Alison Ruttan, "Evered Is Interested (detail from Dean Sequence)," 2009
Taking on the time-honored conundrum of the meaning of human life, curator Allison Grant brings together sixteen photo-artists, each of whom approaches the question from a different angle and distinctive strategy. Some of the contributors are smitten with contemporary science, others with their fantasies about it; some are straight documentarians of the survivals of primeval ages in our world, others set their fancies free in constructions and scenarios. Read the rest of this entry »
“Class of ‘67”
In the 1960s, the baby boom generation was conscripted into a war in Southeast Asia that turned out to be as unnecessary as it was futile. In the early 1980s, some of those who served, especially artists who had seen combat, realized that they had unfinished business. Coming mostly from blue-collar backgrounds in small towns or inner-city neighborhoods, they had something to say about experiences that most Americans only knew as Hollywood entertainment. Exhibitions were organized to tour the country and eventually a national museum was established here in Chicago. One of the founders of that movement was Charlie Shobe (1940-2011), a Marine lieutenant from Petersburg, West Virginia. Shobe wrote, “My paintings are of the horror show that was Vietnam: butchery carried out for politicians, bureaucrats, and ambitious generals whose egos would not let them say ‘enough’; art for an indifferent public; art to honor those who lived and died there, and earned only a few hundred dollars a month. It would take a lifetime to paint it all.” And that’s what he did in the 1980s and nineties—not the romantic memorials that celebrate victory, but how it felt to have boots on the ground, and meditations on that ultimate insult to the invulnerability of youth: sudden and violent death. Read the rest of this entry »
Robert Frank, "A Monument to Electricity + Photography," 1976. Photo Lithograph
With a flood of 123 black-and-white and color, and large and small format images by fifty-six photographers (mostly American, with a smattering of Europeans and Asians, some renowned and some less known) covering the last eighty years, this visual torrent of an exhibition that celebrates and criticizes by turns modern industrial infrastructure is in need of one of the dams that pop up here and there on the walls. Given the lack of conceptual focus, viewers are advised to cut through the thickets of telephone poles and powerlines, and to hone in on particular shots, many of which are striking and worthy of long looks, and to pay particular attention to distinctive styles rather than subjects. A photographic eye will put one on an expressway directly to Robert Frank’s multi-photo color collage of those ubiquitous poles (festooned with photos of his dog), the segments of which are out of alignment. Frank’s “Monument to Electricity + Photography” is witty and wise, and is inadvertently a metaphor for the show. (Michael Weinstein)
Through July 17 at the Museum of Contemporary Photography, 600 South Michigan.
detail from Dana DeGiulio's installation at Devening Projects
By Jason Foumberg
In a 2003 interview, Jackie Winsor reminisced about New York City in the late 1960s: “The art world at the time was a tiny place. You could see every exhibition you wanted in about an hour and a half.” Although it smacks with a little nostalgia for simpler times in big New York, Winsor’s recollection seems to have its benefits. If everything is visible all at once, then there’s a shared vocabulary.
To put this another way, in a smart animation by Rob Bryanton he illustrates how to conceive, in layman’s terms, of the tenth dimension. Starting simply, he depicts the second dimension as an ant walking on a flat newspaper, and then rolls up the paper so that the ant can walk across the entire rolled up surface, and that’s the third. In the Chicago dimension, we are a little bit Winsor and a little Bryanton. Loopholes through space and time are just small flourishes of the hand. In this case it’s easy to see Lucas Samaras’ arrangement of magic knives, on view at the MCA, through the collection of sacrificial knives of the Northwest Coast Indians, on view at the Field Museum—although these two sets of objects have never met. Read the rest of this entry »
Although the six artists in “Tomboy” are lesbians (according to the catalogue essay), the artworks in the exhibition don’t depict graphically charged lesbian imagery (there’s no pornography or strap-on dildos). Instead, the artworks are androgynous. They aren’t dogmatic or overtly political, but rather sing with visual self-assurance, and that’s a crowning achievement for art. “Tomboy” seems to be more about social attributes and characteristics than about the core of a person’s identity, more about clothing than vaginas.
The term “tomboy” doesn’t necessarily equate with lesbianism. A woman who acts like a man, and who loves other women, is better described as a butch lesbian, the opposite of a femme. Usage of the pejorative “tomboy” dates back to the mid-1500s, three centuries before the word “lesbian” was ever used to mean woman/woman love. Where “butch lesbianism” concerns sex, “tomboy” concerns gender-flipping, and a straight woman can be a tomboy—she may enjoy male-coded activities like football, fixing car engines, wearing suits and spitting on the sidewalk. This stringent terminology is the side effect of decades-long battles over identity politics and civil rights. Read the rest of this entry »
David Hyatt, "El Diario De Anna Frank – Migrant Camp," 2004
In this comprehensive photo-documentary on the migration of Mexicans to the United States—seen from both sides of the border—curator Rod Slemmons succeeds in deconstructing the stereotypes pervading the current immigration debate. Bringing together ten U.S. and Mexican photographers, the exhibition takes us from a Mexican town where only women and children remain to do all the work, through the high-tech border-control apparatus, up the perilous paths taken by those who get through, down to the depths of the drug trade, and finally to destinations like West Liberty, Iowa and Chicago’s Pilsen neighborhood where thriving communities take root. The nuance, subtlety, ironies and power of Slemmons’ approach is encapsulated in Michael Hyatt’s black-and-white shot of a Coca-Cola bottle and a dog-eared copy of “The Diary of Anne Frank” abandoned in the desert by an anonymous seeker for a better life. (Michael Weinstein)
Through December 22 at the Museum of Contemporary Photography, 600 South Michigan.
Moyra Davey, "Copperhead #13," 1990. Courtesy of the artist and Murray Guy Gallery, New York
The four photo-artists on display here who were nominated for this year’s Grange Prize—an award presented annually to a photographer from Canada or a partner country (this year the United States)—all focus on everyday objects that they manipulate and/or re-contextualize to produce aesthetic effects beyond the mundane. Although the winner will be announced on November 3, Canadian Moyra Davey’s series of macro-photos of severely distressed Lincoln-head pennies that she gathered on the streets of New York City are particularly alluring because they pack the one-two punch of alerting us to the involved textured patterns that result from weathering, while throwing us into a reflection on the tattered legacy of Honest Abe. Although scarred and pocked, Lincoln is still present—in varying degrees of decay—as a figure of strength and dignity in five of Davey’s six images; but in the last, the copper has corroded to the point that the face has degraded into a shattered skull. (Michael Weinstein)
Through December 22 at the Museum of Contemporary Photography, 600 South Michigan.
Imagine you’re a busy exec with a huge staff of Nike-stitching slave labor in Sri Lanka to control. How to comfortably manage them from the beautiful Pebble Beach golf course? The Yes Men have answers. Step into their gold skin-tight Management Leisure Suit, equipped with an inflatable three-foot long phallus, at the end of which is embedded a computer screen so that you can monitor, communicate with and direct your off-site sweatshop, while still swinging your nine iron freely. You’re busy. You owe it to yourself.
Or consider this: if those silly militant “environmentalists” prove to be correct about the increasingly unstable climate, how might you guarantee your own survival in the wake of global catastrophe? Don the Halliburton SurvivaBall, a fully equipped self-sustaining six-armed ball that functions as a life-support system. It can even draw “resources” from other living organisms to keep itself powered, and will ensure your safety come hell or high water, which are certainly viable options. Read the rest of this entry »
"American Goldfinches," 2008. Courtesy of Klompching Gallery, New York
Is there such an animal as a postmodern bird watcher? Paula McCartney demonstrates that even that is possible in her deep, rich and muted color photographs of various and sundry feathered friends taken at a distance at which they merge into the dense woods that encompass them. “Idyllic” is what McCartney calls her images and we are ready to agree until we find out that the assorted avian creatures are kitschy models that she picked up at craft stores and deployed in her scenes. No problem; McCartney can fool even the most discerning fancier of fowl. For those who are hip to the program, her shots will evoke the smile of absurdity. What else is possible when we peer at a sensuous orange thrush nestled on a branch of a denuded tree in autumn, strive mightily and fruitlessly to admire it, and then remember that it is simply a simulation? (Michael Weinstein)
Through September 26 at the Museum of Contemporary Photography, 600 South Michigan.
"Stonehenge (with Two Persons) Blue," 2005, Mixographia print on handmade paper
Equal parts eye candy and brain-teaser, this gem of an exhibition spans roughly forty years of John Baldessari’s printmaking career.
His signature stock photographic images of figures with their faces painted out by round, color-saturated circles are just the tip of the iceberg for this engaging retrospective. Film stills and collage elements are introduced, with framed pieces grouped together in an over-determined salon style aped by generations of subsequent Southern California artists, most notably the New Folk/Beautiful Losers circuit.
These poignant vignettes, sometimes expressed via chock-a-block arrangements, and sometimes contained within a single, large-format work, employ all the magic of successful surrealist art by beguilingly de-familiarizing the familiar. Read the rest of this entry »