GRABNER KILLAM 2014

GRABNER KILLAM 2014   // May 23 - July 31 It has been a month since we opened Grabner Killam 2014 and it is hard to believe! But, in that time, we have put out some great supplementary material for an amazing show. First, we have the exhibition catalog, which gives a great overview of Michelle and Brad's respective practices, their collaborations and various artistic projects over the years - as well as the entire exhibition list for the show!

We also would like to share a few interviews with Michelle Grabner that really caught our attention: one from TheHighlights.org, one from The Brooklyn Rail in 2012, and the exhibition catalog from her show I Work From Home at MOCA Cleveland

OYSTER EDITION

We  also released a catalog for the limited edition which the artists produced, in collaboration with Gallery 16 for the exhibition. The piece, titled "Oyster Multiple" is a small-scale version of some of the larger recently produced sculptures. To see the piece and read about its conception, click below.

"Oyster Multiple", 2014. Produced in conjunction with the exhibit.

ARTIST TALK ON OPENING NIGHT

It was a treat to have the opportunity to host a discussion between Patricia Maloney of Art Practical / Daily Serving and Michelle and Brad the night of our opening, on May 23rd. Those who were able to attend would probably agree. For those who weren't able to come to the opening and hear the discussion in person, it was not a totally missed opportunity - because we filmed it! Below is a link to the entire conversation which is worth the 40 minute listen.

 Patricia Maloney in conversation with Michelle Grabner and Brad Killam

Grabner and Killam in talk with Patricia Maloney of Art Practical

[excerpt]

PM:  Do you draw boundaries and distinctions between your own lives and the work that you do? Because it’s hard to see them if you do.

BK: I do. Yea. I have a teaching job – I call it a day job. I don’t think of that as my art practice, I think of it as my teaching job. I have a studio. I make paintings. I make sculptures. I make videos – sometimes photographs. I have a daughter. I have two sons. I have a wife. I have two cars that need fixing. All these things are just things that exist. Do I have to schedule them every day? Yes. Do I think of them as one artistic practice? No. But Michelle might be different.

MG: We are different. No, it’s true, I do think of these things as all interconnected and it’s very hard for me to separate them out. And, you know, the stability or instability – and we can actually talk about the work in the physical, kind of impact – whether it’s beating down garbage can lids, or the football collision bits .. the real body, the real gravitational forces of every day is really important in terms of just materiality, in terms of body. And we can parse that later when we start thinking about the work, but in terms of – (it’s fair and I will answer the hopes and dreams question) as Brad is saying we have a family structure, we have our teaching jobs – but teaching I don’t see as a day job, I see it in a much different way and much more related into my learning as opposed to teaching or tutorial. But in terms of thinking about expansion, it’s actually the project up in Wisconsin – The Poor Farm, this other exhibition space which is much larger than the two small spaces we have in Oak Park, which as a kind of very loose feeling. I don’t like to use the word residency but if someone has a good idea and needs to come to rural Wisconsin and stay there we try to say yes and that’s really interesting to me. It’s timeframe is on a protracted, seasonal level – it’s very different than how the day-to-day life of the house, the management that Brad is talking about whether it’s the cars and the Suburban – fit tightly into that. So, it’s kind of thinking through retirement, quite honestly, and thinking through what happens when those day to day negotiations leave – when our daughter graduates from high school and moves to college. What is that time and space and how do we use that – and how do we get there and evolve it until then. So that’s exciting for me to think about. The Suburban, despite its current damaged scenario, is a managing scenario.  We’ll slug on, and artist will come to us and do amazing or prosaic things until whenever Ceal graduates and until we retire… and that’s kind great. Those limitations are welcome.