Caroline Demangel. “Untitled,” n.d. Mixed media on paper, 25 x 19 inches, Courtesy of Cavin-Morris Gallery. /Photo: Jurate Veceraite
A commanding survey of Outsider drawing, the show includes many of its premier examples, arguing convincingly that drawing is the elemental gesture of intuitive art. One might expect to see a room full of simple, crude scrawls, but here are carefully drafted images that speak a weird wisdom. Read the rest of this entry »
Activist Art, Architecture, Art Fairs, Art Schools, Collage, Comics, Design, Digital Art, Drawings, Evanston, Fall Preview, Galleries & Museums, Garfield Park, Gold Coast/Old Town, Humboldt Park, Hyde Park, Installation, Little Village, Logan Square, Loop, Michigan Avenue, Multimedia, Museum Campus, Outsider Art, Painting, Performance, Photography, Pilsen, Prints, Public Art, River North, River West, Rogers Park, Sculpture, South Loop, Street Art, Streeterville, Suburban, Ukrainian Village/East Village, Uptown, Video, West Loop, West Town, Wicker Park/Bucktown
The thing that was sent to me in its intended but unsettling orientation.
By Elliot J. Reichert
The above image was sent to me anonymously in the middle of the night. Shocking as it appears, I was relieved to receive it. You see, weeks ago I had contacted a few artist friends to ask them to reflect on the upcoming fall art season in Chicago and to ask one to “take over” the task of appraising it. To my surprise, they were reluctant to describe it, even those who had exhibitions of their work opening in the coming weeks. Later, I realized that their silence was my doing, having asked a question that could produce no coherent answer.
Much like the drawing game made famous by the Surrealists, Chicago’s 2015 fall art season is an exquisite corpse—a thing of grotesque beauty that is the dream of no one, but the creation of many. At first glance, it appears sinister, like the Block Museum’s solo show of newly commissioned works by Chicago artist Geof Oppenheimer. Rumor has it that the sculptor has filled the museum’s ample galleries with austere and foreboding installations resembling the cinderblock constructions of grim institutions, like prison, or perhaps your corporate office. Even more menacing, Irena Haiduk, also Chicago-based and also exhibiting new work, will haunt the eaves of the Renaissance Society’s transformed gallery with the Sirens of Greek mythology, luring visitors unexpectedly into a debate on the revolutionary possibilities of art and social change amidst current political upheaval worldwide. Read the rest of this entry »
An anonymous photograph from the Slattery collection
Comfort Station, the Logan Square multidisciplinary art space, will present an unprecedented twenty-three-day “Vernacular Photography Festival,” a rotating show celebrating the art of everyday and commonplace images throughout the month of August. The festival is curated by Ron Slattery, known as one of the three original collectors of the work of the late Vivian Maier. Maier was a noted street photographer who took more than 150,000 photographs of everyday people and architecture in Chicago and New York. Her work was not widely recognized until after her death in 2009, when Slattery and two other collectors began to circulate images from portions of her archive that they had purchased at auction. 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 »
Olayami Dabls, N’Kisi House, 2007,
wood, glass, tile, bricks, paint, MBAD African Bead Museum in Detroit/Photo: Charlene Uresy
By Allison Glenn
The twenty-first century has brought with it the re-emergence of contemporary conceptual artists engaged with penumbral zones. These artists are interested in site, positing new ideas for usage of once-inhabited homes and urban spaces. Whether the middle of the desert or the center of a blighted neighborhood, these sites exist on the theoretical—albeit times physical—margins of society. Artistic engagement with these interstitial spaces is on a material level, with art and architecture converging to create radical and experimental approaches to living. Positing ideas for architecture, technology, space and the body’s relation to it, artists are projecting utopic ideals for the future of the quotidian urban environment. What emerges from this are hybrid works of art and cultural production. Read the rest of this entry »
Photo: Amy Danzer
When you first pull up to the open-air art installation on Heidelberg Street in East Detroit, you’re struck by the remnants of houses that have recently been set afire by arsonists. Twelve blazes have gutted six installations in the last two years. The devastation and loss are felt at once, never absent throughout the exhibit, and serve as commentary on the plight of Detroit’s inner city. But Tyree Guyton and his volunteers continue to clear the ash and debris, create new works, and transform the space into one that persists in provoking thought, inciting imagination, and drawing in people from all over the country and world. Read the rest of this entry »
Intuit: The Center for Intuitive and Outsider Art announced that Debra Kerr has been appointed as its new executive director as of November 3, succeeding Joel Mangers, who had served since June of 2012. In a letter to the board upon her hiring, Kerr writes, “My vision for Intuit is to enhance its mission and serve as a model in the international museum community.” She goes on to set goals to break expectations for how outsider and intuitive art is understood and to “be a leader in the movement of museum as forum—a gathering place and community catalyst for good.”
Intuit’s new executive director Debra Kerr
In an email exchange, Kerr elaborates on the one component she hopes to implement at Intuit, “One change is to firmly state that Intuit is a museum. I’ve been an advocate for the need for museums to increase their role as centers of dialogue and catalysts for change. I see Intuit as a place that can model what museums can and should be in the twenty-first century—and that’s much of what attracted me to this position. Intuit has huge potential as a place that presents phenomenal outsider art, a place that can activate each audience member’s own creativity, as a place that serves as facilitator for social change for good, and yes, a model of museum as all the above.” Read the rest of this entry »
Melvin King’s paintings are pure Americana. It is artwork that tells important stories about black religious worship and the civil-rights movement.
King’s paintings hang from every available space on the walls in his three-story brick house and studio in Burnham. When there is no more wall space, paintings are placed on the floor, where they lean against walls. They also are stacked in boxes, stored under tables and desks or stacked on top of them. Some of the paintings are framed, others are wrapped in plastic. Still others have cardboard packing protectors on each of the frame’s four corners. Read the rest of this entry »
William Hawkins and Hawkins Bolden
“Ain’t nothing but the frame.” Hamza Walker’s quotable summation of the difference between so-called “black vernacular art” and “fine art” teasingly skirted a value assessment of what goes in the frame itself. This was the overwhelming consensus among panelists gathered last Thursday to discuss how some artworks are defined as black, vernacular, or both, and possibly neither.
The panel’s contemporary read of the term “vernacular” added a new way to think about the overwrought “outsider artist” divide. Although there was uniform understanding of the importance of the term by the panelists at Intuit: The Center for Intuitive and Outsider Art—including Walker, Fo Wilson, Krista Franklin, and moderator Lee Ann Norman—the word was not fully defined. Instead, characterizations of “Black Vernacular Art” included assemblage techniques, “gut-bucket funky from around the way” materials (Walker again), and influences from hip-hop, regional African-American dialects, hair weaves, bottle trees, yard shows, face jugs, Robert Rauschenberg’s “Combines,” and a grandmother’s quilt. Read the rest of this entry »
By Jason Foumberg, with reporting by Harrison Smith
Late last year the American Folk Art Museum announced it could no longer afford to stay in the building it called home, in Midtown Manhattan. Like an allegory of hubris, the museum constructed a monument to self-taught art that it could not sustain. The institution vacated its contents, and the classy structure was absorbed by its neighbor, the Museum of Modern Art.
Intuit: The Center for Intuitive and Outsider Art in Chicago is feeling similar pressure to grow, but its newly installed executive director, Joel Mangers, is embarking on that path carefully. Despite Chicago’s deep commitment to the legacy of self-taught art, Mangers says, “It’s a constant struggle to get people in the door.” He means that literally. Intuit’s door is easy to miss. There’s no grand entrance to the museum, just a regular brick façade like any other on that stretch of Milwaukee Avenue in West Town.
Intuit is about to upgrade its street presence, thanks to a pro bono design by Studio Gang Architects. Unlike the American Folk Art Museum, Intuit won’t be gambling its future with a $32 million construction project, but it will need to raise awareness about its mission and meaning for Chicago artists. Mangers is poised for the task. The self-described “arts advocate” also holds an MBA. He has fundraised for the youth arts program at Gallery 37 and most recently for the Gene Siskel Film Center. Mangers follows the much loved and recently retired director, Cleo Wilson, as the outsider art center’s fifth director in its twenty-one-year history. Read the rest of this entry »