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 »
Charl Landvreugd. “Atlantic Transformerz: Faidherbe,” 2014
archival inkjet print
By Matt Morris
The Museum of Contemporary Photography (MoCP) is presently host to a fashion parade poised in lithe contestation of dominant racist portrayals of the contemporary urban black man as a streetwise predator, marked as such by codes of dress that lie between stereotypes of gangster, pimp and deadbeat. Enter the “Dandy Lion,” a cultural phenomenon curator Shantrelle P. Lewis here examines as a counterpoint to the sagging cliché. A fetish for fine tailoring, nostalgic forms of menswear interpreted through the performances and rituals of dress found variously in African cultures, an elegant, highly crafted self-image, and adept showmanship: these are among a dandy lion’s hallmarks. As Lewis notes in her curator’s statement, “[T]he African Diasporan dandy cleverly manipulates clothing and attitude to exert his agency rather than succumb to the limited ideals placed on him by society. He performs identity. Most importantly, an integral part of this rebellion entails posing before a camera.” Read the rest of this entry »
Ken Price. “Green Rock Cup,” 1972. Gift to the Art Institute of Chicago of the Irving Stenn Jr. Drawings Collection in memory of Marcia Stenn.
The Art Institute of Chicago (AIC) recently announced collector Irving Stenn Jr.’s gift of 105 pivotal contemporary drawings by renowned artists. Considered to be one of the most significant contributions of drawings to have ever been given to the museum, the encompassing and vast body of work heavily focuses on works from the 1960s, to which Stenn was keenly attracted. The gifts were exhibited a couple years ago at AIC but will now be part of their permanent collection, put on display on occasion when their inclusion is appropriate to the exhibitions. When asked in a phone interview about why he decided to donate the drawings now, Stenn says, “The timing seems right, the Art Institute of Chicago is wonderful, and these drawings belong in the public hand.” Read the rest of this entry »
Throughout Friday, April 17, and Saturday, April 18, from 10am-4pm the Lake FX Expo at the Chicago Cultural Center will connect Chicago’s creative community to the resources that can advance their career. Participants like Kickstarter, Inventables, Lawyers for the Creative Arts, Kartemquin Films, Links Hall, Tribeca Flashpoint Media Arts Academy, Fractured Atlas and others will be available in a trade show format for discussion with Expo visitors.
The Chicago Department of Cultural Affairs and Special Events (DCASE), an organization committed to bettering Chicago’s arts and culture, recently announced its full schedule for the inaugural Lake FX Summit + Expo, presented by Google and co-produced by CIMMfest and The Recording Academy Chicago Chapter, along with a host of sponsors. Geared toward artists, creative professionals and entrepreneurs, this free, four-day conference begins on April 16. It will include professional development panels, workshops, keynotes by industry leaders and a resource fair at the Chicago Cultural Center and various locations around the city. Read the rest of this entry »
Eldzier Cortor. “L’Abbatoire I,” 1950s,
In recognition of his lifetime achievement, a selection of Eldzier Cortor’s prints are now on display at the Art Institute. The earliest series, “L’abbatoire” (slaughterhouse), 1955-1980, documents the artist’s dismay over the violent politics of Haiti, where he once lived. The “Dance” series, 1978, presents the nubile female form in a kind of decorative pattern that recalls the murals of ancient Crete or Egypt. The “Jewels/Theme” series, 1985, encases those same graceful women in brilliant, sharply cut gemstones. The “Sepia Odalisque” series, 1998, sets them, as sultry pairs, into a Turkish harem. Read the rest of this entry »
Salvation Army in South Africa anti-abuse campaign image
By Matt Morris
Seeing is not a solitary activity, and it’s not simple. Perception is first of all dependent on context, not only because the specificities of an experience are ascertained through contrast, but also due to the ways each of our unique acculturations informs how we see. Comprehending visual information then turns out to be a social activity, evidenced most clearly in the debates that arise when we don’t see things the same way. And of course, these turbulent discourses around what is perceived are at the expense of appreciating just how much goes unseen—through suppression, movement beyond our sensory faculties, or systemically strategic elisions in how the seen social is structured. This then is one of the often tacit but urgent responsibilities of visual culture and art: to pressure and interrogate the boundaries of perception, to render the invisible visible. Changing how we see is first perceptual but actually political work, and it’s being done across viral Internet memes, sharp-witted turns in how organizations understand multicultural diversity, and artistic research into invisibility. Read the rest of this entry »