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 »
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 »
Judy Ledgerwood. “Captiva #2″
In conjunction with Expo Chicago, the Beaches of Fort Myers and Sanibel, a southwest Florida destination, has worked with Chicago-based painter Judy Ledgerwood to create a monumental set of public artworks that will appear on billboards in downtown Chicago, River North, Gold Coast and along major expressways. These works will debut on September 13, and will remain on view around town for four weeks. In addition, components of this project will be featured on the official Expo Chicago shuttles that will transport visitors along routes from Navy Pier to other cultural and shopping destinations around the city. Read the rest of this entry »
Adam Schreiber. “Untitled,” chromogenic print, 2013
Earlier this month the Graham Foundation for Advanced Studies in the Fine Arts announced its 2014 grant cycle, awarding over $520,000 to sixty-eight projects that further the Graham’s mission of supporting work that expands and reconsiders ideas in architecture through exhibitions, films, publications and research projects across a range of media. Of the many international grantees, nine are based in Chicago, at close range to the Graham, which is housed in the historic Madlener House in our city’s Gold Coast. Read the rest of this entry »
Meredith Zielke and Yoni Goldstein, from “The Jettisoned”
We all have our visions of medical hell that grow out of traumatic childhood memories that we would rather forget, but that haunt us throughout our lives. Meredith Zielke and Yoni Godstein have unsparingly confronted their painful pasts, merging them in a set of color photographic scenarios taken in a dark and dank derelict Chicago soap factory, that they have combined in a slow-motion video loop, which should not be seen by the faint hearted or overly sensitive. Reminiscent of a latter-day Hieronymus Bosch deploying real people, Zielke and Goldstein populate their tableaux with dense arrays of subjects administering, suffering and observing various disconnected procedures featuring tubes and seeping fluids in decidedly less-than-antiseptic settings. The artists propose to offer the “possibility of abject recognition,” and their work definitely delivers on that promise. They perform the service of alerting us to the underside of life if we are strong enough to tolerate their harsh visual medicine, which is never palliative. Read the rest of this entry »
For nearly two decades, German artist Thomas Demand has explored the divergence of truth and appearance in a provocative series of photographs that depict familiar interior spaces meticulously reconstructed. Simultaneously recalling the unreality of a psychedelic experience and the ersatz nature of a television set, these works directly challenge the hegemony of lens-based media as the supreme authority on the depiction of reality.
The current exhibition at the Graham Foundation signals a change in the artist’s scope but not in practice. In “Model Studies,” Demand still presents his customary large-scale photographs of miniature constructions, but they’re no longer solely his handiwork. The starting point is the preparatory modeling of twentieth-century architect John Lautner, a student of Frank Lloyd Wright and proponent of Organic Architecture. Read the rest of this entry »
In what is perhaps a cautionary tale, Alison Carey makes dioramas of future landscapes; populates them with organisms, made out of “flesh-like” materials, that have evolved from humanly engineered life-forms, which have taken over the earth; and shoots the set-ups in color. From the perspective of our species, the creatures that have issued from our experiments and have displaced us are not particularly attractive—sinuous, wormlike beings that are hybrids of plants and body parts, and have decidedly raw and sensuous associations. Although Carey assures us that they are “benign, ” she is “unsettled ” by the prospect of fabricated life reproducing itself with abandon. Read the rest of this entry »
One of the great neglected achievements of twentieth-century culture was Soviet modernist architecture, which created an alternative to the German-American modernism that envelops us all. We now get a chance to rectify the inattention with Richard Pare’s comprehensive color photographic documentation of the structures that are still standing in “The Lost Vanguard: Soviet Modernist Architecture, 1922-32,” giving us a sense of what our architectural environment might have been had Communism triumphed. The basics of modernism are all present in its Soviet variant—clean lines, curves when called for, interesting layering effects, and an aversion to the ornate. What is not the same? Read the rest of this entry »
Shooting in black and white, and achieving both the most subtle and the most glaring tones, German-born Chicagoan Mechthild Op Gen Oorth is an architectural street photographer who melds the designs of the cityscape with the intimacy of the wandering observer’s personal look. The attraction of Oorth’s studies of stolid buildings, glistening rain-coated cobblestone streets, sculptural passageways, and shop windows is her effort—often successful—to put the contrasting values of her sensibility into a single image evincing a clear though complex emotion. Read the rest of this entry »
An ambitious retrospective of fin-de-twentieth-siecle art, architecture and design at London’s Victoria and Albert Museum illuminates the dreamlike nature of the “postmodern” moment, a dizzying refraction of hedonistic anarchy and abject terror. In her review of the exhibition, Artforum editor Elizabeth Schambelan sets “beguiling images of playful incongruity” against Fredric Jameson’s notion of “hyperspace” as an “anti-map, its incomprehensibility figuring the dark mysteries of global capital.”
All the more reason for another po-mo retrospective, this one being the exhibition showcasing the drawings and ephemera of contemporary Chicago architect Stanley Tigerman, now on display at the Graham Foundation, to adopt the Magritte-tweaking title “Ceci n’est pas une rêverie,“ or “This is not a dream.” Taking a cue from “The Titanic,” a 1978 Tigerman collage in which Mies van der Rohe’s ultra-rectilinear, ultra-Modernist Crown Hall sinks into Lake Michigan beneath a canopy of clouds, the grand Madlener mansion (which houses the Graham Foundation) is divided up into thematic “clouds” such as “utopia,” “division,” “identity,” “allegory,” “humor,” “death” and “drift.” Read the rest of this entry »