Installation view of Creeping Toward The Light at Julius Caesar
Described as a “collaboration” between organizer and artist, rather than a straightforward comparison, “Creeping Toward The Light” at Julius Caesar features artist Stevie Hanley alongside one of JC’s directorial personalities, Roland Miller. The small exhibition space, dominated by Hanley’s large, banner-like assemblies, has the effect of a curious, colorful maze.
The floor is chrome throughout, treated with a foil wrapping. Miller has installed several slightly larger-than-life-sized prints of women cut out and affixed directly to the wall. Their color and visual texture is glitched, implying inversions, blow-outs and missing data. Brilliance and lurid aesthetic moments become occlusions—obnoxious, pink rhinestones are glued to the picture glass floated just a hair above a collage by Miller, covering a serial repetition of sexual penetrations. Glints that blind, rather than illuminate. That these explicit moments are not totally concealed gives way to that naughty impulse to peak around the glittery censor. Read the rest of this entry »
Leslie Baum + Allison Wade. Drunken Geometry, installation view, February 2015.
“Drunken Geometry,” the new collaborative exhibition by Leslie Baum and Allison Wade, is a risky proposition. By tackling the classic conventions and traditions associated with the still life, these two Chicago-based artists seek to extend our preexisting notions of the genre by, in effect, taking them apart. The approach is as pregnant with possibility as it is fraught with travails.
Sculptural formulations are particularly susceptible to problems inherent to deconstruction since a table displayed without substantive transformation remains merely a table, an artifact of our mundane world rather than an active agent in the world of art. Though reasonable people can (and should) disagree, objects placed within the environs of gallery are not art by default. The wall-mounted “Many Things Conspired #1” as well as the floor-bound “New Things (the persistence of ordered objects) #1,” which both seem a little too self-satisfied as minimally altered objects, are the most problematic in this regard. Read the rest of this entry »
Edmund Chia. “Diagram 02 for New Architecture with David Salkin,” 2013
By Matt Morris
This is not a roundup of fiber art exhibitions currently on view around town, though that temptation perpetually lingers because at any given moment in Chicago there are plenty of artists exhibiting smart hybrids of textile and painting, fiber art and installation. This is no doubt attributable in part to the Fiber and Material Studies department at SAIC—still a rarity with few comparable programs around the country—and more generally the deconstructive, interdisciplinary thrust of most of the fine arts programs to be found here. The aftereffects of Modernism in Chicago aren’t really the Greenbergian isolation and purification of a medium’s potential; instead, painting’s frequent conflation with sewing is a recurrent signal of a Modernist project to apply the arts broadly across other parts of life—keenly designed forms for living integrated with art-making as was seen in the De Stijl and Bauhaus (and its offspring, Chicago’s New Bauhaus begun in the late 1930s). Modest and succinct or madly layered, a few artists’ current projects carry us into this new year with propositions for art’s visual and material elements brought in various proximities of closeness to the lives being lived around its production. Read the rest of this entry »
Manuel Rodriguez. “Capsule 1969-1981,”
National Geographic magazines, thermoelectric coolers, Tyvek, plywood, Plexiglas, cables, steel, soil sample from a depth of 40 feet at Latitude : 41.878114 |Longitude : -87.629798
How can mapping be a spiritual process? This sparse installation of two complementary works began as a conversation between two artists interested in an innate sense of remoteness, observation and exploration. The show developed through long-distance communication between Southeast Ohio, Puerto Rico and Chicago about shared conceptual vantage points embedded in technology and landscape. Read the rest of this entry »
Sarah and Joseph Belknap. “Planetoids,” installation view at The Franklin
Sarah and Joseph Belknap have been working together as a singular multimedia artist-entity since 2008, making objects and happenings that examine and mimic grand experiences—the rare, magical moments in which we are able to comprehend our utter insignificance. Celestial bodies and giant earth formations are often shrunk to a manageable size, bringing our attention to the contrast between our human bodies and the infinite universe we live within. Their use of hyper-synthetic materials like silicone, polystyrene and fiberglass again acknowledges this man/nature duality.
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By Matt Morris
“They hop between revolving scenes, juggle various professional identities, seek out and improvise ever-new situations and contexts for staging what can be recognized and evaluated by their peers as art, all squeezed into schedules already bloated with myriad non-art activity.” This is how art critic and Northwestern professor Lane Relyea depicts the contemporary art laborer in his 2014 essay “Afterthoughts on D.I.Y. Abstraction,” a digestible think piece that shares the concerns he investigated at length in his 2013 book “Your Everyday Art World.”
His take is poignantly accurate. Our town (and increasingly more of the art world) runs on multi-hyphenate cultural producers who not only make art but also curate, write, teach and run alternative galleries. We’re embedded in a pervasive labor economy that has mutated into part-time work status, short-term contracts (or no contracts) and a demand for flexibility, availability and diversified skill sets. I’ve been writing this text along with two other articles and a grossly overdue catalogue essay this week, while teaching two courses at SAIC, troubleshooting shipping and consignments for an exhibition I’m curating, and stubbornly insisting on the better part of two days in my studio because I’m falling behind in my production schedule for an exhibition next year. My workload isn’t extraordinary or even varied beyond the status quo. It’s not exceptional that I slip between myriad roles; in fact it’s all day, everyday for most of us.
While Relyea’s analysis is useful in symptomatizing our labor and, indeed, we may all be acting out tacit directives that guarantee even more insidious modes of capitalism and lifetimes of instability for a burgeoning “precaritariat,” I’ve wanted to better understand artists’ presumed motives for working across disciplines in personally attuned panoplies of creative output. I wrote to a number of other folks in Chicago to hopefully compare notes and maybe commiserate. Everyone who replied was frankly honest about diversification as a means to make a living while also holding to the possibilities that these hybrids allow (or at least once allowed) for nimble forms of criticality and subversion. Read the rest of this entry »
Aron Gent. Both works “Untitled,” 2014,
Epson UltraChrome K3 ink on Arches hot press watercolor paper,
“Pure Pictures, Perfect Prints,” Aron Gent’s solo exhibition at Devening Projects + Editions, is immediately pleasant, with its ample white space and idiosyncratic chintz of flowers, leaves, printers and arabesques, all rendered in a subdued palette. These images, culled from clip-art collections, are composed and then printed onto an ink-resistant material. This printout is then transferred onto watercolor paper by press, which squeezes and drags the beaded ink into the perfect drips that tress the features of each composition. Such painterly distortions give the sense of an individual hand at work, but of course, it is anything but. These gestures are dictated by blunt forces: the irregular texture of paper, the volume and viscosity of the ink, the magnitude and direction of the pressure exerted by the press. Read the rest of this entry »
Andersonville, Bronzeville, Collage, Drawings, Edgewater, Evanston, Fall Preview, Garfield Park, Installation, Lincoln Square, Logan Square, Multimedia, Painting, Photography, Prints, River North, Sculpture, Suburban, Ukrainian Village/East Village, Video, West Loop, Wicker Park/Bucktown
Andrew Falkowski. “Pink Monochrome,” 2014
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 »
“Into and Out of,” site-responsive Mylar panel installation
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.
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For at least thirty years, the conversation surrounding geometric abstraction has been mired in the shop-worn rhetoric of early twentieth-century modernism, its relationship to utopian ideals, a critique of said modernism, or some combination thereof. Besides being played out, I’ve never found these approaches particularly illuminating. Far more provocative possibilities emerge when one encounters geometric painting as it truly is: a form of sculpture, subject to the pressures and demands of the discipline.
Unlike two-dimensional work, which offers us a glimpse into a credible alternative reality fashioned by the artist, sculpture projects itself outward, extending its influence into our world and transforming our physical relationship with it. By not demanding that we look “in” but instead inviting us to look “at” and “around,” the modestly scaled “signs” in Belgian artist Alain Biltereyst’s attractive new show, “Notes” at Devening Projects + Editions, accomplish such a feat. Read the rest of this entry »