Design, Digital Art, Drawings, Galleries & Museums, Hyde Park, Installation, Multimedia, Painting, Photography, Prints, Sculpture
Antony Gormley, After an idea by Gabriel Mitchell, “Infinite Cube,” 2014.
Mirrored glass with internal copper wire matrix of 1,000 hand-soldered omnidirectional LED lights.
On the occasion of the University of Chicago’s 125th anniversary, the Smart Museum of Art has compiled an exhibition of objects from its collection spanning three millennia that explore the multifaceted nature of memory. Works such as Zdenek Tmej’s “Broken Glasses, Breslau” and Arthur Amiotte’s “Wounded Knee III” capture violent moments of the past—burdensome memories to carry that are nonetheless worthy of preservation. Read the rest of this entry »
Activist Art, Art Books, Ceramics, Collage, Craft Work, Design, Digital Art, Drawings, Galleries & Museums, Installation, Multimedia, Painting, Photography, Prints, Sculpture, Streeterville, Video
“LUMA At Ten: Greatest Hits,” Installation view, including “Silver Clouds” by Andy Warhol and “Paranirvana (Self Portrait)” by Lewis deSoto./Photo: Loyola University Chicago
Religion is often the apparent culprit in today’s war-torn world, so an exhibition with a spiritual undertone may seem unnerving. Read the rest of this entry »
Stevie Hanley. Still from “Hairy Eyeball Love, ” 2015. Sound by Caleb Yono.
Stevie Hanley does not ask viewers what it might be like to taste a color or see a sound. Instead, the sculptures, installations and drawings embody the show’s titular experience of synesthesia, a phenomenon where multiple states of sensory perception are joined. Viewers are encouraged to use earplugs as they watch “Hairy Eyeball Love,” a single-channel video installation showing, among other things, a giant plush spider resting on top of similar neon-colored ear plugs. Nearby, a four-panel mixed media painting, “Ommatidia Quilt,” separates the ear plug cabinet from the video projection while emulating the jewel-hued view through a kaleidoscope.
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Activist Art, Architecture, Art Fairs, Art Schools, Collage, Comics, Design, Digital Art, Drawings, Evanston, Fall Preview, Galleries & Museums, Garfield Park, Gold Coast/Old Town, Humboldt Park, Hyde Park, Installation, Little Village, Logan Square, Loop, Michigan Avenue, Multimedia, Museum Campus, Outsider Art, Painting, Performance, Photography, Pilsen, Prints, Public Art, River North, River West, Rogers Park, Sculpture, South Loop, Street Art, Streeterville, Suburban, Ukrainian Village/East Village, Uptown, Video, West Loop, West Town, Wicker Park/Bucktown
The thing that was sent to me in its intended but unsettling orientation.
By Elliot J. Reichert
The above image was sent to me anonymously in the middle of the night. Shocking as it appears, I was relieved to receive it. You see, weeks ago I had contacted a few artist friends to ask them to reflect on the upcoming fall art season in Chicago and to ask one to “take over” the task of appraising it. To my surprise, they were reluctant to describe it, even those who had exhibitions of their work opening in the coming weeks. Later, I realized that their silence was my doing, having asked a question that could produce no coherent answer.
Much like the drawing game made famous by the Surrealists, Chicago’s 2015 fall art season is an exquisite corpse—a thing of grotesque beauty that is the dream of no one, but the creation of many. At first glance, it appears sinister, like the Block Museum’s solo show of newly commissioned works by Chicago artist Geof Oppenheimer. Rumor has it that the sculptor has filled the museum’s ample galleries with austere and foreboding installations resembling the cinderblock constructions of grim institutions, like prison, or perhaps your corporate office. Even more menacing, Irena Haiduk, also Chicago-based and also exhibiting new work, will haunt the eaves of the Renaissance Society’s transformed gallery with the Sirens of Greek mythology, luring visitors unexpectedly into a debate on the revolutionary possibilities of art and social change amidst current political upheaval worldwide. Read the rest of this entry »
Installation view. “Mom & Pops,” at the Arts Incubator. Photo: Sarah Pooley.
Dining at local “mom and pop” restaurants or frequenting family-run businesses is increasingly uncommon in the United States. Corporations, such as Walmart, Panera and McDonald’s, are making it difficult for these businesses to survive. That being so, a longing for a former way of life in the midst of a changing American Dream is one way to see the five artworks that occupy the storefront gallery at the Arts Incubator.
“Mom & Pops” is nostalgic for the past it evokes: a time when immigrants flocked to America, especially during the twentieth century, in pursuit of the American Dream. Some may have opened a family business, like a tailor shop or a restaurant, to achieve this dream. Hyeon Jung Kim’s “Labyrinth,” a circular structure filled with business shirts covered in clear plastic bags, suggests a family-owned dry cleaning store. The business shirts reflect a time when more Americans dressed up for work, unlike today’s casual professional attire.
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Luftwerk Studio. Rendering of “Florescence,” 2015.
Five technology-infused and site-specific installations will populate the Garfield Park Conservatory in a year-long exhibition titled “solarise: a sea of all colors” debuting in September. Each immersive installation invites viewers to interact with nature, color and light while exploring the Conservatory grounds. “Garfield Park Conservatory has long been known as a Chicago cultural anchor,” remarked Mayor Rahm Emanuel, “and this interactive art installation will underscore the conservatory’s cultural legacy while engaging residents in new ways.”
Created by Luftwerk, an art practice co-founded by Petra Bachmaier and Sean Gallero, the installations respond to the philosophies of Jens Jensen, the landscape architect who designed the conservatory, who believed in the importance of public access to nature in the city. Each of the five installations—“The Beacon,” “Portal,” “Florescence,” “Seed of Light,” and “Prismatic”—emphasize and supplement the conservatory’s natural spaces. With the installations, Luftwerk aims “to instill in visitors an increased sense of wonder, while they roam the gardens and vegetation rooms. [We hope to] inspire visitors to take a closer look at how nature, art, and technology can interact.” Read the rest of this entry »
Suburban Mutilation. The address given for their untitled cassette, in Green Bay, WI 54301. Source: MAXIMUM ROCKNROLL, issue no. 8, September, 1983. Street view date: August, 2012″
Started as a Tumblr project by Marc Fischer and Public Collectors, “Hardcore Architecture” explores the surprisingly suburban outposts of hardcore underground bands from the 1980s, juxtaposing names like Suburban Mutilation and Crimes Against Humanity with cookie-cutter homes, two-car garages, and well-maintained lawns. The exhibition is housed at The Franklin, a home with its own two-car garage and well-maintained lawn, and includes the Google Street View images Fischer culled alongside zines and a display of T-shirts and tapes from the artist’s own collection. Read the rest of this entry »
Frances Stark. “From therealstarkiller #1298,” 2015
Archival inkjet print, 7″ x 7″. Courtesy the artist.
Intimism, a term associated with paintings of domestic scenes filled with family and friends, expertly describes the video and digital offerings in this expansive, beautiful and playful show. Leave it to Stark, best known for “My Best Thing,” a video animation of a relationship formed on Chatroulette, to shed light on the contrast between private and public in our digitized lives.
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James Lee Byars. Pink letter, ca. 1982
Gold crayon on pink Japanese paper
Collection of Michael Lowe and Kimberly Klosterman
By Matt Morris
“You’ve gotten so much more mystical this year,” said my twin during a recent phone call. We’d been talking horoscopes and tarot, and more generally about forms of reading that are predicated on alternatives to empirical reason. We’ve turned thirty this year, and now we’re completing a period astrologers call Saturn’s return. It’s the first time Saturn returns to its position at the time of your birth, and it’s said to accompany crisis and questioning—finding out what you’ve built so far, whether it’s strong enough to continue working, and what tumultuous deconstruction will radically reshape your life. Read the rest of this entry »
Manish Nai. “Untitled,” 2015
Dyed burlap, 90″ x 4″
The work of Mumbai-based Manish Nai makes a viewer reconsider the limits of an artistic medium. He doesn’t use traditional media, such as heavy metals and wood, oil or acrylic. Instead, Nai uses everyday materials—cardboard, jute, newspaper and even his family’s used clothing—to sculpt, mark and render.
For his first solo exhibition in the United States, Nai has created wall hangings, photographic prints, sculptures and four site-specific works, including a gallery pillar wrapped in jute, a burlap-like material that is abundant in India, and a heat-transferred mural that will slowly disappear during the course of the exhibition. His use of traditional artistic processes, such as weaving or drawing and sculpting by hand, in conjunction with contemporary rendering techniques borrowed from digital and new media art, design and architecture give these objects a surprising new dynamism. By combining the old and the new, Nai’s work is thoroughly international even as it remains fully Indian.
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