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 »
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 »
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 »
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 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 »
Building Bridges: “The Distance Between” Tries to Connect the University of Chicago with its CommunityHyde Park, Multimedia No Comments »
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 »
“Let a new earth rise,” wrote Margaret Walker in For My People. “Let another world be born. Let a bloody peace be written in the sky.” The closing stanza of this rousing militant poem provided the title for Barbara Jones-Hogu’s 1971 silkscreen series, “Rise and Take Control.” Two of these images, a symmetrical semi-abstract triple portrait fractured with flowing acid-rock text, appear in the Logan Center for the Arts’ retrospective of the fierce, vivid work of AfriCOBRA (African Commune of Bad Relevant Artists), a group of Black Power-era Chicago artists who came together to represent and promote a resistant Afrocentric message through (and beyond) visual art. Jones-Hogu’s “I’m Better Than These Motherfuckers” is an even more direct statement, and an even more densely and exquisitely printed piece, centering on a black woman sitting on the beach among melanin-deficient figures seemingly dissolving in the sunlight. Read the rest of this entry »
In a multimedia exhibition of both two- and three-dimensional works, the one most important to William Pope.L’s “Forlesen” is actually the fourth; time, in all its idiosyncrasies, brutalities and inevitabilities, lays at the exhibition’s heart.
“There’s nothing that necessarily ties the episodes together except time,” said Pope.L in regard to Gene Wolfe, the science fiction author who wrote the novella “Forlesen” (1974), and from that one observation the seemingly disparate pieces of Pope.L’s exhibition take on a (somewhat) coherent form.
Pope.L’s decision to purposefully not re-read the story prior to beginning his work—therefore relying upon the residue of memory—firmly grounds “Forlesen” in the fourth dimension at its conception. Perhaps most important, if least obvious, is the foundational aspect allotted to the passage of time, and the obfuscation that ensues.
Less esoteric are the works that deal with decay; the sloughing of ketchup (foodstuff that once reminded Pope.L of hardship and fame, but is now a romantic reminiscence) and joint compound scales from “Curtain” present the viewer with an empirical example of time’s ravages, as do the black helium balloons of “Ellipsis.” Aloft when fresh, they inevitably hang from the rafters like narcoleptic ravens, or lay shriveled upon the ground like dreams deferred. Even the room-dominating sculpture “Quarter Shape (penis)” can be seen as an allegory for atrophy; what do men fear losing most as caducity approaches? Combine the phallus with the withered balloons, and a nightmarish image akin to Updike’s Ben Turnbull takes shape. Read the rest of this entry »
It’s not all that surprising that a man whose work takes jabs at power symbols and the concept of reverence would have the chutzpah to bring live horses into the esteemed Hyde Park Art Center.
Though not present when I visited (they will make scheduled appearances during the show’s run), horses clearly influence Jeremiah Hulsebos-Spofford’s sprawling, ambitious installation. Throughout human history, horses have enabled human movement, from the physical, moving humans across continents, to the ideological, as culture spread as a byproduct of warfare. Horses also mean dominance. Cities around the world are dotted with statues of Great Men sitting astride their noble mounts, usually erected out of some immutable material like bronze or marble because their significance is meant to be permanent and unchanging. The Chicago-based sculptor spent seven months constructing his meditation on what happens to monuments when the unquestionable greatness they represent crumbles in the face of a society that no longer believes in such a thing. “Hall of Khan” is the result, and it doesn’t disappoint. Read the rest of this entry »
On July 4, 1971, Michael Hart uploaded a text version of the United States Declaration of Independence onto the Xerox Sigma V mainframe computer at the University of Illinois Materials Research Lab. By allowing the shared file to be freely downloaded by any user that logged onto that particular Sigma V—one of fifteen node computers that made up ARPANET, later to become the Internet—Hart unknowingly introduced the first electronic book and heralded its immeasurable effect on how media is read. This effect was truly realized two decades later as affordable image scanners catalyzed the digitization of both text and image. A common flatbed scanner—modified by hand and outfitted to resemble a conventional photographic apparatus—allowed artist John Neff to produce a series of unassuming black-and-white images that make up his solo exhibition at the Renaissance Society. The long exposures travel conduits between a do-it-yourself photographic contraption and a personal computer running consumer-grade software before revealing themselves line-by-line with lateral distortion from glitched data and mechanical idiosyncrasies. Read the rest of this entry »