At the turn of the millennium, Kirsten Stoltmann’s decorated tumbleweeds and mystical levitation footage at Van Harrison Gallery, her slow-motion video of skateboarders intercut with pictures of flowers in the UIC MFA show and, at Donald Young Gallery, her two-channel projection of her Caucasian self singing Marvin Gaye and wandering like an invisible ghost through a gathering of well-heeled African-Americans, all offered satire that replaced smugness or maudlin pathos with a distanced feeling of loss. Since that time she has focused more on objects—in particular, graphic collages in which loaded words or familiar phrases are sometimes engulfed in a shimmering field of patterns and commercial images, and sometimes starkly scrawled over the artist’s ferociously autonomous body, both a bitter revisiting of eighties feminist text art and a scornful anticipation of visual one-liner memes on Facebook. Read the rest of this entry »
Injecting sexual mysticism into the iconographic imagination of Catholicism, Ivan Lozano’s installation “C___ of the Eye / C___ of the Hand” revises the interior layout of a classic basilica by replacing familiar Stations of the Cross with sculptures and photographs from pornography culture. Catholicism is no stranger to such physical explorations of spiritual ecstasy—think Bernini’s seventeenth-century sculpture of Saint Teresa, for instance, where the nun, overcome with the passion of Christ, throws her head back in an orgasmic cry. The body has long been a mediator for spiritual gnosis. Read the rest of this entry »
In Real Life
We’re familiar with the notion that context dictates whether a fan is an appliance or an objet d’art—whether a desktop background image could hang in an art gallery. Erik Wenzel’s solo exhibition, titled “Fresh Fat,” complexly applies e-commerce, digital dissemination, and the language of social networks to these distinctions. At bottom, he’s asking how the artist should adapt to new technologies of creation and distribution at the level of everyday practice. On the gallery’s east wall, he’s lightly penciled the characters #IRL—online parlance for “in real life”—to serve as a hesitant and tentatively small affirmation of the physical world, composed in Twitterese. Read the rest of this entry »
On the surface, David Salkin’s “Room for Views” is a whimsical celebration of texture and pattern—a slight divergence from his work as an interior designer, but certainly not much of a leap. The difference, perhaps, is that in “Room for Views,” Salkin gets to let loose and create his ideal room, “with the hopes of discovering a therapeutic and highly customized environment,” says the artist. Upon further consideration, this whimsical celebration turns into a meditation on the arrangement of space. We are asked to pay attention to the many ways our material environment is ordered, from the layout of our cities to the arrangements on our mantles. Read the rest of this entry »
Alan and Michael Fleming are twins recently separated by residences in Brooklyn and Chicago. Attending the School of the Art Institute of Chicago as a joint entity, the pair have exhibited work in a range of venues including the MCA and the Sullivan Galleries at SAIC. Reflecting on their various attachments and detachments as brothers and artists, the exhibition “GAME ON” introduces the Fleming Brothers construct as an in-joke.
Distributed throughout the gallery is a year-long archive of postcards, videos, household furniture, drawings and sculptures produced by Alan and Michael since their separation in 2011. Confronting their binded intuition as twins, the Fleming Brothers aim to “map their distance” through body molds and algorithmic sketches reflecting a “disjointed studio practice” drawn from phone calls and psychic conversations—a physical representation of an innate mental and emotional oneness. Read the rest of this entry »
Ellen Nielsen pulled back the floral-patterned curtain at the entrance of her home and studio to reveal a rainbow-felted tree adorned with fake birds. A shadow box of sequin typologies, pinned like shiny dead butterflies, hung at her other side, framing her in a bright sleeveless dress with matching red lipstick. These creations, she explained with cerebral self-possession, act as a “queer, feminist celebration of ornament and kitsch.
“I’m confused about irony,” Nielsen confesses, “because I genuinely like the things that I like. I actually like disco.” As one of her many part-performance, part-object projects, Nielsen is involved with the Pyramids of Pluto, who throw disco-focused events at clubs in the city. At a recent event at Berlin nightclub, themed as a physical manifestation of the internet, Nielsen created a giant web that would hold images of cats, in reference to the popular memes, and hang from the ceiling above the dance floor. Her theatrical experiments extend to puppetry, too, through an ongoing involvement with the Baltimore Annex Theater Collective. Read the rest of this entry »
Kerry James Marshall’s “On the Wall” window installation at Monique Meloche Gallery looks out on the intersection where the bar and boutique territory of Division Street meets the abandoned monolithic carscape of Saint Mary of Nazareth Hospital. Beyond the hospital is West Town and Humboldt Park. As good as it looks and with no disrespect to the gallery, I hope that the piece might some day be installed where young African-Americans might benefit from the work’s enticing mix of glam, enigma and pedagogical snippets of African-American history.
At first glimpse, during the day, one thinks of the Mylar that makes up the pillows in “Exploding Plastic Inevitable,” but the title transcends materiality, intimating the intergalactic scope of Afro-Futurism, further signified by the red, green and black of Marcus Garvey’s Afro-American flag. Marshall uses light-reflecting materials to create moving spectrums against a glittery red, black and green background. Undulating shapes waver between bow ties and ribbons, looped over the window space and punctuated by screen-printed historical portraits. While the names of these unknown dark stars appear below their vignetted portraits, Marshall requested that the gallery not provide a cheat sheet with any information about them, preferring, wisely, to send the audience on a mission to find out for themselves about the Real Cleopatra Jones and Denmark Vesey, among the others. Read the rest of this entry »
I'm So Turned On Right Now
The question at the heart of Matthew Hoffman’s exhibition, “I Made This For You,” is what, exactly, is the artist’s relationship to his messages? These include “It’s OK” and “Go Easy On Life” and “Be a Human Being,” as well as flowcharts of romantic relationships and twee Venn diagrams—the funniest has the word “it” in the middle, with “fake” and “make” in their flanking crescents—in primary colors and frames. These are perfectly simple and pointedly unpretentious (think upside down smiley faces). And while “I Made This For You” claims to be acting as a “tide break against the world’s rolling waves of negativity,” says the artist, the show also evokes the darkness of Jenny Holzer’s truisms through the banal and affectless: “Knit a sweater out of that last thread of hope” is as much a passive-aggressive fuck-off as it is an inspirational message. Read the rest of this entry »
Works by Oli Watt and Ben Bellas fill the sparse living room at Kirk’s Apartment, their objects mirroring one another on opposite sides of the room. The show, titled ”THAT THING IN THAT OLD GROUCHO MARX MOVIE WHERE HE’S STANDING IN THE DOORWAY OPPOSITE THE OTHER GUY STANDING AND ACTING LIKE HIS REFLECTION,” refers to the Marx Brothers’ mirror gag from the 1933 film “Duck Soup.” In it, Groucho confronts his apparent mirror image—or is it the other way around? —as the likeness comes increasingly into question.
“It’s appropriate because along with appreciating the emotional tone of their work, it’s really funny,” Kirk Faber, the show’s curator, says. “There’s a simplicity that has a punch line or a get, so to frame a show around a get, or the punch line of that mirror gag, and have it expand from there was the impetus. It’s about seeing yourself, or not, in another person by accident.” Read the rest of this entry »
Daniel Spoerri, "Tableau piege, 17. Juni 1972," 1972.
By Jason Foumberg
The long black hair that I pulled from my Pad Thai confirmed that it was a lunch like no other. Rirkrit Tiravanija, who has made an international art career serving free meals, often Pad Thai, to museum goers, did not intend for the hair to disrupt my experience of his performance lunch in 2008—or was the hairy blooper a disturbing reminder that no matter what we eat, someone else, often many people, have touched, groomed and manhandled our food so that it appears, on our plates, so perfect?
The free lunch is now an established genre of contemporary art, and the Smart Museum’s exhibition, “Feast: Radical Hospitality in Contemporary Art,” arrives right on the heels of the foodie revolution. But this retrospective exhibition of eighty years of food service is not about fresh, local, healthy, or even tasty food, nor is it about haute cuisine, world hunger, obesity, genetically modified ingredients, or organic farming. Instead, “Feast” identifies a strain of performance art, which climaxed during Happenings in the 1960s and feminist performance in the seventies, that uses a familiar setting—eating in the company of others—as a device of social confrontation and political disruption. Read the rest of this entry »