Photo: Nolan Feeney
That’s one small step for Ravenswood, one giant leap for Ork Posters.
The company behind the typographic neighborhood posters of Chicago opened its new studio at the end of September—and it’s about four blocks away from its last home.
“We were basically at capacity over there,” says founder and designer Jenny Beorkrem, who plans to open her old Ravenswood location as a retail store in November. “We couldn’t add more shelving.”
Ork Posters has come a long way since Beorkrem first started making prints in 2007. When she began, Chicago was her only design, and she learned to screen print so she could produce prints in small quantities, like her inaugural run of twenty posters. Now with twice the square footage of her old place, the twenty-nine-year-old sells more than twenty posters a day and has nearly two-dozen designs. Read the rest of this entry »
Shirley Nannini, “Surge,” in collaboration with Candace Wark
Photographic abstraction has recently made a comeback, with a new generation of artists experimenting with novel approaches to wresting beguiling forms out of ordinary objects that leave everyday perception far behind. Shirley Nannini is at the forefront of this movement, placing her subjects (rocks, rulers and plates, for example) in a wind tunnel, mixing some smoke into the atmosphere and shooting the effects in color. The images depict curving, swirling and undulating forms that run wild as they fold in upon themselves and spike out in patterns that we have never before glimpsed. The closest approximations in the real world to the shapes that Nannini presents to us are complex involuted sea shells, like the chambered nautilus; yet those are static, whereas hers have burst their bounds and sprawl, twist and spread, as though the tiny creature confined in its prison had become Prometheus unbound. Read the rest of this entry »
If you’ve never been to Taste of Chicago, don’t worry; you’ll be right there in the thick of it when you see Joe Sterling’s black-and-white photographs of the gustatory festival, taken between 1988 and 1990; and, if you’re a devotee of the affair, you’ll be brought back to the experience of being engulfed by hordes of fellow citizens and tourists snarfing up corn on the cob, watermelon, and meats and sweets of all varieties. Sterling’s images work so well, because they are so intimate in their depictions of a mass phenomenon. His strategy of using a panoramic lens, which widens the visual field horizontally and shortens it vertically, gives viewers a look that is very close to what they actually would see if they were there—a gaping mouth taking a big bite, or a tangle of legs punctuated by a girl intent on consuming her victuals kneeling in their midst. Read the rest of this entry »
It’s been nearly a hundred years since the Weimar Bauhaus sought to remove the class distinctions that put a barrier between craftsman and artist. Walking into the “Time and Materials” exhibition at Manifold, it’s clear to see how the art/design, craft/production dualities are still communicating, perhaps not across class lines but along ideological ones.
Formerly operating as metal+works in Pilsen for ten years, Ross and Elizabeth Fiersten relocated their manufacturing workshop to a Ravenswood storefront, paired it with a gallery, and renamed it Manifold. Their new exhibition, “Time and Materials,” was conceived as a reflection on the way precise measurements could lead to uncertain outcomes. The show features new works by the Fierstens and Manifold workshop residents Bridgette Buckley Studio and Merkled Studio, as well as a specially commissioned artwork by James Jankowiak. Read the rest of this entry »
It’s tornado season hereabouts and Justin Thomas Leonard just goes gaga over those thunderheads that incubate and generate the twisters, so much so that he goes out into the roiling gray-black miasma that fills the air, yearning to capture in color, not a funnel cloud (though he gets close), but people who didn’t honor their better judgment and went into the meteorological wilderness to watch, transfixed. The thunderstorm is the epitome of the sublime, and people want to feel the awe, judging by their focused stances, because Leonard almost always shoots them from behind. Only once does he go head on; his subject is a young man, wreathed by the clouds, his gaze unwavering and his lips closed and blissful. Read the rest of this entry »
The inaugural exhibition at Manifold, “R&D,” or Research & Development, attempts to interpret a term most frequently associated with biotech companies. Housed adjacent to their metal furniture and accessories industrial design shop, it is a logical juxtaposition for the owners to stage an exhibition of work that speaks to the often methodical, research-oriented process of creation. In artistic terms, R&D involves a systematic process in which research is undertaken to expand on and reinterpret unique applications of creation from a technical, stylistic, and intellectual standpoint.
The enormous tapestry piece by Mike Andrews, titled “Let It,” is an amazing conglomeration of colorful yarn. Cascading skeins of bright colors form a yarn waterfall of sorts and it is tempting to inspect this closely to see how it is pieced together technically. The tapestry packs a punch, working on a purely visual level, as well as effectively fulfilling the R&D premise by simultaneously referencing and usurping the traditional connotation of yarn as a hobby medium. Read the rest of this entry »
Cats are cute. That goes without saying. A lot of photographers are partial to shooting them, another no-brainer. The felines are decidedly cute under Mark Steinmetz’ lens, but only to a point; Steinmetz wanders the scruffy, scrubby environs of Athens, Georgia and snaps black-and-white street portraits of his subjects doing their things with their fabled indifference to lowly humanity. An enormous cat sits regally on top of a car, its mouth hugely agape and its teeth sharp as tacks, yawning monstrously. Read the rest of this entry »
Back in 2002, John Allen Muhammad, the “Washington Sniper,” captivated the country through his brief months of infamy as he made his way with his young accomplice Lee Boyd Malvo on a long and winding road from Washington state, through the Southwest and Deep South, to Maryland and Washington, D.C. gunning down twenty-seven random victims with his rifle. In 2005, photographer Joel W. Fisher retraced Muhammad’s journey, shooting with his camera the depopulated sites of the killer’s deeds. Read the rest of this entry »
In the best conceptually conceived and curated photography show so far this year, gallerists Adam Holtzman and Lucas Zenk have brought together four of the most visually intelligent contemporary feminists, each of whom elucidates and illuminates the condition of being female with a tight and realized strategy. By making a purely photographic disheveled and ramshackle room from scanned straight shots manipulated in the computer, Jessie Seib creates a brilliant visual metaphor of the internal struggle to become an independent self. In her series on New York City prostitutes, Sebrina Fassbender transcends documentary and conventional portraiture by showing her subjects at their low points of despair, yet avoiding even a trace of pity or superiority. Dwelling in popular culture, Sigri Strand stages scenes straight out of film noir that garishly evince the witch-like image of the femme fatale. Convinced that childhood has been overrated in our myths, Jacqueline Langelier gives us a tween sitting at a table full of candy dishes that have overflowed into a full-blown cloying mess. None of these artists knew each other previously, but it is as though they were a juggernaut of a collective. (Michael Weinstein)
Through August 28 at Alibi Fine Art, 1966 West Montrose.
David Akiba, "Simple Distances #5" 1980
Shooting scenario street portraits in a nameless city in black-and-white, David Akiba proceeds to put his prints through a photocopier and then photographs his reproductions, coming up with grainy images that emphasize alienation even when he—only once—captures an embrace. Most characteristic of Akiba’s approach is a diptych recording the same scene of a man walking through a corridor with a shadowy woman in front of him and a man standing behind him in a doorway; in the left panel, the woman resolves into a black silhouette, the walking man is reduced to a mottled decomposing cartoon figure, and the man in the doorway retains a recognizable presence; in the right panel, the woman has become a stain on the wall, the walker is silhouetted in black, and the standing man is a mottled cartoon figure about to fuse with the wall. For Akiba, the perspectives that we take on ourselves and the people around us vary, yet whether we are in high relief or about to disappear, we are always alone. (Michael Weinstein)
Through October 31 at Alibi Fine Art, 1966 West Montrose