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Mannequins, grocery-store checkout belts, paintings and an assortment of domestic detritus are a few of the items in Cathy Wilkes’ mixed-media installation, “I Give You All My Money,” at the Renaissance Society. Most of these items have undergone some form of decay: ash-covered pierrot mannequins, jars of encrusted baby food, tattered bits of cotton, flower petals and a rusted basket.

The death of a child imbues the overall theme and tone of the exhibition. Macabre traces and remnants of this child—an empty stroller and empty jars of baby food, bowls with baby spoons and a knee-high table that suggests a child’s accessibility—imbue the installation with maternal mourning. Wilkes’ installation, in total, is a still-life arrangement that remarks on the fragility of life. Read the rest of this entry »

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One singular obsession jumps out in Tadeusz Bilecki’s paintings: the female face. These large-format abstract portraits—female faces covered in large, often colorful brushstrokes—navigate the space between representative portrait and complete abstraction. Seeing the nearly dozen faces in the one-room gallery creates the feeling that you’re being watched, balanced only by Bilecki’s use of bright vibrant colors. Read the rest of this entry »

Marta Kubrak, "Resistance to Snares," 2011, silkscreen

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Looking at Chicago Cultural Center’s exhibition of the Wroclaw School of Printmaking, one gets the sense that there might be more time in Wroclaw, Poland, than we have here. Three galleries filled with large, complex, detailed and technically brilliant prints provide evidence that artists in Poland have time to concentrate on dense, romantic images. Printmaking is a traditional form which, despite the rigors of its pre-twentieth-century technology, continues to speak to the present. Like glassblowing or textiles, both taught at the Academy where these artists are faculty, reproducing images somehow seems essential to human life. The craft of printmaking shifts and expands to absorb technical innovations over time, like photo and digital applications and modernist design sensibilities, but retains its connection with traditional forms. Read the rest of this entry »

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Images flash by in an instant, zooming in on the random minutiae of a life. A cat playing on a fence, the scenic backdrop of a mountain range, a happy couple in wedded matrimony. Laura Mackin’s video “Zoom (Dean 1962-2006)” from her solo exhibition, “120 Years,” splices, edits and reconfigures the personal home videos of a stranger named Dean. Mackin rearranges Dean’s films and edits in zoomed images, creating a disjunctive visual experience. However random or specific the scenes that Dean chooses to zoom in on, they are still oddly familiar. Moments from an anonymous life read like the images we keep in our own memory of blurred impressions, arbitrarily conjoined, resurfacing fleetingly. Read the rest of this entry »

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Over the past decade, Mary Borgman has done one thing, and done it well: monumental, six-foot-high charcoal portraits of handsome, multi-ethnic young dudes, often with their shirts off, set against a glowing background. These are young adults in that exciting, though sometimes dangerous period of self-discovery before settling into the responsibilities of family and career, and the artist shares the thrill of staring into their emerging selves.

Each drawing is based upon a single photograph, selected from many others, taken under controlled conditions in her studio. So, why not just make sixty-foot photographic prints?  Why take two to four months to finish each charcoal drawing? One part of the answer is that photographic forms feel cold and factual, while drawn forms can be warm and alive. Another is that hundreds of hours of concentrated focus can give pieces a sense of overwhelming, leap-off-the-wall presence that a momentary shutter flick can never achieve. Although similar, each pose/personality presents a different challenge. Her second version of Kaveh Razani is one of the most compelling pieces she’s ever done. Read the rest of this entry »

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From 2005 through the present, Viktoria Sorochinski has been photographing the relation between Anna and her daughter Eve, not as a documentary of the vicissitudes of their bond, but through Sorochinski’s imagination of the many forms it might take in her staged and directorial color scenario shots. What Sorochinski’s images lose in spontaneity and the suppleness of life, they make up for in their sharply delineated moods and meanings. Read the rest of this entry »

Designed to represent an automated book-production facility, “Living Book” is a collaboration by Plural (the graphic design duo Jeremiah Chiu and Renata Graw) and Jonathan Krohn of The Center for Book Technology. The exhibition uses custom software designed by Michael Bingaman to capture images via an overhead camera, which are projected on a wall. Viewers may use an accompanying keyboard to make text appear over the projected images. In theory, a nearby printer would print out a page of the resulting text and images every sixty seconds for five hours a day, five days a week. However, a sound concept doesn’t always lead to flawless execution.

On a recent Saturday, the camera and keyboard were working with the images projected against the blank white wall, but the printer spat out blank page after blank page. A gallery attendant had to refill the paper tray just to demonstrate how the exhibit was intended to work. Read the rest of this entry »

Gao Yuan, "Untitled (Woman with construction scene)," 2010

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Contemporary Chinese photography continues to impress by its conceptual power, sophistication and aesthetic richness in this exhibit of four artists who combine postmodern complexity with subtle senses of beauty. Nobody puts it all together better than Gao Yuan in her “Tattoo” series, in which she placed her models bedecked in their body art in poses derived from Italian Renaissance paintings, and then added to her studies backgrounds from China today of which the early moderns could not have dreamed. Read the rest of this entry »

Jeroen Nelemans

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Susan Giles’ site-specific sculpture of the unbuilt Calatrava tower, toppled over inside The Mission, is a model of something unrealized. Although it might refer to the economic crash that scuttled the plans for the building, Giles’ “Crumpled Spire,” deftly built of wood, rests gracefully in the space, echoing the shapes of the windows, lighting grids and setting off the tin ceiling. Downstairs in the basement project room is an alluring and incisive set of photographs by Jeroen Nelemans that look beautiful at first glance but quickly assert a complex critical project that eludes the more poetic sculpture, upstairs. Read the rest of this entry »

Chris Hodge, "Tower of Babel"

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Attending an Apocalypse-themed art show is one way to start the new year, particularly if you follow the Mayan Calendar. Six artists’ responses to the subject are currently on view in “Wipe Out!” at Peanut Gallery.

Upon entering, one is confronted with a large white tree. Made of paper and found materials, the installation runs floor to ceiling along one corner of the gallery. Along the structure, bulbous clear plastic shapes disrupt its trunk. The edges fade into the surrounding walls, but the tree itself invades the gallery space, raising questions about its significance. An explanatory text can be found around the corner, paired with two framed fragments of the tree. This is Andrea Jablonski and Merje Veski’s conceived vision of a post-apocalyptic world: a barren landscape, with what the artists note are “Pompeian-like figures” melted into the body of the tree. Standing alone, the tree left me wanting a larger installation to truly immerse in their imagined world. Read the rest of this entry »