Reviews, profiles and news about art in Chicago

News: Artist David Hartt Appointed to MCA Board of Trustees

News etc. No Comments »
David Hartt, artist and new member to the Museum of Contemporary Art Chicago's Board of Trustees. Courtesy of Braxton Black.

David Hartt, artist and new member to the Museum of Contemporary Art Chicago’s Board of Trustees/Photo: Braxton Black

In mid-December, chair of the Board of Trustees at the Museum of Contemporary Art Chicago (MCA) King Harris announced the addition of artist David Hartt to the MCA’s Board of Trustees. Hartt is the first artist on the MCA’s board since the new building at 220 East Chicago was constructed, which officially opened to the public in June 1996. Sculptor Richard Hunt, whom the MCA is honoring for his eightieth birthday with a special exhibition currently on view, was the first artist trustee in the 1970s. Joining Hartt as members of the board are current Norway-based telecommunications equipment company, Eltek, ASA board member Dia Weil, director of Graff Diamonds Eve Rogers and board member of the Whitney Museum of American Art and Colgate University in New York, Nancy Crown. Their appointment coincides with Teresa Samala de Guzman’s appointment as the MCA’s chief operating officer, a duty she assumed responsibility of on December 8, 2014.

In an email exchange, MCA director Madeleine Grynsztejn explains that the museum is very much artist-activated and audience-engaged, saying, “Artists are central to everything we do and the artist’s presence assures integrity at the governance level around our artist-activated commitment in particular.” When selecting board members, they take into account the expertise and wisdom each individual can bring to the MCA currently, as well as how their knowledge can work with the MCA’s future aspirations. Read the rest of this entry »

Review: New Catalogue/Rhona Hoffman Gallery

Photography, West Loop No Comments »
New Catalogue. "Book (Brave New World by Aldous Huxley): Images for a New Golden Record," 2014 ink jet print, 10" x 10", print; 12.75" x 12.75", framed.

New Catalogue. “Book (Brave New World by Aldous Huxley): Images for a New Golden Record,” 2014
ink jet print, 10″ x 10″, print; 12.75″ x 12.75″, framed.

RECOMMENDED

In 1977, celebrity astronomer Carl Sagan realized his conceit of sending into outer space on NASA’s Voyager spacecraft, a “Golden Record” composed of aural snippets of human culture and slices of life, accompanied by greetings, to be received by any extraterrestrial beings that might come across it and make something of it. The conventional humanism of Sagan’s project got conceptual photographers Luke Batten and Jonathan Sadler, who collaborate under the name New Catalogue, thinking of how they would represent humanity today to other intelligent life forms in the great beyond, and came up with a grid of sixteen small black-and-white shots of hands holding up familiar objects like a pencil, a hammer and a banana, against white backgrounds. The artists recruited Judd Greenstein to compose generally placid contemporary classical viola music, which is piped into their exhibit, and put text on the walls of the gallery’s front room transcribing some of the tracks on the original Golden Record, including the cloying greetings. Read the rest of this entry »

News: DCASE Hosts REVIVAL over Four Nights Pritzker Pavilion

Loop, Michigan Avenue, Multimedia, Performance, Public Art No Comments »
Documentation from REVIVAL 2013

Documentation from REVIVAL 2013

Tomorrow night is the start of “REVIVAL 2015: Source Evolution,” four evenings of interactive performance experience at the Jay Pritzker Pavilion Stage at Millennium Park, located at 201 East Randolph as part of the Chicago Department of Cultural Affairs and Special Events’ (DCASE) OnEdge performance series. REVIVAL has received a two-week residency at the Pavilion during which collaborators Eric Hoff and Jesse Young present a line of exploration for their artists and attendees to consider: “We can go back home. Can we go forward home?” Read the rest of this entry »

News: Maria Gaspar and Jennifer Reeder among 2015 Creative Capital Awardees

Activist Art, Multimedia, News etc., Video No Comments »
Moving Image artist and filmmaker, Jennifer Reeder

Moving Image artist and filmmaker, Jennifer Reeder

Earlier this month, Creative Capital (CC) announced the forty-six 2015 awardees in the categories of Moving Image and Visual Arts, two of which are Chicago-based artists: filmmaker Jennifer Reeder and visual artist Maria Gaspar. The selected artists were chosen out of a countrywide pool consisting of more than 3,700 proposals. Each funded project receives up to $50,000 in direct funding with the addition of CC’s career-development services that the artists receive at no cost to them, bringing their 2015 investment total to more than $4,370,000. Ruby Lerner, CC’s executive director, says about this year’s awardees, “This is one of our most diverse rosters ever—the range in form and subject matter is thrilling.” Read the rest of this entry »

Review: Erik Weisenburger/Perimeter Gallery

Painting, River North No Comments »
Erik Weisenburger. "Fourteen Point Staghorn Sumac," 2014 oil on panel

Erik Weisenburger. “Fourteen Point Staghorn Sumac,” 2014
oil on panel

RECOMMENDED

These sixteen visions of life in the north woods take us into that cheerfully lonely natural world once celebrated in Thoreau’s “Walden.” But there’s more whimsy than morality here, with no sense of the heroic in either the rustic environment or the souls who inhabit it. Erik Weisenburger’s technique is more about building an imaginative oil painting in the studio than in re-experiencing a view of actual fields and woods. His images glow with the inner light of early Northern European painting, and share that genre’s fanatical attention to detail, as if infinite time had been taken to perfect the design and execution of every square inch. No act of concentrated focus goes unrewarded. As with early German painters like Albrecht Altdorfer, he often offers the delicious effect of black, tangled, sharply drawn branches silhouetted against a glowing blue sky. Read the rest of this entry »

News: Lion VS Gorilla to Host New Group Show and Mini-Exposition about Utopia

Multimedia, News etc. No Comments »

spotlight_lvg
In the crux of our present-day political and social troubles, where food famine exists all around us and threats loom in the air over something as common as a controversial American movie, it isn’t farfetched to wish for a utopia. Here is your escape. Gallery concept Lion VS Gorilla (LVG) has partnered with the Hairpin Arts Center for “Crystal Palaces in Cockaigne,” an art show and mini-exposition on utopias centered on the medieval myth of Cockaigne, an ideal land of endless ease, hedonism, health and luxury. For those who, like myself, hadn’t yet heard about Cockaigne, it is a land where it rains cheese and roasted pigs saunter by with cleavers in their back among other fascinating occurrences. Read the rest of this entry »

Web Exclusive Interview: Naomi Beckwith in Conversation about Richard Hunt

Drawings, Gold Coast/Old Town, Sculpture No Comments »
Richard Hunt gathering scrap in a junk yard at Clybourn and Sheffield Avenues, Chicago, 1962 Photo courtesy of Richard Hunt

Richard Hunt gathering scrap in a junk yard at Clybourn and Sheffield Avenues, Chicago, 1962
Photo courtesy of Richard Hunt

By Matt Morris

Could you set up your take as the curator on what the Richard Hunt exhibition at the MCA is?
The show from the MCA starts from the premise of our collection. It’s part of what we call our MCA DNA series, and those are dossier shows—small jewel-box shows—that are about highlights from the MCA holdings that most people don’t even know that we have. So for instance we have another beautiful one up right now featuring Alexander Calder; there’s a huge collection of that in Chicago, many of them right here in this building. Another wonderful one that we put up recently was a collection of Dieter Roth art books that I hadn’t even known were in the collection. The DNA series is a chance for us as a museum to really highlight works of significance that most folks don’t know are here.

I found out that Richard Hunt was turning eighty this year. I realized the best way that we could honor him was to do an exhibition and—oh, my goodness—there are these works in the collection. I knew that the museum had a long history of helping organize the inclusion of a work of his at the White House. It’s a work called “Farmer’s Dream” that was exhibited in D.C. during the Clinton administration, and then when it came back from D.C. it went into Seneca Park, which is the park straight across west of the MCA. It was there for many years and then acquired by the MCA. These kinds of stories I knew, but I didn’t know that we had some of his early work from the sixties here, and we have some works on paper in the collection. The show is really compact, and is set to show the breadth of Richard’s work from his earliest days—the earliest work is from ’57 when he was finishing school—to a work made in, I believe, 2012.

Was the MCA show coordinated with the Cultural Center show?
Would you believe that it was a happy coincidence. Read the rest of this entry »

Eye Exam: A Hard-Won Hunt for the Means to Fly

Galleries & Museums, Gold Coast/Old Town, Loop, Michigan Avenue, Sculpture No Comments »
Richard Hunt, photographed by Thomas McCormick

Richard Hunt/Photo: Thomas McCormick

By Matt Morris

Two concurrent exhibitions at the Museum of Contemporary Art and the Chicago Cultural Center crown the sculptor Richard Hunt’s eightieth year. To date, Hunt has produced more public sculpture than any other artist in the United States, with 125 currently on view, thirty-five of which are in Chicago. Hunt completed his studies at the School of the Art Institute of Chicago in 1957 at a time when other black artists were scarce and the approach to welded metal sculpture Hunt had started to pursue wasn’t supported by the school’s studio facilities. Footage playing at the Cultural Center’s exhibition shows a dashingly handsome young Hunt setting up shop in his parents’ basement. By 1971 he had been honored with an exhibition at the Museum of Modern Art, and his diligent efforts have been continually rewarded throughout his career. Taken together, the exhibitions offer audiences examples of early investigations, to-scale maquettes for larger outdoor commissions, and a breadth of two- and three-dimensional works that ground flighty abstractions in a gravitas tempered by the struggles and victories of modern life. Read the rest of this entry »

Review: Paula Henderson/Linda Warren Projects

Drawings, Painting, West Loop No Comments »
Paula Henderson. "Traffic Patterns," 2012 acrylic and ink on canvas

Paula Henderson. “Traffic Patterns,” 2012
acrylic and ink on canvas

RECOMMENDED

The brutal abstraction of the human body is among the most beautiful and appalling motifs one could hope to work in or imbibe; there are images online, untold millions of them, people made into pieces, and these ghoulish tableau are debrided, are rendered by the mind, instantaneously, as corn syrup and food coloring and irrigation tubing, because the alternative is simply beyond benign processing. Beautiful violence is real, if maligned; surely I cannot be the only one who views a list of “Photoshop fails!” and is overcome by a desire to steer into the spin, to take the neck-elongating, rib-removing joint floating all the way to the screaming bloody edge and drape our finest fashions on plasticine horrors, Jean Paul Gaultier-cum-John Carpenter; surely the line between pulchritude and terror is thin, as thin as the flesh rent in its creation. Read the rest of this entry »

Review: Wes Carson/ARC Gallery

Photography, Wicker Park/Bucktown No Comments »
Wes Carson. "Biscayne  and NE 17th, Omni"

Wes Carson. “Biscayne and NE 17th, Omni”

In a series of “narrative portraits” taken on the streets of a relentlessly sunny Miami, Florida, Wes Carson seeks to capture a “particular moment” in the city’s “cultural history”—the scene of our times. Reflective to a fault about his practice, Carson’s shots are candid, because he is going for “authentic moments,” which means that he has to shoot at middle distance, forsaking intimacy in order to avoid his subjects performing for the camera. That strategy could have been fruitful had Carson looked for telling juxtapositions and ironies as street photographers of the classic tradition do (and he does some of that with the play between subjects and signage); but most of Carson’s fourteen photos catch ordinary people doing ordinary things—sitting outside or idling on the sidewalk, some of them absorbed in cell-phone conversations. Read the rest of this entry »