After completing an international search, the Mary and Leigh Block Museum of Art at Northwestern University has announced that Janet Dees will join the museum’s curatorial team. Dees, who is currently finishing her Ph.D. in 18th-20th century American art at the University of Delaware, brings to her appointment extensive knowledge of global contemporary art and museum practices, as well as and museum leadership experience, says Kathleen Bickford Berzock, Associate Director of Curatorial Affairs at the Block Museum.
From a Missouri grand jury’s decision not to indict officer Darren Wilson in the fatal shooting of an unarmed Michael Brown in Ferguson, to the sentencing of Boston Bomber Dzhokhar Tsarnaev to death, our flawed criminal justice system is ever present in our lives. Julie Green’s set of 600 plates illustrating the final meals of U.S. death row inmates helps us remember the human lives behind the news. Read the rest of this entry »
This May, the Evanston Art Center will end its forty-eight year residence at the former Harley Clarke mansion and move into a newly renovated space one mile away. For the final exhibition within its historic location that blossoms with organic design and motifs, the center has selected three artists whose practices are deeply rooted in the natural world: Noelle Allen, Jennifer Yorke and Robert Porazinski. Read the rest of this entry »
“If you find Buddhist art in a monastery, take it” might well have been an early twentieth-century variation on the koan made famous by Sheldon Kopp, as Western scholars scoured South Asia for artifacts. Gallery signage tells us that what Professor Giuseppe Tucci (1894-1984) called a garbage dump, local monks considered a repository of sacred relics. Shame on him, but without his acquisition, four magnificent eleventh-century folios would not now be showing at the Block Museum. And they really have the sharp perfection of world-class illumination and calligraphy. Then there was Walter Koelz (1895-1989), a zoologist at the University of Michigan who collected whatever caught his eye. At the Likir monastery, he proudly bargained down the price on two seventeenth-century painted fabrics. Without them, the third, left behind, could no longer perform a ritual function. They don’t kick you in the gut like the dharma-defender hanging nearby, but Koelz’s Buddhist divinities have plenty of grace and power one would not experience without his questionable efforts. Such appropriation by Western collectors is one thing that may happen to sacred art, centuries after it was made. Alternatively, these works could be collected by devotees, where they might influence the art and religious practice of other lands. Those are some of the rather predictable kinds of stories this exhibition tells about the legacies of Buddhist art from Kashmir. Read the rest of this entry »
This compact, one-room exhibition of a dozen and a half lithographs is a gem. Mounted by Northwestern upperclassmen and overseen by art-history professor S. Hollis Clayson, the works are drawn from the Andra and Irwin Press Collection. The students’ extended labels are well written and informative, and often reveal fresh insights. Smaller documentary images draw parallels to Japanese art, to photographs, and to then-contemporary art. One of these indicates how Picasso painted Lautrec’s poster of the chanteuse May Milton into the background of one of his own paintings. Read the rest of this entry »
Images are ideological constructions that serve the social function of representing political and global interactions. For Wangechi Mutu’s collages in her survey “A Fantastic Journey” the artist sources imagery from National Geographic, pornographic and fashion magazines to undercut disparaging assumptions about the black female body. “Le Noble Savage” is a wry collage that demonstrates the historic weight of this misnomer. It was a term coined in the seventeenth century that designated non-Europeans as primitive and served as a reason to discredit their accomplishments. A female figure marked with dark sores wears a raffia-patterned skirt reminiscent of traditional Kuba textile from the Democratic Republic of the Congo. Mutu’s Afrofuturist aesthetic is evident in the figure’s skin. Her diseased flesh refers to the victims of crises in Africa, the interpolating global politics of war, the illegal trades of bodies, minerals, bullets and more recently the Ebola epidemic—one that the Western press ignored until two American missionaries were infected with the virus. The figure reaches up to the sky holding high a fern populated by many birds showing that there is more to Africa than just the pervasive reductive binary of casting it as a “dark” continent or the emblem of the “cradle of civilization.” Read the rest of this entry »
Thursday, September 4
Dan Ramirez, painting
Union League Club of Chicago, 65 West Jackson
Opening reception: 5:30pm-7pm, through September 30
(Members only opening, viewing by appointment only)
Anthony Iacuzzi and Christopher Schneberger, photography
Perspective Gallery, 1310-1/2B Chicago Avenue, Evanston
Opening reception: 5pm-8pm, through September 28
Amy Vogel, mixed-media survey exhibition
Cleve Carney Art Gallery at College of DuPage, Fawell and Park Boulevards, Glen Ellyn
Opening reception: 12pm-2pm, through October 25
Taehoon Kim and Barbara Diener, large scale sculpture and photographic installation
Moraine Valley Community College, 9000 West College, Palos Hills
Opening reception: 3pm–5pm, through September 18 and October 23 respectively Read the rest of this entry »
The collapse of the world economy in 1929, accompanied by the apparent success of the new Soviet state, got many American artists fired up for drastic social change, if not outright revolution. This exhibition focuses on the members of the John Reed Club and the American Artists’ Congress, two organizations that promoted the ideals of Marx and world communism.
Since the exhibition is based on (but not limited to) the Block Museum’s own collection of prints, Chicago artists get the most wall space, especially Morris Topchevsky, Carl Hoeckner and Henry Simon. Without exception, their work is dramatic, figurative, hard-hitting and on message. But, that’s about all they had in common. Reflecting his study with Diego Rivera in Mexico, Topchevsky depicted worker/victims with the stately innocence found in fourteenth-century Italian fresco. Hoeckner was closer to German Expressionism, depicting the shocked and nearly zombified characters that would continue to appear in Chicago figurative art throughout the rest of the century. Simon was more theatrical, whimsical and entertaining. Read the rest of this entry »
By Jason Foumberg
At seventy-six years old Linda Kramer makes oil paintings of floating fetuses. She has been painting in and around Chicago for more than six decades, and her latest series contains flesh-pink fetuses hovering over other bodies, some of them dead. Sometimes a red hotdog (also floating) takes the place of the fetus. What comes next in this series of morphing objects? Only Kramer knows, and she has worked in this stream-of-consciousness method for awhile, meandering among formalist and figurative strategies for most of her career. “Unstable Variations” is the title of her retrospective exhibition at the Evanston Art Center. Read the rest of this entry »
A crumbling old mansion beside the lake seems more befitting of an Edgar Allan Poe tale than a community art center, but it has been the Evanston Art Center’s home for the last four decades. The City of Evanston owns the Harley Clarke Mansion and decided to market the 20,275-square-foot residence, which sits on a large property, in 2012. Last month the city acknowledged a bid from billionaire investor James Pritzker, as reported by Crain’s.
Where does this leave the eighty-three-year-old art institution? For most of its existence the EAC has made do with very little. At one point it occupied a library’s basement, and then an abandoned barbershop, and then leased the lakeside mansion for a token $1 per year.
The EAC’s executive director, Norah Diedrich, considered her options: aggressively fundraise in order to stay in a building that is structurally inadequate for an art center’s needs, or locate a new facility and potentially modernize the art center into a thriving community resource. Diedrich and the EAC’s board of trustees have chosen to relocate. Read the rest of this entry »