“People were very curious, and they wanted to know what it meant…,” said Rob Lentz, executive director of Project Onward and liaison for artist Louis DeMarco, in an interview with Newcity about the public response to the temporary installation of “Cloud Chart” along the newly opened 606 trail, the 2.8-mile elevated parkway connecting four northwestern Chicago neighborhoods. DeMarco’s artworks are among the new installations that will be on view through June 2016. Read the rest of this entry »
Eric Ruschman paints directly onto woodworked panels, his abstractions sloping around softly rounded edges. The visibility of his hand varies; at points brush strokes are visibly staccato while the opacity and quality of craftsmanship precludes human production in others. It’s finish-fetish at its finest. A diptych titled “After Tonight, They Will Never Forget My Name (Chairface Chippendale)” smartly reveals the unfinished MDF surface peeking out between the painted-on wood grain; the pattern wraps generously around the sides of the panel. This painting’s companion, a smooth off-white circle hung high above it, is the only piece in the show that seems extraneous. While some works are playful and polite, others betray conceptual darkness and grit. Something nefarious lurks in “I Want To Believe In Deepthroat,” a Roger Brown-esque diptych the lower left corner of which has a large X slashed out of it. The whimsical title (both a double entendre and meta “X-Files” reference) is an exemplar of the pop-culture current that runs throughout his solo exhibition, “Cribs.” Through titles and imagery, Ruschman harkens to nineties sitcoms perhaps consumed during the production of the paintings (or underneath their place of final repose). Read the rest of this entry »
The works by Todd Kelly and Morgan Mandalay in “Happy Little” help bring the concept of the still life into the twenty-first century. Kelly’s pieces are the more straightforward of the two, with influences ranging from Dutch and French masters from seventeenth and eighteenth centuries to a visual representation of the gravitational pull of the planets. The Brooklyn-based artist uses oil and spray paint and collage to layer materials over one another, often creating expertly composed work that almost appears three-dimensional, as in “Theory of Gravity Still Life 13.” These complex pieces contain collaged shapes of abstract and representational elements, such as a Christmas tree or the artist’s initials. Read the rest of this entry »
Mika Horibuchi and Dan Rizzo-Orr worked closely to present “View with a Room” as a project specific to the gallery space. The mostly painted work of the two artists interlocks with ease across two rooms despite wildly various subject matter and technical methods. Visual approaches reflect neatly onto three-dimensional objects, the sculptures orienting the space in turn. Read the rest of this entry »
By Matt Morris
Is art that appears to be “about art” ever only limited to that scope of investigation? I’d say it’s doubtful, mostly because mechanisms of power reproduce themselves throughout social institutions, so to reflect upon the constitutive components of an artistic medium (as well as its historical and contemporary contexts) possesses at least the potential of a transferrable method by which one might fashion new freedoms—not through a rebellion from upheld traditional forms but through critical relationships to them. The monochrome continues to do this. Distilled to an uninterrupted plane, color, texture, scale and the tools for applying material (all usually in some way present in most artworks) are amplified, inviting investigation into the parts that comprise the art. In the best of cases, consideration of the conditions of display is inspired as well. The monochrome as a form also holds up under projections: historically used for such diverse conceptual conceits as Suprematism, color field painting, the “radical painting group,” and most recently one of several working modes bizarrely attributed by Ken Johnson to “soccer mom” aesthetics. A century after Kazimir Malevich painted his canvas “Black Square” in 1915, artists continue figuring out how to take apart the language of art-making so that the parsed vocabulary can speak to the power of the entire system. Read the rest of this entry »
In a series of “narrative portraits” taken on the streets of a relentlessly sunny Miami, Florida, Wes Carson seeks to capture a “particular moment” in the city’s “cultural history”—the scene of our times. Reflective to a fault about his practice, Carson’s shots are candid, because he is going for “authentic moments,” which means that he has to shoot at middle distance, forsaking intimacy in order to avoid his subjects performing for the camera. That strategy could have been fruitful had Carson looked for telling juxtapositions and ironies as street photographers of the classic tradition do (and he does some of that with the play between subjects and signage); but most of Carson’s fourteen photos catch ordinary people doing ordinary things—sitting outside or idling on the sidewalk, some of them absorbed in cell-phone conversations. Read the rest of this entry »
by Matt Morris
I had been trying to muster the holiday cheer to write a whimsical column about winter window displays when I read the news that the St. Louis County grand jury tasked with the decision to indict police officer Darren Wilson who shot eighteen-year-old Michael Brown to death in August chose not to pursue justice. Since the announcement, I’ve been in vocal and incredulous discussions over the sadistically intricate ways that political and social suppression, economic disadvantage, the bizarre militarization of police forces and even President Obama’s muted responses to this and other murders of unarmed black people have conspired in a construction of an impossibly powerful systemic racism. I’ve felt the deep urge to run. In my mind I see the text “RUN” Rashid Johnson spray-painted in white across a mirror that was included in “Message to Our Folks,” his survey at the MCA two years ago. This is a run from lynch mobs and paramilitary cops and deplorably violent histories that span centuries of America’s past.
Our society has been shaped without consideration to the personhood and value of nonwhite lives, therefore their sadness, outrage and even their deaths have not been permitted to have any impact. Confronted with this daunting problem built into the very structure of this country, my conviction that art has the potential to powerfully interject into the thick of restrictive, racist assumptions has been bolstered by several recent projects that investigate how visibility for people of color’s lives is situated into public and institutional spaces. Read the rest of this entry »
In “Impromptu Airs,” Dan Gunn has crafted delights for the eye, deviating from his earlier projects that mirrored elements of recognizable architecture and design. A group of “Fans” assembled from laser-cut, wooden strips have been stained in a circus-tent palette of red and white. The standard motif in “Fan No. 9” of 2013 gets stretched into comically elongated and shrinking shapes in the works that flank it, fastidiously assembled trompe l’oeil constructions that imitate the ease of computer-manipulated imagery. “To Fan No. 2” winds a swerving pathway painted in lyrical, Paul Klee palettes. Its pensive, musical sensitivity evokes Sonia Delaunay and Blaise Cendrars’ collaborative artist book “Prose of the Trans-Siberian and of Little Jehanne of France.” Thicker wood planks drape from two illusory nails in “Grand Amusement,” dyed in hand-mixed yellow, green, blue and pinks that turn its hard structure into gooey taffy pulled in a shop window. Neither fan nor drapery, “Broadway” contains candy-colored dots dancing in between rich navy parquetry panels. The piece calls to mind Mondrian’s “Broadway Boogie-Woogie” as well as Michelle Grabner’s colored paper weavings, recently the center of inner art-world hullabaloo.
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In “go/figure,” Eliza Myrie and Daniel Giles converse over problems with abstraction, distortion and obfuscation of black bodies’ representations. Their respective historical research and process-based practices make manifest obscured features in histories of African mining and the craft objects of black slaves in the American South. Read the rest of this entry »
Modest in size but not shy at all, five colorful oil paintings by Magalie Guérin dance with each other across Corbett vs. Dempsey’s west wing. The dance is a type of choreographed freestyle—alive, morphing and flirtatious, the canvases beckon toward viewers to come closer. Through the physicality of the paintings’ surfaces, one can easily trace the artist’s mark and extensive process of rework. Colorful shapes float, overlap and morph together at the mercy of the artist and the observation of the audience. Read the rest of this entry »