Trevor Winkfield. “Sketch for Peter Gizzi,” 2012
acrylic and collage on paper, 27.5″ x 19.25″
Set in the smart spaces of the Poetry Foundation, this exhibition of the British artist-illustrator Trevor Winkfield (born 1944) highlights his paintings, cover designs and limited-edition books. It’s a small-scale show—five paintings and four vitrines—but the bright, punchy images are themselves like welcome book illustrations against the ashen modernist environment of the still-newish John Ronan building.
Winkfield’s mother read picture books to him as a tot. Afterwards texts always provoked accompanying images from him. Raised in Leeds, he came to America in 1969 and quickly became part of the collaboration-happy New York School. Not “merely a brush for hire,” he said, he had true partnerships with major poets like Ron Padgett and John Ashbery. Collaboration, he reflected, was “one of the quickest ways of allowing me to see myself as others saw me.” Read the rest of this entry »
Installation view of Marcus Geiger sculpture and column covering
A collaboration between Marcus Geiger of Vienna and Margaret Welsh of Chicago, Geiger/Welsh is an elegant pair of works formed from interlocking materials meant for disposal, the first in a series of exhibitions at Document co-curated by Aron Gent and Michael Hall. Materials chosen by both artists for the exhibition are those used to ship, contain or carry artwork, using the packaging commonly associated with protecting objects to create them. Read the rest of this entry »
Joe Scanlan (left) and Jennifer Kidwell (right/ Ian Douglas 2012).
The University of Chicago’s (UChicago) department of visual arts (DoVA) will bring Joe Scanlan and his controversial fictional character Donelle Woolford, who will be depicted by Jennifer Kidwell, to the Logan Center for the Arts this Thursday, February 19, at 7pm. Scanlan received a lot of heat during and after the 2014 Whitney Biennial for his Donelle Woolford project for which he, a white male Princeton professor, invented a black female artist character to assume responsibility for a body of work he created. Scanlan’s creation raises a multitude of convoluted questions, with words like “white male privilege,” and “conceptual black face” representing just a few of the issues raised in the uproar. In an email to Newcity, Scanlan writes, “Jennifer Kidwell and I let everyone else have their say about this project last year, from the United States to London to Capetown to Aukland. So now we’ll take a turn responding to our critics.” Read the rest of this entry »
Dutes Miller. “Untitled,” 2014
woven paper, glue, artist tape, 8″ x 8″
Dedicated to dreams and ghosts, the various media of “The world is mystical, dangerous and delicious,” including sculptures, illustrations and collage, speak to their twin subjects with an admirable—and requisite—range; it does not require a particularly broad or tortured interpretation to understand ghosts and dreams as the driving factors behind not only art, but the whole panoply of human expression and existence. As desires become goals become actions, memories become comfort or tumult, all trail a phantom weight in fearful pursuit of their next, and it is these ghosts which one sees with most clarity here. Read the rest of this entry »
Charlotte Park. “Untitled (red, yellow,orange, and black),” 1950’s
With the work of nine painters from the New York School in the 1950s, Chicago dealer Thomas McCormick has collaborated with several out-of-state dealers to pull together the kind of ambitious show more often found in a major museum. The artists chosen are all women, but their work does not feel traditionally feminine, lacking the gorgeous, fluid colorism of Helen Frankenthaler. Neither does it feel conventionally masculine, lacking the heroic, desperate exhaustion of Joan Mitchell. My favorite piece is a funky conglomeration by Charlotte Park, but it might well be mistaken for the work of her husband, James Brooks, whose work often resembles hers. Read the rest of this entry »
Nick Bastis. “When you don’t find what you’re looking for, sleep (Gemini Bauce),” 2015
vinyl padding, Helix aspersa snails
Nick Bastis stokes and redirects the familiar to generate synaptic points of overlap that hint at subversion and untapped latent potential that extend between objects, architecture and the viewer’s body. The vastness of space between objects in this exhibition is symbolic of the immaterial intellectual labor that produced these variations. Read the rest of this entry »
Rebecca Long, the Art Institute’s newly appointed Patrick G. and Shirley W. Ryan associate curator in the department of medieval to modern European painting and sculpture
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 »
Henri de Toulouse-Lautrec. “May Milton,” 1895
lithograph, 31 1/4″ x 24″
This compact, one-room exhibition of a dozen and a half lithographs is a gem. Mounted by Northwestern upperclassmen and overseen by art-history professor S. Hollis Clayson, the works are drawn from the Andra and Irwin Press Collection. The students’ extended labels are well written and informative, and often reveal fresh insights. Smaller documentary images draw parallels to Japanese art, to photographs, and to then-contemporary art. One of these indicates how Picasso painted Lautrec’s poster of the chanteuse May Milton into the background of one of his own paintings. Read the rest of this entry »
Carrie Schneider. “Burning House (March, sunset),” 2011,
Our historically brief presence on this earth is owed to a fact of geologic consent. Time, heat and pressure, the primordial forces that shape our world, have, for the past 250,000 years, granted us a reprieve from the destructive dance that constantly forms and renews this planet. “Lands End” reveals how humankind has taken up where these tectonic forces have left off.
Curated by Zach Cahill and Katherine Harvath, works by thirteen artists variously envision the contemporary landscape as contested political terrain, a site of environmental degradation, the source of precious commodities we lust after, and a place of mystery, fear and wonder. In all of the works on display, time is the underlying element; either we have too much of it, or not nearly enough. Read the rest of this entry »
Elizabeth Claire. “Turning Away,” 2014
oil on linen, 24″ x 24″
Though mostly an exhibition of current and former students of its curator, Ryan Shultz, several of these paintings would stand out in any selection of young Chicago painters. A Shultz oil painting typically applies a meticulous, flattened, Polaroid kind of photorealism to depict young adults, notably self-centered if not dissolute. One student, Sandra Stone, has got his intentions and techniques down so well that one might well believe Shultz had painted it himself. But most students have already taken their own directions.
Love of anything other than craft is absent from a Shultz portrait, but Elizabeth Claire has introduced a second figure to depict romantic angst in her stark “Turning Away.” Apparently a self-portrait with Shultz, it recalls Oskar Kokoschka’s painful depiction of himself beside Alma Mahler a hundred years ago. It’s raw, non-fantasy drama is rarely found in contemporary painting. Read the rest of this entry »