Sheila Hicks. “Dervish,” 2011
steel, linen, wool
Rhona Hoffman brings together a group exhibition of works from the past thirty years that shows how fabric performs as a palimpsest of industrial and domestic worlds, transplanted from utilitarian to art contexts.
Karen Reimer’s “Endless Set #1399,” was originally developed as a site-specific installation for UIC’s Gallery 400. Digits cut from white cloth are sewn in 1399 patches, stacked in the shape of pillowcases on the corner of a wooden bed-shaped frame. The work privileges an unrelenting systematic approach over conceptual transparency. Beside this sparsely arranged numerical record is a more chaotic and carnal collage. Anne Wilson’s “Mourning Cloth” is a loosely hung shroud, matted with human hair and featuring a small hole lined like a made-up eye with tiny black stitches that diffuse outwards, suggesting a vacant cosmic gaze. Patches of stained and used tablecloth are sewn together to emphasize fissures. The dispersal and patchwork of materials permeated with an undisclosed domestic life suggests another kind of compulsive action, an attempt to mend, without eradicating the compound histories of the material. Read the rest of this entry »
Carson Fox. “Rose Crystal,” 2013, cast resin
There is something inherently playful, yet disconcerting, when one first approaches Carson Fox’s “Mimesis.” The resin sculptures seem, at first blush, almost coquettish, climbing the walls, sitting upon pedestals, protruding in amaranth and aqua and palatinate, their familiar organic forms exaggerated, coated and made fantastically approachable. They dominate Linda Warren Projects; on every surface sans the ceiling, Fox approaches the installation as an integral aspect of the art itself—see “Orange Coral,” shades of heat, from tangerine to rosso corsa, which spreads across the back wall like an anatomist’s plastinated arterial system, impossibly similar to the real thing (if viewed from no deeper than a few fathoms, of course) down to their dimpled surface. Read the rest of this entry »
Installation view of Stan Shellabarger at Western Exhibitions
Stan Shellabarger’s most recent solo show at Western Exhibitions exhibits his durational work through which he contemplates the residue of time and the physical impressions left behind on materials such as paper, wood and steel. Throughout the galleries, he fully embraces each passing moment while creating a collective imagery that is focused, somber and quiet.
At the center of the show, there is the artist’s homage to Carl Andre’s “Plain” called “Untitled (Drypoint).” This work investigates pacing and time as the artist walked on steel plates he arranged to resemble Andre’s work while wearing heavy-grit sandpaper on his shoes. The work hovers on a plinth just above the gallery floor and is marked with a red snaking shape that sets the stage for the remaining pieces in the galleries. This work is the heart of the show, guiding visitors to also pace themselves with his command of minimalist formal strategies. Read the rest of this entry »
Whitney Bedford. “Ships (Inviting Catastrophe),” 2014, ink and oil on canvas on panel, 72″ x 120″. Photo by Evan Bedford
There’s a lot of turbulence happening on the smooth white walls of Carrie Secrist Gallery right now. In her current solo show, Whitney Bedford turns calmly rendered seas and skies into apocalyptic landscapes and flaming sonatas.
Within the paintings of expansive seascapes and intricate vessels, the artist’s combination of ink and oil paint create a hybrid of mediums that do not cohesively blend together, but instead build compositions with varying parts and dimensions. Knotty ink lines erect the masts and sails of the ships, while brushstrokes work to construct an atmospheric environment. The low horizon lines in the compositions grant a powerful impression of expansiveness to the air and water, which in turn make the ships appear small and even vulnerable. The expressionistically rendered, volatile waters engulf the boats like a type of unexpected, sudden and inescapable volcanic eruption. Read the rest of this entry »
Newly appointed executive director of Woman Made Gallery, Claudine Isé
Last week Woman Made Gallery (WMG) announced that former Newcity contributor Claudine Isé has been appointed as the venerable exhibition space’s new executive director. Isé succeeds Beate Minkovski who is retiring after twenty years of service to the organization. In the gallery’s press release, Isé speaks to the important role Woman Made has performed in advancing social discourses around gender and justice, “I am deeply inspired by the Gallery’s unwavering commitment to the social and cultural ideals espoused by feminism, LGBTQ activism, and social justice movements. Woman Made Gallery is a vital resource for contemporary artists of all genders, and I am looking forward to working with its exceptional staff, board and funders to further the gallery’s mission.” Since its founding in 1992, WMG has hosted 378 exhibitions and exhibited more than 7,500 women artists. Read the rest of this entry »
Mickalene Thomas. Installation view of “I was born to do great things”
Mickalene Thomas is a master of the ode, of placing ephemera of her muse (her recently deceased mother, Sandra Bush) on actual pedestals in galleries and museums where the black female body and experience is not typically upheld and celebrated. The bronzing of Ms. Bush’s house shoes and an old sweater, the display of her bra, jeans, earrings and bare body make Thomas’ mother into the supermodel she always hoped to be. Not in a morbid way, this is a celebration of what Zora Neale Hurston might say is a “will to adorn” working women who have style for days, despite economics. Read the rest of this entry »
Lilli Carré. “Solution Drawing (no. 2),” 2014,
maze: pencil on paper,
solution: colored pencil on paper
Humans make mazes for themselves so they can solve them. Crosswords, sudoku, Rubik’s Cubes: we’re frustrated with the concept of being lost, but we’re also fascinated with the process of unlocking, the discernment involved and the discovery that happens along the way.
Lilli Carré’s “The Pleasure of Getting Lost” explores this mentality through drawings, animations and a book. Carré’s multidisciplinary practice successfully makes visual the array of sensations associated with the concept of being lost. She invites viewers to lose themselves with her, to follow her process and even step into her roles as creator, explorer and solver of the puzzles. Read the rest of this entry »
Andrew Falkowski. “Arrow 1″
Lacking in brush strokes, with a few exceptions gracefully minimal, Andrew Falkowski exhibits a kind of meticulously designed beauty in “Light/Industry/Coating.” The squares seem to be less of color than from color, immaculately applied prismatic fields so perfect in their lacquering as to be almost completely absent of texture, superannuated medium plucked from the industrious hands of pharaonic hieroglyphers and applied with industrial precision and mechanical grace—a flat, faultless plane broken only by the viewer’s reflection. By the overt insertion of humanity, our own imperfections become the work’s, the faults in the machine beget by us. Read the rest of this entry »
Kavi Gupta Gallery’s new production studio in Little Village
Two of Chicago’s most prominent galleries—Kavi Gupta and Shane Campbell—are expanding into larger spaces. Kavi Gupta has added an additional building to their Chicago properties, situated in the Little Village neighborhood. Shane Campbell Gallery will be relocating to the South Loop next spring. Read the rest of this entry »
Kim Piotrowski. “Tide Tango, 2014, ink and flashe on gallery wall
The sheer intensity and level of attack sustained in painter Kim Piotrowski’s first solo show with Linda Warren Projects remained palpable days after I viewed it. In art, first impressions aren’t always reliable, and exhibitions that linger on in the back of your mind usually signal something deeper. Maybe what you initially thought was good really wasn’t, and what looked like failure was actually success in disguise.
Packed with evocative titles and equally suggestive shapes, the show’s twenty-plus works heave and ripple, yielding a sensory overload of glistening bodies enmeshed in an orgy of pleasure. Piotrowski’s slick black line is almost always upfront, potent and seductive, whipping the eye through multi-hued compositions while exposing fragmentary glimpses of any number of vaguely recognizable objects. In the wrong hands, this is the stuff of clichéd, rapidly deployed, easy-bake abstraction. Read the rest of this entry »