Albert Oehlen. “Untitled (cow 4),” 2011
paper on canvas, 59″ x 72 3/4″
Cutting and collaging advertisements to fill the gallery with a herd of cattle—bright, cacophonous and just on the edge of perception—Oehlen’s new show at Corbett vs. Dempsey is called “Rawhide.” The cows-on-canvas (which seem intimidatingly large, though they’re almost all just shy of five feet by six) are rounded up for market, but Oehlen has confused the juxtaposed advertisements to the point of mere decoration, so they can’t sell us anything beyond themselves. True to “Rawhide,” the 1959-1966 TV series that saw cowboys lead a cattle drive to market, Oehlen is giving us cows neither here nor there: the bovines shimmer in and out of view, competing with the flashiness of billboards. The theme song incites us, like the collagist headed to market, to “Cut ’em out/ Ride ’em in.” Read the rest of this entry »
Don Baum. “Untitled Silhouette/Cut Out Portrait of Ruth Horwich,” ca. 1980,
paint by number painting and other mixed media,
18″ x 14.5″ x 11″
On view at Carl Hammer Gallery
By Michael Weinstein
There is a tinge and twinge of sadness attending the viewing of the three concurrent exhibits showcasing the fabled collection of artworks amassed by Ruth Horwich and her husband Leonard over the last half century.
One cannot escape the sense that an era has ended. The Horwich collection is being broken up and cast to the four winds in the aftermath of Ruth Horwich’s death in July, 2014 at the age of ninety-four, preceded by Leonard’s passing in 1983. Her estate seeks to monetize the art. The choice pieces, from the viewpoint of marketability, by Alexander Calder and Andy Warhol, for example, have already been handled by Christie’s. Now we have an opportunity to see the rest of the collection, the non-Western indigenous artifacts at Douglas Dawson Gallery, and the works of the Chicago artists from the second half of the twentieth century—the backbone of the collection—at Carl Hammer Gallery and Russell Bowman Art Advisory. Read the rest of this entry »
Esau McGhee in his East Garfield Park studio
“My collage work is about this collective experience that we all share with public spaces,” explains Esau McGhee. “It doesn’t matter, you could be a fifty-year-old white Jewish chick or a young Latino male. It’s not my space, it’s not your space, it’s really ours, and it’s going through an evolution as dictated by us and our shared experience with it.”
As an African-American man who grew up as a self-proclaimed “ghetto kid” and ended up a professional artist by way of high-end, private fine art programs at SAIC and Northwestern, McGhee thinks a lot about how people from different races and economic classes relate to one another. He believes that people from different backgrounds can connect with one another through their shared visual experiences. With a studio based in the quintessentially urban East Garfield Park, McGhee’s practice intuitively incorporates the patterns of city landscapes, evoking a mood that city dwellers from all backgrounds could relate to—and with his most recent exhibitions being in the very different Elastic Arts, Union League Club and the Hyde Park Art Center, people from all different backgrounds have had a chance to.
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Gordon Matta-Clark. “Circus,” 1978
silver dye bleach print (Cibachrome), 29 1/4″ x 73 1/4″
In 1978, the Museum of Contemporary Art commissioned artist Gordon Matta-Clark to execute one of his trademark “building cut” projects in a recently acquired brownstone on Ontario Street. The result, “Circus or The Caribbean Orange,” a series of large-scale circular lacerations that radically altered the structure’s interior, would sadly be the artist’s last major statement before his untimely death at age thirty-five. What remains of the epic scale of this ephemeral project are a series of the artist’s captivating photocollages. Read the rest of this entry »
Noelle Allen. “Henry’s Rainbow”, 2014
resin, 23″ x 32″ x 2″
This May, the Evanston Art Center will end its forty-eight year residence at the former Harley Clarke mansion and move into a newly renovated space one mile away. For the final exhibition within its historic location that blossoms with organic design and motifs, the center has selected three artists whose practices are deeply rooted in the natural world: Noelle Allen, Jennifer Yorke and Robert Porazinski. Read the rest of this entry »
Installation view of Creeping Toward The Light at Julius Caesar
Described as a “collaboration” between organizer and artist, rather than a straightforward comparison, “Creeping Toward The Light” at Julius Caesar features artist Stevie Hanley alongside one of JC’s directorial personalities, Roland Miller. The small exhibition space, dominated by Hanley’s large, banner-like assemblies, has the effect of a curious, colorful maze.
The floor is chrome throughout, treated with a foil wrapping. Miller has installed several slightly larger-than-life-sized prints of women cut out and affixed directly to the wall. Their color and visual texture is glitched, implying inversions, blow-outs and missing data. Brilliance and lurid aesthetic moments become occlusions—obnoxious, pink rhinestones are glued to the picture glass floated just a hair above a collage by Miller, covering a serial repetition of sexual penetrations. Glints that blind, rather than illuminate. That these explicit moments are not totally concealed gives way to that naughty impulse to peak around the glittery censor. Read the rest of this entry »
Trevor Winkfield. “Sketch for Peter Gizzi,” 2012
acrylic and collage on paper, 27.5″ x 19.25″
Set in the smart spaces of the Poetry Foundation, this exhibition of the British artist-illustrator Trevor Winkfield (born 1944) highlights his paintings, cover designs and limited-edition books. It’s a small-scale show—five paintings and four vitrines—but the bright, punchy images are themselves like welcome book illustrations against the ashen modernist environment of the still-newish John Ronan building.
Winkfield’s mother read picture books to him as a tot. Afterwards texts always provoked accompanying images from him. Raised in Leeds, he came to America in 1969 and quickly became part of the collaboration-happy New York School. Not “merely a brush for hire,” he said, he had true partnerships with major poets like Ron Padgett and John Ashbery. Collaboration, he reflected, was “one of the quickest ways of allowing me to see myself as others saw me.” Read the rest of this entry »
Dutes Miller. “Untitled,” 2014
woven paper, glue, artist tape, 8″ x 8″
Dedicated to dreams and ghosts, the various media of “The world is mystical, dangerous and delicious,” including sculptures, illustrations and collage, speak to their twin subjects with an admirable—and requisite—range; it does not require a particularly broad or tortured interpretation to understand ghosts and dreams as the driving factors behind not only art, but the whole panoply of human expression and existence. As desires become goals become actions, memories become comfort or tumult, all trail a phantom weight in fearful pursuit of their next, and it is these ghosts which one sees with most clarity here. Read the rest of this entry »
Ryan M Pfeiffer and Rebecca Walz
Artists Ryan M Pfeiffer and Rebecca Walz’s focus falls emphatically on collaborative action. The duo draws simultaneously, sitting across from each other and working over the same sheet of paper, arranging a mélange of seductive archetypes from the visual history of the West. Their collaborative drawings register caprices and negotiations; marks intermingle and become impossible to assign to any single collaborator. Various mystical, religious and cultural icons coalesce in busy, textured cadres—woodcuts from volumes of Sade, archaeological records, Pietas and Venus idols, or Hans Bellmer’s fetishistic photographs. Their repurposed, blended imagery has all the tellings of an expert bibliography. The compositions are stages on which the duo’s investigations into alchemy, ancient art and eroticism are performed as drawing.
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Ben Herr. “Transformation Ritual,” 2006,
oil and collage on canvas, 31 3/4″ x 32″
This exhibition is about Abstract Expression as a lifestyle. After beginning a promising art career in the 1950s, Ben Herr (born 1935) moved back to rural Lancaster Pennsylvania in 1960 to pursue a different profession and better provide for his growing family. But his life in painting continued, and over the past few years has come back as strong as ever, recalling the antic playfulness of Paul Klee and the jazzy intensity of Romare Bearden. This is his first one-person commercial gallery show in more than thirty years. Read the rest of this entry »