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.
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 »
The current exhibition at Slow, “Thick slice, decadent ration,” features work by Ji Soo Hong and Matthew Kayhoe Brett. Their works carry a studied meditation on process and composition, as their solid use of texture and color lend vibrancy and subtlety to the banal.
Ji Soo Hong approaches each slab of encased meat in her illustrative collages with a careful curiosity. Hong’s hand is in each of her works as her layered illustrations create collages of a subject matter that beckons to Francis Bacon and a voluptuously meaty still life tradition. The large white sheets mimic the display cases of a butcher shop, framing each assortment as studies in color and detail. A mélange of conté crayon and ink, chopped up and collaged, are drawing techniques imitative of the additive recipes of the sausages and hard meats Hong illustrates in her enlivened still-life works. 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 »
Images are ideological constructions that serve the social function of representing political and global interactions. For Wangechi Mutu’s collages in her survey “A Fantastic Journey” the artist sources imagery from National Geographic, pornographic and fashion magazines to undercut disparaging assumptions about the black female body. “Le Noble Savage” is a wry collage that demonstrates the historic weight of this misnomer. It was a term coined in the seventeenth century that designated non-Europeans as primitive and served as a reason to discredit their accomplishments. A female figure marked with dark sores wears a raffia-patterned skirt reminiscent of traditional Kuba textile from the Democratic Republic of the Congo. Mutu’s Afrofuturist aesthetic is evident in the figure’s skin. Her diseased flesh refers to the victims of crises in Africa, the interpolating global politics of war, the illegal trades of bodies, minerals, bullets and more recently the Ebola epidemic—one that the Western press ignored until two American missionaries were infected with the virus. The figure reaches up to the sky holding high a fern populated by many birds showing that there is more to Africa than just the pervasive reductive binary of casting it as a “dark” continent or the emblem of the “cradle of civilization.” Read the rest of this entry »
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.
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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 »