After welcoming me into her spacious Rogers Park apartment with a warm handshake and shot of espresso, Nancy Lu Rosenheim guides me through a long hallway into her sunny front room studio and toward two stools at a high-topped table. A tall and fully stocked shelving unit rises behind us, brimming with well-worn brushes, tools and paint jars of all sizes. In the corner of the room, a large sculpture sways gently from a hook in the ceiling—made from Polystyrene and splattered boldly with vivid colors, it’s obvious the piece was created in conjunction with “Swallow City,” Rosenheim’s current exhibition at Hyde Park Art Center. Read the rest of this entry »
If you are planning to visit the Renaissance Society’s Gabriel Sierra exhibition, the first solo show in the United States for the Bogotá-based artist, you would be well-served to bring a friend, or better yet, four friends. Make sure that they are all American, unless you are visiting in the afternoon, at which time you should be sure that they are non-American and that you are too. If possible, one person in your party should be over thirty years old and another should be precisely twenty-one. Bring your children. In order to gain the fullest experience, make sure to wear a watch and old shoes. Be ready to take a nap or two. Read the rest of this entry »
This show is meant to celebrate the Smart’s fortieth anniversary, but it actually amounts to a fresh rethinking of the collection and museum practices altogether. The spaces have been completely given over to seventeen thematic “micro-exhibitions” conceived by a diverse group of guest curators. These include professors from across University of Chicago’s campus, artists, retirees, interns and staff members. Read the rest of this entry »
The claim that any object may be a work of art by way of the subjective declaration of the artist has been fraught with discord since Marcel Duchamp proposed a readymade urinal as his entry to a group exhibition in New York City in 1917. In many ways, the ongoing project of the Salvage Art Institute (SAI), now on view at the Neubauer Collegium, is the logical retort to nearly a century of debate over the question of “What Is Art?” Considering the vast expansion of both artistic production and its attending market, the SAI grapples with a terrain that has shifted drastically since the status of art was radically—and yet merely—defined as anything deemed as such by the artist. Even the question itself has changed: It is now: “What Is No Longer Art?” And the answer comes not from the artist, but the insurance company that determines whether or not a damaged work has fallen into the category of “total loss,” at which point its status as an art object, herein assessed in terms of its monetary value, is beyond repair. Read the rest of this entry »
The new Guida Family Creative Wing at the Hyde Park Art Center (HPAC) will open in fall 2015, thanks to a successful 75th Anniversary Campaign in 2014 and $750,000 gift from John, Julie and Angelina Guida. On Sunday, April 19, celebration of their groundbreaking will coincide with a reception with multiple exhibitions on view, including resident artist Susan Giles’ exhibition, “Scenic Overlook” and Nancy Lu Rosenheim’s “Swallow City.” Read the rest of this entry »
We’re excited to have Alberto Aguilar’s “Crossing Boundaries” text as the eighth in our Visiting Artist column, a recurring feature in which Newcity invites an artist to produce a text in relation to their current art practice. Here Aguilar adds writing into an exploration that brings all aspects of his life into his residency at University of Chicago’s Arts Incubator.
One-thousand words are what I am allotted to write this so I will not waste one and use all. Words have the ability to get one from the top of the page to the bottom and if arranged just right communicate something clearly to the reader.
I am a Crossing Boundaries Resident Artist through the Arts Incubator and the Center for the Study of Race, Politics, and Culture. This began in January and will last for five months. When given this title I could not fully understand what it meant or what boundaries I should cross. Rather than be overtly political I decided I would simply fold all aspects of my life into this residency. During the five months all shows that I am in, my teaching, the visiting artist program that I coordinate, my travels, my family, my new dog, my interaction with others, my curatorial projects, my other residencies are my Crossing Boundaries residency. I figured that by making everything part of the residency some boundaries would inevitably be crossed. Even upon being given the opportunity to write this a few days ago I decided it too would be part of my residency. That every word I write here would be a product of it, proof that boundaries were crossed. In this case the boundary between you and I is being transgressed through the vehicle of this publication and my 1,000 words. Read the rest of this entry »
The seven blue-gray and gray-brown paintings in Varda Caivano’s “The Density of The Actions” rest easily on the Bergman Gallery’s sunlit walls. All untitled, their meandering charcoal lines and fluid, almost watercolor-like passages of acrylic paint seem fraught and indecisive. There’s a captivating immediacy to the manner in which these skeletal (and only tangentially descriptive) marks play tensely against the vertically elongated format of several of the works, but there’s also a thinness to these paintings that’s difficult to shake. Read the rest of this entry »
The University of Chicago’s (UChicago) department of visual arts (DoVA) will bring Joe Scanlan and his controversial fictional character Donelle Woolford, who will be depicted by Jennifer Kidwell, to the Logan Center for the Arts this Thursday, February 19, at 7pm. Scanlan received a lot of heat during and after the 2014 Whitney Biennial for his Donelle Woolford project for which he, a white male Princeton professor, invented a black female artist character to assume responsibility for a body of work he created. Scanlan’s creation raises a multitude of convoluted questions, with words like “white male privilege,” and “conceptual black face” representing just a few of the issues raised in the uproar. In an email to Newcity, Scanlan writes, “Jennifer Kidwell and I let everyone else have their say about this project last year, from the United States to London to Capetown to Aukland. So now we’ll take a turn responding to our critics.” Read the rest of this entry »
Our historically brief presence on this earth is owed to a fact of geologic consent. Time, heat and pressure, the primordial forces that shape our world, have, for the past 250,000 years, granted us a reprieve from the destructive dance that constantly forms and renews this planet. “Lands End” reveals how humankind has taken up where these tectonic forces have left off.
Curated by Zach Cahill and Katherine Harvath, works by thirteen artists variously envision the contemporary landscape as contested political terrain, a site of environmental degradation, the source of precious commodities we lust after, and a place of mystery, fear and wonder. In all of the works on display, time is the underlying element; either we have too much of it, or not nearly enough. Read the rest of this entry »
For some art, a gallery acts less like a space that showcases living creativity and more like a funeral home where you go to stare at dead people. Just as that dead person you see laid-out before you was once bright and living in the world, the art so filled with promise and meaning in its proper context, now hangs lifeless, eviscerated by clean corridors, harsh lights and climate control. Like a lot of socially engaged art, sadly, this is the case with Nuria Montiel’s “Wxnder Wxrds” at the Hyde Park Art Center. Read the rest of this entry »