Matt Siber. “Lighted Shelter,” 2015. Aluminum, plexiglas and fluorescent lights.
The subject of “Idol Structures” is the infrastructure of signs. Not the term in linguistics that defines the marriage of signifier and signified, but actual signs—billboards and roadside advertisements. Siber is interested in the configurations of steel, neon and vinyl that comprise signs but not in the messages they convey: think Mark di Suvero rather than William Eggleston. Read the rest of this entry »
Karsten Lund. “Distal Zone,” installation view at the Franklin, 2015.
Hannah Hoch once said that “[t]he process of remounting, cutting up, sticking down, activating—that is to say, alienating—took hold in all different forms of art.” The technique of combining and reshaping media spans music, literature, poetry and quite particularly, collage. Read the rest of this entry »
Julia Margaret Cameron. “Thomas Carlyle,” 1867, printed 1875. The Art Institute of Chicago. Alfred Stieglitz Collection.
The Art Institute has one of the world’s finest holdings of photographs by Stieglitz and his circle—a gift from his wife Georgia O’Keeffe no less—and little excuse is needed to bring them out from time to time. 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 »
John Stezaker. “Ghosts I,” 2013. Collage, 13 3/4 x 8 1/4 inches. /Photo: Michael Tropea.
High on the thirty-eighth floor of the Hancock Building, John Stezaker and I stand amidst the clean white walls of Richard Gray Gallery. 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 »
Václav Zykmund. “Untitled, Woman with dangling hair,” probably 1944. Gelatin silver print, vintage impression. Smart Museum of Art, The University of Chicago.
Over forty photographs from the Smart’s own collection prove that a small exhibition can be a unique and wide-ranging survey. This show, related to the larger exhibition of Expressionism on display in other galleries, represents what is increasingly becoming known as a golden age of modernist European photography. Read the rest of this entry »
Nadav Kander. “Fengine III (Monument to Progress and Prosperity), Chongqing Municipality,” 2007.
Frank Gehry said that “architecture should speak of its time and place, but yearn for timelessness.” Read the rest of this entry »
Activist Art, Architecture, Design, Drawings, Galleries & Museums, Installation, Media & Genres, Multimedia, Performance, Photography, Public Art, Sculpture, South Loop, Video
Emmanuel Pratt in collaboration with Sweet Water Foundation. “Ecology of Absence?” Furniture, shelving and American flag made from reclaimed wooden pallets/Photo: Rob Karlic
The Glass Curtain Gallery is a fitting venue for an exhibition about vacancy and regeneration. Its South Loop neighborhood is on the verge of a residential boom, while the nearby West Loop has been transitioning from a meatpacking district to a trendy area to live and dine.
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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 »