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 »
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 »
Katie Pennachio and Matt Mancini. “Feel Flows,” installation view. Fernwey Gallery.
Consider two moments: the meme-deluged aftermath of Drake’s James Turrell inspired “Hotline Bling” video and the so-called “Renoir Sucks at Painting” movement, a facetious rally for collective action against the perceived aesthetic tyranny of the Impressionist painter. 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 »
Yvette Weijergang. “Fish in a Pond.” Acrylic on canvas. 20 x 24 inches.
This exhibition of paintings spans the country and includes a variety of decorative application. As its title suggests, nature has been transformed rather than interrogated, mimicked or passionately expressed. Read the rest of this entry »
Gertrude Abercrombie (1909-1977). “Black Hat.” Oil on canvas, 20 x 24 inches.
The further we get from twentieth-century America, the more bizarre its normalized gender identities now appear to us. Read the rest of this entry »
Unidentified Artist. “Our Lady of the Rosary of Chiquinquirá with Female Donor,” late-seventeeth/early-eighteenth century.
The title of this dossier exhibition is misleading. There is nothing here about voyages: no ships, disembarkations, or conquistadores. It should instead be called: “An Assemblage of Colonial Andean Paintings, Mostly Religious, that Occlude Matters of Racism and Slavery.” Read the rest of this entry »
Edgar Degas. “Little Dancer Aged Fourteen,” c. 1879-1881. Private Collection.
For a man surrounded his whole life by women and horses, Degas was astonishingly unresponsive to both. 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 »