Green Lantern Press has announced that in October they will open Sector 2337—a new space in Logan Square that will function as both a storefront gallery and a bookstore. The space will host three exhibitions a year supplemented by a series of public programs. In addition, the Press’ online bookstore will be represented in the space with books specializing in contemporary art, poetry, theory and independent press titles. In their press release, Green Lantern Gallery & Press founder Caroline Picard and New Corpse co-director Devin King said, “By marrying these threads—contemporary exhibitions, readings, performances, poetry, and printed matter—we continue the spirit of The Green Lantern Gallery and Press, making community, culture, and discourse easily accessible to Chicago.” Read the rest of this entry »
In conjunction with Expo Chicago, the Beaches of Fort Myers and Sanibel, a southwest Florida destination, has worked with Chicago-based painter Judy Ledgerwood to create a monumental set of public artworks that will appear on billboards in downtown Chicago, River North, Gold Coast and along major expressways. These works will debut on September 13, and will remain on view around town for four weeks. In addition, components of this project will be featured on the official Expo Chicago shuttles that will transport visitors along routes from Navy Pier to other cultural and shopping destinations around the city. Read the rest of this entry »
In the words of Gillion Carrara, director of the Fashion Resource Center (FRC) at SAIC, “a fresh face, a posture, a pose and a look of curiosity” never go out of style. Leave the normcore on the internet. In anticipation of the impending fall semester, Newcity checked in with IRL fashionistas Carrara, Caroline Bellios, FRC’s assistant director and SAIC grad and FRC employee, Eric Lengsouthiphong to find out their fashionable expectations for the season. At least we have layering to look forward to.
How would you describe your style? What fall items are you excited to debut this semester?
GC: My personal style is generally minimal in various combinations of black variations and textures. I believe that black illustrates a serious, capable, modern individual. Inspired by a summer trip to Japan, I will wear long Comme des Garçons trousers with a bustle and train combination, a simple black tee and Trippen high heels that recall Japanese geta on the opening day of the FRC. As for the FRC, a selection of new acquisitions are from avant-garde designers Christopher Kane, Comme des Garçons, Marc Le Bihan, Mary Katrantzou, Marios Schwab, Anrealage, Boudicca and a vintage Dior.
There are three “Paint With Us” painting days scheduled this weekend when the community is invited to get involved in the completion of Rachel Slotnick’s mural in progress at Milwaukee and Kedzie in Logan Square. Adjoining the Logan Square Blue Line stop, this is the latest mural project to adopt two-year terms for the prominent wall space in the square. Lindsey Meyers, the director of the neighborhood’s Beauty & Brawn Gallery and longtime Logan Square resident, has coordinated the project with Slotnick after considering the wall’s potential over years. Meyers explains by email, “I pass that wall multiple times a day and it always spoke to me. I continued to see its size and scope and only saw beauty and potential.”
Painting days are scheduled for today, August 29, from 4pm-7pm; Sunday, August 31, from 1pm-3pm; and Monday, September 1, from 1pm-3pm. Interested participants need only show up; the gallery will provide all painting materials. Read the rest of this entry »
“Phantoms in the Dirt” at The Museum of Contemporary Photography, guest curated by the MCA’s Karsten Lund, takes a literal approach to the photographic treatment of detritus, while showcasing a number of works with more subtle allusions to dirt, dust, baseness and the essential materiality of the photographic process.
The exhibition is introduced by a number of richly material works. Harold Mendez’s installation “Let the shadows in to play their part” plasters the back wall of the museum’s first floor in eucalyptus bark, fleck’s of black silicone carbide and other pigments. Richard Mosse’s palpable photographs of a surreal cotton-candy landscape are in fact images of the Congolese countryside shot on Kodak Aerochrome, a defunct infrared film which renders vegetation in brilliant pinks and reds. Read the rest of this entry »
At the beginning of August, a striking new environmentalist campaign was launched by Milton Glaser, the indelible graphic designer responsible for such iconic works as the I heart NY logo. The stark new design of a black circle shaded a dimming green across its bottom edge connotes the earth’s present environmental changes and is accompanied by the tagline: “IT’S NOT WARMING, IT’S DYING.” Now the Chicago based Busy Beaver Button Co. has partnered with Glaser to create and widely distribute one-inch buttons of the logo through the website itsnotwarming.com. Read the rest of this entry »
A booming drone engulfs you as you enter the Ukrainian Institute of Modern Art, a vicious vibrating to the chest and inner ear. This omnipresent noise is the first sensation in GlitChicago, an exhibition of Chicago glitch art—work surrounding the errors seen in digital systems—and showcases the work of twenty-two artists. Many of the works are interactive, expressing core tenants of Glitch Art, including “0P3NR3P0,” 2014, a project that allows anyone to submit their own Glitch work to the open-source database, put on by Nick Briz and Joseph YOlk Chiocchi. Jon Cates’ piece “?4\/\/?(?)H?!\/?,” 2014, displays a bricked sculpture holding a USB drive that contains a compressed archive of Glitch Art for free download—data in which Cates has collected and archived for the last fifteen years and contains more than 113.13 GBs. The data has never been shared publicly before this exhibition, and contains media such as photos, videos and emails, adding a further digital layer to the hyper-focused new media-centered exhibition. Read the rest of this entry »
The works in David Rappeneau’s exhibition “$$$$$$$$$$$$$$$$$$$$$$$$$$$” depict apathetic millennials looking bored and despondent. His drowsy partiers appear to have everything they could desire in a series of twenty-first-century vignettes where passing whims are instantly gratified by drug-induced daydreams and glowing smart phones. On the surface, the action is simple: figures shown in various states of excess, their bodies rounded and stark. These are works that ponder the pleasure and escapism promised by leisure, a classed enterprise made exclusive through wealth and position. Read the rest of this entry »
Why does the evocation of light from painting pervade the medium’s extensive history? It seems like a nonstarter to grind up and smear colored mud across a substrate in the attempt to produce luminosity. While peers in the loosely delineated movement of Light and Space in California from the 1960s onward abandoned painting in favor of more immaterial installation strategies, Norman Zammitt made a career of reasoned, deliberate canvases informed by floaty sensorial aspirations. His small paintings at Andrew Rafacz are rewarding to viewers precisely because of the tension between their physicality and the optical trickery that their composed horizontal bands of nuanced color excite in the eyes of viewers. Read the rest of this entry »
In this inaugural exhibit mounted by Women in Focus, a new collective of female photographers ranging from beginners to professionals who practice the gamut of straight modernist genres from the architectural detail through street photography to the portrait, the intimate close-up images steal the show. Among the sixteen artists—each contributing two images here—the strongest and most penetrating impression is Kambua Chema’s close-up color study of a Muslim woman’s lustrous eyes appearing through the slit in a deep black veil that covers the rest of the frame, which was in Kenya’s eastern coastal region. Look closely into those eyes and see reflected exquisitely the street scene to which the woman’s vision is directed. Chema has titled the image, ironically, “Windows to the Soul.” Read the rest of this entry »