Matt Siber. “Lighted Shelter,” 2015. Aluminum, plexiglas and fluorescent lights.
The subject of “Idol Structures” is the infrastructure of signs. Not the term in linguistics that defines the marriage of signifier and signified, but actual signs—billboards and roadside advertisements. Siber is interested in the configurations of steel, neon and vinyl that comprise signs but not in the messages they convey: think Mark di Suvero rather than William Eggleston. Read the rest of this entry »
Jacob Hashimoto. “The Scale of Worlds,” 2015. Wood, acrylic, bamboo, paper, and Dacron, 54 x 47 x 8 inches/Photo: RCH l EKH
“The Scale of Worlds” typifies Jacob Hashimoto’s “kite” works. Vertical layers of “kites”—multi-sized, circular-shaped pieces made of paper and bamboo—are threaded together and suspended between two rows of pegs, filling a square space on the wall. From afar, the “kites” resemble a patriotic-colored target. Nearing the piece reveals a contained, visual dance of individually painted and decorated circles. Read the rest of this entry »
Karsten Lund. “Distal Zone,” installation view at the Franklin, 2015.
Hannah Hoch once said that “[t]he process of remounting, cutting up, sticking down, activating—that is to say, alienating—took hold in all different forms of art.” The technique of combining and reshaping media spans music, literature, poetry and quite particularly, collage. Read the rest of this entry »
Daniel Bruttig. “Tree House Taffy,” 2014. Hot glue, inks, crayons, paint, wood, clock cases, 14 x 13 x 6 inches.
The failure of the modernist enterprise brought about an injunction to rethink the shape of time. Time was once linear, logical and homogenous. Now it’s gloopy, viscous and prone to pooling in weird ways. Read the rest of this entry »
Activist Art, Collage, Craft Work, Design, Galleries & Museums, Installation, Media & Genres, Multimedia, Painting, Photography, Pilsen, Sculpture, Textiles
Rocío Caballero. “On the Threshold of Silence/En el umbral del silencio,” 2014. Mixed media on canvas.
Including over ninety artists from both the United States and Mexico, “La Muerte Niña: Day of the Dead” is an exhibition in which the private becomes public. The space is awash with orange and yellow marigolds, sequins, skeletons and religious iconography, but beyond this visually stunning assembly of cultural symbols are carefully constructed personal stories. Read the rest of this entry »
Activist Art, Collage, Design, Digital Art, Galleries & Museums, Installation, Loop, Media & Genres, Multimedia, Painting, Performance, Photography, Prints, Sculpture, Video
Dora Garcia. “Ulysses,” since 1999. Trimmed book, unlimited edition.
By Elliot J. Reichert
It is difficult to think about art these days. Witnessing the world unravel in daily news reports makes questions of culture seem superfluous. Read the rest of this entry »
Chris Bradley and Alex Chitty. Installation view at Shane Campbell Gallery-Lincoln Park, 2015. /Photo: Evan Jenkins
Alex Chitty once said in an interview that she arranges found objects in her work so “they seem to have always belonged together.” On display in Shane Campbell Gallery’s domestic project space, her sculptures look very much at home. Read the rest of this entry »
Cecilia Vicuña. “The Origin of Weaving,” 2015. Mixed Media. /Photo: Jason Branscum
Poetry demands to be read aloud, to be experienced as a multi-sensory form. Read the rest of this entry »
John Knight, “Plate #28,” from “Museotypes” series, 1983.
To mark the Renaissance Society’s centennial, the Art Institute installed John Knight’s “Museotypes,” a series of sixty commemorative plates ostensibly honoring the museum. Hung in three stacked rows of twenty each, each gold-rimmed bone-china plate (the hue is just warmer than gallery white) sports the silhouetted footprint of a high-caliber museum in black glaze. Altogether, the abstract similarity shared by the graphics condenses art-housing architecture into minimalist logos that are less salable than museum facades, but no worse at making an icon of an institution. Read the rest of this entry »
Craft Work, Design, Digital Art, Drawings, Galleries & Museums, Installation, Media & Genres, Multimedia, Painting, Sculpture, Streeterville
Kerstin Brätsch. “[PELE’S CURSE],” Installation view, Arts Club of Chicago/Photo: Michael Tropea
In order to understand what Kerstin Brätsch and her collaborators are up to it is useful to think about another group of Germans from a hundred years ago. The artists of the Blue Rider (Kandinsky, Münter and Marc) painted on glass, canvas and paper. They sought inspiration in naïve, folk and children’s art. Read the rest of this entry »