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 »
This Saturday, August 9, Thalia Hall in Pilsen will host the nineteenth and final Brain Frame, a bimonthly show self-described as “performative comix readings.” Three years ago, cartoonist and filmmaker Lyra Hill began Brain Frame as an experimental space for comics-based works to be performed for live audiences. Projected slide shows, music, puppetry and other zany forms of theater have been the staples with which comic artists and authors have expanded on their illustrative universes into dynamic live events. In an email to Newcity, Hill writes, “These past three years of Brain Frame have been hugely influential to the underground scene (particularly the alt-comics scene) in Chicago, and an exhausting whirlwind for me. I’m really looking forward to celebrating Brain Frame’s success and calling for the community to sustain itself moving forward.” Read the rest of this entry »
“I was very little when I went as Glinda for Halloween one year, with very patient parents,” recounts artist Vincent Tiley as we met for coffee in Bushwick, the neighborhood in Brooklyn where he resides. Costumed as the good witch of Oz was one of Tiley’s earliest forays into the effervescent world of drag. “I take a lot from my experience coming out in college in Baltimore surrounded by a queer punk scene, making looks and going to a club and feeling all the feels that you get being weird at a place where people want you to be sexy.” For Tiley, bodies contain these tensions between the desire to be desired and a nearly contradictory one to challenge and affront. His first solo exhibition, “New Skin” at elee.mosynary gallery in Pilsen, is populated with heavily adorned bulbous paintings on digitally printed spandex that are “Blob Portraits” of club kids and drag queens that Tiley has befriended.
This year’s Version Fest—which runs from Saturday, June 21 through Sunday, June 29—starts with a summit and mini market at the Mana Contemporary building in Pilsen (2233 South Throop). All the weekend’s activities are free and open to the public. This year’s festival is called The Placemakers and will showcase programming that examines how public and private spaces are being transformed, revitalized and animated by a lineup of creative workers, gardeners, pop-up urbanists, artists and activists. The summit will be from 12:30pm to 6pm on both Saturday and Sunday, with presentations on diverse topics such as contested territories, graffiti, tactical urbanism, neofuturist architectural movement, city development and urban farming. Read the rest of this entry »
In the inaugural exhibition of Loo, Slow’s gallery within a bathroom, Paul Hopkin has his walls turned on his own work. Recently asked by a stranger to rent out Slow’s exhibition space in Pilsen, Hopkin was inspired to calculate how much of his building (in which he also lives) was dedicated to art space. Hopkin’s calculations led to a measurement of cost per square foot, and the silent partner of Slow, Jeffrey Grauel, immediately asked to lease the bathroom for one year—the decided lease at $19.42 a month. Because this is not technically Hopkin’s space, Grauel invited him to display his work for the first exhibition, highlighting the irony of Loo being a competitive gallery held within Slow’s walls, a space where the partners’ roles have been reversed.
Mindy Rose Schwartz’s recent exhibition of sculptures at Pilsen’s Queer Thoughts walks the messy border between the fine arts and craft. Schwartz, who teaches the Extreme Craft course at the School of the Art Institute of Chicago, has a history of complicating this border, teasing exciting formal, historical and affective possibilities out of parallel craft and fine arts practice. “Windsong stays on my mind,” a dream catcher in which one spies the outlines of birds, faces, evil-eyes and popsicle-stick musings is dotted with costume jewelry, rhinestones and false flowers. Read the rest of this entry »
“I lived outside for a year in my mid-twenties,” says Macon Reed. This was communal full-time camping in Santa Cruz’s redwood forests. We are speaking by phone while she is on a road trip, and she exuberantly tells me that she is calling from another forest along their travel route. A few years after this outdoor social experiment, Reed founded Camp Out in 2012, a summer camp outside Portland, Oregon, for campers aged eighteen to twenty-three who self-identify as female. Their only requirement to participate is that each of them had to teach a workshop on any topic they chose. “People brought what they needed to the camp,” Reed says. “I think of structures that create community as a medium.”
Just as Fashion Week wrapped up in Paris, Queer Thoughts in Pilsen opened a new exhibition of collaborative works by Sebastian Black and India Donaldson that simulates the culture of simulated (read: knockoff) fashion and luxury goods. More specifically, Black explains in the press release that they are interested in objects produced in the authentic factory, but outside of official working hours, which are then smuggled into the world. What might have been a heavily burdened ontological premise plays lightly in a blushingly sweet, sparsely hung installation of clothing-like sculpture, a video and a work on paper. Like the artist Sturtevant has done with her conceptual forgeries of modern and contemporary art, Black and Donaldson’s works slink right up to the difference between original and copy, showing off that distinction is more a matter of the mind than any hard ruling. Read the rest of this entry »
Pilsen’s growing art community has a new addition. Hoofprint Workshop, a gallery, printmaking press and studio sited in a repurposed funeral home, is the brainchild of local printmakers and teachers Liz Born and Gabe Hoare.
The pair’s first curated installation, on display through November 23, is an explosion of styles, themes and techniques, held together by a mutual commitment to cross-disciplinary collaboration.
“We have worked with four artists this past year as a part of our Collaborative Publishing Project,” says Born, including John Himmelfarb, Polly Yates, Sandra Perlow and Gabriel Villa. “Works from this endeavor are displayed on the south wall of the gallery, alongside non-print works by the same artists. The north wall of the gallery features artists who we’d like to work with more closely in the future. We chose to display their work not only because we think it’s fantastic, but also to give viewers at our opening an idea of what the future holds; something to really sink their teeth into.” Read the rest of this entry »