Claire Pentecost. “the force that through the fossil drives utopia drives my greased age,” Installation view. The Arts Club of Chicago Garden /Photo: Michael Tropea
Claire Pentecost’s new site-specific installation titled “the force that through the fossil drives utopia drives my greased age” is a peculiar hybrid: a rectified readymade and a political allegory. As a genre it is nonsensical, but as an individual work of art it is not too bad. Read the rest of this entry »
Installation view of “Agnès Varda: Photographs Get Moving (potatoes and shells, too),” 2015/Photo: Nabiha Khan
Agnès Varda’s small but mighty exhibition blurs media and spans nearly sixty years of her artistic production, with the humble potato at the root of it all. Read the rest of this entry »
Activist Art, Architecture, Art Fairs, Ceramics, Collage, Design, Drawings, Galleries & Museums, Installation, Media & Genres, Multimedia, Painting, Performance, Photography, Prints, Public Art, Sculpture, Street Art, Textiles, Video
Theaster Gates. “The Anthem of Mu,” 2015.
Performance on the Bosphorus for “Saltwater: A Theory of Thought Forms”/Photo: Mehmet Girgin
By Mariam Al Askari
“Guglielmo Marconi said every sound we ever make is still out there. Once generated, it fades but never dies away completely.” This idea not only encapsulates the work by Susan Philipsz for which it was written—the work features sounds of dripping water and underwater beacons—but also the 2015 Istanbul Biennial as a whole, which features countless artists and other collaborators, several of which hail from Chicago. Read the rest of this entry »
Kate Joyce, “INsite ONsite No.4.”
“No one knows what it is like to live in a glass house,” claimed Edith Farnsworth, the original occupant and owner of the famous Farnsworth House designed by architect Ludwig Mies van der Rohe. Read the rest of this entry »
Geof Oppenheimer. “DRAMA,” 2014–15.
9:16 running time. HD video, presentation carts, electronics.
In his first solo museum exhibition, Chicago-based artist Geof Oppenheimer explores the economic and governing forces that regulate the Western world. These forces, which he has dubbed “Big Bosses,” are the foundation of American praxis that manifest in our sociological and physical architecture, inflicting omnipotent pressures. Oppenheimer concludes that these pressures, and our subsequent response to them, ultimately serve as the defining factor of our existence—that ecstasy can only be achieved through internal equilibrium between states of compression and release.
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Kunlé Adeyemi. “Makoko Floating School, Lagos, Nigeria, ” 2012. Image by NLÉ.
By Elliot J. Reichert
Amid all the hoopla surrounding the inaugural Chicago Architecture Biennial, I will admit that the whole thing makes me a bit nervous. Read the rest of this entry »
Laura Davis. Installation shot of “Wall Gems,” 2015.
A page from the artist’s sixth-grade diary. Wood. Wire. Fur from a ladies vintage hat. A twenty-milligram Prozac tablet. These are some of the materials Davis uses in “Legacy of Loneliness,” and they are a good starting point for understanding how the show responds to the historical treatment of female artists. Read the rest of this entry »
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 »
Jessica Stockholder/Photo: Steven Rosofsky
Jessica Stockholder’s work greets me before she does. Colorful and vibrant, it illuminates the dark gray exterior of Kavi Gupta Gallery’s Elizabeth Street location. Read the rest of this entry »
Scott Reeder. “Landlord Painting,” 2015
I like a little humor with my art, and even a cursory look at the work of Scott Reeder will tell you that he agrees. Read the rest of this entry »