“Carved, Cast, Crumpled: Sculpture All Ways,” installation view, Smart Museum of Art
“Carved, Cast, Crumpled: Sculpture All Ways” plays to the museum’s strengths in depth and breadth of visual and cultural material, transforming the entire museum into an inquiry into “the essential qualities that define sculpture.” The show’s opening gambit errs heavily on the side of tradition, exhibiting mostly modern European figurative works in bronze, stone and clay. A cast concrete architectural fragment by Frank Lloyd Wright is the sole exception, though its pairing with an abstracted Lipchitz bronze figure seems to argue for the legitimacy of the former via the aura of sanctified modernism. The exhibition continues at this pace through several galleries, showing Picasso, Calder, Moore, Arp and a host of other twentieth-century Europeans and Americans. A single non-Western piece, a Guinean carved wood mask, questions the well-trodden claim linking African “primitivism” to Western developments in abstraction. Read the rest of this entry »
Josef Strau. “Raft,” 2014
The application referenced in the title of Josef Strau’s first museum exhibition in the United States, “The New World Application for Turtle Island,” is a fantastical art-and-text alternative to the formal procedures for a green card, and Turtle Island is a name given to the North American continent by its indigenous peoples. The Renaissance Society is filled with the Austrian-born nomad’s sensitively indulgent bricolage of Americana used to deconstruct histories of European invasion and colonization alongside his more personal accounts of exploring the United States and Mexico. Strau poses uneasy questions about the ethics and aesthetics that accompany cultural trade, not least of all his globetrotting presence as an after-effect of prior violent usurpations of place. His knowingly disjointed installation grapples with the conditions of being an outsider—and perhaps more confounding, an insider—in these places he holds dear. Read the rest of this entry »
Esau McGee. “Untitled Chicago Ave. Landscape,”2013, mixed medium collage, 24 x 24 inches
Selected from more than 100 nominees, the Hyde Park Art Center has announced the artists to be exhibited in its third biennial exhibition Ground Floor: Evan Baden, Hannah Barco, Greg Browe, Houston Cofield, Maggie Crowley, Barbara Diener, Assaf Evron, Andrew Holmquist, Kelly Lloyd, Jesse Malmed, Esau McGee, Ben Murray, Celeste Rapone, Kyle Schlie, Tina Tahir, Keijaun Thomas, Daniel Tucker, Ramyar Vala, Julie Weber and Nicole Wilson. All of these artists have recently completed their Masters in Fine Arts at five of Chicago’s highly ranked MFA programs: Columbia College Chicago, Northwestern University, The School of the Art Institute of Chicago, The University of Chicago and the University of Illinois at Chicago. Read the rest of this entry »
Book Release for Green Lantern Press’ PQRS in fall 2013
Green Lantern Press has announced that in October they will open Sector 2337—a new space in Logan Square that will function as both a storefront gallery and a bookstore. The space will host three exhibitions a year supplemented by a series of public programs. In addition, the Press’ online bookstore will be represented in the space with books specializing in contemporary art, poetry, theory and independent press titles. In their press release, Green Lantern Gallery & Press founder Caroline Picard and New Corpse co-director Devin King said, “By marrying these threads—contemporary exhibitions, readings, performances, poetry, and printed matter—we continue the spirit of The Green Lantern Gallery and Press, making community, culture, and discourse easily accessible to Chicago.” Read the rest of this entry »
Ruth Horwich died on Monday, July 21, at ninety-four years old. She and her late husband Leonard were renowned art collectors and supporters of numerous Chicago art institutions. Since the 1950s, they collected work by Chicago Imagists, European Surrealists, and the works of many unknown, young, self-taught and folk artists. Their collection also includes many notable examples of work by the artists Alexander Calder, Roberto Matta and Jean Dubuffet. In fact, Dubuffet’s “Monument with the Standing Beast,” a large public sculpture that stands outside the Thompson Center was a partial gift of their Leonard J. Horwich Foundation. Ruth Horwich was one of the Museum of Contemporary Art’s founders in 1967, and has been a trustee of the museum since 1984. Their collection of Calder mobiles and stabiles are part of the Leonard and Ruth Horwich Family Loan to the MCA, and happen to be on view currently in “MCA DNA: Alexander Calder” through May 2015. MCA curator Lynne Warren wrote to Newcity with a thoughtful tribute, saying, “She was so generous to MCA; she donated pieces by Roger Brown, Barbara Rossi, Kerig Pope, Frank Piatek, Konstantin Milonadis, Anne Wilson, H.C. Westermann and others, and would be the first to step up to match grants (back in the days when governmental agencies gave purchase grants!) to acquire Chicago-based artists that she didn’t necessarily collect, including Jim Lutes, Frances Whitehead and Laurie Palmer.” (Read Warren’s full tribute below.) In total, the Horwich’s have added twenty-nine pieces to the MCA’s collection, among them Calder’s 1949 “Four Boomerangs,” Marisol’s 1962 “Jazz Wall” and the 1963 H.C. Westermann “Rosebud.” Read the rest of this entry »
Centered: Allison Reimus. “Yellow Rectangle,” acrylic on wood, 2012. Hung above a teak sideboard by Hans Wegner for Ry Mobler Denmark, with other furnishings by Charles and Ray Eames, Eero Sarrinen and Jens Quistgaard.
Earlier this week, Peanut Gallery, an exhibition space and art studio collective located in Humboldt Park announced that its lease would not be renewed in October. Peanut is one of several businesses at the corner of California Avenue and Augusta Boulevard that will be closing or relocating to make way for new developments being planned by landlord Gio Battaglia. Peanut Gallery co-owners Charlie Megna and Kelly Reaves took to the space’s Facebook page with a public explanation of their situation and future plans, “We ARE NOT CLOSING, just want to make that clear. But we are going to have to move come October and we may be taking some time off during the winter to figure out our game plan. We will still be active in the arts community and will continue on.” In advance of shuttering their current location, several exhibitions are scheduled: opening July 13, “Ugly Smile” is a group show curated by Mike Rea and Geoffrey Todd Smith, then opening in August will be an exhibition of work by David Krofta. Peanut Gallery, 1000 North California.
Earlier this month, 4th Ward Project Space was opened by three SAIC graduates, Mika Horibuchi, James Kao and Valentina Zamfirescu. As the gallery’s name suggests, it is located in Chicago’s Fourth Ward—Hyde Park, in other words. 4WPS is a decidedly non-commercial venture with goals toward creating more opportunities for artists to explore their practices without the pressures of the marketplace. When reached for comment, Kao spoke to their motivations in starting an alternative gallery, “We understand the importance of community for artists, but we also understand how the attendant privileges of wealth, whiteness and patriarchy often steer the art community away from what matters most—namely, excellent art. 4WPS aims to provide a platform for artists who may be underrepresented or typically overseen to create and exhibit works that provoke critical discourse rather than monetary gain.” Their current exhibition of video installation by Greyson Hong is on view until July 4. 4WPS, 5338 South Kimbark. Read the rest of this entry »
Giulio Cesare Casseri, “Tabulae anatomicae” (detail), 1627
Representations of the human body can never exist apart from the cultures and technologies that produce them. Two physicians—Mindy Schwartz and Brian Callender— mined the University of Chicago’s impressive collections to produce a compelling history of anatomical and medical imaging. Their findings stress the idea that medical illustrations are products of collaboration between physicians who need visualizations as guides to their practice and for teaching, and the artists who produce them. Although the exhibit begins with a woodcut in a book by the second-century Roman physician Galen, medical illustration really flourished in France because the technologies for reproduction—etching, lithography, the workshops and the craftspeople that produced and disseminated books and fine prints—were in place to record the progress of science.
Where there are artists, imagination will creep into the territories science might like to claim for observation. A large, haunting three-color engraving by Gautier D’Agoty from 1746 of the flayed back of a woman whose head is slightly turned to be available to the viewer was called the “flayed angel” by the Surrealists. The print reveals a woman’s back, and her muscle structure, while vividly dramatizing the complications of the medical gaze. Read the rest of this entry »
“Speechbubble 3″ from “parrottree—building for bigger than real” (installation view), 2014. Photo: Tom Van Eynde
In Nora Schultz’s solo exhibition “Parrottree—Building for Bigger Than Real,” steel rods, metal plating, paned glass, newspaper, tinfoil, wire and discarded industrial materials are borrowed generously from the storage facilities of the Renaissance Society, nearby hardware stores and unassuming locations in the Hyde Park neighborhood—all areas in close proximity to the site of the exhibition. Disassociating them from their surroundings, the scavenged objects are assimilated by the artist into a new context, used as raw material for sculptures to be mounted, hoisted, painted, cut or printed upon. Schultz pulls the found materials into the exhibition space, exalting them, raising them into the air. The works are suspended above, perched in the rafters, nested. They are motionless yet nonetheless precarious, embodying the anxiety of a towering house of cards. Gazes are commanded upwards as if a constellation, a high-rise or a Wall Street ticker board resides there. Text phrases, themselves seemingly poached from an unspecified source, are inscribed in black marker along thin railings of scrap steel, pressure-clamped overhead to the interior structure of the exhibition space, at times reaching to the floor. Read the rest of this entry »
Samantha Hill’s “Great Migration” installation at the Southside Hub of Production
Samantha Hill claims there is a cultural renaissance occurring in Chicago’s historic Bronzeville neighborhood. “There is palpable new energy circulating here amongst organizers, educators and residents that isn’t yet defined.” Determined to capture and engage in this revival, for her first solo exhibition at the Hyde Park Art Center, Hill presents “Topographical Depictions of the Bronzeville Renaissance.”
Originally from Philadelphia, Hill has been naturally drawn toward and deeply involved in the cultural activities of the South Side since her arrival in the city ten years ago. She has organized happenings, held residencies and taught art courses at the South Side Community Art Center and Chicago State University. As a social art practitioner, bringing people together and facilitating conversations is at the heart of heart of what she does, and it is through working in these neighborhoods that Hill has been able to get to know people at the forefront of Bronzeville’s new momentum, record their stories and discover the spirit of the neighborhood. Read the rest of this entry »
avery r young, “lady sings de blue(s) or billie head was bleevin at carnegie hall”
By B. David Zarley
Sharing a dedication to the arts and yet diametrically opposed—one bathed in the warm glow of gentrification, under the aegis of the University of Chicago, the other in Washington Park on the periphery of the cluster of shops and street violence murals (“Spray paint, not bullets”) that have sprung up like foxglove in the shadows of the Green Line on Garfield Boulevard—one would be hard pressed to find a better dyadic home for “The Distance Between,” the consummation of the artists-in-residence for the Arts+Public Life/Center for the Study of Race, Politics & Culture, than the Logan Center for the Arts and the Arts Incubator.
Separated from one another by the verdant expanse of Washington Park, the environs surrounding Logan and the Incubator ably reflect the Janus-like face of the South Side; “The Distance Between” revels in, pontificates upon and avails itself to said space. At the recent “Park Crossing” event, live music from resident artists LeRoy Bach and Tomeka Reid straddled the park, most notably in “Washington Park Suite,” which featured cellists Reid and Fred Lonberg-Holm playing ad-hoc, simultaneous improvisational movements from across the park, their individual contributions manipulated and reflected to each other in real time across the space by Todd Carter and Alex Inglizian. Read the rest of this entry »