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 »
Actually three separate exhibitions, this is altogether the most thorough presentation of Shaker culture ever seen in Chicago. More formally the “United Society of Believers in Christ’s Second Appearing,” the Shakers are the longest continually operating religious utopian community in America. At their height they numbered five thousand across twenty-two communities.
Nearly all the objects seen here were first collected in the 1920s and thirties by a passionate young American couple. But modernism itself owes a huge debt to the ornament-less functionality of Shaker design. “Beauty rests on utility,” is their maxim. Most people think furniture when they think Shaker, and visitors will certainly drool over the many fine pieces on display. Their famous ladder-back chairs—highly functional and quickly made—were the Ikea of their day. A cobbler’s bench has an ergonomic seat along with the patina of abundant use. Particularly charming are the dolls, the child’s rocker (originally priced at $3.25), and all the costume and textiles. But there are strange items here, too, such as an oddly humane adult cradle and an early electrostatic medical device (use unknown). Shaker road signs topped with scriptural warnings addressed trespassers, and fascinating “Gift Drawings” were the calligraphic version of speaking in tongues. Read the rest of this entry »
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 »
“My husband says the FBI knows what I’m doing because I have a heat signature constantly going,” chuckles artist Alison Ruttan as she leads me into the basement of her cozy Oak Park home. We pass from her living room lined with artworks by Ruttan’s husband Scott Stack and neighbor Sabina Ott into a series of chamber-like rooms with low ceilings and cement floors, all brimming with remnants of unused pieces from “if all you have is a hammer, everything looks like a nail,” which occupies the Cultural Center’s three Michigan Avenue galleries. Read the rest of this entry »
By Matt Morris
Friends of mine are used to me bristling against the word “normal,” and many of the art students I teach have opted to avoid it lest they elicit a mini-lecture that questions the production of normalcy as an underlying societal force. At issue is how normative conceptions of being come about in relation to what is deemed abnormal: this could be queer, minority or, as I’m considering here, the production of the category of disability. 2015 marks the twenty-fifth anniversary of the Americans with Disabilities Act (ADA), leaving me with questions of what the art world has done over these decades to not only comply with government-mandated civil rights law but to actively imagine modes of engagement that appreciate differently abled bodies and minds of both art audiences and artists as an opportunity to create new forms of meaningful experience.
In his 2011 essay “Beautiful Progress to Nowhere,” Chicago-based artist, writer and educator Joseph Grigely wonders, “…The arts need disabled people; but it’s not clear what exactly defines this need. Is it because difference is ‘good’? Or is it because the experience disables those who interact with us, thereby rewriting the tacit rules by which we share space together?”
Perhaps innovations in how art can be a place of interaction for low and non-sighted individuals, those who are deaf, people with special needs for mobility and other perhaps difficult to predict differences in bodies stresses the incommensurability of shared experiences in art: it’s not the same for any of us, no matter what shared abilities we might have. I spoke with Dr. Carrie Sandahl, head of the Program on Disability Art, Culture, and Humanities at UIC, “Everybody can get some experience of the artwork with their own history and apparatus, but it doesn’t have to match. Why do we think that it’s ever going to match? Audiences are going to bring different things.” Read the rest of this entry »
Dehner’s training in the twenties took her from Cleveland to both coasts, and included several renowned teachers. With her artist spouse, she was a fixture in the upstate New York art colony of Bolton Landing. After her divorce in the fifties, Dehner moved to Manhattan, where she remained for the rest of her long life. She suffered staggering losses. Her parents and only sister died by the time she was eighteen. A second husband died in 1974. The wrong prescription rendered her blind shortly before her death in a stairwell in 1994.
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In early January, The Art Institute of Chicago (AIC) announced that Rebecca Long has been appointed as their new Patrick G. and Shirley W. Ryan associate curator in the department of medieval to modern European painting and sculpture. Long, who was associate curator of European painting and sculpture before 1800 at the Indianapolis Museum of Art (IMA) for the last six years prior to her new appointment, will be responsible for Italian and Spanish painting and sculpture before 1750 at AIC and will assume her position on February 27.
In the midst of moving to Chicago, Long writes via email, “I’m eagerly looking forward to working with such an amazing collection, to everything from research and gallery installation projects to thinking about creative and meaningful ways to expand the collection in order to broaden and augment its already formidable strengths. I’m also excited about joining the Art Institute’s efforts to reach a broad public and to give visitors a range of possible means of experiencing and learning from collections, exhibitions, and programs.” Long also humbly expresses her gratitude for all that she learned at IMA, articulating that the highlight for her was working with “Sacred Spain: Art and Belief in the Spanish World,” an exhibition she was involved with when she first came to IMA as a research fellow. Read the rest of this entry »
Tomorrow night is the start of “REVIVAL 2015: Source Evolution,” four evenings of interactive performance experience at the Jay Pritzker Pavilion Stage at Millennium Park, located at 201 East Randolph as part of the Chicago Department of Cultural Affairs and Special Events’ (DCASE) OnEdge performance series. REVIVAL has received a two-week residency at the Pavilion during which collaborators Eric Hoff and Jesse Young present a line of exploration for their artists and attendees to consider: “We can go back home. Can we go forward home?” Read the rest of this entry »
By Matt Morris
Two concurrent exhibitions at the Museum of Contemporary Art and the Chicago Cultural Center crown the sculptor Richard Hunt’s eightieth year. To date, Hunt has produced more public sculpture than any other artist in the United States, with 125 currently on view, thirty-five of which are in Chicago. Hunt completed his studies at the School of the Art Institute of Chicago in 1957 at a time when other black artists were scarce and the approach to welded metal sculpture Hunt had started to pursue wasn’t supported by the school’s studio facilities. Footage playing at the Cultural Center’s exhibition shows a dashingly handsome young Hunt setting up shop in his parents’ basement. By 1971 he had been honored with an exhibition at the Museum of Modern Art, and his diligent efforts have been continually rewarded throughout his career. Taken together, the exhibitions offer audiences examples of early investigations, to-scale maquettes for larger outdoor commissions, and a breadth of two- and three-dimensional works that ground flighty abstractions in a gravitas tempered by the struggles and victories of modern life. Read the rest of this entry »
James Ensor’s six-foot-tall drawing “The Temptation of Saint Anthony,” 1887, is the exhibition’s thematic and physical centerpiece, set like an altarpiece at the end of a dark, chapel-like corridor. It’s a dense tangle of scary figures and texts, and a teeming universe of references to the artist’s life. The Art Institute wisely bought it in 2006; it hasn’t been shown in sixty years. Composed of fifty-one separate sheets mounted on canvas, it’s a conservation triumph. Stylistically, it’s a cross between Northern Renaissance art and the cramped doodles of underground comics. Indeed, Ensor’s drawing-based art was expressed in almost every two-dimensional media, including the then-new manufactured color pencils. Read the rest of this entry »