The Bloody Tool Grant Project |
Almost every day, new arrays of satellites are hurled into the air: switchboards in the sky, hovering in geosynchronous orbit, remitting messages, insensitive to earthly distances. Other satellites circle the earth rapidly, surveying weather, land, minerals, people. New lines are laid down; optical fiber-glass replaces wire (mourn for the slaves of the old copper mines of Cyprus for Kennecott and think a while of hands cut off for Union Miniere in the old days in the Congo). Every year new computers come online and are re-interconnected as manufacturers try to configure incompatible computer architectures and languages, requiring the manufacture of new networking devices, plug-compatible hard and software as new models render old ones obsolete.
from Sol Yurick's |
Angelo: $200
Pink Bloque: $400
Early on the morning of May 11th, Kurtz found his wife, Hope Kurtz, had died in her sleep. Kurtz called 911 for help and when the authorities arrived they noticed the lab equipment in his home, the tools of his art practice, and jumped to the conclusion that he was making bioweaponry. Despite tragedy Kurtz has faced an onslaught of paranoid questioning, his home has been occupied by hazmat teams, his lab equipment, computers, books, manuscripts, and even the body of his wife have been impounded. His work has no doubt been destroyed by this invasion. Read more about the situation at www.caedefensefund.org The work of the Critical Art Ensemble has been a constant source of inspiration for the NCA since its inception. The implications of this unfolding tragedy are very far reaching for artists and tactical media practitioners all over the world. I send my condolences to Steve and hope that this gesture of support can help CAE to recover from this loss and continue their work. The Bloody Tool Grant is given each Summer around the month of August to groups and individuals working on vital, innovative cultural projects. The regular 2004, non-emergency, winners will be announced around August.
Lucky Pierre: 200 big ones
Working Bikes Coop: 200 bones
This year the grant process is vastly different from last year's. I am foregoing the application process, which did not work at all last year.
So the form that the project
is taking this year may really look no different from simply donating money to a favorite "cause" of mine, in this case, indepedent cultural production. One might wonder, why make a project out of it?
My idea here, on a basic level, is to represent a kind of openess about money and giving. This is related it to ideas of philanthropy that Willaim Upski Wimsatt talks about in his book No More Prisons. He says that young people of privilidged backgrounds need to take responsibility for their wealth, be outspoken about it with friends and family, and learn how to connect with and support, in a spirit of humility, grassroots and progressive organizers. He calls it the "cool rich kids movement."
I want to be able to let this money fly off on the winds of indepedant cultural production, without the strings of a sense of debt, or shame. I want to talk about the power of giving away money, understand it, and see others affect it. Most of the people I know wouldn't criticise me for quietly buying new wardrobes from oldnavy, yet to give money to support people whose efforts I admire and talk about it, seems slightly risky.
With that in mind, the 2002 Bloody Tool Grant winners are:
Temporary Services: 200 smackers
and
Dan Gleason: 100 bupky
I initiated the The Bloody Tool Grant Project as an artwork, hoping that it would broaden the scope of my first solo gallery show. That show was at Dogmatic in Chicago's beautiful Pilsen, south of the Loop. I hoped to add a more interactive aspect to the show as I asked myself very basic questions about money and ethics in giving away money. Just after the show at Dogmatic closed the piece moved to Chicago's finest untamed gallery/party venue, The Butcher Shop to be a part of the Department of Space and Land Reclaimantion show (DSLR). The Bloody Tool Grant was meant to be cash grant in excess of $100. It's estimated total was just under $100. Money for the grant came from the sales of Bloody Tool Buttons (see below) which were for sale, on the honor system, at the galleries; leave a dollar take a button. Over 30 buttons were sold at Dogmatic. It is unclear as to how many buttons were sold at the DSLR show. I made over two hundred buttons, each one a kind of origional, very simple, painting. Applications were given out at the galleries and distributed-on a very small scale-in public places near The Chicago Cultural Center and Chicago's Museum of Contemporary Art. I tried to make the application simple and tried to allow for anonymity so as not to discourage wild or clandestine project ideas. Applications were due on July 1st. Not a single application was turned in; no one applied. Click to view 2001 application. This project has been a failure on many levels.
Making the Bloody Tool Buttons is a two part process.
First I had to acquire the buttons from Chicago's Museum of Contemporary Art (MCA).
The buttons I used are very similar to those that visitors are required to wear while in the museum. You might be familiar with this type of button that many museums use. The function of this small aluminum disc bearing the museum's logo is to differentiate museum visitors who have paid the admission donation from those who have not. Visitors not wearing a button are asked by museum security to go to the admissions desk and square up.
The buttons I used for this project, however, have a slightly different function. These buttons bear an iconic fork and knife (the international sign for food for sale) and are given to visitors who only intend to visit the museum cafe not the exhibition galleries. If someone wearing one of these buttons is spotted in the galleries they too are asked to report to the admissions desk and square up.
After acquiring the buttons it is simply a matter of adding a few strokes of glossy red enamel on the pointy parts of the flatware. The red paint is intended to refer to the blood shed inherent in all cultural production.
I will be returning all of the unsold Bloody Tool Buttons to the MCA*, where I hope they will stay in circulation for the cafe goers to enjoy.
* As of May 2002 and I have returned a protion of the remaining buttons to the MCA, maybe thirty or so. But it's only now that I am statring to see how this gesture, as it stands, is problematic. I'm worried about it. I can see a way in which this might seem like a gesture of hostility, a threatening act. It is not hostile. I do not pose a threat. But, especially given that it might be construed as a threat, I need to do something to take responsibilty for the act, and comunicate my assurence that I do not pose a threat. The anonymity is a problem.
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Projects and resources related to The Bloody Tool Grant:
Lucky Pierre Cold Hard Cash
William Upski Wimsatt
Adventure Philanthropy
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