“Western Exhibitions shows all three of us,” say Dutes Miller and Stan Shellabarger, meaning the Chicago gallery separately represents Dutes, Stan and S&M, their collaborative practice as Miller & Shellabarger. The two met as undergraduates studying ceramics and organically began to work together on artistic projects. Twenty-one years later, the couple shares an Irving Park home and studio where individual art practices continue to grow alongside joint projects. Teaming up as Miller & Shellabarger periodically dominates their individual practices, while at other times independent work demands a hiatus from the collaborative. They have found an effortless ebb-and-flow, and three is not a crowd in this household.
By Matt Morris
It’s often said around town that Chicago has two seasons: winter and construction. The architectural epicenter where we reside explodes into transformation in the warm months, as buildings, roads and public spaces undergo restructuring. A few exhibitions on view right now conspire to reflect this construction condition by taking built environments and our habitation of them as points of departure. The artworks’ proximity to source materials is a useful measurement in distinguishing where a quirky meta-criticality is achieved, and where sometimes the experience at hand is burdened by its references. Read the rest of this entry »
A vexatious cloud hangs low over Matthew Girson’s new exhibition “The Painter’s Other Library.” Depicting endless shelves of meticulously placed books, the artist’s many compositions are executed in a brooding, almost impenetrable palette. At first blush, they read simply as black. As the eyes adjust to the paintings’ hushed tones, book after book, arranged to echo the precision and symmetry of modernist geometric abstraction, slowly emerge from the oleaginous mire. The beguiling tension within these works is heightened by the stark white walls and cathedral-like atmosphere of the Chicago Cultural Center. Read the rest of this entry »
Applications became available on July 11 for the Chicago Cultural Center’s Studio Artist and Curatorial Residency Program. It is the first program of its kind administered by the city. Six artists will be given a studio for the three-month residencies in the Cultural Center and a $2,000 per month, restriction-free stipend. Applications are due July 31. Emerging curators selected for the fellowship will work with DCASE staff to produce exhibitions in the Cultural Center. “It’s very much an experiment and a new program for us,” says Daniel Schulman, director of visual art, when reached for comment by phone. “There are a few goals with the program,” says Schulman. “It’s a way of bringing artists to us, it increases our interaction with artists, and it allows the Cultural Center to be more of an active hub.”
A girl devours a bird; feet morph into shoes; a nude female torso reads as a face. “René Magritte: The Mystery of the Ordinary, 1926-1938,” the Art Institute of Chicago’s summer blockbuster, showcases the most important period of the Surrealist who precisely painted a new and disturbing reality. The exhibition is a collaboration between Houston’s Menil Collection, MoMA and the AIC.
It has a narrow focus—just a dozen years—when Magritte painted his “breakthrough” images. (The floating bowler-hatted men with umbrellas were later.) But many of his most famous pictures are here: ones that defined Surrealism and modern art, such as “The Treachery of Images” (“Ceci n’est-pas une pipe”) and “The Lovers” (a kissing couple with shrouded heads). Even though Magritte’s paintings operate as illustrations—he was a professional illustrator, after all—this show restores their status as paintings rather than as posters or jpegs. The works’ scale may surprise, as will the immaculate strokes and the saturated colors.
Joan of Arc. Who was Joan of Arc, the teenage Christian visionary who led armies against the English invaders of France in the fifteenth century, and was killed by them at the age of nineteen in 1431? There are no images of her from the time she lived, but there are statues and figurines representing her made over the succeeding centuries. In a photographic quest driven by a sense of connection to the remarkable heroine, Susan Aurinko has sought out those objects and shot them as portraits, each one expressing a different mood, but all of them unified by what Tammy Kohl, who has enriched the exhibit by her jewelry referencing Joan’s time, calls “strength.” Read the rest of this entry »
Luftwerk, the collaborative endeavor of Petra Bachmaier and Sean Gallero, typically uses sound, light and projection to trick the eye and imbue the senses with soft and welcomed confusion. For “Into and Out of,” their exhibition at The Franklin, the two artists installed work that retreated from their usual repertoire of projection-based trickery, instead augmenting the outdoor gallery’s architecture. Intended to complicate the perception of perspectival space, a dozen Mylar-coated panels are installed both inside and outside the Franklin’s lattice-like structure. Those inside are connected to the ceiling with the ability to subtly sway, while the companion works along the exterior are secured firmly to the ground, transfixed.
When Chaz Evans and Jonathan Kinkley met while studying art history at UIC a few years ago, they embarked on a dream to start a gallery project that celebrated the work of artists who create the spectacular visual experiences in video games. On August 8, they will launch the new Video Game Art Gallery, with their first exhibition hosted by Galerie F in Logan Square. This initial foray into a physical show of fine art prints is part of VGA’s work across their online platform as well as through exhibition programming. In an email, Evans explains, “We are working with this hybrid model as it fits well with the media we are showing: it exists both as live software but also as framed images.” The gallery’s website is set up so that collectors can purchase prints that range in price from $75 to $400. Some of the games from which the inkjet prints have been drawn are widely popular, such as “BioShock: Infinite.” But Evans and Kinkley also hope to introduce audiences to visually stunning hidden gems like “MirrorMoon EP,” a first-person puzzler by Santa Ragione with concept art by Gabriele Brombin. Playable demos of these and other games will complement the prints on view at Galerie F in August. Other future pop-up exhibitions are currently in the works.
In a letter from Sixty Inches From Center’s executive director Tempestt Hazel, she admits that the nonprofit online arts magazine “has been pretty quiet since 2014 began.” But now they’ve launched a new website, announced their new home at the Zhou B Art Center in Bridgeport and embarked on the next chapter in their online magazine that shifts from the weekly publication of the last three years to a triannual format that builds content around selected themes with organized workshops, panel discussions and other events that aim to get at the tangible realities of art and its producers in Chicago. Read the rest of this entry »
This rambling celebration on the occasion of the gallery’s ten-year anniversary as a bricks-and-mortar space is cheekily titled after the eponymous Andrew W.K. anthem, “Party Hard.” The moniker adds both an air of revelry and defiance to the works exhibited, implying that director Scott Speh and the artists on his roster are fueled by passion and vision rather than a pursuit of conventional success.
The show is an exercise in polarity, oscillating between extremes in scale and tone. Upon entering the gallery, the viewer is confronted by the first of two sigil paintings by Elijah Burgher. Fresh from the Whitney Biennial, these painted drop cloths are installed back to back, dominating the initial visual field. Situated in the corner of the same room are two bongs, “Uncle Sam/Old Yeller” by Ben Stone. They seem slightly out of place in an area otherwise devoted to minimalist and conceptual works but add levity while reiterating the rebellious tone set by the title. Read the rest of this entry »