Have you been to the Museum of Contemporary Art lately? It’s like the Experience Music Project in there! Read the rest of this entry »
In order to understand what Kerstin Brätsch and her collaborators are up to it is useful to think about another group of Germans from a hundred years ago. The artists of the Blue Rider (Kandinsky, Münter and Marc) painted on glass, canvas and paper. They sought inspiration in naïve, folk and children’s art. Read the rest of this entry »
Claire Pentecost’s new site-specific installation titled “the force that through the fossil drives utopia drives my greased age” is a peculiar hybrid: a rectified readymade and a political allegory. As a genre it is nonsensical, but as an individual work of art it is not too bad. Read the rest of this entry »
After several years hiatus, the Museum of Contemporary Art will host a benefit auction on Friday, October 23. The event will feature more than 100 works of art by well-known and emerging artists, many of whom have worked with the MCA throughout its history or whose work has been exhibited at the museum in recent years, including Olafur Eliasson, Takashi Murakami, James Welling, Isa Genzken, Doris Salcedo and Sanford Biggers. Read the rest of this entry »
Chicago, priapic King-Hell capital of exceptionalist, heaven-penetrating architecture; birthplace of The Reach, there could be no better place—and no better museum—for Ania Jaworska’s exploration of how our monuments commune with ourselves. Read the rest of this entry »
Religion is often the apparent culprit in today’s war-torn world, so an exhibition with a spiritual undertone may seem unnerving. Read the rest of this entry »
By Elliot J. Reichert
In this year’s Art 50, we focus on the power players who shape Chicago’s art landscape. Naomi Beckwith, a Hyde Park native, brings an insider’s knowledge of the city to her role as the Marilyn and Larry Fields Curator at the Museum of Contemporary Art. In just over four years, she’s crafted some of the museum’s most timely exhibitions, including a major outdoor sculptural commission by Yinka Shonibare MBE and the MCA’s current headliner, “The Freedom Principle,” which she co-curated with Dieter Roelstraete. I spoke with her about the art of research, what it means to be a nerd in the art world and what’s next for this rising Chicago art star.
Being born and raised in Chicago, how has this city influenced your work as a curator?
Many people know that I had initially considered a career in the sciences. For my first twenty years, I was academically focused on those disciplines, but two signifiant things changed all that. One was the ethos of this city and its commitment to public spaces, which always included art: festivals, programs, art fairs and museums. I am a very proud child of Chicago Public Schools, which has an amazing field trip program that includes these destinations. This early access to both the formal art space of museums and also informal spaces, like the Hyde Park [57th Street] Art Fair or the African Festival of the Arts in Washington Park, left deep imprints on me. Read the rest of this entry »
By Elliot J. Reichert
The above image was sent to me anonymously in the middle of the night. Shocking as it appears, I was relieved to receive it. You see, weeks ago I had contacted a few artist friends to ask them to reflect on the upcoming fall art season in Chicago and to ask one to “take over” the task of appraising it. To my surprise, they were reluctant to describe it, even those who had exhibitions of their work opening in the coming weeks. Later, I realized that their silence was my doing, having asked a question that could produce no coherent answer.
Much like the drawing game made famous by the Surrealists, Chicago’s 2015 fall art season is an exquisite corpse—a thing of grotesque beauty that is the dream of no one, but the creation of many. At first glance, it appears sinister, like the Block Museum’s solo show of newly commissioned works by Chicago artist Geof Oppenheimer. Rumor has it that the sculptor has filled the museum’s ample galleries with austere and foreboding installations resembling the cinderblock constructions of grim institutions, like prison, or perhaps your corporate office. Even more menacing, Irena Haiduk, also Chicago-based and also exhibiting new work, will haunt the eaves of the Renaissance Society’s transformed gallery with the Sirens of Greek mythology, luring visitors unexpectedly into a debate on the revolutionary possibilities of art and social change amidst current political upheaval worldwide. Read the rest of this entry »
“Out of Office” culls five works from the MCA collection to inquire about labor and financial transactions. The show’s title cannily suggests that the office has expanded. We’re always at the office, even while on lunch break.
Smith is known for lovingly handcrafting Americana—costumes, furniture and artifacts—with which to interrogate the spectacle of historical recreation. In this she is indeed like a theatrical “set dresser,” someone who designs and arranges props.
Many of these recent works are photographs of objects of material culture from American living-history sites. Printed on fabric, the pictures take on a rustic look, akin to the objects they depict. But they contain powerful autobiographical elements, too. The lovely rainbow-colored skeins of yarn seen hanging in “Hand Dyed Wool, Colonial Williamsburg,” 2014, is a trenchant feminist statement on several levels while recalling Morris Louis’ stain paintings. Within a large, oval, walnut frame handcrafted by a master Massachusetts artisan, “Mirror,” 2014, shows a field of nubby linen on which a photograph of a mirror’s reflection has been printed. It’s a visual riddle, a twenty-first century version of the modern artist’s abiding fascination with mirrors. Less puzzling perhaps, but no less elegant, two tilt-top tables are covered in silk printed with photos of quilt patterns. Read the rest of this entry »