Activist Art, Collage, Design, Drawings, Galleries & Museums, Installation, Michigan Avenue, Multimedia, Painting, Performance, Photography, Prints, Video
Nick Cave. “Speak Louder,” 2011.
Courtesy of the artist and Jack Shainman Gallery, New York. Photo: James Prinz Photography.
The Association for the Advancement of Creative Musicians (AACM), the Chicago-born kaleidoscope of experimental musicians, had a motto: “Ancient to Future.” That rallying call pervades the MCA’s “Freedom Principle: Experiments in Art and Music, 1965 to Now.” The show animates the dawn of the black American avant-garde, born out of the Civil Rights era and African anti-colonial movements, and its legacy in contemporary society.
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Hassan Hajjaj. “Miriam,” 2010.
Metallic lambda print on 3mm white dibond, 53 x 36 ¾ inches/Image courtesy of the artist and Monique Meloche Gallery, Chicago.
Revising the art historical canon to account for a variety of erasures is a commendable curatorial endeavor, but one is perpetually challenged to find new methods to add value to such well-worn conversations. This summer group exhibition takes on tropes related to race, gender and caste by offering fresh alternatives to the history of Western portraiture. Individually, the works of Rashayla Marie Brown, Hassan Hajjaj, Rashid Johnson, Ebony G. Patterson, Amy Sherald, William Villalongo and Nina Chanel Abney are colorful, multifaceted and visually complex; together, they feel oddly muted and restrained. Pronouncements of individual agitation rise up, but the gathering of disparate voices does not make for lively conversation.
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Activist Art, Collage, Drawings, Galleries & Museums, Hyde Park, Installation, Michigan Avenue, Multimedia, Painting, Performance, Photography, Prints, Sculpture
Installation view, “The Freedom Principle: Experiments in Art and Music, 1965 to Now,” MCA Chicago. July 11-November 22, 2015. Glenn Ligon. “Give us a Poem,” 2007. Black PVC and white neon. 75 5/8 x 74 1/4 in. The Studio Museum in Harlem, gift of the artist. Photo: Nathan Keay, MCA Chicago.
By Elliot J. Reichert
Each time I venture deeper into the tangled economy of art making and its contingent endeavors, I ask myself: What good is art? I am not an artist, but I work with artists and artworks every day. By all accounts, I should believe deeply in art, and yet I routinely question its value. As such, when I go to look at art, I often search in it for signs of doubt, and I am usually comforted to know that I am not alone in my questioning. For if contemporary art can be united under one banner, it would be doubt itself: doubt about politics, about social relations, about economic and class structures, about the very importance of human life. Ironically, this might be why I gravitate toward art in the first place, despite my ambivalence toward its significance. Art turns my fears into forms; it makes real what I cannot, or do not want, to imagine. Read the rest of this entry »
Laura Fosberg. “i love you anyway, too,” 2015.
Wood and gouache, 9.5 x 7 x 8.5 in.
Lora Fosberg saw her friend cut down, and she found beauty in the body. Read the rest of this entry »
Anthony Baab. “Cover the Earth 2,” 2015.
Marker, cardboard, glue. Dimensions vary./Image: Clare Britt, courtesy of Threewalls.
An exhibition filled with cardboard boxes naturally speaks to today’s consumer culture. Rather than displaying tangible goods, the materials used to protect and transport commodities are on show here. The exhibition makes an apt critique of commodity culture, illustrating the constant re-branding efforts of corporations, as well as the vast spread of consumerism and its attendant waste. Read the rest of this entry »
Kera MacKenzie and Andrew Mausert-Mooney, Installation view, “Havoc and Tumbled,” 2015.
Courtesy of Roman Susan.
In “Havoc and Tumbled,” collaborators Kera MacKenzie and Andrew Mausert-Mooney packed Roman Susan’s little room with TVs and plants. Each monitor is different, ranging from 1970s-style sets to slick, hi-def screens. While each video has its own content, bits of scenes and clips bleed into other TVs, establishing them as parts of the same filmic project. Each screen is different, so things shift in quality, creating a fluctuation in visual textures in this glimpse of wildlife in this Rogers Park gallery.
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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 »
Dont Fret. “Saturday Night Fever,” 2015.
Acrylic on paper.
“There are only two seasons in Chicago,” reads the poster pasted on a utility box, “Winter and construction.” The last time that I encountered the work of Dont Fret in the wild there was snow on the ground. Summer finds the artist moving from works on the street back into the gallery with little difficulty, but some trepidation.
At Johalla Projects, a group of works on paper cover one wall, each of them functioning individually, but all fitting together as a conceptual whole. Mixed in are purposely ham-fisted, muddy-colored abstractions with phrases like “Hi, I’m an idea based painting” or “I like his early work better.” These are perhaps a nod to the “zombie formalism” debates from last year and including a good bit of the artist’s own anxiety about his place in the art ecosystem. He needn’t worry about the art world silliness. Dont Fret is still at his best in his depictions of Chicago life and Chicagoans. The details and insights in his art can only come from years spent observing the changes to the city and the people, and from those quiet moments of profundity that come from a history of experience. Read the rest of this entry »
Timothy J. Clark. “Vernazza, 1994,” 1994
watercolor on paper
Exemplified by Brunelleschi’s demonstration of one-point perspective in depicting the Baptistery in Florence 500 years ago, Renaissance pictorial space was built to encompass ecclesiastic architecture, and it’s been the standard for European painters to either meet or disrupt ever since. Watercolorist Timothy J. Clark has joined that tradition in his depictions of Baroque churches. Following Monet’s renditions of Rouen Cathedral, he has emphasized the qualities of light and shadow rather than space and volume. But the gravitas, once thought appropriate for such revered subjects, just isn’t there. Nor is the vibrant excitement that an Impressionist like John Singer Sargent could give to the effects of strong Mediterranean light falling on Italian buildings. Read the rest of this entry »
Art Paul. “Cheers,” 1987, colored pencil on paper, “8 x 11.5″
Whether or not you ever found the intellectual content of Playboy magazine as thrilling as its cheesecake, you had to be impressed by the way it incorporated image and text to create excitement on every page. As art director for its first thirty years, Art Paul (born 1925) was responsible for that graphic design as well as the Playboy Bunny logo, so it’s no surprise that soon after retirement in 1982, he was inducted into the Art Directors Club Hall of Fame. Read the rest of this entry »