Alfredo Salazar-Caro. “Untitled (for Panther Modern),” 2015.
Digital print, dimensions variable.
The Chicago Artists Coalition has announced that it will launch a yearly exhibition of new Chicago art to run concurrently with EXPO Chicago, the International Exposition of Contemporary & Modern Art. “The Annual: An Exhibition of New Chicago Art” will be an unique opportunity for art enthusiasts and collectors to learn more about the work of young and upcoming Chicago artists and collect new works. Each year, the show will be arranged by two guest curators with intimate knowledge of Chicago’s most relevant and rising art makers.
“The Annual will offer a fresh, of-the-moment look at the concerns and practices of today’s emerging generation of Chicago artists and makers,” said Claudine Isé, lead curator of the inaugural exhibition. Artists featured include Kiam Marcelo Junio, Alfredo Salazar-Caro, Susy Bielak, Noël Morical, Macon Reed and Michelle Anne Harris. A comprehensive list of participating artists will be made available in early August. Read the rest of this entry »
Anthony Baab. “Cover the Earth 2,” 2015.
Marker, cardboard, glue. Dimensions vary./Image: Clare Britt, courtesy of Threewalls.
An exhibition filled with cardboard boxes naturally speaks to today’s consumer culture. Rather than displaying tangible goods, the materials used to protect and transport commodities are on show here. The exhibition makes an apt critique of commodity culture, illustrating the constant re-branding efforts of corporations, as well as the vast spread of consumerism and its attendant waste. Read the rest of this entry »
Manish Nai. “Untitled,” 2015
Dyed burlap, 90″ x 4″
The work of Mumbai-based Manish Nai makes a viewer reconsider the limits of an artistic medium. He doesn’t use traditional media, such as heavy metals and wood, oil or acrylic. Instead, Nai uses everyday materials—cardboard, jute, newspaper and even his family’s used clothing—to sculpt, mark and render.
For his first solo exhibition in the United States, Nai has created wall hangings, photographic prints, sculptures and four site-specific works, including a gallery pillar wrapped in jute, a burlap-like material that is abundant in India, and a heat-transferred mural that will slowly disappear during the course of the exhibition. His use of traditional artistic processes, such as weaving or drawing and sculpting by hand, in conjunction with contemporary rendering techniques borrowed from digital and new media art, design and architecture give these objects a surprising new dynamism. By combining the old and the new, Nai’s work is thoroughly international even as it remains fully Indian.
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Phillip Maisel. “Serengeti Green (1836),” 2015
Archival Pigment Print and Scrim. 17″ x 24″
Repetition with minuscule change might be the hallmark of our day. Apps update regularly, new iPhones roll out yearly, movies reinvent themselves over and over again, all in a pursuit of user satisfaction. A good indicator of this is someone like Katy Perry—plastic bag, party girl, roaring tiger—in short, whatever we want or need her to be. This endless buffet of options suits our twenty-first-century needs but also keeps us fickle and anxious. Phillip Maisel’s photographs in his exhibition “Serengeti Green” use the vernacular of constant, minimal change that dictates this contemporary anxiety, asking us to slow down and consider these minor variations.
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Linnea Gabriella Spransy. “Repeat, Like Nothing Ever Has Been,” 2015
acrylic on canvas, 78″ x 72″
Aside from the obvious aesthetic concerns of making objects of lasting beauty, the central problem of abstraction has always been one of style and technique. More specifically, it has been the search for a technique that yields and animates an autographic or signature style as unique as the painter’s vision. It’s a lot harder than it sounds: as evidence, witness the cliché-ridden failures of abstract painting’s supposed “comeback” visible at any given art fair.
All the more reason then to celebrate the seven artists whose works comprise the concentrated, diverse and yet seamlessly integrated “Abstraction: A Visual Language” at Rhona Hoffman Gallery. That these artists are also women is a fact worth highlighting in its own right, but let’s be clear: these are damn good painters first and foremost who make singular works that defy easy categorization. Read the rest of this entry »
Claire Sherman. “Rock Wall,” 2015
oil on canvas, 84″ x 72″
Paint purists, oil enthusiasts and lovers of all things gooey can get their fix at Kavi Gupta right now. Claire Sherman’s current show, “Funeral Mountain” blends Romantic-era geological drama with mid-century action painting, modernizing it by default in the process. The show is comprised of six large paintings of rock walls and three of caves, each one simple and sophisticated but strikingly generous with its labor and beauty. Read the rest of this entry »
Brian Dettmer’s current exhibition at a Packer Schopf Gallery, “Antisocial Media.” Photo: Sean DiSantis
After almost nine years working together at Packer Schopf Gallery (PSG), Aron Packer and William Schopf will be dissolving their business partnership as of July 15. Their current exhibition featuring work by Brian Dettmer and Mary Porterfield will be their final project organized together as well as their last show in the West Loop gallery. Read the rest of this entry »
Jillian Mayer. Still from “Touchers,” 2015
single channel video, 5:39 minutes, unique installation, dimensions variable
“Touchers” at Aspect/Ratio and Jillian Mayer’s first solo exhibition in Chicago, highlights the loneliness of seeking affection through a cold screen, the impossibility of human touch across monitors. The artist herself is present in each piece, her hands seen within photosensitive prints on plexiglass and fabric in the front of the gallery, while her image and words exist within the central piece, a video installation in the darkened back room. Read the rest of this entry »
Mary Porterfield. “Fields of Departure.”
Mary Porterfield paints nice Western landscapes, or at least that’s how her paintings appear from a distance of twenty-five feet. Mountains in the background, dramatic clouds overhead, and a roaring river running through the middle: it’s all quite conventional, suitable for a hotel near a national park. However, when viewed closely, the sky, earth and water are filled with dozens of faint, ghost-like human figures that seem to inhabit a parallel universe. Read the rest of this entry »
Sydney Snyder’s poster for Monique Meloche Gallery, Chicago
To coincide with their current exhibition “The Gallery Tally Poster Project,” Woman Made Gallery (WMG) has issued the release of a report conducted in 2013 regarding gender representation in US commercial galleries. The exhibition is organized by executive director Claudine Isé and Los Angeles artist Micol Hebron and is a social engagement art project, which includes the work of more than 180 artists from all around the world. They not only collected data concerning the ratios of female and male artists in top contemporary art galleries but also visualized it in the form of art, in any medium of their choosing.
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