Exterior view, Cargo Space bus, 2014
Parked in the Papermaker’s Garden, Columbia College Chicago, Wabash at 8th/Photo: April Alonso
“Cargo Space: Chicago/Milwaukee,” an exhibition running simultaneously at A + D Gallery in Chicago and INOVA in Milwaukee, is built around a mobile residency housed on a twenty-seven-foot diesel bus, a conceptual project formed by collaborators Christopher Sperandio and Simon Grennan, sponsored by Rice University in Houston, and propelled by a desire to physically connect artists and audiences that are geographically distant through a mobile platform. Among the included artists (a sprawling group of Chicago and Milwaukee based makers) is Erik L. Peterson who has staged the work “Stretch Limo (94),” 2014, a site-specific installation at INOVA, a building that originally housed an automobile factory. Read the rest of this entry »
Andersonville, Bronzeville, Collage, Drawings, Edgewater, Evanston, Fall Preview, Garfield Park, Installation, Lincoln Square, Logan Square, Multimedia, Painting, Photography, Prints, River North, Sculpture, Suburban, Ukrainian Village/East Village, Video, West Loop, Wicker Park/Bucktown
Andrew Falkowski. “Pink Monochrome,” 2014
Thursday, September 4
Dan Ramirez, painting
Union League Club of Chicago, 65 West Jackson
Opening reception: 5:30pm-7pm, through September 30
(Members only opening, viewing by appointment only)
Anthony Iacuzzi and Christopher Schneberger, photography
Perspective Gallery, 1310-1/2B Chicago Avenue, Evanston
Opening reception: 5pm-8pm, through September 28
Amy Vogel, mixed-media survey exhibition
Cleve Carney Art Gallery at College of DuPage, Fawell and Park Boulevards, Glen Ellyn
Opening reception: 12pm-2pm, through October 25
Taehoon Kim and Barbara Diener, large scale sculpture and photographic installation
Moraine Valley Community College, 9000 West College, Palos Hills
Opening reception: 3pm–5pm, through September 18 and October 23 respectively Read the rest of this entry »
Wherever artist Puppies Puppies exhibits, he has a knack for sensitively responding to the conditions and qualities of that context while bringing forward his own nuanced fascinations with Internet memes, popular culture and fantasy. Whether on his irrepressibly funny Facebook page or in recent exhibitions in Chicago, Oaxaca, Los Angeles and Japan, Puppies draws together signs of our times to be repackaged and redistributed in a spirit of generosity that also usually compels him to bring a few of his friends in to collaborate with him or appear in his stead. He never shies away from the weird; uncanny juxtapositions are central to his milieu.
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Contemporary Art Daily staff from left to right: Bryce Dwyer, Brook Sinkinson Withrow, Maddie Reyna, Forrest Nash
Since its premiere in 2008, Contemporary Art Daily (CAD) has become one of the most popular online resources for what’s hot in international exhibitions. Founded by the Chicago based artist/critic Forrest Nash, CAD posts documentation from seven to eleven international exhibitions of contemporary art a week. Nash is joined by InCUBATE’s Bryce Dwyer, Julius Caesar’s Maddie Reyna and Forever and Always’ Brook Sinkinson Withrow.
CAD’s postings notably lack a critical position—free of commentary and support text. This has led to questions as to what degree CAD operates as a journalistic enterprise, providing a survey of international art on a given week, and to what degree its selections are motivated by a curatorial impetus. In a conversation with Newcity Art, managing editor Dwyer elucidated on the group’s process and provided insights as to its mission. Read the rest of this entry »
Still from Tara Nelson’s “Fruit Hospital”
“If television delivers the people, ACRE TV delivers the Soylent Green, thinly sliced and mostly eyes and ears and brains. I stream, you stream, we all stream for mustard paintings and ketchup pairings. I’ve never seen the Food Network, but I assume it’s like this.” So goes ACRE TV’s description of “Psychedelicatessen,” their block of programming that premieres today, Monday, September 1 and runs through the end of October. Featuring thirty-plus artists and collaborative projects, programs are lined up from 8am through till midnight each day. These projects center around unexpected intersection points between psychedelia and a connoisseurship of food-related artworks. Read the rest of this entry »
Alfredo Salazar-Caro. “I Don’t Need Power at the Cost of Spilled Blood (Liberté, Égalité, Fraternité),” 2014
A booming drone engulfs you as you enter the Ukrainian Institute of Modern Art, a vicious vibrating to the chest and inner ear. This omnipresent noise is the first sensation in GlitChicago, an exhibition of Chicago glitch art—work surrounding the errors seen in digital systems—and showcases the work of twenty-two artists. Many of the works are interactive, expressing core tenants of Glitch Art, including “0P3NR3P0,” 2014, a project that allows anyone to submit their own Glitch work to the open-source database, put on by Nick Briz and Joseph YOlk Chiocchi. Jon Cates’ piece “?4\/\/?(?)H?!\/?,” 2014, displays a bricked sculpture holding a USB drive that contains a compressed archive of Glitch Art for free download—data in which Cates has collected and archived for the last fifteen years and contains more than 113.13 GBs. The data has never been shared publicly before this exhibition, and contains media such as photos, videos and emails, adding a further digital layer to the hyper-focused new media-centered exhibition. Read the rest of this entry »
Andrea Longacre-White. “Untitled,” 3-D printing, plaster, apple cords, electrical plates, Dimensions vary, 2013
Regards’ inaugural exhibition “Murmurs” features clean, precise exercises in subtlety by eight different artists. The labored pieces featured speak to silent, meditative hours spent in the studio while the restrained execution of the show provokes consideration of the subtleties of interaction and communication. There is something slightly out of reach about most of the work, a whisper-like inaccessibility that intentionally frustrates the viewer. Christopher Aque obscures disquieting images of TSA pat-downs with thick layers of pigmented Vaseline. Lauren Spencer King’s silver leaf on glass panel “Moonlight” is unpredictable, reflecting the sunlight blindingly or disappearing into the gallery white walls entirely depending on the angle of observation. Read the rest of this entry »
Curt Cloninger, “Twixt The Cup And The Lip #3 (Letting the language speak itself?),” 2011. On view in “glitChicago” at the UIMA.
By Jason Foumberg
A museum survey of Chicago’s innovative glitch art scene opening this month provides a good moment to revisit the city’s deep legacy of media arts. This is where contemporary art intertwines with emergent communications technologies—video, analog and digital computers, and repurposed commercial imaging technology—whatever artists could get their hands on. The local scene is today propelled by many do-it-yourself makers, but heavy academic support in decades past helped media arts flourish here. Some observers have noted that new media art evolved out of Chicago’s experimental music subculture. Curator of “glitChicago,” Paul Hertz says that glitch art, like hacking, is an artist’s answer to Big Media; the movement revives discarded electronics and advocates for open sharing of tools and content. “glitChicago” shows August 1 through September 28 at the Ukrainian Institute of Modern Art, 2320 West Chicago.
1936: Nathan Lerner, a student at the New Bauhaus in Chicago, stands in traffic medians to photograph the patterns of traffic lights. Lerner later invents the light box.
1947: “Vision in Motion,” Moholy-Nagy’s manifesto, is published in Chicago one year after his death. The book makes a case for the marriage of art and technology, and would inform art and design curriculums for decades at the School of the Art Institute and the Illinois Institute of Technology.
1968: Artists Bill McCabe and Robert Frontier put their penises on a copy machine, creating some of the first copy-machine art in Chicago. By 1970, these alternative printmaking machines become the basis for the Generative Systems program at the School of the Art Institute of Chicago, spearheaded by Sonia Landy Sheridan. Read the rest of this entry »
Briar Craig. “Gluten-Free Poetry”
“Texttexttext” at Woman Made Gallery is a cogent and self-conscious group exhibition that effectively engages notions of language as ever-changing, the battle between public and private social spheres, and the presence of a self-consciousness that is so prevalent in our age of selfies, tweets and Facebook postings. The artists in this show work from these starting points to ponder the transparency of the twenty-first century using a neo-dadaist humor and a deep awareness of our world. Read the rest of this entry »
The Cook County Department of Corrections, sitting on ninety-six acres on the West Side, is one of the nation’s largest single site pre-detention facilities. The independent, grassroots, social justice organization 96ACRES is seeking artistic projects to generate what they call “alternative narratives reflecting on power and responsibility by presenting insightful and informed collective responses for the transformation of a space that occupied 96 acres, but has a much larger social footprint.” Projects may include visual art, audio pieces, performance, new media works, writing, photography, design, prints and installation with particular interest to works at the site of the jail in an allocated space along its north exterior wall. Proposals are due July 28, and approved projects would be realized this fall. Base grants of $2,500 or up to $5,000 are available, funded by the Chicago Community Trust, Special Service Area #25, the National Endowment for the Arts and the Field Foundation of Illinois.
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