Bag of raw almonds for energy boost, false lashes stowed in my handbag for evening-wear eye-drama boost, press badge and a prayer for stamina: Expo Chicago’s press preview yesterday rolled directly into the Vernissage party that dispersed across town to a boat party, a disco dance and dishes of art world gossip: which gallery’s staff is jumping ship? who’s leaving their long-term gallery representation? who’s been exploring her ‘lesbian side’? who’s pregnant? and so on. Thursday’s kickoff to the fair was over-stimulating and today’s shaping up the same. I stopped for lunch and worked out some thoughts about patterns in the artworks exhibited, highlights and rare occasions for profundity for Expo visitors who are art lovers if not big-time collectors. Read the rest of this entry »
Selected from more than 100 nominees, the Hyde Park Art Center has announced the artists to be exhibited in its third biennial exhibition Ground Floor: Evan Baden, Hannah Barco, Greg Browe, Houston Cofield, Maggie Crowley, Barbara Diener, Assaf Evron, Andrew Holmquist, Kelly Lloyd, Jesse Malmed, Esau McGee, Ben Murray, Celeste Rapone, Kyle Schlie, Tina Tahir, Keijaun Thomas, Daniel Tucker, Ramyar Vala, Julie Weber and Nicole Wilson. All of these artists have recently completed their Masters in Fine Arts at five of Chicago’s highly ranked MFA programs: Columbia College Chicago, Northwestern University, The School of the Art Institute of Chicago, The University of Chicago and the University of Illinois at Chicago. Read the rest of this entry »
Thursday, September 4
Dan Ramirez, painting
Union League Club of Chicago, 65 West Jackson
Opening reception: 5:30pm-7pm, through September 30
(Members only opening, viewing by appointment only)
Anthony Iacuzzi and Christopher Schneberger, photography
Perspective Gallery, 1310-1/2B Chicago Avenue, Evanston
Opening reception: 5pm-8pm, through September 28
Amy Vogel, mixed-media survey exhibition
Cleve Carney Art Gallery at College of DuPage, Fawell and Park Boulevards, Glen Ellyn
Opening reception: 12pm-2pm, through October 25
Taehoon Kim and Barbara Diener, large scale sculpture and photographic installation
Moraine Valley Community College, 9000 West College, Palos Hills
Opening reception: 3pm–5pm, through September 18 and October 23 respectively Read the rest of this entry »
Wherever artist Puppies Puppies exhibits, he has a knack for sensitively responding to the conditions and qualities of that context while bringing forward his own nuanced fascinations with Internet memes, popular culture and fantasy. Whether on his irrepressibly funny Facebook page or in recent exhibitions in Chicago, Oaxaca, Los Angeles and Japan, Puppies draws together signs of our times to be repackaged and redistributed in a spirit of generosity that also usually compels him to bring a few of his friends in to collaborate with him or appear in his stead. He never shies away from the weird; uncanny juxtapositions are central to his milieu.
Read the rest of this entry »
Morris Barazani’s kaleidoscopic painting retrospective at the Ukrainian Institute of Modern Art reveals an individual acutely sensitive to new artistic directions. Spanning the past six decades, the thirty-one selections on view run the gamut from raucous painterly surfaces to nuanced forays into collage and color-field abstraction. In an age where stylistic homogenization is a prerequisite for mainstream success, it’s clear from the outset that the persistent theme of Barazani’s career is openness to change. Read the rest of this entry »
The group of shows at Packer Schopf Gallery ruminates on intrusion. There is technological and environmental encroachment, and the intrusive mythos of masculine and feminine ideals.
Michael Dinges’ “Lifeboat: The Wreck of the Invisible Hand” hangs center stage as a retired boat and a lesson. Made with vinyl siding, the scrimshaw declarations ring around this dramatic piece as if conversing with Victoria Fuller’s work across the room. Her piece, “Deep Down,” meditates on the inherent commingling in nature: a snake, an earthworm, and roots rise from the dirt to touch the air. At the same time, some of her materials, like gas pipe and metal tubing, interrupt the state of the nature she presents. Read the rest of this entry »
These are three image-makers who glory in destruction.
New York-based Jackie Saccoccio’s first show in Chicago includes her large and beautiful “portraits.” They’re not the kind of portraits that offer recognizable human facial expressions—but contemporary people are so complex; do facial features really matter much anyway? She’s put something like a big, empty, faceless, voluminous head smack in the middle of the canvas, and then wrapped it into a fantastic swirl of colors and textures. Saccoccio loves the infinitely spacious, visual sensuality of sixteenth-century European portraiture, but those are the only qualities she’s taken from it. These are portraits of unidentifiable but happily blown minds. Read the rest of this entry »
When I saw Matt Rich’s exhibition “Razors & Vapors,” I experienced a deep sense of déjà vu. I had never seen Rich’s work before, but there was something familiar about his paintings, something recognizable yet unexpected. His paintings are collages (or maybe his collages are paintings) of cutout pieces of paper. They are geometric and colorful. Roughly cut triangles and circles and squares are the foundations of this exhibition. The shapes are smeared and flecked with paint, and there are tears in some of them. Up close, the textures of these cutouts—little bumps and globs of dried acrylic—jut out from the paper. (An element of haphazardness pervades the work, and while there is a slapdash feel to the brushstrokes, the overall shape and color of the paintings are fluid and rich.) Take a few steps back and the smears and adjoining pieces of paper blend together, and the image of the painting comes together like a jigsaw puzzle. Read the rest of this entry »
What first comes to mind when I think of collage? I picture adhesives and ephemera being used in a two-dimensional scale. Unfortunately, I also think about Pinterest and capitalism, and how the general population has hijacked the collage, turning the medium into a selfish “board” of desires. Chicago Urban Art Society’s second installment of the group show “Medley” is a much needed palate cleanse for me. It reminds that collage is much more than nostalgia and ephemera ((I promised (promised!) myself I wouldn’t use the word “ephemera” in this review, and now I’ve already done it twice.)). “Medley” shows that the art form of assemblage is amorphous and untethered. This is the good side of collage.
Here, there are three-dimensional artworks composed of bike reflectors, destroyed iPhones, nuts and bolts, and metal springs. There are unframed collages where cutout photographs of animals project outward like a pop-up book. Some of the artwork has been coated in resin, giving it the sheen of a tabletop in a diner. There are collages that step away from analog techniques, digitally printed pieces that are surreal and meticulously detailed. Read the rest of this entry »
Collage artist Lou Beach—whose nom de guerre is a clever Anglicization of the Polish surname Lubicz—has a great sense of humor. A longtime illustrator with a client list that includes the New York Times, Wired and Time, Beach’s humble beginnings (a child of immigrants) and youthful sojourns across the continent have endowed him with a sagacious insight into the American character. His gaze, like his wit, is razor sharp.
For his new solo show at AdventureLand, the Los Angeles-based artist has assembled a fine assortment of biting, surrealist-inspired works. Culled from the pages of the past, Beach’s source material is part Little Golden Book, part Sunday missal, combined in striking, and sometimes disturbing ways. Careful inspection yields numerous visual delights, such as the figure in “Honey, Please” whose Cigar-Indian head nose and landscape mouth elicit laughter and revulsion. Read the rest of this entry »