our work frequently through other venues.” When asked for advice Ward says, “I find I am loathe to give practical advice…My only real sage-like wisdom would be to find a Team: Everyone should get together with some people with whom they think they can make something work and set about doing it. The most difficult thing I found after school was finding an indicator for success. Teammates can help one another arbitrate the merits of an undertaking.”

Yoon adds, “I believe with certainty that individuals are naturally drawn to each other to do things, share vision and converge endeavors. While I enthusiastically advocate teamwork, I also know that some tend to excel or manage to patch a path on their own. People seem quite clearly either to know or not know what route to take or what their dream job could be. There are valuable seeds to germinate for those not yet made aware of what they are drawn toward. I feel the best decisions that I have made were those that put me in proximity with trusted others.”

And about those business skills? Ward says they’ll come. “In my life, I have found that academic studio study is just as much training in creative problem solving as it is learning the techniques and history of crafting art objects and actions. Artists are, I believe, among the wiliest, willful and adaptive of people. In as much as this is true, the business skills come.” Some SAIC graduates have even found enjoyment in developing their business skills. Marc LeBlanc, BFA, sculpture, 2003, co-creator of 1R Gallery (www.1rgallery.com) in Chicago says, “I have found that I love business as much as I love art…I still make my own work, I’ve created a balance. My luck is twofold in this regard, I make work about experience in an art community and my work is not incredibly labor-intensive. The majority of my time is for the gallery, promoting artists and working with Van [Harrison, co-director of 1R Gallery] to insure that it will all bear fruit. Running the business has certainly changed how I view art and create it however, it has not altered my ability to create and exhibit.”

1R Gallery had their first opening in November 2001 and already it is a self-sufficient business. LeBlanc notes, “Speaking as a business, we are extremely young and this is quite a feat. However, there is always room for financial growth. Choosing to do my (our) own thing has its great benefits and its awful downfalls. We make our own hours, we are the decision makers, I only answer to the IRS. Things like that. However, there are no promises, if it all comes crashing down, well you can see the pressure I’m sure.” One of the things that has helped insure the success of this and many other successful businesses is the willingness to make a plan and do the daily work. LeBlanc’s advice is “Research, plan, make sure you realize all the implications of running a business, the demands and setbacks.”

Certainly not all artists who are out there carving their own path like having to handle the business side of their ventures, but they do it anyway. Idris Goodwin, MFA Writing 2003, playwright and hip-hop artist and co-founder, artistic director, and board president of the not-for-profit Hermit Arts (www.hermitsite.com) says, “I am very much a believer in the D.I.Y.D.S. (do-it-your-damn-self) approach. Most of the film makers and musicians and artists I admire all started out with self-financed product until someone took notice. I think this approach is best because it allows for the artist to perfect their craft and grow…I would much rather have someone else running the business…Eventually I’d like to be chilling out, drinking wine on the porch, and painting bad portraits of my wife. For now I just want to do my work, my way, outside of LA or New York, which means I gotta work harder than they do. It means I have to press my fingers in a lot of different soil. It means I need to attain new skills quickly. It means I need to work with others to create an infrastructure to make sure my work gets completed and promoted properly…It goes back to personal goals. What am I doing? How am I gonna do it? And when one plan fails I devise another one. I make about 100 mistakes a week, but I try to learn from all of them.”

Goodwin also emphasizes the importance of the connections made while at SAIC. “All the significant things I’ve accomplished have been the result of personal connections, but many of those personal connections came through the creation or presentation of my work.” And what are those accomplishments? “Most significantly I won a 2004-2005 NEA and Theater Communications Group playwrighting residency grant allowing me to develop a script for Freestreet Theater. I finished a full length album with my hip hop group Farm Crew called Some Other Now. We got it in to some stores here [in Chicago] thanks to a small label we signed with called Naivete Records started by an SAIC student, Emily Evans. With Emily we put together a compilation of Chicago Spoken Word Artists called New Skool Poetics. It’s a mix of teenagers, twentysomethings, and grown-ups. It’s 24 tracks: some live recordings and [some] studio recordings accentuated with musical accompaniment. Beau O’Reilly [playwrighting teacher in the writing department]…introduced me to the world of D.I.Y.D.S. theater. While at SAIC I put up three plays [one at Curious Theater Branch, O’Reilly’s theater in Roger’s Park] and after I graduated I figured…’why stop?’” And he hasn’t. Check out Goodwin’s current plays at www.hermitsite.com or his CDs at www.naiveterecords.com.

So, in closing, know what you want, and go for it, but be realistic about it. Start now, whether you’re a first year student or graduating, get out, meet people, get your work out there anyway you can. Get a day job if that’s your style but don’t forget to make time for your art. Or blaze your own trail, alone or with a team, and either figure out the business stuff or partner with someone who can. And despite saying he doesn’t give advice Ward says, “Ask questions. Dream magnanimously. [And develop a] humble ego.”

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