Julia Margaret Cameron. “Thomas Carlyle,” 1867, printed 1875. The Art Institute of Chicago. Alfred Stieglitz Collection.
The Art Institute has one of the world’s finest holdings of photographs by Stieglitz and his circle—a gift from his wife Georgia O’Keeffe no less—and little excuse is needed to bring them out from time to time. Read the rest of this entry »
Activist Art, Collage, Design, Digital Art, Galleries & Museums, Installation, Loop, Media & Genres, Multimedia, Painting, Performance, Photography, Prints, Sculpture, Video
Dora Garcia. “Ulysses,” since 1999. Trimmed book, unlimited edition.
By Elliot J. Reichert
It is difficult to think about art these days. Witnessing the world unravel in daily news reports makes questions of culture seem superfluous. Read the rest of this entry »
John Knight, “Plate #28,” from “Museotypes” series, 1983.
To mark the Renaissance Society’s centennial, the Art Institute installed John Knight’s “Museotypes,” a series of sixty commemorative plates ostensibly honoring the museum. Hung in three stacked rows of twenty each, each gold-rimmed bone-china plate (the hue is just warmer than gallery white) sports the silhouetted footprint of a high-caliber museum in black glaze. Altogether, the abstract similarity shared by the graphics condenses art-housing architecture into minimalist logos that are less salable than museum facades, but no worse at making an icon of an institution. Read the rest of this entry »
Kunlé Adeyemi. “Makoko Floating School, Lagos, Nigeria, ” 2012. Image by NLÉ.
By Elliot J. Reichert
Amid all the hoopla surrounding the inaugural Chicago Architecture Biennial, I will admit that the whole thing makes me a bit nervous. Read the rest of this entry »
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The thing that was sent to me in its intended but unsettling orientation.
By Elliot J. Reichert
The above image was sent to me anonymously in the middle of the night. Shocking as it appears, I was relieved to receive it. You see, weeks ago I had contacted a few artist friends to ask them to reflect on the upcoming fall art season in Chicago and to ask one to “take over” the task of appraising it. To my surprise, they were reluctant to describe it, even those who had exhibitions of their work opening in the coming weeks. Later, I realized that their silence was my doing, having asked a question that could produce no coherent answer.
Much like the drawing game made famous by the Surrealists, Chicago’s 2015 fall art season is an exquisite corpse—a thing of grotesque beauty that is the dream of no one, but the creation of many. At first glance, it appears sinister, like the Block Museum’s solo show of newly commissioned works by Chicago artist Geof Oppenheimer. Rumor has it that the sculptor has filled the museum’s ample galleries with austere and foreboding installations resembling the cinderblock constructions of grim institutions, like prison, or perhaps your corporate office. Even more menacing, Irena Haiduk, also Chicago-based and also exhibiting new work, will haunt the eaves of the Renaissance Society’s transformed gallery with the Sirens of Greek mythology, luring visitors unexpectedly into a debate on the revolutionary possibilities of art and social change amidst current political upheaval worldwide. Read the rest of this entry »
David Hartt. “Interval V,” 2014
David Hartt’s “Interval” is a visually stunning multimedia installation of photography, video, sculpture and sound that approximates distances—physical, temporal, historical and sonic—to examine uneven development among geographic and economic peripheries and the global forces that centralize capital accumulation. Set to a haunting score and evocatively documented in high-definition video and large-format photographs, Hartt’s camera records everyday moments in Sakhalin Island—a historically contested territory between mainland Russia and Japan—and the city of Whitehorse, the frontier capital of the Yukon Territory in Canada. With an ambivalent stillness that is neither voyeuristic nor detached, the videos and photographs portray these places as simultaneously restless and static as they are caught between an unhappy present and an uncertain future. Read the rest of this entry »
Charles Ray. “Huck and Jim,” 2014.
Installation view at the Art Institute of Chicago.
Charles Ray’s figurative sculptures sparsely populate the second floor of the Modern Wing in this major midcareer retrospective. Walls were removed to give the nineteen works plenty of breathing room. The pieces, cast in white and silver materials, create a cool, calming effect. Combined with the hushed atmosphere, examining the work feels like sneaking up on someone, as in “Sleeping Woman,” where a stainless-steel rendering of a homeless woman naps on a public bench. Read the rest of this entry »
Don Baum. “Untitled Silhouette/Cut Out Portrait of Ruth Horwich,” ca. 1980,
paint by number painting and other mixed media,
18″ x 14.5″ x 11″
On view at Carl Hammer Gallery
By Michael Weinstein
There is a tinge and twinge of sadness attending the viewing of the three concurrent exhibits showcasing the fabled collection of artworks amassed by Ruth Horwich and her husband Leonard over the last half century.
One cannot escape the sense that an era has ended. The Horwich collection is being broken up and cast to the four winds in the aftermath of Ruth Horwich’s death in July, 2014 at the age of ninety-four, preceded by Leonard’s passing in 1983. Her estate seeks to monetize the art. The choice pieces, from the viewpoint of marketability, by Alexander Calder and Andy Warhol, for example, have already been handled by Christie’s. Now we have an opportunity to see the rest of the collection, the non-Western indigenous artifacts at Douglas Dawson Gallery, and the works of the Chicago artists from the second half of the twentieth century—the backbone of the collection—at Carl Hammer Gallery and Russell Bowman Art Advisory. Read the rest of this entry »
Installation view of Liz Larner, on the Bluhm Family Terrace, the Art Institute of Chicago
In Liz Larner’s current exhibition on the Art Institute’s Bluhm Terrace, two freestanding stainless steel sculptures have been placed at a diagonal to each other. While the generous amount of space between the works engenders but a faint conversation between them, the expansive wooden stage upon which they rest unites the pieces together as a pair. The urban lumber platform, constructed by Larner’s hands and held together by countless golden screws, is made from unflashy materials that would typically appear discreet—however, the large expanse of ash-wood boards fitted tightly together boldly contrast the terrace’s industrialized cityscape with a warm, simplistic rawness. Read the rest of this entry »
Archibald J. Motley Jr. “Hot Rhythm,” 1961
oil on canvas, 40″ x 48.375″
American life continues to be dominated by friction between its European and African diasporas. Possibly no American artist has been as immersed in that unfolding drama as Archibald Motley (1891-1981), among the first African Americans to address that theme with a thorough training in European pictorial space. As suggested by the thousand-mile-stare in his two self-portraits, wariness is the key to his response. He was too dark for the boardrooms of middle-class America, too well educated for the streets of Bronzeville, and too concerned with African-American identity for trendy galleries of modernist art. So he was probably uncomfortable in every public setting—except the dance halls in Jazz Age Harlem where urban sophisticates of all backgrounds mingled. His visualization of that world is ecstatic. It is also masterful, in both narrative and design, comparing well with the dance halls depicted by Renoir, Lautrec and Picasso, but with a greater emphasis on the congenial interaction between characters. Read the rest of this entry »