Christian Vincent’s recent figurative paintings are 2,000 miles removed from what has characterized Chicago figure painting for the past fifty years: invitational instead of confrontational, gently thematic instead of intensely personal, conventional instead of weird, cinematic instead of graphic, pleasant instead of disturbing. Painted in Los Angeles, they might even serve as storyboards for a Hollywood teenage romantic comedy. Read the rest of this entry »
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 »
“Pure Pictures, Perfect Prints,” Aron Gent’s solo exhibition at Devening Projects + Editions, is immediately pleasant, with its ample white space and idiosyncratic chintz of flowers, leaves, printers and arabesques, all rendered in a subdued palette. These images, culled from clip-art collections, are composed and then printed onto an ink-resistant material. This printout is then transferred onto watercolor paper by press, which squeezes and drags the beaded ink into the perfect drips that tress the features of each composition. Such painterly distortions give the sense of an individual hand at work, but of course, it is anything but. These gestures are dictated by blunt forces: the irregular texture of paper, the volume and viscosity of the ink, the magnitude and direction of the pressure exerted by the press. Read the rest of this entry »
Review: Of Heaven and Earth: 500 Years of Italian Painting from Glasgow Museums/Milwaukee Art MuseumMilwaukee, Painting No Comments »
These forty paintings may not be the best way to exemplify 500 years of Italian painting. They have the stylistic elements but usually not the powerful emotive achievements of that great tradition. There’s only one piece, and a rather decrepit one, done before 1480, so the devotional intensity of the Italian variety of Byzantine icon is hardly evident. Also absent is the bold excitement of the Caravaggisti who are represented here by Antiveduto Gramatica, one of Caravaggio’s teachers who later decided to imitate his famous student. He came up short, just as, in the same gallery, the eighteen-year-old Titian could not yet achieve his later glories. “Christ and the Adulteress” feels like nothing more than a conglomeration of figure and drapery studies. One figure has even been lopped off and reframed over the intervening centuries. Here, it hangs beside the original, and yes, it probably looks better that way. But it’s fascinating to see a powerful mind beginning to assemble the visual elements that Titian will eventually master, just as it’s fascinating to see Carlo Dolci’s life-size depiction of Salome hanging beside an example of his work done fifty years earlier. Dedicated to painting that, in his words, “would inspire the fruits of Christian piety,” Dolci is usually too saccharine for anyone but the faithful. Read the rest of this entry »
The dynamic urban landscapes of America’s three largest cities constitute the focus of “The City Lost and Found: Capturing New York, Chicago, and Los Angeles, 1960-1980,” a joint venture of the Art Institute of Chicago’s Architecture and Design and Photography departments and the Princeton University Art Museum. The exhibition examines two decades of significant political, social and economic upheaval during which each of these cities emerged as barometers of major shifts in public consciousness subsequent to the suburban flight of the 1950s and before the economic boom of the 1980s. History and its discontents dominate the exhibition, but the show gives voice to a broad range of actors through an electric and all-inclusive range of makers and visual materials. Read the rest of this entry »
By Erin Toale
Bowiephiles rejoice: no expense was spared on the Museum of Contemporary Art’s iteration of this appropriately elaborate touring spectacle—a multi-chambered rumination on the many-petaled-flower of the living icon’s magnificence. This pageantry, situated on the virtually unrecognizable fourth floor of the MCA, includes memorabilia, archival materials, breathtaking costumes and some of Bowie’s own “art.” Evidence of the takeover exists throughout the building; nowhere can you escape the waft of his anthems, and even the security guards have been adorned with Bowie shirts. To co-opt the semantic organizational structure of the show, Bowie is… pervasive.
Chicago is the only U.S. destination for the show, which was organized by the Victoria and Albert Museum (V&A), London. Bowie and his camp granted archive access to the curators, aided with fact-checking, and monitor the condition of objects but otherwise have been very hands-off, says MCA James W. Alsdorf Chief Curator, Michael Darling, who oversaw the Chicago installation. The exhibit feels very V&A-meets-MTV, replete with a show-stopping, toe-tapping grand-finale. There are moments when the voices of the MCA and Darling ring clear; the show succeeds in these quieter, more contemplative tableaus.
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A bronze sculpture of cavorting figures in the gallery’s front window (“Ten Breaths: Congress of Wits, Study”) belies the artist’s reputation for edginess. By now Fischl (b. 1948) is an old master of contemporary art, famous for sexually provocative paintings like “Bad Boy,” 1981—the title of his recent memoir, incidentally—and for the controversy over “Tumbling Woman,” 2002, a commissioned sculpture for 9/11. This show features a dozen of the artist’s works from the last ten years. Read the rest of this entry »
Aided by a fake ID, I was baptized into the church of hard-bop sometime in the mid-nineties in one of Cleveland’s many hidden jazz spots; a cramped subterranean chamber where sound and smoke, perfume and sweat mixed freely in the dimly lit haze. The music was immediate: thundering drums coupled with blowing horns that rang-out joyous one moment, mournful the next. Spiritual by way of the body—the experience possessed a physicality so intense it was transcendent.
In contrast to that overwhelming sensuality, MacArthur award winner Josiah McElheny’s “Dusty Groove,” a meticulously crafted four-piece sculptural ode to some of the twentieth century’s great musical minds (among them jazz legends Wes Montgomery and Sun Ra), comes off coolly intellectual, even a little remote. Imagine jazz goes to grad school featuring Donald Judd as your thesis advisor, and you’re part way there. These pieces stimulate the mind, but they don’t necessarily stir the soul. Read the rest of this entry »
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 »
In its annual competition for the best photojournalistic images, “Pictures of the Year, International” received 52,000 submissions and selected 240 winners, fifty of which are on view here, for its 2014 traveling show. The exhibit shows that, despite the financial problems of newspapers and magazines, photojournalism is thriving: indeed, the quality of work is at least as good as it has ever been. The judges eschewed depictions of the rich and famous, and staged scenes in favor of hard-hitting, emotion-laden and power-packed shots that pull the viewer up short with searing glimpses of world hot spots like Afghanistan, Iraq-Syria and Ukraine; heat-of-the-action sporting moments; refugees and victims of abuse; natural disasters and touching slices of life. Read the rest of this entry »